Category RPG

5E D&D Race: Ilmar

Nick Alimonos Leave a comment

thelana_2015_by_alexey_lipatov_by_ageofaenya-d8ait4hThe ILMAR (plural) or Ilmarin (singular, descriptive) go by many names: savages, barbarians, wild humans. Though few true Ilmar exist, they are viewed by most civilized people as more animal than human. This view is perpetuated by the little that is known of their culture. Due to fear and misconceptions regarding their humanity, Ilmar are often forced into wars or labor camps, or become beggars. A small number become wives, adopting local customs, while keeping their heritage secret.

Ilmar are great survivors, and can make their homes in the harshest of environments. They exceed at hunting, foraging, and making simple tools from the simplest of resources. Due to their primitive natures, Ilmar can go without food and water, and endure extremes climates better than most other races.

 

ILMAR TRAITS:
Ability Scores. Strength and Dexterity increases by 1, Constitution increases by 2, and Charisma decreases by 1.
Primitive Survival. The Ilmar can survive one cycle (ten days) without water and 3 cycles without food, can walk across the most rugged terrain without footwear, and can survive (without clothing) in temperatures close to freezing.
Armor of Flesh. Ilmar abhor clothing. In light, medium or heavy armor, you have Disadvantage on all attack rolls and Dexterity based skill checks. While going completely nude, you have a heightened sense of awareness, adding your Proficiency modifier to Perception checks. Wearing no clothes and carrying no shield, your (natural) base Armor Class is 13.
Alignment. Ilmar tend toward chaotic and neutral alignments.
Size. Ilmar are human sized, weighing between 100 to 180 lbs. and standing between 5′ and 6′ tall, tending toward more muscular and slender physiques.
Speed. Base walking speed is 30 feet.
Languages. The Ilmar speak common and their own unique dialect, but literacy is uncommon.
Preferred Classes. Ilmarin characters are limited to the following classes: barbarians, fighters, monks, rangers and rogues. This is due, primarily, to the setting, in that magic is virtually unknown to Aenya. Monks and rangers draw their power from “spiritual” and “quantum” sources. In a different world, Ilmarin PC’s may choose a spell caster class, but they lose connection to their deity in any other setting, and consequently, any special racial abilities.
Starting Equipment. None

 

xandrvsnakeman

An Ilmarin barbarian fighting a Yuan-Ti

PHYSICAL ATTRIBUTES: Once subsumed by other cultures, Ilmar are difficult to distinguish from other humans, aside from their light, almost translucent eyes. Despite evolving in an ideal climate, their skin is thicker than most humans and the soles of their feet can be hard as leather.

HISTORY: The Ilmar are believed the last vestige of proto-human, the earliest humans to have evolved on the planet. According to an inscription found within a Septheran ruin, the first word for human was ‘ilma’, which the Ilmar use to denote their species, as they do not recognize themselves as a separate social group. The proto-human lived peacefully for one hundred thousand to one million years until the arrival of the Septhera c. 10,000 BGM. Finding the dominant species of Aenya defenseless, the Septhera conquered the planet with ease, enslaving all of humanity except for a small population hidden in a region in the mountains of Ukko. There, the proto-human continued to thrive, oblivious to the changes occurring beyond his borders. It was not until 5 BGM that the people in the river valleys of Ukko were discovered by a Zo researcher. Known as Kjus, the researcher became so enamored by their simple way of life, he abandoned his own society to become one of them, naming the people ‘Ilmar’ and the land ‘Ilmarinen,’ meaning ‘land of ilms’ after the unique flower of orange and violet growing in abundance there, or possibly, ‘land of humans’. Kjus taught them of Zo science, history, philosophy and medicine, but made certain to not pollute their way of life with the excesses of his own civilization. Kjus later built a monastery high in the mountains, and before his death, founded the Order of Alashiya, who are also known as the Keepers.

CULTURE AND SOCIETY: Knowing nothing of war, crime, or government, the Ilmar live a simple agrarian life. Since everything in their community is shared, they have no concept of currency or wealth or poverty. As one saying goes, “No man is poor who wants for nothing.” Much of their day is spent farming and gathering, though Ilmar are known to hunt during food shortages. In their leisure time, they enjoy singing, dancing, and conversing. Through song and dance, they relate their myths and their history. The holiest time is the Solstice Night, the longest night of the year, when families throughout the land join to celebrate life, love and creation. It is during this time that boys and girls of a certain age, showing hair about the loins, pair off to jump the sacred bonfire, after which the pair is forever joined. It is believed that during this ceremony, the souls of lovers from past lives find one another again. Contrary to what many believe, the Ilmar do not engage in orgies or fornicate recklessly, but only with those with whom they are joined. When Solstice Night ends, it is expected that the female move into the male household, and by the following year, that she bear him a child. Having many children is regarded the highest honor for women. Despite their duty as mothers, however, females are given greater status than males, since it is the female that has power to create life.

The Ilmar lack many technologies, but are skilled woodsmiths and clay workers. Their artifacts include elaborately carved farming tools, throwing spears, atlatls, and pottery. They also excel in the shaping of trees to produce “living homes.” Giant camphor and oak are hollowed out to make bedrooms and kitchens, though eating, bathing and grooming is typically an outdoor activity. As they are without any concept of crime, the Ilmar typically do not have doors or locks, though partitions may include curtains of bead or bone.

LANGUAGE AND CUSTOM: For the Ilmar, nudity taboos do not exist, and for this reason, they do not typically wear clothing of any kind, nor produce material that may be used for clothing. The Ilmar are not, however, without a sense of style or individuality, and will decorate their bodies with flowers, bones, semi-precious stones like jade or lapis lazuli, and with elaborate mud patterns called henna. Neither sex cuts its hair. Women wear a single braid which can reach down to their ankles, while the men can grow their locks to the middle of the back, either loose or done up in multiple braids.

RELIGION: To the Ilmar, all life is sacred, from the smallest insect to the greatest camphor tree. They make no distinction between human or sentient life and animal or non-sentient (plant) life. All are part of a singular essence known as the Mother Goddess, or Alashiya. The goddess is thought to exist everywhere and in all things, even in non-living matter, such as in the wind, in sunlight, and in the earth. Alashiya is never seen or heard, but can be “sensed” through the skin. According to myth, the Goddess was born of two elder gods, Anu and Eru. At the beginning of time, these primordial deities danced through the astral void, singing to one another and making love continually, birthing new worlds in the process. After Aenya and Alashiya were created, the elder gods moved on.

The Ilmar do not consider dreams separate from reality. Each and every dream is a literal experience. By grinding the ilm flower into a fine powder and drinking it, ritual leaders embark upon purposeful dream journeys across time and space, into other dimensions, and to worlds beyond death.

In death, the Ilmar become one with Alashiya, as they were before birth. The body is marked by a cairn close to home, typically under a tree, which is then absorbed into the soil to become new life. Due to limited medicine and nutrition, the average lifespan for the Ilmar is sixty years.

ILMAR and other races: The Ilmar tend to be loners, in that they are shunned by most other races. Humans and dwarves in particular find their constant state of nakedness off-putting, whereas elves, gnomes and halflings are more accepting. In a party of heroes, an Ilmarin will keep to him or herself, dressing appropriately where the culture demands it. Others may find the Ilmar to be the best of companions, in that they are fiercely loyal allies, trustworthy to a fault. Perhaps more importantly, an Ilmarin has little interest in possessions (rogues steal to survive) rarely partaking in their share of treasure.

ILMARIN NAMES: To foreign ears, the Ilmarin language sounds hard and clipped as they often use conjoined consonances.

Male names include: Xandr, Baldr, Heimdl and Borz.

Female names typically avoid the conjoined consonant and end in an ‘a’. Examples are Thelana, Aliaa, Amina, and Anja.

NOTABLE ILMARIN HEROES: Xandr, Thelana

Starting character sheet:

Featured Image -- 14252Thelana

Strength: 12 +1
Intelligence: 11 +0
Wisdom: 11 +0
Dexterity: 18 +4
Constitution: 17 +3
Charisma: 12 +1

Race: Ilmar
Class: Ranger
Level: 1 (+2)
Armor Class: 17 (nude)
Hit Points: 13
Duel Wield: +6 / 1d8 +4 (short sword) + 1d4 (dagger)
Longbow: +6 / 1d8 +4 (range 150/600)
Alignment: Chaotic Good

Saving Throws: Strength +3, Dexterity +6
Skills: Athletics +3, Nature +2, Perception (nude) +2, Stealth +6
Special: Natural Explorer, Favored Enemy: bogren (goblins), horg (orcs)

Equipment: Short sword, dagger, longbow, quiver, arrows, cloak

BACKSTORY: Thelana is born in the river valleys of Ilmarinen, the middle child in a family of twelve. Her eldest brother, Borz, is sold into slavery when she is very young. As the dark hemisphere continues to creep eastward, the resulting famine forces Thelana into the wild. Her life is spent on the edge of survival, hunting for prey while hiding from predators. Wounded by a cannibalistic half-man, she is rescued by Captain Dantes and taken to a nearby military encampment, where she proves her archery skills and is recruited into the Kratan army. Years pass until, on the Plains of Narth, their forces are decimated by the bogren and horg, and Thelana, torn with longing for the life she knew, abandons the battlefield. In Ilmarinen, she finds the crops and ilm flowers have withered. There is no trace of her family.

 

To learn more about the Ilmar, please check out the Ages of Aenya.

The Witcher 3 vs. D&D

Nick Alimonos 2 Comments

A while back, I wrote a post regarding my preference for tabletop role playing games to video games, and the ten reasons I feel D&D is the real deal. Today, I’d like to address the flaws I find in electronic RPGs like Dragon Age and Skyrim. Don’t get me wrong. I’ve loved video games since the NES days. But when I switch from the real thing, with dice and paper, to a console, the effect can be jarring. The most noticeable thing I find is that, with an electronic RPG (let’s call them VRPGs) there is no sense of realism. Now it might be unfair to compare D&D to Diablo, which is little more than a mindless hack n’ slash, so let’s look at the cream of the crop, a game IGN gave a 9.3: The Witcher 3: Wild Hunt. 

What I find particularly perplexing about most VRPG’s is the canyon-wide dichotomy between the visuals (and audio) and basic logic. The Witcher is breathtaking in its detail, from the varied plant species to villagers going about their daily chores. Such sights and sounds are difficult, if not impossible, to convey in a dice and paper game. Stirring music and voice acting further enhance the immersive feel, and the end result gives the player the sense of really being there. Tabletop or digital, immersion is a sign of a great RPG, when you feel transported to another reality. So it boggles the mind to see how little attention is given to logic. The contrast is so stark as to pull me out of the experience every time. It screams artificiality. What does it matter that you can count the leaves on every tree, when a pack of wolves runs right past a peasant doing laundry and she doesn’t even notice?

My character, Geralt, is a legendary warrior with a storied past, a monster slayer for hire, a witcher. Villagers and soldiers alike speak to me with reverence and a measure of trepidation. Surely, I am a bad ass, right? Wrong! The first wolf I came across killed me, and it wasn’t even a close fight. I was eviscerated. By a lone wolf. Now, I’ve played enough of these RPGs to understand how they work. I am certain that by the end of the game, I’ll just look at a wolf and it’ll explode in a shower of blood and fur. But here’s the thing: this is not the story the game is telling me. If I had started off as a peasant farmer learning the ropes of swordsmanship, a solitary wolf might be a credible threat, but Geralt the Witcher, bane of monsters everywhere? The same thing happened to me when a random guard caught me looting. He killed me in two hits. TWO!!! This, despite my whacking him for about five minutes, with a two-handed sword no less. If this had been anything like real life, he’d have been on the ground bleeding and bruised, with deep gashes and broken bones. Sure, we have hit points in D&D, but I never imagine my hero just standing there like some invincible deity, taking hit after hit. Now I realize games aren’t meant to simulate life. Nobody wants to role play sleeping 6-8 hours a day, suffering the occasional bout of dysentery, doing menial tasks to pay taxes, having to quit adventuring over a herniated disc, and finally dying of the flu. But the goal of any RPG is to approximate reality enough to suspend disbelief. With my PS4 controller in hand, however, I am constantly being beaten over the head with the fact that THIS IS A GAME! You must level up before you can fight a wolf, never mind what the story says!

Now, after stabbing this damn wolf about a hundred times, my sword breaks. I find this odd. Historically speaking, weapons of iron and bronze broke much more frequently than games and movies let on, but this had less to do with usage and more to do with physics. Whack your gladius hot off the forge against a rock and it’ll shatter. Smack it against a soft furry pelt and you can pass it on to your grandsons. OK. So my sword is broken. This is a serious problem, my being a witcher and all, so how do I fix it? Does anyone in town know a good blacksmith? Well, if this were medieval life, or D&D, I could ask someone. Later in the game, I meet General So-and-So, who needs me to take care of a griffon that is eating his men. But here’s the thing: his men are far more powerful than I am! Which brings to mind Elder Scrolls: Oblivion. The guards in that game kept chasing me through hell—literally hell—over an apple. One, lousy, apple. Tamriel is being overrun by demonic forces, and all anyone cares about is shoplifting, random guards who could, for some reason, kill the entire fighter’s guild. This was a story-breaking design flaw for me, turning Oblivion into the tale of the poor thief (me) fighting to feed himself.

So General So-and-So asks me if I need anything to kill this griffon. Yes, I need my damn sword fixed! But I am forced to watch an irrelevant cut scene instead. And here’s another problem I have. Scripted events. You do as the game dictates, not as you want. When it comes to consoles, I sometimes wonder whether I am actually playing the game or if the game is playing me. More often than not, any sense of control or decision making is illusory. Sure, I can choose which way I run up the hill, but I still need to get up that damned hill. Dragon Age 3 was the worst in this regard. Like playing a train simulator, you’re just stuck on the tracks, going along for the ride. Even in The Witcher, I have no sense of embodying my character. In D&D, I could truly be Geralt, or come as close to it as possible without a holodeck. I could, for instance, decide not to look for Yennefer, get hitched to the barmaid instead. And why the hell am I collecting plants? I am sure they’ll come in handy somehow, otherwise the game wouldn’t let me collect them, and yet this further breaks the illusion of reality. I do things simply because the game lets me do them, which clues me in to the fact that I should be doing them, whether it makes sense or not. Now imagine walking out of your house and grabbing every random thing in sight: sticks, small lilies, dollar weeds, the neighbor’s mail . . . Am I a hero or a hoarding kleptomaniac?

Video RPG’s like Skyrim, Dragon Age and Witcher are my surrogates for the real thing, been playing them since the mid-80’s. Games like Dungeon Master, Eye of the Beholder and Black Crypt for the Commodore Amiga. It’s often a poor substitute, and yet there’s no one who will drop my house at 2:00 in the morning to roll dice, and most of my friends and family think me deluded for preferring pen and paper over billion-pixel graphics. So . . . it’s back to the Witcher for me and, fuck, I just walked off a bridge and died. Time to reload.

bx1

A classic!

 

 

UPDATE! 

OK, so I’ve put over 100 hours of play into The Witcher 3: Wild Hunt, and think I know enough about the game to make a fair assessment, and my original impression stands. While The Witcher 3 serves up an impressive feast for the eyes, it pales in comparison to the genuine sense of adventure you get from a traditional role playing game like Dungeons & Dragons.

Again, the standout feature in The Witcher 3 are the jaw-dropping visuals. Even after a hundred hours, I can’t help but want to stare at it. It’s hard to believe that a team of programmers added that much detail, from a stray cat prowling the streets to kids playing in a field of sunflowers, to a family of geese crossing a dirt path or an old lady sweeping her front porch. But for all its vast beauty, there simply isn’t much to do. As a player, you feel stripped of options, a passive onlooker. Gameplay boils down to two things:  1) Kill something  2) Buy something. Sure, there’s an epic story to explore, but it’s a convoluted mess, like a hundred different authors got together to write one book, with hardly any agreement between them, so what happens in one chapter becomes meaningless in another. For example, I helped elven master smith, Hatori (from Kill Bill, apparently) in exchange for a sword of unparalleled quality. Turns out, when he presented me with this weapon of ultimate craftsmanship, I owned a dozen better swords already. And this leads me to the problem of realism, because while the creators of the game felt it necessary to showcase a hundred different flowers, they failed to make the mechanics of play echo that same realism. Why is it that I still, even at level 36, cannot use a god damn sword made by the village blacksmith? What magic prevents me from just picking it up and swinging it? If the developers didn’t want me having a weapon that deals 500 damage, they should not have put it in the game, or have those weapons sold all over town. It makes me wonder, if the guy who saves the world can’t put on a pair of gloves, who the hell can? Who’s buying all these god level-items? And don’t get me started on the random guards, who are far more powerful than the demonic elf gods invading the world!

None of this would be such a problem if at least I had some agency, some sense that I am making decisions for my character. Geralt is in love with Yennefer, not Triss. If this were Dungeons & Dragons, I would’ve dumped that bitchy sorceress for the sexy red-head without a thought. The Witcher forces you to do things, and in a very confined, particular way. We call this railroading in D&D, and it’s the mark of bad DMing. Last night, I nearly fell asleep playing, I was so bored.

So why play at all, you may ask? Mainly, it gives me something to do, and it’s still more engaging than watching TV. And that really seems to be what the Witcher is, not a game per se, but an interactive show.

Now if you enjoyed the Witcher and you really want to take control of Geralt’s story, here he is in D&D form:

geralt

 

For a Dungeon Master, these games are inspiration, so I also made rules for playing as a Witcher in D&D (you’ll need this to play Geralt!), in this easy to reference PDF. Enjoy!

Witcher Class for D&D 5th Edition

 

 

 

 

D&D and the Fantasy Author

Nick Alimonos Leave a comment

Roleplaying games, and by that I mean “real” roleplaying games, the kind with dice and paper, can be a powerful resource for any writer of fantasy, a great source of ideas and inspiration. My most recent novel, The Princess of Aenya, was inspired by a one-day 4th edition D&D campaign. In the game, my wife played Queen Isadora, a cleric. One of my nephews was a ninja/assassin sent to kill her, and my other nephew her protector, Demacharon. I imagined an enormous stairwell spiraling down a chasmic tower, with arrows raining down on them from all sides. Years later, that exact scene made its way into the first chapter of my novel, except Isadora was now Radia, and the ninja assassin appeared later in the story. Incidentally, Radia and Demacharon would later come upon a monster in a crypt, the tetra-claw beast. I first drew the tetra-claw beast when I was twelve, for a 1st edition campaign, and there it sat in my brain for 30 years, waiting to emerge on the stage of chapter 3 to pounce on my heroes!

The beautiful thing about roleplaying is that it allows you to create without having to worry about being judged. Too often, writers are discouraged by the literary world. Want to write a story about a knight saving a damsel in distress? No way! That’s both cliche and “sexist”. Want to have a ninja teaming up with a robot for a swashbuckling adventure? Not if you want to appeal to older, more jaded readers of “serious” fantasy like Game of Thrones. But in D&D, you can do whatever the hell you want. Write like nobody’s reading. Dream like you’re twelve again. And then, as is often the case, lightning strikes. An idea is born that germinates into something great. All it took for Harry Potter to happen is for JK to board a train.

Sometimes in this hyper-competitive market, we forget just why we read, why we write, and why we play. And the reason, in case you’ve forgotten, is because life is just too short and the world just too small for our human-sized brains. The fantasy enthusiast craves more than one planet to explore, longs to step outside the boundaries and limitations of this one-time existence. This is what novels and RPGs have in common; they are the gateways to something more.

If you’re a gamer, or just curious to read an adventure in a different way (this is where the oft-disregarded second-person narrative thrives) you can download the file below. Whether you’re new to D&D or a seasoned veteran, you may find it useful. And, unlike in the literary world, everyone is free to steal!

 

Heraldo the Great

5th Edition D&D Adventure

People of Aenya: Thelana

Nick Alimonos Leave a comment
Thelana2016web

Thelana 2016 courtesy of Alexey Lipatov

Thelana is born in the river valley of Ilmarinen, the middle child in a family of twelve. Her eldest brother, Borz, is sold into slavery when she is very young. As the dark hemisphere creeps eastward, famine forces Thelana into the wild. Her life is spent on the edge of survival, hunting for prey and hiding from predators. Wounded by a cannibalistic half-man, she is rescued by Captain Dantes and taken to a nearby military encampment, where she proves her archery skills and is recruited into the Kratan army. Years pass until, on the Plains of Narth, Dantes’ forces are decimated by bogren, and Thelana, torn with longing for the life she knew, abandons the battlefield. In Ilmarinen, she finds the crops and ilm flowers have withered, with no trace of her family. Overcome by grief, she manages her way to the coastal cities, where she meets Kinj, who introduces her to the life of the thief. Later, when he tries to violate her, Thelana steals his mechanical bow-sword and leaves him to die in an alley. Fleeing to Hedonia, Thelana hides in the slums among the city’s outcasts, before making a suicidal attempt to climb into the pyramid Temple of Sargonus. As she pries the giant pearl eye from the idol of the Hedonian Sea God, she is found by the zealous High Priest, and the first Ilmar she has seen since leaving home. With the aid of the Ilmarin stranger, Thelana is apprehended and thrown into a pit beneath the city. There she waits, wondering about the man she has just met. Is he a traitor to their people? Or will he come for her?

Most civilized races see Thelana as either a savage or an animal, owing to her people’s disregard of clothing and tolerance for the wild. To learn more about Thelana’s people, see ILMAR.

Appearances: Ages of Aenya, The City of the Drowned, The Nude Equestrian, The Skyclad Warriors

Articles: Thelana: Feminist Icon?, The Naked Wood Nymph in the Forest of My Mind, Nudity on Mars: Dejah Thoris, meet Thelana

 

 

Dungeons & Dragons 5th ed. character sheet

 

Thelana

Strength: 12 +1
Intelligence: 11 +0
Wisdom: 11 +0
Dexterity: 18 +4
Constitution: 17 +3
Charisma: 12 +1

Race: Ilmar
Class: Ranger
Level: 1 (+2)
Armor Class: 17 (nude)
Hit Points: 13
Duel Wield: +6 / 1d8 +4 (short sword) + 1d4 (dagger)
Spear: +3 / 1d10 +1
Longbow: +6 / 1d8 +4 (range 150/600)
Alignment: Chaotic Good

Saving Throws: Strength +3, Dexterity +6
Skills: Athletics +3, Nature +2, Stealth +6
Special: Natural Explorer, Favored Enemy: bogren (goblins), horg (orcs)

Equipment: Short sword, longbow, spear, dagger, quiver, arrows, jade cloak

 

Dungeons & Dragons 5th ed. Race: ILMAR

Ability Score Increase. Dexterity and Constitution increases by 2.

Primitive Survival. The Ilmar can survive one cycle (ten days) without water and 3 cycles without food, can walk across the most rugged terrain without footwear, and can survive comfortably (without clothing) in temperatures just above freezing.

Unarmored Defense. Ilmar hate wearing clothing of any kind. In armor (even light) characters of this type have Disadvantage on all attack rolls and saving throws, and enemies have Advantage against them. While naked, they can commune with the Goddess, Alashiya, gaining a heightened sense of awareness. Unarmored, your Armor Class is equal to 10 +Dexterity modifier +Constitution modifier. This ability does not stack with other unarmored bonuses. Ilmar can use shields and still gain this benefit, as well as small magic items, such as rings, bracelets, and necklaces.

Alignment. Ilmar tend toward chaotic and neutral alignments.

Size. Ilmar are human sized, weighing between 100 to 180 lbs. and standing between 5′ and 6′ tall, tending toward more muscular and slender physiques.

Speed. Base walking speed is 30 feet.

Languages. The Ilmar speak common and their own unique dialect, but literacy is uncommon.

Preferred Classes. Ilmarin characters are limited to the following classes: barbarians, fighters, monks, rangers and rogues. This is due, primarily, to the setting, in that magic is virtually unknown on Aenya. Monks and rangers draw their power from “spiritual” and “quantum” sources. In other settings, Ilmarin PC’s may choose a spell caster class, but lose connection to their deity, and consequently, any racial (non-human) abilities.

Starting Equipment. None

TOP TEN Reasons Tabletop RPGs are Better than Video Games!

Nick Alimonos 8 Comments

Who needs a PS4 when you’ve got hoop and stick!?!

Getting my nephews to play Dungeons & Dragons is like asking them to play ‘hoop and stick.’ You’d think I was some out of touch grandpa trying to relive the good ol’ days, when soda pop cost a nickel and you could watch Mickey Mouse at the start of any movie, and all they’re thinking about is saving up for the next iteration of Call of Duty. Thing is, I love video games. My first system was an Atari 2600, which was followed by the Nintendo Entertainment System, Super NES, N64, Playstation, Sega Saturn, Sega Dreamcast, Playstaion 2, X-Box, Wii, Wii U, X-Box 360 and Playstation 3, not to mention the ten grand I’ve put down on gaming computers. I enjoy what people today call “RPGs,” from Final Fantasy to Elder Scrolls to Mass Effect. No doubt, you can and should enjoy both, as they offer different forms of entertainment, but stranded on an island with only one thing to do, my game is dice and paper, a real deal tabletop RPG, and here’s why:

10. THEY’RE EDUCATIONAL: I’ve learned many things from video games, the history of WWII from Call of Duty, the physics of racing automobiles from Gran Turismo and city planning from Sim City, but this kind of education is usually the exception and often limited by play mechanics. Call of Duty does little to teach the player the historical aspects that led to the war. Tabletop games, on the other hand, exercise the mind in every academic, from mathematics to creative writing to graphic design. I owe much to D&D for helping my writing career.

9. THEY’RE TANGIBLE: You can touch, smell, and taste. TRPGs deal with real objects: dice, miniatures, paper, and any number of props. Some people even dress up for their gaming sessions. I like to be able to physically give my players the items featured in an adventure. The magic wand? It’s right there, in your hand! Consoles have yet to simulate all 5 senses.

8. THE FUN NEVER ENDS: How many times have you watched the credits roll at the end of a great game and wished there was more? Say you love Halo, and just can’t wait until Halo Six comes out. Great. But eventually, you’ll get the game, marvel at all the new content, and in a couple of weeks you’re back wishing and hoping for another expansion. Some franchises, like Zelda, you might have to wait half a decade for something new. In TRPGs, there is no waiting. Every game is something new.

7. THEY’RE TIMELESS: Let’s face it, we live in a disposal culture. The greatest thing today is garbage the next. That is why I love D&D, because it is essentially the same since the 70’s. The newer editions are just tweaks. Video games rarely live up to the hype, and even if they do, the excitement quickly passes. Donkey Kong is still fun after 30 years, but my daughter treats it more as a curiosity than anything else. In another 30 years, I doubt the teenagers of that time will care about Halo the way the teens of today do. Consequently, I look forward to sharing TRPGs with my children.

6. YOU CAN ALWAYS IMPROVE IT: Every video game has something that just doesn’t work perfectly. The reason for this is simple: everyone’s tastes differ, and programmers can never make us all happy equally. We all wish that one impossible level would go away at the end of such and such game; we’ve all said to ourselves, “Wouldn’t it be cool if . . .” Well, in a tabletop game, you can! Don’t like the rules to 4th edition D&D? Toss them out. Think the rail gun in Red Faction is too cheap, or the end boss in Metroid Prime too hard, or that Princess Peach should be playable in New Super Mario Bros.? Too bad.

5. SOMETIMES THE HERO FAILS: This might sound like a bad thing, but when victory is assured, it’s meaningless. Will Nathan Drake find the lost city of gold and save his girlfriend? There’s no doubt, and for this reason, there can be no real tension, no genuine excitement. In a TRPG, you’re not always the hero. The universe does not revolve around your character. You are part of a group and must prove your worth, and even then there are never any guarantees. I played Dragon Mountain, a module for D&D, for three months with a friend until my party was obliterated by a red dragon. That was it. The end. More recently, MMORPGs have tried to address this issue, but the problem then becomes the opposite. Your actions are irrelevant. The next big expansion in World of Warcraft isn’t directly related to what YOU did and how you played. Failing a quest in WoW won’t affect the game for the millions of other subscribers.

4. YOU CAN BE ANYTHING: I tire of playing with other people’s ideas, in worlds created in other people’s imaginations. Tabletop games allows me to make the rules, the heroes, everything. Nothing can beat the hero that comes from your own mind! And just among friends, copyright infringement means nothing, so you can literally be anyone, from Conan to Indiana Jones to Homer Simpson.

3. THEY’RE SOCIAL: Never mind social networking. I could care less about the guy in China who’s kicking my ass in Street Fighter; I mean, it’s great that the technology exists to play with people from around the world, but why would I want to do that? I prefer the company of friends and family, face-to-face, across the table. The Internet still can’t replace real, genuine, human interaction.

2. ACTIONS HAVE CONSEQUENCES: My nephew, who is new to TRPGs, thought it a good idea to drink a bunch of vials he found in a lab, not even bothering to check what the liquids were. Doubtless, he would not drink whatever chemicals he’d find in my closet. But this is the video game mindset, because you can always respawn or reload with a console. You can die a hundred times in an afternoon without the slightest concern. But in a TRPG, you drink acid, you die, and die for good. Maybe the GM will take pity on you and find a way to revive you, but it will never be as easy as a reset button. It reminds me of a friend who ran a game where one of his players died. The player was distraught for days, until his mom called my friend up to ask, “Why did you kill my son!”

Death used to mean something . . .

1. ANYTHING CAN HAPPEN! Computer and video game gamers never realize the narrow parameters set upon them and their imaginations. It’s as if they’ve lived their whole lives in a prison, so they don’t really know they’re imprisoned. As much freedom as The Legend of Zelda, Grand Theft Auto or World of Warcraft give you, it’s nothing compared to the infinite possibilities you can have in a tabletop game, and the worst part is, people hooked on video games are trained to limit their thinking, imagination and creativity because of it. Often, I find that people with zero gaming experience have an easier time thinking “outside the box.” I remember playing a D&D campaign with a friend who simply could NOT understand what he was “supposed to do.” It never occurred to him that he didn’t have to fight the monster at all to save the girl. Say you like a sandbox adventure like Zelda . . . instead of fighting and killing every goblin in sight, why not subdue one, tie him to a tree, and force him to tell you where the hidden key is? And if he doesn’t listen, maybe you’ll break his knuckles? Of course, you can’t even think about doing something like that, because it isn’t programmed into the game.

There is no wrong way to play a TRPG!

D&D: A Memoir: 3rd, 4th and 5th Editions

Nick Alimonos 2 Comments

So the beastmen have taken off with Celine Botissea. They have her on a spit and the fire is roaring. Soon she’ll be roasted alive, like a human marshmallow. Her only hope is Juraviel, the wizard, but he is at a loss for what to do. The village is enclosed by tall wooden posts, like Jamestown circa the 16th century, and the poor wizard can think of nothing but to knock. Beastmen are bigger and stronger than humans, so when they answer the gate, it quickly dawns on him that there is no hope of killing them, and killing them is the only option that pops into his head. “I just don’t know what I am supposed to do!” he cries in anguish, as the beastmen sharpen their knives and forks inside the camp, preparing to dine on paladin, and the wizard’s friend. Of course, the keyword here is: supposed. It never occurs to Juraviel to do something unexpected, like start a fire, or use a simple spell to impersonate a deity, ala C3PO in Return of the Jedi. Fighting is the only thing that comes to mind, because my friend, Steve, is unaccustomed to this kind of gaming. He has been raised on a steady diet of video games, where options are preprogrammed, and therefore, limited. The infinite possibilities of a true, tabletop RPG are beyond his capacity to grasp. Not to worry, though, with enough prodding from the DM (that’s me) he eventually burns the village down, and as the beastmen run for their lives, Botissea escapes. 


Dungeons & Dragons 3rd Edition

Just when I was 100% certain I would never game again, TSR is bought by a company called Wizards of the Coast, the makers of a very popular card game, Magic: The Gathering. WoC produces a vastly superior form of D&D with 3rd edition, which offers more possibilities than ever before. Monster and character stats share the same format, so it becomes easy to role play just about any creature, including a genie, a sexy female genie I later make for Steve. Also, Armor Class (the number you need to roll to hit the enemy) is a positive number, which makes a hell of a lot more sense than (-10) being good and (+10) being bad. And the shiny new covers, with their faux spell book designs, is just too enticing to pass up. I even mailed a set to Evan, who ended up feeling frustrated by his inability to play.

Me.

With 3rd edition, I wanted to go back to basics. No more superheroes or demon characters or space travelers. Our adventures took a page out of Tolkien’s Lord of the Rings, so I was Celine Botissea the paladin (my first female character) while my friend was Juraviel the wizard. I was deep into my second novel at the time, The Dark Age of Enya, which features a race of nudist protagonists, so I also came up with Tezrah, a naked monk. This is when I came to discover that when it comes to RPGs, technology can be a double edged sword. From the Internet, I could steal remarkable, inspiring images of heroes and landscapes to make my childhood self’s jaw drop; but at the same time, a greater number of people were dropping dice in exchange for keyboards. For a lot of people, D&D was simply outdated. Why use your imagination when you can watch the action unfold on your computer? Thing is, I am no stranger to electronic RPGs. I bought my first computer, an AMIGA 500, just to play Dungeon Master. But for me, tabletop games will always remain the real deal. After decades of D&D, World of Warcraft and EverQuest is like role playing Thomas the Train Engine; you are just stuck on the tracks, following a predetermined course. There is no more “open world” than a tabletop game. But show a bunch of dice and graph paper to someone raised on computer games, and they’ll look at you with pity, like your some clueless grandfather reminiscing about “the good ol’ days.” Still, I convinced my friend Steve to give it a shot, and we ranked up to 6th level, and defeated Yog Sothoth, a cleric, psionicist mind flayer. Sadly, it was the last hurrah for Celine and crew, due to a random encounter with a girl named Hynde. She was a human student from the land of Morocco, of neutral good alignment, with a high intelligence, wisdom and charisma score. Also, she had a special magic ability, a charm Greek writers spell, which acted in a 10′ radius, or within visual or auditory range, even from the phone, and it lowered all of my attributes, especially my constitution. So my days of gaming were cut short, only this time, willingly.  


Dungeons & Dragons 4th Edition

Everyone agrees 4th edition was a disaster. It was so bad, the fans were divided in half, like the great Catholic/Orthodox schism of 1054, and a 3rd edition knock-off was created known as Pathfinder. In an attempt to cater to video gamers, the makers of D&D had attempted to emulate MMORPGs, essentially robbing the game of its most defining quality: infinite possibilities. Now, fighters had a set number of “special” moves they could perform a certain number of times per day, since, just like in real life, once you do something once, the laws of physics prevent you from doing it again until after a short rest. There were many other, technical details I didn’t like, but I bought a whole new set of books regardless. My nephews, Arthur and Fonda, were just about old enough to be introduced to the game, so I bought the older one a starter set for his 10th birthday, which he politely thanked me for, before tossing it in with Battleship, Monopoly and the pair of socks from his aunt, while ogling Soul Calibur IV for his X-Box.

My wife.

We played 4th edition for approximately one hour. My wife was Princess Isadora, Arthur was Demacharon, and my younger nephew, Fonda, was a ninja (he really wanted to be a ninja) named Hadoken. Isadora was the ruler of Mythradanaiil, but her jealous step-brother wanted the throne, hiring Hadoken to assassinate her. Spellbound by her beauty and charm, however, the ninja was unable to carry out his mission, and soon he and Demacharon were fighting an army of archers, down a huge flight of stairs, to save the princess’ life. They made it out of the castle, but we never played after that. Oddly, this tiny adventure turned out to be the most important game of my life, inspiring my current novel, The Princess of Aenya. 


D&D 5th Edition

Having a mortgage, a restaurant, two kids and literary aspirations, my biggest problem is time. I am always rushing to do things. The days of 1st edition, when my friends and I had 3 months with absolutely nothing to do, seem like a dream. Now, I watch movies and play games only if they’re short, and MMORPGs scare me like doing heroin. But my need to touch a d20 persisted, like an ex-smoker needing a toothpick in place of a cigarette. And yet D&D, I realized, was just too damn complicated to explain and time consuming to play. Then I came home to my seven year old daughter, Jasmine, who was making her own board game. She was inspired my Mario Party, and as I started to help her with it, I realized that by adding a few numbers and dice, I could make a board game for people who love D&D but just don’t have the time. That is how QUEST FOR THE TALISMANS was born. I spent years refining the rules, up to a 5th edition of my own, using D&D mini figures and a greatly simplified combat system. Arthur invited dozens of his friends from high school to play it and we all had a great time. Despite his continued obsession with video games, he enjoyed the social aspect of tabletop gaming. But deep down inside of me, I knew, it just wasn’t the same. The board game was too limiting, and my real love was for creating things, not playing them.

When 5th edition came out, just last month, I was skeptical. Over the years, D&D has become more complex with each new iteration, with more rules to learn, which only served to put off newcomers. What the game desperately needed was streamlining, simplifying, and that was, to my surprise, exactly what the makers of 5th edition did. Here was a game I could introduce to my now ten year old daughter. And who knows, maybe the seed of a new book will come from it. Our first campaign is this Saturday following Thanksgiving. Jasmine is Lilliea, an elf sorceress.  


D&D Infinite Edition

Maybe I really am an old fuddy-duddy. Maybe in a few decades, nobody will be playing tabletop games anymore, except to be nostalgic, the way people still watch plays but secretly wish they were at a movie. Perhaps, with enough computer power, future MMORPGs will find a way to offer near infinite options. As for me, I sometimes dream of the time when I’ll be an aging retiree, somewhere in my seventies, having all the free time in the world. Maybe I’ll be living in a nursing home, or hopefully a nudist resort. That’s when I’ll dig out my fifty year old d20 (I still have it), get a pen and graph paper, and find out what the heck those damn lizard men were doing all those years ago.  

My daughter

Dungeons & Dragons: A Memoir: 2nd Edition: Hell Breaks Loose!

Nick Alimonos 1 Comment
mansion800600
Climb up to the roof! What’s the worst that could happen?

By this point, Dr. Van Richten was begging. “Please, please I don’t want to; I’m scared of heights!” But Dr. Van Helsing was insisting, and he was holding the shotgun. Somehow, they needed to learn what was going on in the mansion, and Helsing was not about to barge in through the front door, guns blazing. 

They were supernatural investigators, enemies of the undead, and on many occasion the two of them had slain zombies and werewolves, and even thwarted the plans of princely vampires. But this was a threat like never before, a maniacal doctor hell bent on bringing the dead to life, through science! And yet, how could they be certain what was going on, without evidence? So Helsing continued to insist, rather forcefully, “Just climb up to the third floor window and tell me what you see!” Despite his dread fear of heights and lack of dexterity, Richten acquiesced, slowly beginning the climb. He reached the second floor without much difficulty, but the windows were too dark, and he could see nothing. From the safety of the ground, Helsing urged him on, and Richten, trembling and with vertigo, clamored up to the third story window, and that’s when it happened . . . He slipped. Clawing desperately at empty space with a blood curdling scream, Richten tumbled from the balcony, falling headfirst into the ground. Helsing rushed to his side, to his friend and comrade, but it was too late. Dr. Van Richten was dead, below zero hit points, at which point my friend and I looked at each other, and burst out laughing. What cruel, hilarious irony! Twenty years have passed since we played that game, and one of us will be like, “Hey, remember when Van Richten fell off the roof and died? After he kept saying, ‘Please, please I don’t want to go?'” Hilarity.


Advanced Dungeons & Dragons 2nd Edition

Mike Wilson

After my long ordeal, losing my best friend, George, to Satan and skateboarding, I was certain my RPG days were over. Sure, I tried some less satanic games, like the Batman RPG, but it was stupid. “Hey, who do you want to be? Batman or Robin? Ooh, we get to fight more thugs!” Then, as a senior in High School, I met Mike Wilson and Tommy VanDyke, who were into comic books and D&D. It was a shock finding other human beings interested in the game, and that even a second edition existed! The rules were slightly different, but for me, D&D had always been about playing pretend with math. Tommy had been the DM, but as his campaign was boring everyone, I quickly took over. Thing is, after my 1st edition days, I lived in fear of losing players, so I decided to go nuts and throw tradition out the window, doing the most outrageous things imaginable. After four years without D&D, I let my players be superheroes. Mike was Wolverine and Tommy was Sabertooth. Soon, five or six kids crowded into my parents’ kitchen, and I was Dr. Strange, a 9th level wizard, while a very annoying sophomore kept muttering, “I’m the Haaaalk!” because he was the Hulk. My mom grumbled something about satanism, but I just blew her off, because I was seventeen. She eventually chalked the whole 1st edition ordeal to, “Well, I guess your Greek teacher was crazy!” It quickly dawned on us, however, that being superheroes wasn’t as fun as we’d thought. We were gods cutting through the toughest monsters with ease.


The Hunt for Demogorgon

There was a baddie in the 1st edition Monster Manual that I always dreamed of killing. This was Demogorgon, Prince of Demons, the ultimate boss monster, with 200 hit points and a -10 armor class (which is, like, a lot, trust me). This guy could rot your arm off just by touching you and make you insane just by looking at you! Also, he had two heads. As a DM, this was to be my magnum opus; I called it the The Hunt for Demogorgon. There was Mike, Tommy, Craig (Hulk kid) and their friends, and with the help of the Greek demi-god, Dynotus; Namor the Submariner (don’t ask); a monk named Akira; and a newly resurrected Sir Marek the Brave, we battled a lich king, a red dragon, and crashed a Demon Convention. It was the most satanic game I had ever run, but we weren’t worshiping Satan; we were kicking his ass and taking names. The final dungeon drove the players insane (literally). I had them going back to the beginning of the campaign (in an illusion) and fighting their future selves. Eventually, Demogorgon fell, and a new demon prince took over, Chernobog (the Slavic god of evil) from Disney’s Fantasia (we watched the film). 

Disney = Satan




Masters of the Universe

We played a few more crazy adventures, including one where we were demons named after heavy metal bands, so I was Metallica and someone else was Megadeth, and another kid insisted on being White Zombie (a demon named zombie?). And we stormed the gates of Heaven, at which point, you could argue, the game was satanic, but again who cares. Then after high school, we went our separate ways, except for Tommy and me. Aside from killing Demogorgon, I’d always wanted to play as my childhood inspiration. I remember asking Mike Von Kreninsky, back when I was 12, whether I could be He-Man, but he scoffed. He-Man was just too powerful. But now? Rules went out the window. I spent a good year recreating the Masters of the Universe universe into D&D, making stats for every character, maps for Eternia, and dungeons for Snake Mountain and the Fright Zone and Castle Grayskull. Tommy played six super powered heroes at the same time! Gary Gygax, creator of D&D, would likely have been spinning in his grave, had he been dead. When Tommy stupidly opened an airlock, and all his characters got sucked into space, I had six more ready to go! He eventually met He-Man to fight Skullgrin, a villain of my own creation, a guy who could give Satan nightmares, who wiped out half the party with the cone of disintegration coming out of his eyes! Of course, Skullgrin was destroyed in the end, because, you know, HE-MAN!

I win!


The Game Grows Up

A serious debate among kids is whether Superman can beat up Batman, or Goku, or any other hero. For whatever reason, boys are obsessed with power, and not the kind involving electric bills. In Marvel’s The Infinity Gauntlet, Thanos wants to become the most powerful being in the universe, not the most respected or well loved, only the most powerful, like Sauron in Lord of the Rings. It makes perfect sense when you’re 12. It never really occurred to us to think what, exactly, would someone do with all of that power. This is why, after defeating Skullgrin, there seemed to be nothing left to do, but take on more gods of evil. We didn’t exactly give up D&D, but I remember going through room after room of monsters, bored beyond belief. Here I was, doing what I loved most, and hating every minute of it. Imagine being in the middle of sex and thinking, “Gee, I can’t wait for this to be over.” Eventually, we stopped being friends over something stupid. Maybe it was that Tommy was a horrible DM, and I just couldn’t find a nice way to break it to him. I honestly thought, “This is it, Nick, you did everything you wanted.”

My brother-in-law works for a small college with many students from abroad. Being Greek, he decided to take a poor aspiring graphic designer from Athens under his wing. His name was Evan Kyrou and we were both in our early twenties. At first, we talked video games, because that’s what people do, but the subject turned to RPGs, and he casually mentioned a preference for “the real thing.” I couldn’t believe it, another D&D nut! And like no other friend I had before, he was a creative genius. His style of play focused on story, and only very little on combat, and it quickly dawned on me that power did not matter. What makes The Lord of the Rings interesting isn’t how much of a bad ass Frodo is, but how a simple, unassuming hobbit can find the courage to face overwhelming obstacles at great personal sacrifice. D&D was exciting again, not because we were killing gods, but because we were role playing and not roll playing. My first campaign was based on my novel, The Nomad, in which Evan’s character, Dynotus, searched for his kidnapped wife in a Greek/Arabic setting. Dynotus later traveled to Asia (I used my dad’s National Geographic Book on China for its amazing photos), where he met a gold dragon monk named Akira; defeated the emperor, a red dragon in disguise; and went on to defend Greece against Mongol invaders. 

For my birthday, Evan introduced me to my favorite author, H.P. Lovecraft, and we started playing the Call of Cthulhu RPG, with some minor tweaks to the D&D system. I had him living with the Albertsons (loosely based on my own family), as one by one, each family member died in horrific ways. Evan’s character had to find the murderer, though it turned out to be (spoiler alert!) himself (or was it?). Sanity is a big theme in Lovecraft’s writings, so in a followup adventure, he had to escape from an insane asylum after killing dozens of doctors and nurses (or were they demons?), and as fans of metal, we blasted Metallica and White Zombie during the game. 

Satan is my bitch.

My goal to do everything in D&D didn’t end with modern day hospitals. But where hadn’t we gone? SPACE, that’s where, the final frontier! I made a random solar system generator, using a real astronomy map, so that Evan could explore the universe. He played a female warrior with telekinetic and psychic powers named Marina Lucien, and years later, by some amazing coincidence, Evan (in the real world) met and married a girl named Marina. A planet of snake men went on to inspire The Serpent’s Eye in Ages of Aenya. 

The best part about playing with Evan was that I enjoyed being the player as much as DMing. His favorite setting was Ravenloft, based on classic horror novels like Dracula and Frankenstein, and that’s when poor Dr. Van Richten fell to his death, perhaps my most memorable D&D event.    

Sadly, Evan graduated from college, and returned to Greece. I was left alone again, making rules out of boredom for martial arts and for decapitating people (roll a d12 on an ‘effect chart’.) But this time, it really did seem my gaming days were over. Of course, 3rd edition was right around the corner. 



   

Dungeons & Dragons: A Memoir: 1st Edition

Nick Alimonos 1 Comment
DMsGuide
My first D&D book!

Once upon a time . . . there lived an elf named Hektor and a half-orc named Lattice. Hektor and Lattice were strolling through the woods when they came upon a group of lizard men. Lightning streaked the sky, and shortly after it began to rain, but the elf and the half-orc continued to spy on the reptilian gathering. The lizard men were standing over a stone circle set into the ground. One of them came forth holding a staff. He appeared to be a priest of some kind, enacting a ceremony. The circular stone was etched with runes, at the center of which was a hole. Now the wind was gusting and the lightning falling furiously. Hektor, being young and lusting for battle, rushed headlong into the scaly host, as Lattice, rolling his eyes at the predicament he was being drawn into, followed with mace in hand. A few bloody rounds later, all of the lizard men lay dead or dying, and the elf fighter and half-orc cleric victorious. But what was the ceremony all about? Was the staff meant to go into the stone circle, perhaps to open a stairway into some secret dungeon? It was at that point that the Dungeon Master, Michael Von Kreninsky III, got out of the booth, saying that he had to go. “But we only just started!” I complained. “Sorry, I’ve got a date,” he said, leaving my friend and I to wonder what would have happened to Hektor and Lattice had they completed the ritual. It’s been almost thirty years now and I am still wondering. 

This was the summer of ’87, a primitive time before YouTube, iPhones or DVDs. All we had were Fridays at the movies and the Nintendo Entertainment System, and the only thing worth playing was Super Mario Bros., The Legend of Zelda and Mike Tyson’s Punch Out. My friends and I were getting too old for toys and desperately needed something to keep us busy for three months. That’s when we met Michael, an eighteen year old college student working for my dad as a pizza cook. He introduced us to Dungeons & Dragons, giving me a binder of adventures he had made in the seventies, along with his beat up copy of the Dungeon Master’s Guide. I held that book in my hand as if it were magic, because for me at least, it was. Such a book could open pathways to any place and time, allowing us to be anything, do anything. We were bound only by the limits of our imagination. Unfortunately, Michael did not stick around to teach us how to play, so I spent weeks struggling with rules, never realizing how poorly written those seventies books were, or that I was missing some key components like The Player’s Handbook.


Advanced Dungeons & Dragons 1st Edition

Eventually, my friends and I learned the game. It was me, my friend George Lakiotis, and Mark Carlisimo. We would hang out all day in the back room of my dad’s restaurant, drawing maps and rolling dice. I’d always been an imaginative kid, but this was like a powerful hallucinogenic bringing everything in my mind to life, the DMT of games. And I was Sir Marek the Brave, a human fighter, who eventually became the “Nova Knight.” 

Sir Marek, drawn in 1988, photoshopped 2010

George was a wizard named Heraldo, who looked a lot like the news pundit, and Mark was the half-orc cleric, Lattice. My first world, I’m ashamed to say, was Nick’s Realm. It included wonderfully inventive places like Elf City, Dwarf City and Human City. But we eventually set sail from Nick’s Realm to explore other worlds, hacking and slashing our way through countless dungeons and monsters. In Egypt, we suffered the curse of Anubis, after looting his temple. In Greece, we met with Heracles and Bellerophon, from whom Sir Marek earned his magical Spartan-like helmet. In Norway, we helped Thor find a magic jewel that had fallen from his hammer, Mjolnir. There wasn’t a mythological setting beyond our reach! Then, as we were preparing to storm the gates of Orcus, Prince of Demons, Sir Marek and Heraldo got into a fight. You see, for the longest time, I had been a jerk to my friend, putting him down for his lack of effort, even though he did manage to DM a lot, including the time Sir Marek killed a red dragon to gain a +4 Sword of Defending. I also tended to insult him when he couldn’t find a solution to a puzzle. But the larger problem was that we were growing apart. George only cared for skateboarding and hanging out with his skateboarding buddies. I owned a skateboard, mostly for his sake, and could do a 180 without much difficulty, but George excelled way beyond me, rail sliding down stairwells and ollying small dogs and doing other crazy shit I simply did not have the dexterity for. So, while I wanted to throw dice, he just wanted to gleam the cube.

George had the skills. Me, not so much.

But what really put the nail in Sir Marek’s sarcophagus was what would seem today utterly ludicrous, that thing being SATAN. No, I’m not talking about the impossible boss from Ghosts n’ Goblins, but the very real Satan, the same guy religious people believe in. 

That’s right . . . SATAN!

At the time, my mother was forcing me to take Greek lessons, but when it came to God, my tutor was bat shit crazy. Now it wasn’t as if I had no experience with fundamentalism. For eight straight years, I attended a Baptist School, where I was forced to wear ties on Wednesdays and thank God for every damn pencil and eraser I brought to class, and where I was told not to watch He-Man or Transformers because they were satanic. But my Greek teacher took things to Scarlet Letter-levels of insanity. This was a woman who, after the 1986 Space Shuttle disaster, told me, in all seriousness, that the astronaut crew had been killed for “trying to reach God.” 

God’s divine punishment. Hey, who’s the good god here?


She also refused to attend her own son’s wedding when he married outside of the Orthodox Church. So, naturally, when she learned of my gaming habits, she made it her mission to put a stop to it. As far as she was concerned, my friend and I were spending our weekends worshiping Satan. Of course, I could not have cared less what the batty old lady had to say, but my mother took the whole thing seriously. She forbade me from D&D, and what’s worse, George’s mother caught wind of it and did the same. Despite my attempts to explain RPGs, I could not convince my mother that the game was just a game and nothing to fear. 

Unfortunately, I was still at an impressionable age being brainwashed both at school and at home, so that after a while, paranoia started to creep in, and I got to thinking that maybe there was something to this satanic stuff. After all, I’d been taught since kindergarten that demons were real. In retrospect, Dungeons & Dragons posed a threat not to my soul, but to my indoctrination. I mean, the Monster Manual treated demons and devils like any other made up creature. Logic follows that if the unicorn on p. 200 is imaginary, why not Asmodeus, Lord of the Ninth Plane of Hell, found on p. 10? This was especially challenging to my faith, because I was raised to believe in the Bible, not just the realistic parts, but even the Book of Revelation with its seven headed dragon. If some of it turned out to be fiction, so could all of it . . . and maybe even God was just another deity from Hebrew mythology. But I was far too young, and unprepared, to handle such an existential crisis, and it led me to having nightmares, and to tearing out the pages of demons and devils from my Monster Manual. Sure, it might sound extreme, but this was a different time, when even the media occasionally lost its mind over supernatural nonsense. I remember being in the library with my D&D books, when a strange lady stopped to warn me of the dangers of fantasy. Even journalists, who should have known better, got taken in by the hysteria. According to the article, “The Most Dangerous Game,” D&D can lead to suicide! Of course, this cause and effect argument is the oldest in the proverbial book of fallacies. Using the same logic, if you like to eat peanut butter and kill yourself, we can all blame peanuts for suicide. But remember, this was the eighties, long before Doom and Diablo and World of Warcraft, back when parents fretted over everything and anything their kids were doing that they did not understand, so even TSR, the makers of D&D, bowed to the pressure, releasing a 2nd edition without any mention of devils or demons (they went by other names).

Ultimately, I was forced to quit reading and writing and drawing and being creative in so many ways, but religion wasn’t entirely to blame; it was also my best friend, who had suddenly grown a conscience. And that was what really infuriated me. This was a guy who never went by the rules, a true rebel without a cause, getting an earring (a big deal at the time), smoking and even stealing his mom’s car. But when it came to D&D, he just had to obey. Despite so many happy memories, the game tore our friendship apart. Only later did I realize my role in our falling out, for putting him down all the time. We simply had different ability scores. His was for skateboarding, and mine for writing.

I continued Sir Marek’s adventures in my Novel of the Nova Knight series, but my gaming days were over. That was, until, my senior year of high school, and Dungeons & Dragons 2nd Edition.

Thelana Character Sheet

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CLASS/RACE: Ilmarin
LEVEL: 1
MAX HEALTH: 9
ARMOR: 11 (nude)
Bow Sword: 3
Longbow: 3 / 6 range
AGILITY +2
STRENGTH +1
WISDOM +3
ENDURANCE +4

Skills:

  • Athleticism—+1 initiative (if lightly armored), Move 4
  • Armor of Flesh*—You endure suffering better than most. *As a racial bonus, add Wisdom bonus to Armor. Clothing and armor negates this ability.
  • Heal: Heal self completely after 1 day in nature without fighting or traveling.
  • Wilderness Survival: Negate penalties of forest travel. Make fire. Find water.
  • Hunter—Reveal hidden monster from 3 spaces or another room. Find food

ITEMS:

  • Bow Sword: 3 dmg (melee); 3 dmg / 6 (range)
  • Jade cloak
  • 50’ rope and grappling hook

XP: 0

What’s this? If you’re thinking you’ve stumbled across the wrong blog, don’t worry! Every summer, I take time out from my hectic writing schedule to delve into one of my guilty pleasures: Tabletop Role Playing Games. And by the looks of this article from the New York Times, it appears that I am not alone among fantasy authors who find inspiration in games like Dungeons & Dragons. This year, I thought it’d be fun to marry my Quest Role-Playing Game to the literary world of Aenya. Who knows, perhaps some future gaming session will inspire the next Ilmarin adventure! Using my character building system from Quest, I present my first Aenya based character, Thelana!

DOWNLOAD THE AENYA ROLE PLAYING GAME FOR FREE:

AenyaRPG

ADVANCED COMBAT

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These are my rules for advanced combat in Quest for the Talismans and the Quest RPG. You can also add these rules to any d20 gaming system. For more about the Quest Gaming System, choose the RPG link above.
The QUEST RPG motto is “if you can think it, you can roll it.” This mechanic allows for literally infinite possibilities during battle. With this motto in mind, players are encouraged to work with the GM to create action packed scenarios. 
The GM’s Role: As with standard actions, the GM sets the Difficulty of an action in combat, but must also determine the effects of the action and possibly the consequences of failing that action.
There are three types of Combat Actions: Directed Attack Rolls, Combat Action Rolls, and Defensive Actions: Evading, Parrying, Rolling and Absorbing.  
DIRECTED ATTACK ROLLS
An example of an Attack Roll is rolling the d20 to hit—but players may opt for more interesting attacks by chancing to roll higher numbers; this is called a Directed Attack Roll. Examples of Directed Attack Rolls include: 
  • stun (s); enemy loses 1 round 
  • double damage (dd) 
  • knock prone (p); enemy loses 1 round and -5 ARMOR for that round 
  • blind (b) enemy loses 5 ARMOR permanently 
  • (k) enemy is killed       
For instance, when fighting an orc you could
  • Just hit him! / Penalty: +/- 0 / for Basic damage
  • Aim for his elbow / Penalty -1 / Stun
  • Aim for his kneecap / -2 / Knock prone
  • Aim for his head/ -3 / double damage + stun
  • Stab out his eye / -4 / dd + s + b
  • Decapitate him! / -5 / Kill (instant)
  • Aim for his potion / -3 / Potion falls before he can drink it.
Once the player calls the action, if the hit misses with the penalty, even if it would have hit normally, the attack misses completely. In most cases, attacks to the body deal normal damage including the desired effect. If the damage causes an unexpected kill—such as when rolling the knight’s epic blow—the GM may describe a more dramatic scenario; for instance, rather than wounding the kneecap and knocking the orc prone, the GM could say, “You swing for the leg and drop the orc to the ground. Blood gushes from the stump where its knee used to be.” 
COMBAT ACTION ROLLS
With Combat Action Rolls, the player makes a Difficulty check before the attack roll. Some actions require only that you roll equal to or higher than the Difficulty, while other actions require a competing rolls. For example, if you wish to wrestle an ogre, you must roll higher in Strength than the ogre rolls; such actions are marked with a v. (verses) after the Difficulty. To determine a monster’s Strength bonus, divide its HEALTH by 2: an ogre’s Health is 10 so its Strength bonus is 5.

When creating actions, players should try to think like the character they are playing and not tell the GM what bonuses or penalties the action should do. For example, you could say, “I want to . . .

. . . jump off the wall — Difficulty: 12 — If you succeed gain: +2 dmg.+reroll initiative — If you fail you lose -1 round
and backstab that
orc”

DEFENSIVE ACTIONS 
Normally, when it’s the enemy’s turn to attack, you rely on your armor or agility to avoid harm—either your shield takes the brunt of the blow or you manage to dive out of the way. This is called an Evasive Action, but in some cases the player may choose more advanced defensive techniques, such as Parrying, Rolling or Absorbing.
PARRYING: AGILITY vs. STRENGTH or AGILITY
To perform a parry, use Agility vs. Strength or Agility vs. Agility. Your weapon must be the same size (or larger) than the thing (weapon/arm/maw etc.) attacking you. A giant’s club or a dragon’s mouth cannot be parried, but an ogre’s mace, while slightly larger than a longsword, can be parried. You are allowed one parry per round for every 3 points of Agility. If you fail the first parry against multiple attackers, you cannot make a second attempt. To perform a parry, you must state your intent to do so before the enemy’s roll. Since you are not avoiding attack, ARMOR is not used in a parry, so the enemy needs only to roll higher than your d20+ Agility roll to do damage. If the attacker tries a special action, apply penalties to their roll.
Steel vs. Flesh: If you parry a limb with a bladed weapon, like a monk’s fist, the monk suffers his own damage. If the damage is significant enough to drop the attacker to 0 Health, the limb is severed.   
Steel vs. Stone: If an attack roll of 20 is parried (possible with Agility Bonus), whichever weapon is weaker, regardless of whether it is attacking or parrying, breaks. For instance, if a steel sword hits with a 20 and a stone club parries it, the club shatters; likewise, if the stone club is parried by the sword, the club still shatters. If both weapons are of equal strength, neither breaks. Weapon strength is based on damage, so a weapon dealing 4 is stronger than one dealing 3, and so forth.
ROLLING: AGILITY vs. d20
Often, when a monster is too big to parry, the player can opt for a defensive roll. This technique uses the monster’s size to your advantage as you roll under its claw/club/legs, etc; it also becomes crucial against huge monsters with BASH—such as from a giant’s foot or an elder dragon’s tail. For the most part, shields and helmets are useless against BASH, so players must move out of the way or take damage. To do so, roll d20+ Agility vs. the monster’s attack roll.     
ABSORBING
In unusual circumstances, players may choose to throw themselves into an attack, using the brunt of their armor to absorb the damage. This action may be called at any time (attack rolls are not made) and can be used only by characters with body armor. Damage is absorbed equal to the ARMOR bonus of the item, so a +3 cuirass absorbs 3 points of damage. The downside to this tactic is that for every point of damage the armor takes exceeding its bonus, it permanently loses 1 point of defense. For instance, a cuirass absorbing a hammer for 4 damage loses 1 ARMOR (target takes 1 damage), becoming +2; if hit again, it becomes +1. Once the armor’s bonus reaches 0, it falls apart, becoming useless. If the cuirass is used to absorb a smaller weapon like a dagger (which deals 1), it will take 3 separate hits before becoming damaged. Damaged armor may be repaired for half its original price.        
MAKING NEW SKILLS
A good way to make new skills is to discover them by the Action Rolls you use in game. If, for example, you grow fond of “dive between enemy’s legs to escape” you can make it a skill by purchasing it through XP.
Once an Action Roll becomes a learned skill, you can attempt it without worrying about the effects of Failure. In addition, invented skills add to your Action Bonus. To determine a new skill’s Bonus, divide its Difficulty by 10 (rounding down) and add to the corresponding Type. For example, “jump off the wall and backstab enemy”—let’s call it Wall Jump—would add +1 (12 / 10 = 1.2) to Agility.     
To calculate the XP Cost of a new skill, multiply the Action’s Difficulty by 10. To learn Wall Jump, then, you would need 120 XP. Keep in mind that the GM may limit your skill based on situation (for example, if there is no wall nearby for you to use Wall Jump).     
WHAT DO ALL THESE NUMBERS MEAN?
— CHARACTER SHEET —
MAX HEALTH: (Number of points of damage you can lose before dying)
ARMOR: (Other players/monsters must roll this number or above on a d20 to hit you). Armor is calculated using a base score of 8. Bonuses are added from items (such as a helmet) or skills (such as Speed which adds +2). For example, a knight with chainmail +1, a helmet +1 and a kite shield +2 (8 +1 +1 +2) has an Armor of 12. If a better item is purchased, subtract the old bonus before adding the new one. Bonuses do not stack for same type items. The amount of armor you can wear is determined by your Endurance score. With max Endurance +10, Armor tops at 18. Armor also affects Agility (see below).
WEAPON/DMG: (Number of health points you subtract with each successful hit) Endurance determines the types of non-magical weapons you can wield (see below).
STRENGTH: Add this number to your d20 roll when grappling with an enemy. See Advanced Battleoptions. This attribute may also come in handy depending on the monster you are fighting. See Sir Marek’s Guide to Monster Hunting. The maximum amount of Strength a character can have is +10.
WISDOM: Wisdom helps you make good choices and avoid obstacles. In Quest for the Talismans, add this bonus to your Story Space roll. Wisdom also increases your chances of stealing, assassinating, haggling, persuading others, and anything requiring mental acumen. This attribute may also come in handy depending on the monster you are fighting. See Sir Marek’s Guide to Monster Hunting. The maximum Wisdom a character can have is +10.    
    
ENDURANCE: Your Endurance determines the heaviest armor you can wear and the heaviest weapons you can wield. Armor weight is equal to its bonus and weapon weight to its damage. With Endurance +5, for instance, you can use a weapon that deals a maximum DMG: 5; you can also upgrade your armor up to 5 points for a maximum ARMOR: 13 (or 15 with Skill bonus). The maximum Endurance a character can have is +10.

AGILITY: Add this bonus to jumping, climbing, tight rope walking and anything requiring physical dexterity. ROLL: Make a d20 + Agility vs. attack roll to avoid damage from monsters with BASH, since BASH attacks disregard Armor. For each point of non-magic armor, subtract 1 point from Agility. Minimum Agility +0 / Maximum +10.