I was introduced to D&D in 1994, during my freshman year of high school.
I had no idea what to expect going in. The sum total of my exposure to D&D up to that point was vague memories of the old cartoon, half-remembered rumors about the Satanic Panic of the 1980's, and multiple viewings of Charles Band's glorious, b-movie masterpiece, The Dungeonmaster.
I knew nothing about the game itself, except for the fact that the DM—a kid from my school named Mark—said it was awesome.
Reader, it was.
The games Mark ran were a glorious, hot-mess mashup of every fantasy trope you could imagine. Shapeshifting humanoid dragon-kin, cribbed from Breath of Fire. Highlander-style immortals. Dhampir characters inspired by Vampire Hunter D. Anything and everything from the Dragonlance novels, including minotaur player characters.
All of it was thrown into a fantasy kitchen sink, stirred together with a +5 Vorpal Sword, and poured over the Forgotten Realms campaign setting, with not one bit of attention given to the published canon.
The house rules were a blend of the BECMI Rules Cyclopedia, AD&D 2nd Edition, and "fuck it, we'll just do whatever we want." And rule of cool always trumped rules as written.
Anyway, part of the reason I've been thinking about those first games at Mark's house is this recent episode of Geek Gab, featuring Cirsova editor P. Alexander, and Appendix N expert Jeffro Johnson.
The entire thing is worth a listen. They touch on several topics, including the gonzo, science fantasy weirdness that was baked into the first edition of AD&D. They also mention the organized "stripping out" of that weirdness, which began with Second Edition.
Simply put, there was a gradual separation of science fiction and fantasy elements in the official product line. Things like crashed space ships, energy weapons, and psionics appeared less frequently in published materials, except in certain "designated" campaign settings like Spelljammer and Dark Sun. AD&D became less about the gonzo, "play anything" ethos, and more about supporting TSR's own branded campaign settings, with a heavy emphasis on Dragonlance and Forgotten Realms.
In other words, AD&D wasn't a tool kit any more. It was a self-feeding mechanism for pushing homogenized, mass-produced fantasy product to the consumers.
That homogenized fantasy product has a perfectly descriptive nickname: Pink Slime Fantasy.
Quoting the above link:
You're a publisher or aspiring author. You've got a market here: a bunch of fantasy nuts who have been so starved of content that they're literally rolling their own, making up these elaborate worlds. You've also got Tolkien as proof of concept: if you can write the perfect book for these people, it'll be an evergreen best seller, ideally three years in a row (because God forbid you write just one novel).
Incidentally, I'm not knocking Pink Slime Fantasy. I remember enjoying the hell out of the Belgariad and the Shannara books, not to mention piles and piles of those Forgotten Realms novels. Hell, I even bought a copy of Goblin Slayer Volume 1 based on P. Alexander's observation that it was pure, in a vacuum, D&D fan fiction.
What's relevant here isn't the quality. What's relevant is the shift that Pink Slime Fantasy caused in the game's inherent assumptions.
While First Edition expected players to mash Jack Vance together with Michel Moorcock and Poul Anderson, Second Edition expected players to re-create and act out the plots of TSR's own in-house fiction line.
That assumption is even more explicit in Fifth Edition. The new Player's Handbook has its own version of Appendix N, one including D&D-branded series like The Legend of Drizzt and the Dragonlance Chronicles.
In other words, the D&D brand has officially begun to eat itself.
Nostalgia aside, that's one of the big reasons I remember those early games at Mark's so fondly. Our bizarre, kitchen-sink approach to fantasy put us in a kind of no-man's land between the pure gonzo of Appendix N, and the corporatized, self-regurgitation of Pink Slime.
That said, we didn't entirely escape the Pink Slime influence.
Aside from the inclusion of regurgitated fantasy fluff like Dragonlance, Mark's games never really contained any science fiction elements. That artificial split between the genres might as well have been law in our group, and for the longest time, I just assumed that's what D&D was. It wasn't until decades later—when I discovered the OSR and Appendix N—that I realized just how gonzo the game used to be.
Incidentally, part of the reason I gravitated towards anime and manga at the time is that as a medium, it largely rejected that artificial split. I found plenty of stories that scratched my science fantasy itch among those Japanese imports, since American publishers wouldn't give them to me.
Listening to that Geek Gab podcast, I think those games at Mark's represent an interesting data point. If there was a transitional period between the inspired weirdness of First Edition, and the self-perpetuating Pink Slime of the later editions, those games captured it.
Makes me wonder how many other groups were like mine.
Anyway, I want to close this one out on a slightly more personal note:
Mark and I drifted our separate ways after high school. We haven't spoken in years. But I'll always thank him for introducing me to a hobby that gave me so many hours of good times with friends. No small thing, for a kid as awkward and socially maladjusted as I was.
So if you're out there reading this, man... thanks. Friends were hard for me to come by in those days. You always tried to be a good one. And you introduced me to many more.
Here's a short list of apocalyptic miscellanea that popped onto my radar lately:
Twitter — This short thread made some excellent points about the allure of post apocalyptic fiction.
Facebook — Wasteland Wanderers (Post-Apocalyptic Fiction Fans) is an active group dealing with all things apocalyptic, from books, to movies, to occasional survival tips. They've been around for a while, and they host regular spoiler-safe discussion threads for shows like The Walking Dead and The 100. Laid-back moderators and lively discussions.
Italian Post Apocalyptic Movies of the 1980's is a newer group, and it's a haven for b-movie connoisseurs. The main focus may be on Italy's numerous Mad Max imitators, but they're open for discussing the genre and genre-adjacent films from all over.
Kickstarter — As author Adam Lane Smith describes his upcoming series of post apocalyptic pulp adventures: "Holy knights in power armor slaughtering legions with each swing. Assassin nuns slitting the throats of evil rulers. Pulp fiction so brutal it requires its own heavy metal soundtrack."
If that doesn't get your blood pumping, folks, I don't even know what you're doing here.
The Kickstarter blew past its initial $1500.00 goal, and with 13 days to go, is sitting about $200.00 short of funding Book 3 as a stretch goal. Kick in and get some post apocalyptic action from the creator of Maxwell Cain: Burrito Avenger.
Tabletop RPG -- Ruinations: Post-Apocalyptic Roleplaying by Brent Ault began life as a post-apocalyptic re-skin of Lamentations of the Flame Princess. I've mentioned my fondness for that system before, and Ruinations is to Mutant Future what what LotFP is to Labyrinth Lord, a streamlined, elegant take on the B/X rules with some innovative house rules. You don't have to take my word for it. Ault has made it available for free via Google Drive.
After sharing my house rules to make D&D combat a bit more interesting last week, I got a request for a written play example. I also got a few questions about things that weren't addressed or clear in the original post. I'll address those first, and then move on to a short play example.
As I mentioned last week, this is basically a simplified version of the Palladium/Rifts combat system. While it won't fit everyone's play style, the overall effect has been to make combat a little grittier without adding much more book keeping. My current players love it, and I'll probably end up using some variation of it for the foreseeable future.
First, the miscellanea:
1. Damage causing spells like magic missile completely bypass armor and affect hit points. This makes wizards much more dangerous at low levels. The tactical effect is that they become priority targets for any intelligent enemy with a ranged attack. When fighting smart opponents, it's a fairly even trade off.
2. Spell casters are not expressly forbidden from wearing heavy armor, but it does restrict their movement and affect casting. I allow for casters to wear leather type armor with no effect. Chain and heavier armor reduces casting to once every other round.
3. Defense rolls are just a d20 plus Dex bonus, and attack rolls are made with d20 plus STR plus Base Attack Bonus (or proficiency, if used). As the characters level, the attack roll totals will gradually supersede the defense roll totals. This is a feature, not a bug. The best defense is a strong and aggressive offense. Experienced characters (especially warriors) know and have internalized this.
4. Combats featuring singular monsters versus PCs with gangs of henchmen generally favor the PCs and henchmen. Again, this is by design. In a world with dragons, giants, and ogres, a human settlement's only possible defense is to find these monsters and attack in force. Think of the villagers with torches and pitchforks storming Dracula's castle in the old movies. Smart monsters have to use the same tactics humans do in order to survive: defensible lairs in difficult-to-access places, traps, and escape routes. If the PCs manage to surprise a giant in the middle of a field, and surround him with twenty henchmen, then they've either executed a brilliant ambush or found an incredibly stupid giant.
5. Most monsters don't have DEX ratings, so I assign a Defense modifier based on their Hit Dice, just like I do for attacks. A good rule of thumb is that the Defense bonus shouldn't exceed +3 for most "normal" creatures, since that's about the top range possible for the PCs. Certain "elite" monsters and supernatural creatures, like vampires, demons, or dragons, can have higher defense bonuses, but it's rare.
6. Creatures with claw/claw/bite get three total actions per round, rather than getting a seperate attack and defense action for each. This has the effect of nerfing them slightly, but they still get one more possible combat action per round than a PC does. Again, this enforces the "strength in numbers, fight smart or die" ethos of the system. A sabretooth tiger versus a single mid-level warrior is probably going to kill him. That same sabretooth tiger versus a gang of six zero-level villagers, on the other hand, had better run away.
7. Defense rolls are only possible on attacks from the front, or attacks the character is otherwise aware of. Furthermore, any attack that occurs from behind gets an additional +4 to hit, which also translates to a greater chance to bypass armor. Short version, a surrounded character or monster is probably going to die unless they can find some way to escape.
8. Henchmen and mooks. To reduce my own book keeping for peon characters, I usually just bump up a mook monster's hit points if they're wearing armor. Instead of tracking the extra 30 Armor Points for a goblin, I just rule that it's a ratty old thing that only offers partial protection and give him 15 extra HP. I also use a natural 20/critical hit rule. Against "elite" or boss monsters it's an extra damage die, but against mooks I rule that it's an instant kill. The flip side, of course, is that any natural 20 I roll can insta-kill a PCs henchman.
9. Spell casters can still only cast one spell per round. They're still entitled to use their second action as either defense or as an attack, but they cannot cast a second spell with it.
So with all that in mind, plus the basics detailed in my last post, here's a brief skirmish using these house-rules.
Example of D&D Active Combat:
Brogar the Barbarian and Mingol the Mage have been hired to destroy a werewolf pack that's been terrorizing the area. With the aid of four experienced wolf hunters, they've located the werewolf den in a small hillside cave. The original plan, which involved building a fire in the cave's mouth to smoke them out and killing them with silver weapons, can't be followed anymore because of fears that a missing village girl is inside the den.
With the girl's safety becoming the character's primary concern, the players settle on a hard, fast frontal assault as the best remaining option. Brogar takes point, directing two wolf hunters to get on each side of him, forming a wedge. Mingol hangs back, protected by the wedge and ready to give ranged support.
Partway into the den, the characters hear a savage snarl. Two of the werewolf cubs come bounding up out of the darkness. The DM instructs everyone to roll a d6 for initiative.
Brogar rolls a 4. His DEX bonus of +2 brings it up to a 6.
The four wolf hunters (henchmen characters) get a 3.
The two werewolf cubs (mook monsters, but tough ones) roll a 5.
An adult female werewolf (waiting around the bend in the tunnel and unseen at the moment) rolls a 4
Mingol rolls a natural 6.
Mingol, having won the initiative roll, has the option to go first. Instead, he declares that he's holding action.
Brogar goes next. He swings his axe at one of the incoming cubs, using one of his combat actions. He rolls a 10, but his +2 Strength bonus and his +4 Base Attack Bonus bring the total to 16.
At the same instant, the werewolf cub rolls a defense. Even at 3 HD, a +1 bonus to his roll seems fair. The cub rolls a 7, which barely totals half of Brogar's attack roll after adding the +1. Brogar's attack is successful. He rolls a 7 for damage.
The adult female werewolf holds her action, choosing to remain hidden.
The werewolf cubs go next. The first one to strike is the injured one, and it attacks Brogar. It rolls a 12, which becomes a 13 once the +1 attack bonus is added.
At the same time, Brogar makes a defensive roll, burning up his remaining combat action for the round. He rolls a 10, which becomes a 12 when his +2 DEX bonus is added. The werewolf cub's attack is successful, but not good enough to bypass Brogar's armor class of 14. The werewolf's claws rake down his leather armor for 8 points of armor damage.
The second werewolf attacks the wolf hunter immediately to Brogar's right.. The wolf hunter burns one action to defend, but the werewolf cub rolls a natural 20. The cub pounces on the hunter, riding him to the ground and sinking his fangs into the man's throat, killing him instantly.
Mingol states that he would like to use his action now. He casts magic missile, sending two projectiles directly at the werewolf that's down on top of the dead hunter. They total eleven points of damage to the monster's HP.
The three remaining wolf hunters go now. The one to the right of his dead comrade turns and stabs at the injured werewolf cub's unprotected back. He only rolls a 4, but with the +4 bonus he gets from attacking from behind, he scores an 8. His sword deals 6 damage, reducing the cub's already depleted HP to 0 and killing it.
The two hunters to the left of Brogar move to encircle the cub to his front. Having burned both of its actions already, the cub gets no defensive actions against the hunters. Both hunters roll above a 5, and their combined attacks deal a total of 10 damage.
Since the cub has used all his actions for the round, and the hunters each have unexpended actions, both opt to spend their second action on another attack rather than defending. They both roll again. The first hunter rolls a 2, missing entirely. The second rolls a 12, delivering the fatal blow with 6 points of damage.
No sooner does the werewolf cub fall than a booming roar fills the tunnel. The enraged female werewolf charges from her hiding place at the nearest wolf hunter, rolling a 13. As a 6 HD monster, she gets an additional +6 to hit, bringing her total to 19.
Having expended both combat actions to finish the cub, the wolf hunter gets no attempt to protect himself. The werewolf rolls 1d8+2 for damage, totaling 9 as her claws rip into the startled hunter. The werewolf burns her second action delivering another claw strike to the hunter, again delivering 9 points of damage. This reduces the hunter's HP to 0, killing him.
The adult werewolf, as a monster traditionally assigned a bite/bite/claw attack, gets a third action. She spends it by launching herself at Brogar. She rolls a 16 for her bite attack, totaling 22 with her +6 to hit. Brogar, also having expended his available actions for the round, gets no defense beyond his armor. The 22 easily beats his armor class of 14, and the werewolf sinks its fangs into the upper flesh of his arm for four points of damage. Borgar successfully saves vs poison, avoiding being infected by lycanthropy.
The round is now over, and round two begins with Mingol's action.
Mingol chooses not to hold his action this round. He casts a protection spell on Brogar, granting him a +2 bonus to his AC, his saving throws, and his defensive rolls.
Brogar goes next. He spends one action attacking the werewolf. He rolls a 16, which his +2 STR bonus and his +4 Attack Bonus bring up to a 20.
The werewolf spends one of her actions defending, rolling at the same time. She rolls a 7, which her +3 Defense bonus only brings up to a 10. Brogar buries his silver axe in her hide for 6 damage.
The werewolf—who rolled a 4 back when initiative was called--goes next. She rolls a 9, which her attack bonus brings up to a 15.
Brogar expends his remaining action rolling a defense. He rolls a 10, which becomes a 14 when his DEX bonus and extra bonus for the protection spell are added. The werewolf's attack succeeds, but since the protection spell also grants him a +2 to AC, her claws only strike his armor, dealing 8 points of armor damage.
The two remaining hunters go next. They roll a morale check. One fails and flees back toward the tunnel entrance. The other succeeds and moves to attack the werewolf. He rolls a 17.
The werewolf—who, again, is entitled to three actions as opposed to most characters' two—uses her remaining action to defend. She rolls a natural 20, neatly dodging and earning an attack of opportunity. She rolls an 18, which her bonuses bring to a 24. She also maxes the damage roll, delivering 10 points of damage to the hunter and reducing his HP by more than half.
The round is now over. Round three begins, with initiative once again passing to Mingol.
Again, this is actually far less complicated in play than it looks on paper. As long as the DM has a handle on it and can guide the players along, it runs pretty smoothly. Some players and DMs may feel like it's too crunchy or adds too much book keeping to combat, but that hasn't been my experience. For my table, it strikes a good balance between grit and abstract, hitting the sweet spot that all the players seem to appreciate. They're having, fun, they're engaged, and they're always looking forward to combat encounters now.
As a DM, what more could I ask for?
About three or four sessions into my current campaign, I noticed that my players didn't really like the abstract nature of D&D combat. No matter how much narration and dramatizing I did, combat just felt too passive to them. Specifically, they wanted to do something besides stand there and take it while the enemy rolled against their AC.
Now, one thing I'll say in favor of D&D combat RAW. It's streamlined. And if the players are happy enough to fill in the blanks by imagining feints, dodges, and other maneuvers happening in between declared actions and combat rolls, then it's fine.
On the other hand, way back when I was a wee player, I had the same reaction. I kept trying to declare dodge or parry on the enemy's turn, and it took a little while for me to get comfortable with everyone rolling against a static number to simulate combat.
Which is probably why I gravitated to Kevin Siembieda's Palladium System games so strongly. Divisive as hell within the RPG community, absurdly crunchy, and badly imbalanced even by early 80's game design standards, the Palladium games nonetheless had a gonzo weirdness to them that I loved. Even though I could never get my early groups to accept a sci-fi/fantasy mashup like Rifts, I bought sourcebooks for everything under the Palladium sun, mining some of the stranger fantasy elements for my own D&D games.
As I was also getting heavily into anime at the time, I had a special fondness for the Robotech line. At one time I owned every single sourcebook Palladium published for it, despite my regular group having even less interest in it than Rifts.
Anyway, my old group's strict definitions of what fantasy was and wasn't—and their almost fanatical opposition to genre mixing of any kind—is a subject for another time.
But if there's one thing I always thought Palladium games got 100% right, it was the opposed roll combat mechanic. Yeah, it kind of broke when scaled up to higher levels. Tracking multiple character actions, plus massive amounts of Armor SDC, Character SDC, and Hit Points got to be a pain in the ass. Especially after level five or so.
But the basic idea of the defender being allowed to dodge by beating the attacker's d20 roll was—and is—gold. And even though I was never able to convince my players to pick up a full Palladium game, a variation on that opposed d20 roll has been a longtime house rule of mine when running D&D.
For one thing, it keeps the players from feeling like combat is just an abstract game of roshambo. Every time I've introduced it at one of my tables, the players get much more involved in the battles. They suddenly feel like they're playing for stakes.
I also feel it does a better job of simulating the "grit" of combat. Armor as damage reduction just feels more intuitive than armor making someone harder to hit. It also means armor wears out over time. It's an expendable resource that has to be managed, like water, food, and torches. Not to mention the need to find an armor smith in between battles. Suddenly, long journeys into unknown territory become a much more dangerous affair.
So without further ado, here's my house-ruled Active Combat System. It's basically a stripped-down, bare bones version of Palladium's more intricate combat mechanics. If you're already familiar with those, then you won't find much new here.
Once the DM has a handle on it, this system is actually much simpler than it looks. Doing the opposed rolls simultaneously doesn't really take any longer to resolve than rolling against a character's AC. It adds a layer of player participation to the combat round, without adding much more bookkeeping.
It also affects combat in some interesting ways. With each character only getting one chance to defend in a round (or two, if they forego an attack), mobs of low level enemies like goblins suddenly become a deadly threat to even the highest level characters. Sure, the first twenty or thirty hits will get eaten up by that nice, expensive suit of chainmail. But remember, once it's rendered useless, any undefended roll of 5 or greater is a success. It won't take long for those little bastards to make hamburger out of the toughest warrior under those circumstances.
It hasn't happened in my current group yet, but as armor gets torn to shreds and healing spells run out, a fighting retreat often becomes the smartest course of action. I've seen the tanks form a barrier, using both actions to defend just so they can buy time for the other PCs to escape.
In short, these rules force the PCs to be much more careful about their tactical situation. It won't be a good fit for everyone's table. Hell, it hasn't even been a good fit for all of my tables. But if your players are starting to see combat as a repetitive slog, then it might be just what your group needs.
Below is a photo from our last D&D session. Yes, that's a giant frog on the table. The hair elastic around its neck is a lasso, and the miniature on its back represents one of the PC's riding her newly tamed gargantuan monster.
On a related note, now I'm questioning all of my life choices as a DM...
Joking aside, that picture represents something any DM who wants to keep his or her players engaged needs to consider: what type of fantasy stories have your players been consuming prior to sitting down at your table?
Case in point: I'm a big fan of the pulpy, Weird Tales type fantasy that makes up most of Gary Gygax's famous Appendix N. As such, my campaign's cosmology is ripped straight from Michael Moorcock. My game's elves owe more to his doomed Melnibonéans than to Tolkien's ethereal forest dwellers. I like Vancian Magic. One of my players is currently under a curse inspired by an unfinished Robert E. Howard fragment.
In other words, I sit down to the DMs chair with some pre-loaded assumptions and preferences about the flavor of fantasy I want to imitate in-game.
What most newbie DMs forget is that the players sit down with a similar set of assumptions and preferences. They're looking to experience a certain flavor of fantasy, too. And the success of the game depends heavily on whether or not those flavors are compatible.
For example, one of my campaigns was loosely based around the Crusades, set in a world where most of the Arthurian Myth cycle was historically verified fact. It was a great fit, because I had players that had been reading Ivanhoe and Le Mort de Arthur playing alongside devoted fans of Marion Zimmer Bradley's Mists of Avalon series.
Another group I ran enjoyed Dante's Inferno, Buffy the Vampire Slayer, and Steven Brust's brilliant novel To Reign in Hell. I crafted a game where the PCs had all died on the Prime Material Plane and had to adventure through the Nine Hells, which I populated with snarky, sarcastic demons and modern pop-culture references.
So, what about my current game? How closely do my assumptions match up with theirs?
Short answer: not at all. I'm not just the only one who's been reading Howard, Moorcock, and Vance recently. I'm the only one who's read them at all.
So, what have my players been consuming that I haven't? And more importantly, how did I work that into the game to keep them satisfied and engaged?
First up is my wife, Vanessa. While not much of a fiction reader, she absolutely loves visual works of fantasy. She's an avid fan of artists like Brian Froud and Daniel Merriam. Two of her all-time favorite movies are The Princess Bride and Labyrinth. In short, she prefers a light, whimsical take on the fantasy genre, and when our friends proposed a D&D group, her first question was "Can I play a fairy?"
I did some research, looking for a homebrew race that would be somewhat B/X compatible. I ended up using a variation of the half-pixie Phaerim, detailed in R. Kevin Smoot's New Races: A Basic Fantasy Supplement. Since B/X uses race-as-class, I decided to run her as a winged Halfling, for purposes of level advancement and saving throws.
The other two players in the group are another married couple, Leah and Aaron. While they've both read the standard genre classics like Lord of the Rings and Harry Potter, a huge part of their recent fantasy intake has been in anime and manga form. In particular, they're both fans of isekai shows like That Time I Got Reincarnated as a Slime and Overlord.
That anime influence was obvious less than halfway through the first session, with the sheer number of called shots and crazy maneuvers both of them attempted in each combat encounter. The problem is that B/X D&D doesn't really support that style of combat, at least not when using Rules as Written. On one hand, the players' options tend to be more open, since not much is spelled out in the rules. The flip side is that the players' power level is pretty low.
The likeliest result? Lots of dead PCs, and a table full of players who take fewer risks with their newly-rolled replacement characters. And while that gels perfectly with my gritty, Appendix N-flavored sword and sorcery style, it's not really what the players sat down wanting to experience.
In other words, I had to do some adjusting.
One of the first things I did was bump the characters' power level. I introduced the optional Cantrips list from The Basic Fantasy Roleplaying Game, so Leah's Elf could cast more than one spell per day. I also introduced some optional combat maneuvers for Aaron's fighter, like a once per combat Shield Bash that does no damage, but knocks a human sized opponent prone on a successful strike.
I also entirely re-vamped the game's combat mechanic, which I'll detail in an upcoming post.
The last thing I did was more of a situational call:
When the PCs were crossing a marshland via an ancient causeway, I had them encounter a pair of giant frogs. But instead of my little plastic pogs marking the monsters' position, someone grabbed that stuffed frog off the shelf and dropped it on the mat.
I quickly changed the encounter to one gargantuan frog, which (based on the stuffed animal's cuteness) my wife's character immediately decided that the party needed to tame. Everyone else was instantly on board with the idea.
I could do one of two things at that point: run it as a standard combat encounter, forcing the players into a fight they didn't really want. Or find a way for them to try it their way.
Looking over Leah's spell list, I quietly scribbled out the word "person" next to her first level Charm spell.
"This is now an all-purpose Charm," I said. "It still doesn't work on undead or magical creatures. But anything in nature is susceptible. Including giant animals."
If you could only have seen the smiles around that table, folks.
What followed was a zany, over-the-top combat encounter, in which the PC's weakened the frog enough to lasso it, rode along as it dove into the water and tried to swim away, and then climbed up onto its head in order to look it in the eye and cast Charm.
In other words, it was pretty much the polar opposite of the gritty, sword and sorcery-inspired combat encounter I'd had in mind. My players couldn't have been happier.
As their DM, neither could I.
I'm an award-winning science fiction and fantasy writer based out of North Carolina. This is where I scream into the digital void. I like cookies.