File - Roses and Ramparts
Roses and Ramparts
Roses and
Ramparts
THE OFFICIAL GUIDE TO THE UNOFFICIAL GAME
Created by Dusty Johnson
For
Neil Johnson on his Birthday
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Table of Contents
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The rule to making good rules and other useful tips ................ 12
....................................................................... 13
Admit your mistakes even when you are wrong.
Keep Combat simple, understandable and orderly.
Special situations require special rules.
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Chapter Two – Character Creation
......................................................... 30
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Chapter Three: Game Mastering .................................................................. 99
.............................................................................................. 99
The Placement of Monsters and Magic
............................................. 102
.............................................................. 110
.................................................................................. 111
.................................................................. 111
If it's not on the screen - it doesn't exist ....................................... 112
Give Them What They Want .................................................................... 113
Be Bold! (polishing the final product)
........................................... 114
...................................................................................... 115
Think About the Player Characters
............................................... 115
Give NPCs Plans Rather Than Predestined Actions
...................................................... 117
................................................................................ 117
1. K.I.S.S (Keep It Simple, Stupid!) ........................................................ 117
4. The Outside Context Problem
........................................................ 118
................................................................................ 119
................................................................................... 120
Maps Miniatures and Mechanics Avoiding the Bird's Eye
............................................................ 121
What if the PCs Control the Army?
................................................. 121
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What About the Non Combatants?
................................................... 123
............................................................................. 127
................................................................. 128
3. Have non lethal combats most of the time.
........................... 128
4. Make sure combat isn't too deadly.
............................................ 129
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6. Are combats too mechanics oriented?
...................................... 129
........................................................................................ 130
2) Relate the City to its purpose in the game
.............................. 134
3) Describe height differences
........................................................... 134
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5) Use character perspective .............................................................. 135
Problems with City Based Games
........................................................... 136
...................................................................... 136
........................................................................................ 136
................................................................................. 136
4) Location, Location, Location!
........................................................ 136
5) Getting there is half the fun
.......................................................... 137
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Roses and Ramparts
Chapter One
So you want to role play? Role playing games, RPGs, are open ended, “make believe” games. Each player in the game typically takes on the role of a single character. During the course of play, each player directs the actions of his of her character and their interactions with the other characters in the game.
As a group, these player characters, PCs, are often described as a “party” of adventurers.
The results of the party’s choices and the overall storyline for the game is determined by the Game Master, GM, according to the rules of the game and the GM’s interpretation of those rules, a created scenario or world, and a good bit of imagination.
In short, the GM describes the world and other people
(creatures) that the PCs find, then uses the rules to decide how actions taken by the PCs and the other creatures affect things. If there is no rule, the GM gets the final say in what happens.
Competition?
R&R (or other RPGs) are not competitive games. In fact, they are the exact opposite of competitive. While there is treasure to gain, monsters to fight, and all sorts of other things to go after in the game, acquiring these doesn’t mean you win. If you really want to play and enjoy the game, get that one little word out of your head: “win.”
The typical group of players in a game work together to reach some goal or quest, to meet some challenge set forth by the
GM. Usually along side this are the player’s character’s personal goals and aspirations.
For example
Four friends-- Andy, Bert, Chris, and Dusty -- get together and decide to play. Andy has prepared for this for a few weeks
(yes, it can take that long) and he is ready with a “scenario” for the rest of the players; he will be the GM. The other three roll up new characters, following the rules in a later chapter. Bert creates Brand the Barbarian; Chris makes
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Cross the Cleric; Dusty rolls up Dementia the Druid. (The use of alliteration is completely optional and actually should be avoided in real games as it tends to make the GM insane.)
Andy, the GM, describes the small town the three friends live in, a few of the more interesting sights in the region, and then tells the three what is happening as the game begins.
Andy: The blacksmith asks the three of you to meet him in the stable right after noon to discuss a business arrangement.
You all show up although Dementia is busy talking with a horse when the blacksmith arrives.
Brand: Can I slap Dementia?
Andy: Hard or soft?
Brand: Just enough to get him to pay attention. We need this job.
Andy: [rolling against Dementia’s armor class of 6] Dementia dodges apparently.
Dementia: Yeah, but I’ll tell the horse, “excuse me,” glare at
Brand for being rude, and listen to what the blacksmith has to say.
Andy: The smith looks the three of you over and grins. He says,
[Andy tries to sound gruff] “You three need a bit of work?”
Cross: [cautiously] Is it legal?
Andy: [still sounding like the smith] “Of course it’s legal. But it’s just a bit dangerous.”
Brand: I like the sound of that.
Cross: You would. What are we talking about, Smith?
Andy: The smith rolls out a map on a bale of straw. It looks like the area to the north of town. “I’ve got a buyer for fifty swords up here.” He points to a small dot on the map. “It’s a little fortified tower at this pass.”
Dementia: Sounds cold to me.
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Andy: The mountain pass will be very cold this time of year. It’s
Fall, and while it’s still warm in the valley, it’s already snowing in the mountains.
Cross: We’ll need supplies for the cold.
Brand: And someone to drive the wagon. I don’t have that skill.
Dementia: I do. But we’ll need mules to go up those roads.
Cross: I ask the Smith what he’s willing to pay, and how much of our supplies to start he’s willing to provide.
The game continues from there with the arrangements and haggling over the money. Notice, however, that the players are all working together. They’re actually working with the
GM as well. As the game progresses, the GM may describe enemies who attack the small group, bad weather that threatens them, new people who might join them and help, or even the taste of the rations as they eat the same food day after day because Brand wanted to save a little money.
Items Required to Play
First, you need the rule book. Of course, if you’re reading this the odds are that you have one. Some game systems require several dozens of these books to play. This is called good marketing. R&R seeks to keep this to one book. This is called smart.
Next, you need a lot of paper and pencils. Get about twice as much as you can imagine needing and it should work out just fine.
Finally you need polyhedral dice (many sided dice.) A good basic set includes a 4 sided die (d4), a 6 sided die (d6), an 8 sided die (d8), two 10 sided dice (d10 or d%), a 12 sided die (d12), and a
20 sided die (d20.)
A few optional items needed are pre-made scenarios, graphing paper (the hexagonal type is great), and cold pizza. I also believe that warm root beer is required, but I’m told that’s personal taste.
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Playing Made Simple
Okay, once you’ve been doing this for a while it becomes simple, but for the beginning GM it is much harder. The hardest thing to get from the start is that the maps, scenarios, notes, all of it are not where the game takes place; the GM’s brain is the game board. The real goal of the GM is to communicate to the players what is happening in the game, then to try and understand what the players want their characters to do and somehow fit that into the game going on inside of your head, then to fit in the rules, dice rolls, and all that other stuff.
The experienced GM rarely thinks about it, but yeah, I think the task might be a little tricky for a beginner.
Step One: make a small scenario. That is, make a very small area with a map and descriptions of what players will find there. Keep it very simple. There are instructions further on in this book for that. Read through what you have created and imagine up added details for it. Think through what the players might do. The odds are you will be wrong, but think about it any way.
Step Two:
Know what your players are capable of. Read their characters, think through your scenario, and think what they might be able to do. If you discover an area that your players will not have the skills to conquer, either change the area, provide tools that will make it possible, or plan to give plenty of warnings to the players before they foolishly rush in.
Make any notes needed to the game to prepare it for the players to enjoy. The game should not be too easy, but it also cannot be too hard. Find the balance before the game begins.
Step Three:
Describe an area well, but leave room for the players to question. Encourage them to do so. If they don’t, hint that they should. When they ask a question, give an answer and make note of it. Don’t ever forget the little things you make up as you go. The players won’t.
Once you give a description, listen carefully to what the characters wish to do. If they wish to take an action that is
100% normal, something you know they should be able to do in the given situation, just let them do it. Don’t bother with a die roll unless you want to make the players think that something else might be going on. If they want to look at something, let
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Roses and Ramparts them look (rolling dice will make them think they need to look more closely.) If they have set up a tent successfully every night for three days, let them do it again (though if you roll and it appears that they should fail, don’t say it’s because of their error but maybe a tent stake breaks or a rope knots strangely.)
If an action is impossible, make it fail. Roll if you want to, but make it fail. This would be like if the player tries to fly off of a cliff using a kerchief as a parachute; let them try, make a roll, but make it fail no matter how good the die roll is. (Maybe a succeful roll means they realize how stupid the idea is and their own sense of self preservation stops them.)
When something might happen, then the fun begins.
Step Four:
Decide how likely or unlikely something is to happen.
Remember, players have to roll v. some skill they have against a d20. A 20 roll will fail, always. A 1 roll might succeed (but not always.) They need a low number, lower being better. A difficulty of -5 means you will subtract five from what ever roll they get, making getting a lower number easier. Giving a
+5 means that it will be harder. -20 almost guarantees their success (If they have a -10 to their skill and an attribute of 10, they naturally cannot succeed; a -20 difficulty means that if the player rolls a 19, you subtract 20 and get -1; in other words, the player is successful. At the same time, a character who has an attribute of 15 and a skill of +15 will almost always succeed; they might even succeed if the difficulty were
+20 (15+15 means they succeed as long as their roll is onder
30 and not 20 itself on a d20; adding 20 to the roll means that as llong as they roll 10 or less, they still succeed.)
So, you must choose difficulties for likely actions they will take. If they do something unexpected, you must make up a reasonable number on the spot. If you have no idea, let the dice decide for you (d20-10 seems fair.)
As players take actions, they must succeed v. the difficulty.
In battle, this happens quickly and can become a bother if you allow it to be. To simplify, simply look at an opponent’s AC as the difficulty to hit that being physically. This includes aiming magic at them (if you need to aim.) For most cases, the AC is the difficulty for the opponent in battle (and for the players as
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Roses and Ramparts well.) Some spells or powers have different difficulties and will generally be noted in the skill.
For example…
Amber, Barc, and Clint attack a dragon. The dragon has an AC of 10. Amber shoots and arrow at it with a Dex of 15 and a skill of +5; she rolls a 7. 15+5 means she needs to roll under
20 (and not 20 of course), but the 10 AC means she has a 10 added to her roll: 7+10=17; she hits. The arrow can do d8 damage; Amber rolls a 6; the dragon’s scales absorb 10, so the dragon takes no actual damage (though its scales have an arrow sticking out which might eventually weaken them enough to negate their effectiveness.) Barc uses the Bard
Tune to control elementals, choosing to control the fire within the dragon (it seemed like a good idea.) Barc begins, having a skill of +3 and a stat of 17; again, anything that is not a 20 will work; he rolls a 15. The dragon refuses to hold still, however, meaning that Barc cannot get enough of a focus on the dragon’s fire; 17+10 AC=27, or a failure. Cling pulls out his club, with a Str of 20 (he’s half ogre) and a skill of +10 he needs to roll anything under 30 (and not 20); he rolls a 1. Even with a difficulty of 10, Clint clobbers the dragon; his spiked iron club does d12+10 damage, plus 11 for his strength bonus; he rolls a 9 making a total of 30 damage; the scales absorb 10 points, and the other 20 points make the dragon really mad.
Now it’s the dragon’s turn. It has been written down as follows (AC 10; HP 120; s 20 I 18 w 10 d 20 c 20 ch 5 A# Bite S+5 d12+11, Claw d+1 d8, Claw d+1 d8; or Breath Fire D+10 d12 and continue for d4 r.) Wow! Talk about complicated. The AC we already understand. HP is obviously the health from which
Clint took 20 points. The next several are the dragon’s stats.
If these were not included, the GM should assume them to be
10. A# indicates the attacks the dragon has. It’s first choice might be to use its three attacks in one round: bite, claw, claw.
This would allow it to either attack one person (probably
Clint) with all three, or spread the pain around a bit. It chooses to do this during its first attack on the group.
The dragon bites Clint. It has a skill of +10 and a Str of 20, meaning anything under a 30 (and not a roll of 20) will hit;
Cling has an AC of 5, but a 5+2 roll still lands the bite. The dragon rolls a 2 for damage, adds 11 for strength, and takes five points away for clint’s studded leather armor and leather underwear (don’t ask.) That’s 8 damage to poor Clint.
The dragon then claws Amber once (20+1) and Barc once.
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Amber has a really good AC due to some Elven boots she’s wearing, AC 15. The dragon rolls a 14, adds 15 and is well above the 21 needed to hit. Barc isn’t so lucky, having an AC of 3. The dragon rolls a 6, adds the 3 for Barc’s AC, and is below the 21 needed to hit. The dragon rolls a d8 for damage to Barc and Barc receives 8 points damage. Ouch!
The scene replays. Amber knows her arrows are not going through the armor, so she decides to take a shot at the dragon’s eye. The GM sees this as a really tough shot, adding
+10 to the dragon’s AC of 10, making the difficulty 20. Amber knows that this is still a tough shot and pulls out her only magical arrow, giving her a +3 to skill for the shot; still, she will only hit if she rolls a 3 or lower. Amber rolls with her eyes closed, and she gets a 2. Amber shouts for joy and rolls her d8 for the arrow’s damage and gets a 4. The GM compares this to fact that this hit is in a totally vunrable spot and decides the shot does triple damage and blinds the dragon in one eye. Barc isn’t about to take a chance on getting hit again, and uses his Bard song, the hum of Ignoring. Barc has been using this one for ages and has a +15 in it. The GM believes the dragon will gladly ignore Barc this turn however (it’s pretty upset at Amber right now and blind in one eye to boot), and let’s the roll succeed despite the 19. Barc is happy. Clint uses the same attack he used last turn, hitting again and doing 15 points of damage.
The dragon decides to quit messing about and breathes, directing his jet at Amber. He has a Dex of 20 and a skill of 10, her AC of 15 means she dives out of the way, but the dragon’s roll of 3 means he still nails her; he rolls a damage of 11 and the 11 points will continue for 3 rounds. The GM also applies the damage to Amber’s clothing and bow, destroying both. It doesn’t look good for Amber now.
The rule to making good rules and other useful tips
By Tony Reeves.
The following is an article I wrote for new GM's based largely on my own observations as both a player, and GM over the last
20 years. As a Dungeon Master, I live and die by the enjoyment my players receive from my games. As a player, a single rule, or rule change can mean the difference between a good game and a great one. I run what is considered an "open style game"
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Roses and Ramparts which means that I get a lot of input from the players. This works exceptionally well for me and has for as long as I been a Dungeon Master. Feel free to use any of my ideas herein to help you. Any by all means, if you have found any other easy or effective ways of doing things then please send me an email. I'm always on the look out for new or better ways of doing things! Meanwhile, enjoy!
Be Realistic.
Have you ever had to make a quick rule on a situation you've never encountered before? Well, Here's help! I've always been a stickler for detail. So much so in fact, that I always feel that there has to be a bit of realism incorporated in my scenarios, and campaigns. To start with, I always make it a point to arrive 30-45 minutes early, no matter where I play.
Part of this is because I hate to be late to anything, but there are some added benefits you can turn to your advantage just by being there early. I always set out my equipment first, brush up on any finer points of the game that I need to remember for the session (I have a terrible time remembering names!) then about the time I'm ready, all of my players arrive. I specifically set this time aside so that the players can discuss rules, ask questions, or to clarify any specifics the players need. Since I have both long time, and new players, this is a great time to discuss rules that the players disagree with, or would like see changed, or simply have questions about. This is one of the most important things to do with your players, because it allows you to develop trust. It also provides me with a bit of extra time to look up rules if I need to, in case a question comes across that I don't know the answer to before the actual game starts. We usually spend about a half hour doing this.
Respect and be respected.
In order to be a referee, I've found that the best ones are ones that I respected. Respect when it comes to a GM has to be earned. The key way to earn it is to follow a few simple steps.
Always use the same rules for everyone. This also includes the monsters! Nobody likes a Dungeon Master who changes the rules all the time! Conversely, no one enjoys a "rules lawyer" or someone who is always by the book for every circumstance, either. Always be fair, honest, and open to the players criticism. Allow the players to voice their opinions and when they do it's very important that you listen. That doesn't mean to argue with them. First of all you'll never get
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Roses and Ramparts anything solved. Second, you'll have lost that particular players respect, and maybe even lost a player or friend. All of my players are also my friends. This makes it even easier to be open with them as well as take their criticism, even though it does hurt sometimes.
Admit your mistakes even when you are wrong.
This is one my players love the most, especially the one's who haven't played that long. My players believe that I rarely make a mistake, but when I confess to one, even if they didn't catch on at the time, they feel as though I've shared something with them. It doesn't show them you're stupid. It shows that you're human, that you care about the game for their sakes, and are making an honest to attempt to make sure the game is fair to all! Another reason to allow the players to point out mistakes is that you don't forget them later! When a player tells you that you've made a mistake, thank them for reminding you, after all everyone who's played very much realizes how hectic it is to keep control of all the players for the duration of the game. This also makes it easier on the players when they make a mistake, especially if they're new. They're not as likely to take it so personally if they do happen to be a silly mistake.
It serves to make a friendlier game, because no one picks on anyone else, because they do something goofy. That's one thing
I never allow and neither should you. It only creates hard feelings between the players and that's not what your there for!
Keep Combat simple, understandable and orderly.
As player and GM, I've noticed that combat is what gives most
GM's headaches. It seems to be when the most peculiar actions occur, when most arguments start, and when things are the least controlled and most disruptive. First you need to establish order. I do this in several ways as you'll see shortly.
The way I do things is specifically designed to keep things in my control, keep it easy while still keeping the flow of the game fast, and also makes sure everyone has their turn. To begin, when a combat sequence starts I call out for an initiative roll either by the party (one person rolls for the party, which generally is the case) or by individual, whichever way the situation dictates. As soon as I call out for the initiative roll, the players inform me of what actions they're taking if I don't already know. Always make sure you know what everybody is doing. If I have questions or suspect someone did not get a
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Roses and Ramparts turn, then starting with the player to my immediate left I begin to ask questions of everyone, going clockwise around the table until everyone tells me their actions, whether they're moving, fighting, casting spells, and if so what specific spell(s) are being cast, and the casting time and last but not least if there are multiple spells. As I go round the table and the info comes in, I make a note and establish which segments the spells go off in the round, based on who wins initiative. This is a very effective method to control multiple spell users, as it keeps it all straight for you! In addition, if a mage decides to cast more than one spell, he or she can, so long as I know the details. I just have to write the info down so I remember what segment the spell falls in. Whoever wins the initiative of course, goes first, but the following is always true whether I go first or if I let the players. I let all the players roll for their attacks, and damage at the same time, except for spells, spell like effects, psionics, etc, unless the spell falls in that particular segment, for example a magic missile which has a one segment casting time. Usually the spells will go off at different times than the physical attacks, so I watch the entire melee round carefully and when I announce the spell goes off, the player(s) responsible gives me their to hit roll(if necessary) and any damage applicable. I roll the saving throws for the monsters and tell the mages their effects.
Note that a spell caster could potentially cast a spell ten times in one round and it has happened that that many and more spells have been thrown around in one of my high level adventures!
Anyhow In all cases except magic, I start with the person on my immediate left and go through the players one at a time for the physical attacks during the correct segment in the round and they give me their damage and I state the effect if any on their opponent. After they attack, it's my turn and I assign them their damage. I mae all of the monster rolls one at a time to keep it a bit more fair. This allows me to adjust the numbers as necessary. More on this later. This continues in an orderly fashion until the entire melee is over. Keep in mind that we use casting times but even if you don't it still makes things easier.
It sounds like a lot of work, and in a way it is at first because you're not used to it, but once you do things in this manner, you won't want to do it any other way. I know it sounds a little harsh to make the players take turns like this but most players will understand it you explain why you're doing it. In reality if you point out the fact that not only is it easier for you, and also assures that everyone gets their turn, then the players will agree. One other thing that makes things easy is the use of miniatures. With miniatures, you can have the
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Roses and Ramparts character move their piece to show where their character is.
You can draw out room dimensions, and show the spell effects in great detail. It creates a much better visual picture overall, and this helps you. You may find that you don't use quite the same way of keeping time in the round, initiative etc, the same way that I do and really it doesn't matter. The main point is that you get the data in an orderly manner in a way you can interpret it easily without disrupting the flow of the game. The only other thing of importance is that you do your melee rounds the same way every time. This will help keep player confusion to a minimum.
Special situations require special rules.
Sometimes the players just plain don't like a certain rule. If you look in the beginning of the 1st edition books, you'll see that even Gary Gygax said that the rule books are only guidelines and that the main thing is to make sure the players had fun! To keep things short, things like combat, spell effects, abilities, utilization of time, races, class level limitations, damage, healing, etc, are all critical to the players and their enjoyment. There's a lot of ways to circumvent problems. Use what works with your group of players. If a problem comes up during the game and you don't have an answer immediately, ask the players how they feel about the rule! Experienced players, like some of mine are, can sometimes offer their own logical solutions right off the bat, although sometimes the solutions make no sense as well. Use your own judgment in any case, but at least let all the player have a say, and listen to them all. If possible make a ruling as fast as possible so the flow of the game isn't interrupted.
There's nothing worse than waiting for ten minutes for a referee to make a decision because he's looking through 3-4 books for some obscure rule that you'll only use 1 time in ten years! The ruling only needs to last for a single session in most instances. You can almost always make an overruling later if absolutely necessary. Generally, if I can't make a ruling on the spot or within 5 minutes, then I will make a snap decision based on the circumstances and all other input, then finally I ask the players if it sounds fair, and make a promise to them to research it further. Sometime before the next session,
I do the research. At the beginning of the session I present them with either a definite answer or logical options to vote on. This is at the beginning of the following session before the game really starts. It's important, if you GM this way, that you never back out of a promise to research a rule or settle an argument. Solving problems quickly will help show the
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Roses and Ramparts players that you take the game and them seriously, and they'll appreciate that. Voting on problems is a good way to stop arguments since it gets all of the players input. Likewise, it stops arguments because everyone has a chance to affect the rule and voice their opinion.
Be prepared.
In order to be prepared, you have to know what you need. This depends mainly on you and how you GM as well as how much you or your players have invested. In my group, the players sometimes have purchased pre-made modules and given them to me to run. Of course, I allow this and after I run it, the player gets it back. Of course I never highlight or otherwise write in them. If you allow this you can assume that some players will read the module before they give it to you, thinking this will give them an advantage. This isn't a problem for me though, because I always assume this and thus have the nasty tendency to add things and give them a personal twist anyway! In any regard whether you run a pre-made module or create you own, make sure you know it well. The game slows and the players get bored if things begin to drag or move slow. This is especially true in modules set in a city! Make sure you know any new spells or effects, traps and monsters, so you don't have to stop and research in the middle of a scenario. Other things are dice and books. How many and which ones are up to you, and your financial situation. When I first started, I hardly owned anything but a players, monster manual and GM guide!
This required a vivid imagination, but those games were some of the best ever! One item I won't do without now, is a GM screen.
These are a great way to put a ton of information right at your finger tips and can often be purchased cheaply. I laminated mine and it's held up for several years. It also serves the purpose of hiding your dice rolls from prying eyes, so the players don't really know what I'm rolling. (Yes, they listen to me and watch me very closely! They've learned that if they don't, they might miss something very important or a deadly hint!)
Fudge the die!
As a player I've seen times when my die rolls were absolutely terrible. It really stinks! I've also seen them be quite good and that's another story. As GM you need to make adjustments to your own rolls as appropriate. If the players win every initiative ten times in a row, then change your roll from a six
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Roses and Ramparts to a one! Even the odds a little to make the battles more realistic. If your die rolls all happen to be too good to believe, lower them! This is important with low level characters. I can't tell you how many times I could have killed a character with just one lucky die roll! What fun's that? It's so much more fun if the character is in a long, tough, one on one battle to the death, sweating over your next die roll and their own as well! You don't have to do it every time, just occasionally when things seem to be going the wrong direction or if things need livened up a tad. Try it sometime, and you'll be amazed at what you'll hear. It's a wonderful feeling to hear the player brag how much fun they had and also to hear them brag a little about that big battle with the bugbear and how he though he was a goner!"
Add a little humor.
AD&D isn't just all magic, or hack and slash. Add what I call the "human factor." Some people might even call it the Murphy
Factor. Everyone knows him! "Whatever can go wrong will."
"The best laid plans of mice and men.." Use this to your benefit.
For instance, A male paladin in one of my adventures years ago located a girdle of femininity. The item was cleverly disguised as a girdle of hill giant strength! The character put it on and
POOF! He was a she. ( For full effect, I passed around a note to all the other characters detailing her wonderful figure and her sweet voice!) The other players presented his condition to him/her via role play. It was slightly funny. Needless to say the player thought it was a bummer. That is until, they came to a door that no one could open. He/She was the only one who hadn't tried it. One comment from a certain stubborn dwarf was "Go ahead, but I couldn't open it and ain't no wisp of a girl gonna do it!" I fudged the die a bit then, and then everyone at the table cracked up after she door swung open! The poor dwarf suffered to no end at being outdone by a girl. That girl is now a 15th level paladin! That one scenario totally turned the situation around! The really good thing was I no longer got to hear the moans and groans when something was cursed, etc and it provide a bit of role play. something even funnier happened later...Remember the dwarf? He married the paladin girl!
Know how to keep a secret.
Some Dungeon Masters are not capable of this. Nothing can ruin a players best laid plans (and fun) like a big mouthed GM
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Roses and Ramparts giving away too much data to one or all of the other players.
One thing I recommend is the passing of notes. This works so well, that I've incorporated them into other aspects of our game as well. My group always has either scratch paper or post it notes handy at all times. I use them many times to let a character know they've found a secret door, drank a potion of insanity, heard something and for dozens of other reasons.
Merely hand the character a note that says
"Congratulations! You have just ingested a potion of paranoia. Please role-play this in the following manner until further notice: You are certain that someone is out to get you!
You're deathly afraid that someone or something is following you! Whatever it is, also means to kill you in most gruesome manner! Please also note that your character doesn't realize that there's anything wrong with himself and will argue vehemently with any to suggest otherwise!" Pass a note like this, and watch the fun start! A note like this can create hilarious situations and can provide serious help for games that are starved of role play. If something occurs that is more than I want to write on a piece of paper then many times, I'll lead the person into another room have a private chat with them. A good example is if a character is killed (out of sight of the others!) by a doppelganger. I lead the person into the other room and tell them all about it. This can be fun too! All in all humor can take many forms and the better role players will use this to the hilt, which merely serves as an example to the lesser experienced. Notes also serve to make the players physically learn the secret, and this is where the GM has fun!
Player and GM Etiquette
By Tony Reeves.
I’ve met many odd and wonderful people during my tenure as
Dungeon Master and as a player. During this time, I’ve seen the very best and worst of both GM’s, and players too. Herein are a set of “unwritten” rules, that I enforce in every campaign I run. Following these simple “rules” means that you run a campaign where even though there are disagreements, no one screams, yells or even raises their voice to any of the other troupe, except when they’re in character. We just don’t have arguments like other gamers I‘ve been around, disagreements do occur but they’re settled quietly. This lack of bickering increases our enjoyment and makes for a very relaxing game.
To be real honest with you, one of my long term players, whom
I’ve known for years, asked me to write this as a help for new players. I agreed since there just aren’t many things out there
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Roses and Ramparts of this nature. So here it is , Mizzen! Thanks for the idea! May all of you enjoy it, and find at least one small thing to help you, or your gamers.
The GM is always right!
The GM is final moderator, judge, referee, or whatever you want to call him (or her). This individual is ultimately responsible for making certain that the game you have is pleasing, and enjoyable. He or she is the creator of your campaign, or adventure. This extraordinarily talented, individual has spent a massive amount of time, and effort making your world realistic, impartial, and fun for everyone in your group. Give him or her the thanks that they deserve by playing in a smart manner. When a rule has to be made, don’t argue at the top of your lungs. If you feel the need to point out what you feel is an error, let him or her know, but be calm and polite. Be very specific, and tell the GM why you think he’s wrong and use real life examples if possible as a comparison, if it’s feasible for the situation. Just give your opinion in a rational manner. If the GM didn’t explain why he made a certain edict ask him or her to explain more clearly. I’ve sometimes heard GM’s make a rule without any explanation; but this is not fair to the player who not only has a right to know - but needs to know to prevent mistakes in the future!
Sometimes a GM will know of other outside influences that affect a decree, or may have other reasons that player just isn’t aware of. This is because the GM sees the ‘entire picture’ and the gamer doesn’t always see it the same way. Give your
Dungeon Master a chance and most will readily aGMit a mistake when they‘re wrong. Above all, remember that it’s a game, and chances are your GM loves the game just as much as you do, and will do whatever is necessary to be fair to all.
Have your supplies ready.
What you need as a player tends to differ a bit between the various gaming groups. There are some basics though. I’d recommend pencils, scratch paper (or note pads), character and spell sheets, a set of dice, the player’s handbook, and miniatures if you use them. It isn’t absolutely necessary to have every book that‘s available. Books can be shared between the players, but it’s always better if you have your own.
If ever you notice, whenever there are only a couple of books in a group, they’re always being used just when you need them
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Roses and Ramparts most. If you do happen to forget something, make sure you ask either another player, your host, or the GM if they have what you need.
GM’s always have paper and dice, so that’s generally never a problem. No matter what you should never forget your character sheet. Other players have a tendency to get irritated when they have to stop everything to wait for someone to build a character. That’s not all! It’s too hard to rely on your memory to recreate the same character perfectly, the GM isn’t going to be ready for a new PC, and even if you do know all the stats, it’s a sure bet that some of his equipment, or treasure will be missing. If you have equipment missing, this can be crucial to the adventure, and also can hurt the character. It halts the progress of the game immediately!
In my group, the other players get irritated by this kind of stuff and chances are they‘ll say something nasty to you!
Forget your dice or pencil, that’s forgivable. Forget your character sheet, and expect the other players to be upset because you’ve taken away their valuable game time, and now they‘ve got to wait for you to get your stuff together.
Seating arrangements
Some GM’s prefer to arrange their players in a certain manner around the table to make combat a bit easier. Others arrange players so that experienced players sit next to new gamers.
This is a very smart idea. An experienced player who’s willing to help out the GM and a rookie is a blessing in more ways than one! This helps stop a lot of the interruptions in the middle of the game, and allows the GM to concentrate more heavily on the adventure, while the experienced person helps the rookie.
The entire scenario will run much smoother. As GM, sometimes it’s hard to shift mental gears back and forth in the midst of a combat round or other times when interruptions are frequent or unexpected. This slows down the pace of the game that
Dungeons Masters work so hard to achieve. So as a player do whatever you can to help the GM, as well as the new players.
After all, you were a rookie once too, so you know how much it‘s appreciated! Besides the sooner your new player can comfortably find and use everything on their character sheet and otherwise fit in, the sooner you’ll really begin to have fun role playing with them with them. Any experienced player knows that it takes time to proficiently learn all the mechanics of the game, let alone learn the art of role playing!
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Know your character!
Your character sheet should be completely finished whenever you sit down to play. It should have all the ‘to hits’, saves, modifiers and equipment listed in such a manner that you can find it quickly and easily. This cuts down on the long interruptions during the game which can lead to frustration for the other players and the GM. For some new players, it’s hard to remember where everything is. There are several methods to help jog your memory though. For THACO, or to hit rolls, I always recommend a THACO chart. THACO means “To
Hit Armor Class zero. I even do this whenever I play on my character sheets too; because it’s easier for me to look at a chart and see the number I need to roll than it is for me to calculate the THACO. Please note that I hate math of any sort! Also, if there’s any modifier I can add or subtract it right on the chart very quickly and easily without much thought. If you use this method, I recommend that you have the newbie make the chart, so they’ll always remember where it is.
Typically, I put melee, missile weapons, and one for magic weapons so it‘s as easy as you can make it. I’ve also found that the very bottom of the character sheets is the best location for the chart, since it‘s so blatantly visible. More players are apt to find it here, than any other place else on the sheet.
Other folks keep a spare piece of paper for notes or for hit points and some like to put their THACO chart there. Use whichever method works for you. For a player who can’t remember whether to roll high or low on their saving throws, try placing an upwards pointing arrow next to the saves. This will represent that the player needs to roll higher than the score listed. Do the same for attributes or ability checks, only place a downwards facing arrow next to them. This is so the player knows to roll less than their dexterity score on a dexterity check, etc. Little things like this help new players immensely. If there’s something you need to get clarified, try to consult your referee before the session actually begins.
This helps the GM focus on your question and allows him a bit more time to give you some personal attention that otherwise you might not get in the midst of the game. If you’re in the middle of the game, go ahead and ask an experienced player that you trust, who’s hopefully sitting next to you. Most are more than happy to help you, after all your actions or lack of them can severely impact their characters too.
Where’s your equipment?
Have all of your equipment listed someplace on your character sheet. Make sure that you list everything that your
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Roses and Ramparts character finds, or otherwise has in his/her possession, or located elsewhere. My gamers take this a step further and list where a specific item is located as well. They do this because it helps them create a better mental picture of the character, and also helps them to keep track of their encumbrance. Also in my campaign, if it isn’t on your character sheet where either you or the GM can find it, you do not have it! This is a very hard, quick lesson to learn, and although it sounds overly harsh, my players like it because it makes things more realistic. As Referee, I like it because it keeps my players from arguing that they have something that they simply do not have. Very simple, very easy, and effective. Even if you don’t play in the same manner though, you should treat your stuff in the same manner. The more you have listed, the better off your character is, for obvious reasons. This isn’t all the information you need to keep though. You should also keep notes on any of the creatures, or NPC’s who pass you information, as well as their names, any rumors, activation words, portal keys, or any maps you find. This is over and above standard mapping for the dungeon you’re in, you need to keep it too. Don’t rely on the other players either! What happens if your mapper is absent? Then you don’t have a map! As a player I can tell you that this makes things real difficult and at time may mean the death of your character! If you can, you want to keep a map of the dungeon too or at least make sure more than one person is. All this data helps the player to keep things straight in the game. Keep a note or list of anything that you feel that you might be necessary to know later in the game. Some Dungeon Masters won’t tell you an
NPC’s name, if you don’t remember it. Remember if you have a particularly devious GM then there are a great many ways for him or her to make your character miserable if you don‘t remember the information. Some GM’s will also take great pleasure in this! A lack of information can very easily lead to a PC’s death. So use the data to YOUR advantage, even if it’s not to another pc’s advantage.
Role playing 1 character.
This is the single most fun, and important feature of the game.
I’ve known players who’ve played for years who could not role play the simplest character. To me this is absolutely amazing, because it’s so simple! Personally, the way I set up my characters does take a little more of my attention, but by the time I am finished, not only do I know everything the character has, but I also know precisely what his or her personality is like too. I prefer one of two methods, which I will detail. In the first method, it’s necessary to have all of your class, race,
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Roses and Ramparts alignment, and attributes filled out entirely. Choosing alignment is very critical, because it will help you to set your character up. I say this because either having morals or lacking them is crucial to the way the character will lead his life. Playing alignments is likely one of the hardest things for new players to learn too. GM’s should always make sure that the players know about alignments. If you don’t know them, then take the time to learn their nuances. I generally peruse my attributes, and consider what they mean to that particular class of character. Is he weak, strong, sickly, healthy, smart, stupid, nimble, ugly, or handsome? Use your imagination, and list a few of the characteristics you immediately know, and like. For instance, why is the character ugly? Does he have a large wart on the end of his nose? See what I mean?
At first, use only the things that are easy for you to pick out and remember. Make the characters’ personality fit the attributes, and alignment, then role play the PC that way.
Later, after you’ve mastered this technique, you can try the more difficult personalities. Remember that everybody has little peculiar habits too, regardless of alignment. Use this to your advantage! Is your character a drunkard, nose picker, clean freak, habitual liar, pig, or stuck up boor? Make your character that way and bring him or her to life! You can also use people you have met in real life for examples, too! Don’t tell me you don’t know any bullies, braggarts, timid, outgoing, or shady people! Use them as shining examples when setting up your character! When you’re finished knowing your characters’ idiosyncrasies, determine your characters history, and alignment strictly based on the ideas you have for role playing him (or her!). Buy items that appeal to that character, but not necessarily to you! Ultimately, what you’re trying to create is a character that acts different, and thinks differently than you do. Is the character a cleanliness nut? If so buy a brush, soap, towels or wash clothes AND USE
THEM! Are you a drunkard and a pig? Then remember that when you role play! Tell the other players what they see! Tell them that, you’ve got wet ale all over your jerkin, and your breath smells terrible! When the character first speaks, belch out loud, and ill-manneredly! Make it real! BECOME THE
CHARACTER! You are NO LONGER YOU! You are now the character. Begin to think like the character would, not like yourself. If I can do this, and make it work so others believe it, then you can too. All it takes is an extra five minutes. Now considering your class, write down, or otherwise know a brief history about the PC. Write down any goals you have for the
PC on you character sheet so you can recall this data easily later. I also write down all of the habits, or unusual things my
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PC may do, so I can recall these things the next time I play. I also might write down a few odd sayings that my character might say!
A second method is very similar to the first. Think of what you want the character to be, before you roll, and ask the GM to help you out on the rolls. The way to do this is to know what the habits the PC has before hand and furthermore know the
PC’s background, and history. Almost the same as the method above only in a little different order. GM’s generally are willing to help you make your character into something you want to play, especially if they’re certain you are serious about role playing it. Either way you do it, once you start role playing on a consistent basis, you’ll reap all the rewards. Not only is it more fun than just hacking and slashing, but most
GM’s also reward extra good role play with extra experience points! If your GM does this, then consider those as free points that are yours for the taking. Finally, I have a couple other things to add. Never play a character you don’t like. Why create the character, if you’re not going to enjoy playing it?
Also if you’re GM, try not to coerce your players into playing classes that they don’t especially like, or want to play. They won’t enjoy it. It may be okay if you have an experienced player doing it, and he’s surrounded completely by new players, but as soon as the rookies get to the point where they are capable of playing well, then you’ll need to make sure the experienced player gets to choose what he wants to be. If you don’t do this, then you could end up losing good players fast. The last thing to tell new players is not to feel embarrassed by role playing.
After all is said and done, all they have to do is look around to see other people who don’t mind acting like a bunch of lunatics, and are having fun doing it! Usually once a new player sees things in this way then they don’t feel embarrassed and soon they’ll be acting as wacky as your other players.
Playing two characters.
Generally, there are several reasons why players are allowed to have two characters. Maybe some of the players couldn’t make the session, so you’re short a cleric, or mage.
Perhaps there are only 2 players, besides the GM. Some players even prefer to play two PC‘s for many reasons. The most common complaint I’ve heard from players, is that they’re playing one character that doesn’t have enough to do, so they run two of them. What does this mean? This means they don’t know how to play the character class, their character isn’t detailed enough, or they don’t know how to role play the
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Roses and Ramparts character or class properly to begin with. Every class of character has a multitude of things to do! Remember it’s up to
YOU to make the character work, and find things to do!
Believe me, if you‘re in my campaign, there‘s more than enough to go around for everybody. Gamers should never play something they don’t like in the first place, but occasionally this does happen because of circumstances beyond control.
Some players just can’t role play two PC’s at the same time. Or maybe one of their characters follows, and helps out their other character constantly. This is frustrating for the other players, and the GM, and unfortunately very common.
Sometimes, when a player has two PC’s, no one else but he or she knows which character is speaking, and this can become very confusing even to the GM! The list of drawbacks could go on forever and ever, so I’ll stop here and try to help solve some of these dilemmas. Foremost, if you are going to play two characters, you need to remember that they are not joined at the hip. (Unless you’re an ettin, and then you‘re joined at the neck!!) Think about what your characters are doing constantly to avoid this. Initially, your two characters need to be created such that neither are alike in personality, attitude, or even class. This makes it even easier to role play them both. Go a step further, and make their alignments differ too. This gives them an entirely different outlook on life, and makes their backgrounds altogether different. The more opposite your characters are the better, and easier you make it for yourself later. Make one evil, and the other good! So what if they dislike each other? No problem. It doesn’t mean that they’ll immediately kill each other. Just because they don’t like each other naturally will only mean that they won’t hang out, or be best buddies. Instead they will avoid each other, making friends elsewhere in the party among the other players generally among those with similar interests or alignments. It‘ll mean that they will interact with the other
PC‘s to the benefit of all.
Even evil characters will get along with good PC’s for a common goal and vice versa. Another thing to avoid is having conversations between your two characters. At best, most players hate to do this anyway, since it feels awkward. One way to avoid this is for your first character to mention that he dislikes your 2nd character to another PC. Always force another, or have another PC talk to your first character, mention that you going to do something else, or go a different place with the second PC. You could mention you don’t like the
1st PC because you don’t trust him; he’s a zealot, nut, lazy, goody-goody, or a bully! Use your imagination to find excuses
NOT to talk to him! This works extremely well if you happen to
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Roses and Ramparts be running two characters of similar alignments. Works even better with differing alignments! Irregardless, you’ll always find another PC who will sympathize with your character.
Further, separate the characters in your own mind and the other players too. To that end, every time you move, speak, or perform any actions make sure that the other players (and
GM!) know exactly who is doing what. For example, don’t say
“both my characters draw their weapons.” instead say one characters name and actions, then say the second characters name, and actions. Every time you speak as a PC, clearly say the PC’s name before you start talking. Go a step further, and make one characters voice a bit different. Use slang as one character, or an accent. Utilize a deeper or higher voice with one character. These two steps alone immediately cut down on confusion, and they also make it fun for you and the other players as well. Once again, I’d recommend setting up the characters in the fashion I gave above, and remember the more detail you add the better and more fun running that character will be. Hard work always pays off!
Distractions
A distraction can be anything from a cell phone ringing, to bringing a small child to the session. Stopping in the middle of the game to answer the phone can really be annoying particularly in the middle of melee or other actions. Nothing against kids, (I have three teens!) but some children can be a major distraction, or otherwise annoying, since they need attention constantly and interrupt. Some gamers use adult situations, or may allow gestures, or language that you might not want your offspring to hear anyway! Also it’s difficult to concentrate in both of these scenarios, and this can lead to you not playing like you should and others not enjoying the interruptions. Please try not to bring anyone, or thing that inhibits the others enjoyment of the game...
Don’t cheat.
This takes away part of the GM’s fun. GM’s love making battles interesting, and would much rather make a player think he‘s going to die, than to actually kill them. (Don’t tell your Dungeon Master I told you this!) If your dice are all coming up ones then either borrow somebody else’s dice, or announce it to the Dungeon Master. Then, at least he can compensate for it. Most GM’s prefer not to kill off PC’s indiscriminately anyhow. Don’t take matters into your own hands by cheating, because not only will the other players be mad if they find out about it, but there’s nothing like a GM’s
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Roses and Ramparts revenge. That’s one battle you can’t win as a PC. Some GM’s might even kick you out of the group! Besides, the referee may be extremely busy, but sooner or later you’ll get caught, especially if the other players see you do it, because they’ll notice and most will tattle, since they don‘t think it‘s fair!
Most GM’s start watching very closely if they suspect someone of cheating. Some will even ask the other players to begin watching you. Most if not all, are very harsh when it comes to cheaters. I’ve seen people thrown out games entirely, and also seen players who were made utterly miserable while playing for just this reason, so don’t do it!
Respect your host.
Your host, out of the goodness of their heart, has most graciously allowed you to invade their premises, and provided you a place to play, all in the name of friendship, and entertainment. Make sure you clean up any messes you make, and offer to help put things away after the game. Don‘t invite others to the game that your host doesn‘t get along with, or doesn’t know without his or her permission. After all, this is your host’s home. If there’s someone you’d like to join with your group, or even wants to just watch, ask your host if it’s okay first. Some hosts feel obligated to feed the masses, but this can be very expensive. In my group, all of us bring something to drink or snack on, and we always make sure that there’s enough to share with everyone else that’s there, including the baby sitter! Most sessions we’ll all pitch in and order pizza, tacos, or even make a burger run. Keep your host happy and you’ll always have a good place to game!
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Chapter Two – Character Creation
The real heart of the game is in creating dynamic, interesting, and playable characters. Please remember, I did not say strong or powerful or incredible. In fact, playing the game is the most fun when you have a character with several interesting flaws that you have to work around or through.
Characters are started by giving them some basic statistics:
Strength, Intelligence, Wisdom, Dexterity, Constitution, and
Charisma. These stats give a raw view of your character, a score between 9 and 11 being average.
There are several methods you may use to roll these stats, but
I will only give two. The first is the hard way. Roll a six sided die (d6) three times, add the rolls together, and write this score down for your strength. Repeat this for each of the stats in order. Done. The second method, the easy way, allows you to roll 4d6, throw out the lowest roll, add the remaining three dice together, then place these scores in any order you want with your stats. This gives you more control over the character, but it isn’t nearly as challenging.
When you have all of your stats, you need to decide what your character will be. This is usually based upon your highest stat since these will give certain advantages to them in these lines of work:
High strength – Fighter or Barbarian
High Intelligence – Wizard or Bard
High Wisdom – Druid or Healer
High Dexterity – Ranger
High Constitution – Barbarian
High Charisma – Bard
Note that some classes of characters are best served by high scores in a couple of areas. However, if a player wants to be a wizard but has a low intelligence, go for it. There will be some pretty harsh penalties, but that could make the game all that much more interesting. Just think, a wimpy fighter may need to come up with a better way of fighting that to use a long sword he can’t even lift.
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Races
The GM is totally in charge of deciding what races there are in his or her world, but here are some basic guidelines and stat adjustments that may help:
Race
Human
Elf
STR
0
-3
INT
0
+1
WIS
0
+3
DEX
0
+2
CON
0
-2
CHA
0
-1
Dwarf
Halfling
Half Orc
Half Giant
+2
-4
+5
+10
-1
+2
-5
-5
-1
-2
0
-5
-1
+4
0
-5
+3
+1
+3
+5
-2
-1
-3
0
Pixie
Vampire
-10
+2
-5
+2
+5
+2
+10
+2
-3
+2
+3
-10
I have left the extra slots for GMs to add their own races.
Notice, however, that for each plus a race gains, there is also a minus. This keeps the races balanced and fair.
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Naming your Character
Choosing a name can be an important part of creating your character. People just don’t react the same to Bob the
Barbarian as they do to Krul the Slayer. There are no hard rules about naming, but I have provided a list anyway to be helpful.
Come up with a name for your character. Traditionally, most characters have first and last names, just as modern people do. If your character does not have a last name, or has several, think of a reason why. Make sure that the name is one that you like because you will use it for the duration of your characters life. You must exercise at least a small amount of originality. Players will not be permitted to name their characters after well-known main characters of published fantasy novels. As a general guideline if the name was the main character of more than one published novel, do not try to use the name for your character.
Character Names
A'kk
Aarne
Aazad
Aban
Abbad
Abbas
Abednego
Abniki
Adar
Adib
Adiba
Adjo
Aedan
Aengus
Aeron
Afaf
Affan
Afia
Afifa
Afrikaisi
Agon
Ahlam
Ailbe
Ailill
Aimo
Aina
Aino
Aisheisha
Ajwad
Akana
Akaro
Akhom
Ako
Akori
Akorit
Alan
Alazon
Alderon
Aleksanteri
Aleksi
Allam
Allan
Almas
Aloli
Alopex
Alroy
Alu
Aluvian
Alva
Amahte
Amal
Amenemhet
Amenhotep
Amenitra
Amir
Amira
Amisi
Ammar
Amonit
Anbar
Ancarr
Andar
Anden
Ander
Andrax
Andronicus
Anemro
Angus
Anhuri
Anhurit
Aniq
Anja
Ankhesenamen
Annika
Annuka
Anok
Antar
Anu
Aodhan
Apoqulis
Aramath
Arborius
Arcan
Ardan
Areej
Arilea
Arkadeus
Armas
Armo
Armstrong
Arn
Arolian
Arregala
Arrowind
Art
Artaxus
Artimoff
Arto
Arttu
Arturo
Arvo
Arwa
Arwarh
Ashai
Ashier
Ashraf
Asif
Asil
Asir
Askari
Athar
Atheos
Ati
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Aurora
Avar
Awan
Awi
Awwab
Axeblade
Ayaz
Ayham
Ayman
Ayrseer
Azhaar
Azhar
Azizah
Azra
Azus
B'yak
Baariq
Baba
Badr
Badriya
Bahia
Bahija
Bahja
Bai
Baki
Bakir
Bakit
Bakker
Bakkon
Baligha
Balorik
Balt
Banafrit
Banan
Banner
Baraka
Bari
Barirah
Barit
Barlathotep
Barros
Bartholomer
Bartleby
Bartley
Basha'ir
Bashasha
Bashira
Basil
Basim
Basima
Bathallas
Batul
Baz
Beatrijs
Belladonna
Benipe
Beorn
Bergeroi
Bergethus
Betuke
Biddleriggs
Bilqis
Bimblebomb
Bisi
Biti
Blackgem
Blaise
Blasto
Boki
Bolen
Bork
Bortoka
Bradan
Brak
Brand
Branna
Breandan
Brecca
Brenden
Briar
Bronn
Brovus
Bubu
Buckley
Budur
Buikhu
Burdalane
Bushra
Bylo
Cabhan
Cadron
Calanor
Cale
Caledon
Calvin/Kalvin
Canas
Cander
Canice
Cardax
Cark
Carnby
Carney
Caronal
Carrick
Cartmange
Castenada
Cathal
Cearney
Cearul
Cellini
Cellowyn
Chadmister
Chalcis
Chambers
Charduush
Chlorianna
Cian
Ciaran
Cillian
Cirak
Clarice
Clearie
Clooney
Clyte
Coilin
Coinneach
Colm
Colmcille
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Colum
Columba
Conan
Conlaoch
Conleth
Connla
Connor
Cooley
Cord
Cordain
Corethal
Cormac
Corwin
Crill
Crine
Cronan
Crow
Cumberground
Cuo
Cuthalion
Cybill
Cynoweth
D'Avalon
D'Haveral
D'Nav
Dain
Daire
Daithi
Dalaigh
Dalal
Dalgar
Dao
Dar
Dara
Darcy
Dargon
Darian
Darius
Darkblade
Daro
Davanir
Davin
Deaglan
Deathbreaker
Delvalle
Den
Denari
Dendro
Derbren
Dergo
Derik
Dern
Derry
Dertucken
Derwin
Desmond
Devon
Dholgir
Dhonjen
Diarmuid
Diggins
Dillon
Din
Diwan
DjaDja
Djabenusiri
Djadao
Djal
Djeserit
Donal
Donar
Donncha
Doomis
Dorian
Dracul
Dragoncrest
Dragonfang
Drake
Drako
Drashen
Drithelm
Drizzen
Drogo
Drumble
Du'Shkar
Dubhlain
Ducky
Durriyah
Duvera
Dwine
Dye
Eamon
Earth-fast
Ebe
Ebio
Ebonrain
Ecthelander
Eero
Eirnin
Ekibe
Elden
Elderon
Eldfather
Eldmother
Eljas
Elvengrond
Embranglement
Emmet
Emu
Emuishe
Enda
Endil
Endra
Endrallion
Ennis
Enoch
Ensio
Eoghan
Eoras
Erikmund
Erkki
Erno
Eron
Escrill
Esho
Eujue
Evenhood
Faber
Fadwa
Faelon
Faiq
Faiqa
Faiza
Fakih
Faldren
Fante
Faolan
Faqih
Farah
Fargon
Farha
Faryal
Fatema
Fatih
Faustimagus
Feidhelm
Felga
Felth
Fen
Feng
Fengaris
Fenix
Ferdia
Fergal
Fergus
Feringald
Fero
Finbar
Fintan
Fionn
Firdaus
Fleabo
Forge
Forswunk
Foxglove
Frans
Fredrik
Frits
Frizzle
Furbottom
Galadin
Galahra
Galyn
Garag
Gatlin
Gearoid
Gedreka
Gegor
Geledeth
Gerronalyde
Ghada
Ghunwah
Gimbalim
Girn
Glendon
Goldenstaff
Gore
Goreic
Gou
Gowl
Grandy
Grantier
34
Roses and Ramparts
Graveolent
Greenleaf
Greyforn
Griff
Grilloch
Grog
Grom
Gronnon
Gruel
Gull
Gulliver
Gulnar
Gurek
Gwynhynyr
Haaver
Hafgar
Hafsa
Hagatha
Haidar
Haitham
Hajar
Halden
Hallden
Hamdan
Hamu
Hamza
Hannes
Hannu
Hardel
Hare
Harg
Hariz
Harri
Hasan
Hashim
Havard
Hawk
Hawkeye
Hawwa
Heath
Hebony
Hehepsit
Hehepsu
Heikki
Heino
Helka
Hella
Hellspike
Helmi
Hemlock
Henk
Henriikka
Henrikki
Henry
Hermanni
Hesekiel
Highpocket
Hildron
Hilja
Hillevi
Hime
Hind
Hiplak
Hisham
Hiunelray
Hrog
Hugh
Humam
Huriya
Husain
Husna
Iabi
Ialu
Ibenre
Ibon
Ibtihaj
Ibtihal
Ibtisam
Iffat
Iika
Iines
Iiro
Iisakki
Ilham
Illmillio
Ilmari
Ilona
Ilse
Ilthmier
Ilusia
Imad
Impi
Inas
Indira
Inka
Inkeri
Intisar
Iollan
Iqbal
Irisi
Irja
Irma
Ironhead
Ironshield
Isam
Ishraq
Islemount
Ismo
Itafe
Itennu
Ithimar
Itidal
Itimad
Itran
Izlldorf
Jaakko
Jacob
Jadren
Jalal
Jalmari
Jamal
Jamil
Jamila
Jan
Janisak
Janna
Jansen
Jari
Jarlath
Jasim
Jasmin
Jawhara
Jawwad
Jesper
Jolosh
Jonathon
Joonas
Jorgos
Jos
Joszef
Joth
Jouko
Juha
Jukka
Justin
Juwairiyah
Jyri
Kahotep
Kai
Kaija
Kalevi
Kalle
Kalythalas
Kamenwati
Kamil
Kamila
Kappo
Kargas
Karn
Kauko
Kausar
Kchime
Kebi
Kegroller
Kellin
Kelp
Kemamonit
Kemisi
Kemnebi
Kemosiri
Kemreit
Kemsa
Kemse
Ken
Kensen
Kepi
Kerning
Kerttu
Kevan
Khadeeja
Khai
Khait
Khansa
Khawlah
Khenti
Kiara
Kifi
Kijoran
Kimmin
Kino
Kiwu
Korben
35
Roses and Ramparts
Kordon
Korr
Korrin
Kothar
Kray
Kremble
Krezak
Krimdabar
Krisella
Kristian
Kryllan
Kufu
Kurbis
Kyron
Labib
Lagramar
Laila
Laith
Lalonde
Lanaxis
Lance
Lanken
Lapierre
Larilyne
Laris
Larn
Lars
Lasherr
Lathan
LeMoore
Lee
Lempi
Leonidas
Lerrad
Lexington
Liam
Lilly
Linden
Linke
Llkuth
Lochlan
Logan
Lohann
Londenberg
Lonth
Lorak
Lorcan
Lorendal
Lucien
Lugrom
Lulua
Lupinus
Lynesius
Lyssa
Ma'ali
Maarit
Macabranse
Machette
Magness
Magnus
Mahasin
Mahdi
Maimbled
Maimuna
Mainio
Mais
Maisa
Maisara
Maisun
Makar
Makarim
Malachi
Malak
Malaki
Malcom
Malika
Maliki
Malise
Malison
Mammix
Manal
Manar
Mandrax
Mansur
Manu
Maram
Marcus
Mariha
Marillia
Marja
Marjaana
Marjami
Marjo
Marjukka
Marko
Marlez
Martti
Marwan
Marya
Maryam
Matias
Mauri
Mawahib
Maxamillion
Maximus
Mayesa
Maynard
Mdjai
Mede
Meelath
Megaron
Mehnit
Meldros
Melkiresha
Melodra
Menetnashte
Meri
Merit
Meskenit
Meti
Metit
Mhotep
Mie
Mika
Mikael
Mikko
Ming
Miradonna
Miranda
Miu
Mkalbuti
Mkhai
Mkhait
Mkit
Mkitiris
Mnoti
Moffle
Mogrim
Mohot
Moonthorn
Mophat
Mor
Moreno
Morg
Moricantu
Mshai
Mtidja
Muaz
Mume
Muna
Muniba
Munira
Munsif
Muntasir
Muntuhotep
Murad
Murtagh
Muslih
Myr
Nadar
Nafre
Nafretiri
Nafretiti
Nafrini
Nafrit
Nail
Nane
Nanu
Nardak
Nathan
Neal
Neb
Nebi
Nebibi
Nebibit
Nebit
Nebt
Nebtawi
Nebti
Nehru
Nel
Neomund
Nevara
Nevin
Nex
Niall
Niamh
Nifen-Ankh
Niina
Niko
Nimblefingers
Nivek
36
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Nodo
Nofrotete
Nollaig
Nomti
Northcrosse
Nsu
Nubi
Nubit
Nubiti
Oakshield
Oakworthy
Oba
Occosleus
Odhran
Odji
Odjit
Ogg
Ogunyli
Oillyan
Oisin
Oiva
Olavi
Onni
Onyg
Or
Oran
Orin
Orvokki
Orzo
Oshairana
Oskari
Osmund
Otto
Oweyn
Owyn
Paavo
Padraic
Pallenstein
Palz
Panahasi
Paniwi
Peadar
Pearse
Pekka
Pete
Petra
Petri
Phelp
Phi
Phillip
Pirkko
Porphyriel
Proinsias
Ptermtec
Quaddy
Queachy
Quellius
Quinlan
Quinlivan
Raakel
Radiant
Radivarl
Radugish
Rae
Rael
Raeneriac
Ragnar
Raimo
Ralus
Ramfthar
Rami
Rasui
Rath
Rathwynn
Ravenzen
Red Raven
Redmond
Redwood
Reino
Reko
Relentine
Rellellalora
Relmorak
Remmao
Renaldo
Renger
Ressinfyr
Revlis Healingwinds
Revum
Riika
Rikard
Rikhard
Riley
Rimsa
Rimson
Rindle
Ristan
Risto
Rodger
Rogan
Roma
Romali
Ronan
Rondor
Roope
Roth
Rourke
Ruari
Ruuben
Ryfilke
Sabber
Sabe
Sadji
Sadric
Saini
Sakari
Sakke
Salidji
Salomon
Sampson
Sancherok
Santtu
Sari
Saris
Sarpkin
Saul
Savanna
Savic
Scales
Seafi
Seafoam
Seamus
Sean
Sebi
Seini
Selene
Semni
Senja
Seppo
Sera
Serella
Seti
Severi
Severn
Shadrach
Shai
Shai-nefer
Shalam
Shamise
Shantefeire
Sharshell
Shashaiti
Sheba
Shebi
Shemeit
Sheni
Shenti
Shepsit
Sheriti
Shinicle
Shobog
Shushu
Silbach
Silja
Silverblade
Silverleaf
Silversword
Simo
Simon
Sinikka
Sinuhe
Sinvus
Sisko
Sisu
Skarrakas
Skeeth
Skor
Skotia
Skullspitter
Slade
Slaugulond
Slickbark
Slimp
Slone
Sloom
Slyderia
Smeke
Snugbreeches
Sohvi
Soini
Sokkwi
Sol
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Solan
Solomoriah
Sothak
Sparrow
Spendler
Spuddle
Spyrcrist
Stefan
Stiv
Stonebrow
Stonefist
Stormraven
Strall
Sulumyn
Suoma
Suten
Suvi
Swiftblade
Syluz
Taavetti
Taavi
Tadhg
Taelin
Tagledash
Tahvo
Taisto
Tameri
Tanafriti
Taneli
Tanja
Taralthas
Taravil
Targas
Tarixi
Tarmo
Tasseldale
Tauno
Teenik
Tenbar
Tennon
Teodore
Terger
Tero
Terrox
Teuvo
Tezzerell
Thassius
Thenraine
Therandili
Therion
Thesis
Thiric
Thistle
Thistletoe
Thomas
Thoril
Thorus
Thrull
Thunderhammer
Thunderhead
Thundra
Thye
Tiankhit
Tierney
Tierza
Tilbor
Tinubiti
Tinythalas
Titinius
Toivo
Toliver
Tomas
Tor
Torag
Torlo
Torsti
Tular
Tullamore
Tuomas
Tuomo
Turgan
Turgon
Turlach
Turlough
Tybrin
Udjai
Ultan
Umlaut
Unger
Unwanted
Ureel
Urho
Urndale
Uro
Urshe
Ursula
Usko
Vaino
Valmore
Valterri
Valto
Vanamo
Vanguard
Varl
Vectrasik
Veepo
Vega
Veikko
Velox
Verseth
Vesu
Victran
Vilden
Vilhelmi
Vilho
Vin
Voitto
Voxvax
Vuokko
Wakhakwi
Wakhashem
Wanderer
Wati
Wayland
Wedfellow
Wendel
Whilehead
Whingle
Wiles
Willow
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Willum
Wimbly
Wixem
Wofare
Wolfmoon
Wolfram
Wolvenmore
Woodrider
Woodrow
Woserit
Wrine
Wyllymyr
Wynnich
Yar
Yato
Yazzi
Ynywyth
Yrjana
Yrjo
Ysbrand
Zaagan
Zeuth
Zilas
Zinnebor
Zook
Zorill
Zyggy bar'Kazor bel Callan belTrajan de Vries denCadal van Veen
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Classes
The class of a character determines not only his or her profession, but what social group he or she belongs to. It becomes part of the personality of the character. What follows is a description of each of the classes, but before that let me note that at the GM’s discretion a class may be not allowed, or new classes may be added.
Slots for Skills
Characters gain “slots” for skills at each level. This allows them to choose new skills or improve existing skills.
Characters may use their slots either to learn skills from their own class, or they can choose from the skills in the additional skills table at the end of the character classes section.
Improving Skills
All classes can improve their skills each time they use it. any roll of a 1 (successful or not) improves the skill by d4 (1-4 points.) On a roll of a 20 (again, successful or not, and again before adjustments) the score is adjusted by d4-3 (-2 to +1.)
Each time a character gains a level, he/she may additionally boost a skill or skills instead of buying a new one; Each “Slot” will increase the boosted skill(s) by +5 (or +2 and +3, or some combination that equals +5.)
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Barbarian
The barbarian is a generic term for group of untrained adventurers who combine many low level skills to survive in the harsh world. In truth, the barbarian might be said to be a little bit of every class though no other class will claim them.
Barbarians hold the unique option of switching classes as they reach higher levels. All barbarians have a d12 for HPs and gain double their constitution bonus with that.
Barbarians have no skills of their own class. Rather they learn skills for other classes at a lower proficiency. As the character starts at first level, he/she is allowed to choose five skills to start with from any other class(es), adding a -5 to the skill roll. At each level, gained every 750 experience points times the level to be gained. The Barbarian is able to choose to learn one additional slot from other classes (the
GM should require that these be restricted to characters the player is traveling with or can study under) at each level.
Each of these skills is learned at an additional -5 to the skill roll. This means that initially the player will not generally be able to succeed, but over time and with practice will gain in skill.
Additionally, the barbarian gains special increases in resisting all magical forms. With each level of the barbarian, the caster of the spell has a -1 to their success for the spell.
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Bard
Bards use music and other arts to affect the world around them. This class of adventurer is generally more interested in collecting stories, songs, and histories than in the treasures around them (although anything that might forward these ends are deemed very valuable.)
Often bards are employed or patroned by some high lord or lady, and serves their requests. Bards are quite often used as emmisaries or spies, but sometimes they will be used to search for things of historical importance or in cases where historical knowledge will be of great value to the rest of the party.
Bards start with 5 slots for initial skills and gain 2 added slots per level (gained at 2000 exp. Times the level to be gained.) Bards select their skills from the following skills list:
½
½
½
½
½
½
½
½
½
Slot cost
½
½
½
½
½
½
½
1
1
1
1
1
1
Skill
Read and Write Any language
Speak Language w/o accent
Attribute Initial
Penalty
Int
Cha
Create Costume (includes sewing) Wis
Imitate Voice
Imitate Motions
Wis
Dex
-10
-10
-10
-5
-10
Dance (Any Style)
Sing (Entertainment Value Only)
Play Instrument (Specific Type)
Compose Story/Song/Poem
Dex
Wis
Wis
Int
-10
-5
-10
-5
Extemporize Story/Song/Poem
Stage Combat (-6 Dam to Attacks)
Acrobatics
Juggling (-1 per item juggled)
Sleight of Hand (Minor Tricks)
Knife Throwing/Catching
Insult/Compliment (double Cha)
Craft Stage Explosion/Smoke
Hypnosis (Difficulty based upon
Target’s Wis)
Song: Mass Hypnosis
Int
Dex
Dex
Dex
Wis
Dex
Dex
Wis
Int
Wis
Wis
Cha
Cha
-10
-10
-10
-1
0
-5
-10
-5
-10
-10
-20
-10
-20 Song: Befriending (All hearing roll v. Cha or ally with the bard for 10r (Bard can continue singing and try again at the end of the time.)
Song: Joy (All hearing roll v. wis or feel emmense joy while the bard sings, no aggressive actions)
Poem: Maddening Insults (One target will be so deeply insulted at the bards words as to reject all reason and attack with their
Wis
Int
-10
-5
Speed
100word/r
None
1hour
None
None
None
None
None
1hour
None
1/r
1/r
None
1/r
1/r
1 target/r
1 dose/hour
10r/suggest
20r
10r
5r
5r
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1
1
1
2
2
2
2
3
3
1
1
1
1
2
2
2 fastest attack at the target of the bard’s choice.)
Poem: Love (One target will see another target of the bard’s choice as having double normal
Cha for 1 day.)
Song: Hum of Ignoring (All hearing this humming from the bard must roll v. Int each round or ignore the bard and all actions by the bard completely.)
Speech: Inspiring (All hearing the bard speak must roll v. Int (reroll each time pain is experienced) or feel compelled to act as the bard directs until the action is completed.)
Tune: Strip (As the bard plays, all hearing will begin unconsciously removing articles of clothing; 1 r per article, roll v. Wis each round to stop.)
Tune: Sleep (As the bard plays, all hearing will feel sleepy; roll v.
Con each round played.)
Motion: Hold Attention (Difficulty is based upon the target(s) total
Intelligence; target will not be able to focus on anything but what the bard directs.)
Tune: Tears (all who hear roll v.
Wis or feel deep sadness and sob uncontrollably.)
Note: Shatter (Striking the exact note allows the bard to cause any solid object of a single material to shatter.)
Song: Invigoration (All living who can hear will gain 12 HP as long as the bard plays.)
Tune: Control Elemental (One type of element from one source will temporarily fall under the control of the Bard (Move at the
Bard’s speed).)
Motion and Voice: Illusion (All seeing will temporarily see what the Bard wants them to within 5 feet of the bard.)
Note: Blindness (Target must roll v. con or be permanently blinded.)
Dance: Weapon Dance (bard can dodge all attacks as at AC 10 and strike with 2 weapons based upon
Dex.)
Missile Catch (up to 1 per point of
Dex of the Bard.)
Tune: Animate Object (Object will act under the bards orders as if it had all stats equal to the bard’s.)
Hearing Vision (The bard can concentrate on the sounds around him or her and “see” all
Cha
Wis
Cha
Wis
Int
Int
Wis
Con
Con
Dex
Dex
Int
Wis
Dex
Wis
Dex
Int
Wis
Con
42
-10
-10
10r
1r
-20 20r
-5 1r
-5
-10
1r
1r
-10
-10
-10
-10
10r
1/10 R
1r
1r
-10
-5
-10
-5
-5
-5
-5
-10
-10
1r
1/10 r
1r
1r
10 r
10r
Roses and Ramparts
3
3
5
5
4
4
4
4
4
3
4
4
4
5
5 objects within 20 feet, even those hidden, invisible, or inside of other objects (even living beings.))
Acting: Cause Fear (The target will feel a sense of dreaded fear toward the Bard.)
Acting: Immitation (What ever action another has recently taken, the bard can imitate, given proper props, with similar results.)
Song: Wind Voice (The bard can sing and have his or her voice carry to any individual at any distance.)
Write a Song/poem/tune (The bard can develop a new song with new powers under the guidance of the
GM (New songs will always take 5 slots.)
Speak any language (The bard must hear a language spoken for at least 1 hour.)
Tune: Confusion (all who hear will lose 1 point of Int per round as long as they can hear it.)
Note: Disrupt Flesh (target will receive d4 damage.)
Speech: enfeebling (Target will
“feel” weaker (-1 STR/r) as he/she listens to the bard.)
Dance: Exhausing (One target will attempt to keep up with the mothions of the bard (usually by attacking and missing) until completely exhausted (Bard’s AC
50 temporarily.)
Tune: Hastening Call (All listening will temporarily move at double normal speed without increasing their fatigue.)
Song: Magic Disruption (the difficulty of this is based upon the total int of the original spell caster(s.))
Instrument Specialist: Gives a +10 to all tune skills when using the specialized instrument.
Staging: For each hour the bard can spend in an area preparing it for use, the bard gains +1 to any skill applied in that area.
Costuming: For each hour the bard can spend preparing a costume
(self only), the costume can be designed to effectively raise str, dex, con, or cha 1 point. Costumes have 1 HP per level of the bard.
Alterations: given 1 week, the bard can rework any skill currently possessed to either use a different stat, double or half the speed, or reverse the effect.)
Wis
Int
Dex
Wis
Int
Wis
Int
Int
Wis
Wis
Dex
Con
Dex
Int
None
None
None
None
-10
-10
-10
-1
-10
-10
-10
-5
-10
-5
-10
-10
-5
-10
1r
1/r
1r
1 hour
None
None
None
None
None None
None none
1 hour
1 month at 2 hours per day
1 hour
1r
1/r
1/r
20 r
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Bards can work together, multiplying their effects. For example, a bard can write a song in 1 month at 2 hours per day; two bards could complete the song in ½ of a month, but three bards could complete it in a week, and four in just over three days. Two bards humming to be ignored would mean that those rolling v. int would be ½ as likely to succeed, and three bards would drop that to ¼.
Bards, through their training, are naturally immune to other bard works. They are also immune to bard like effects from harpies, sirens, or others at 10% per level.
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Healers
Healers devote their lives to learning the complex art of healing the body. They use not only natural means such as first aid, medicine, and herbalism, but add in arcane magics and potion making. Healers are often seen as an indispencible part of every adventuring party. However, healers have the severe draw back of not being allowed to use any weapons nor any form of fighting. Doing so will immediately take from them their Healing Touch for a full month.
Healers are expected to wear obvious signs (GMs should decide what these will be for their world) of their profession.
Nearly all intelligent races will recognize these signs, and nearly all will avoid causing harm to a healer.
Healers, being the basic health nuts of the game, roll 2d4 per level for HP and receive double the HP bonus for
Constitution. Injured healers regenerate 1hp per level per hour.
It is possible to burden the player of a healer with hundreds of herbs to learn, mixtures to memorize, spells, and much more, but that just makes the game go in the wrong direction.
Therefore, except in rare cases where the GM makes it part of the game to find special ingredients, it will be assumed that a healer can either buy healing supplies from most town suppliers (at fairly reasonable rates) or spend 1-4 hours per 1-
4 doses searching for them in the wild (although not in developed or barren areas.)
All healers start with two basic powers:
Craft Healing Elixer
WIS
This creates a basic potion that will heal flesh wounds (not including broken bones, severed parts, or removed organs) and purify the body of ailments or infections (not magical maladies.) The healing effect is d4 per level of the healer who created it. Such potions can be stored in a solid silver flask for 40 days, glass for 10 days, clay for 4 days, or other containers for 1 day.
Additionally, all but very powerful undead will avoid contact with a healer, and at higher levels, healers can destroy undead.
Additionally, Healers buy the following at 2 slots each level:
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Slots
½
½
½
½
½
½
½
½
½
1
1
1
1
1
2
Skill
Calming Touch: Touched person will be calm and passive for d10 rounds.
Sense Injury: Anyone who has an injury
(affecting Con or HP) within 25 feet will instantly be sensed by the healer.
Improve healing rate: The healer can make an elixir that will double the natural healing rate of a person who drinks it for 1 day. It may be taken daily.
Healing Touch: This power will mend any physical afliction at a rate of one point per hour per level of the healer.
Anything that disrupts the healer from touching the patient during an hour negates all healing effects for that time. After each hour, the healer must rest for an hour before healing again.
Crafting Healing Potion: This creates a basic potion that will heal flesh wounds (not including broken bones, severed parts, or removed organs) and purify the body of ailments or infections (not magical maladies.) The healing effect is d4 per level of the healer who created it. Such potions can be stored in a solid silver flask for
40 days, glass for 10 days, clay for 4 days, or other containers for 1 day.
Set and Cast Bones
Close Massive Wound: stops continued
HP loss from gaping wounds.
Strengthen Shield/Armor: Increases the HP of item by d20 and damage absorbtion by d20. This can be done repeatedly to the same object.
Draw Injury: pulls the full damage of a wound directly into the Healer upon touching a target.
Craft Simple Potions – Create a potion which has a weak or limited effect if ingested or injected: ie. Sleep potion, vomiting potion.
Sense Poison – The healer can see/smell/feel the presence of poison in a target.
Calming Voice – If target hears the voice of the healer for 1 full round regardless of language, the target will be calmed toward the healer (but not others.) Target will refuse to cause harm to the healer for d4 rounds, even if charmed.
Sense Life – If something is alive, the healer will know. He of she must be within 25’ of the target.
Reattach limbs – the healer is able to take whole body parts and reattach them to the body they came from originally. This takesd8 hours.
Transfer HP- The healer is able to use
Attrib
Dex
Con
Int
Wis
Wis
Str
Dex
Wis
Con
WIS
WIS
CHA
INT
DEX
WIS
Penalty
-10
-10
-10
-10
-10
-5
-5
-10
-10
-5
-5
-5
-10
-10
-10
Time
1r
None
2 hours
1/hour
3 hours
1 hour
5 r
6 hours
Instant
1 hour
1r
1r
1r
8 hours
10 r
46
2
2
3
3
4
4
2
2
3
Roses and Ramparts this power if allowed to place a hand on two willing targets, moving permanent health points from one target to another. Each attempt moves either d4 HP from one to the other, or
10 times that number if the attempt is a failure.
Call Gaurdian – In any given battle, the healer is allowed to call upon any being present to act as a gaurdian. This being will do all in its power to protect the healer from harm (though this may not be in a manner that the healer chooses.)
Also, the healer must attempt to heal the guardian from any damage or injury as soon as possible and immediately release the guardian from the bond. If the guardian dies while serving and the healer is not able to restore life, the healer looses all healing abilities for d10 days.
Rapid Healing Touch – The druid can use this power to rapidly heal a target of damage (d4 per level of the healer.)
The effect is instantaneous, however, the drain on the healer is also instantaneous: the healer looses all strength and thus all ability to move or speak for d20 hours.
Cure Blidness
CURE Deafness
Cure Poison – The healer must stay focussed on the target to be cured for
1 hour per point of damage the poison causes.
Curse – If a being physically or magically attacks the Healer, the healer is able to speak one word and curse that being. The curse will cause
1 point of HP to be drained from that being and given to the Healer until either the being is dead (ending the curse immediately) or the healer lifts the curse. This will even bring the healer back from the dead.
Disrupt Undead – By using this power, the healer is able to cause severe agony and damage to undead creatures
(d6 per level damage) at a range of 10 feet radius times the number of healers present.
Healer’s Mark – The healer is able to mark an item of pure metal, usually a ring, which will grant the same effect as Healing Touch as long as the healer is alive.
Restore Life – The healer is able to restore life to a body after the body is repaired (the healer must first heal the body of all injuries before restoring life.) The target must roll vs. CON-10; failure will mean death
CHA
CON
WIS
WIS
WIS
WIS
WIS
DEX
WIS
47
-1 per 10 points of HP of the guard.
1r
-10
-10
-10
-5
-10
-10
-20
-10
Instant
1 hour
1 hour
Special
1r
1r
48 hours
1 hour
4
5
5
5
5 will reoccur in d4 days.
Animate Corpse – This power enables the healer to turn a dead body into a zombie which will follow commands as if it has an INT of 3.
Regrow Body – As long as the healer has the tiniest part of the target’s body, he/she is able to regrow any part or even the entire body of the target.
The body or part will regrow at a rate of 1 HP per day (if an arm is lost and causes 20 HP damage, it will take 20 days to grow a new arm; if th healer has just a bit of hair from the target who had 45 HP, it will take 45 days to grow the body.
Note: This does not restore life to the part or the body, but by using other powers the healer can attempt to do this.
Remove Magical Ailments
Heal Comrads – The healer is able to restore HPs to those he/she chooses within a 50 foot radius as though touching.
Hold Life – The healer is able to temporarily cause one target (only one at a time) to hold on to life no matter how much injury is sustained. However, if the target’s body is completely destroyed, once the healer stops holding that life it is gone; and if the healer stops holding the life of a target, the full extent of the damage hits immediately.
WIS
WIS
WIS
WIS
WIS
-5
-15
-10
Roses and Ramparts
-10
-10
1 hour
Special
24 hours
1r
1r
48
Roses and Ramparts
Druid
Druids seek peace and power through the natural world. The workings of men and their magics, even that of Healers, runs contrary to the world of the druid (just the presence of one of these who actively uses their skills should cause a penalty to the druid’s skills.) Often druids will seek out secluded places and avoid the cities of men, these highly developed places making the druid’s power more difficult to access (the
GM will normally give penalties to the druid’s skills, larger penalties for higher development.) Caverns which are naturally made or burrowed by living creatures are acceptable to them, but carved or crafted tunnels cut the druid off entirely from nature, thus making their skills almost useless (unless some happens to be present for other reasons.)
Despite these challenges, the druid is a very valuable part of an adventure. Their powers as part of nature are a wonderful addition to the game. Druids only have a d6 per level for HP, but in a natural setting (touching some living, wild thing such as a bird or grass or tree) they heal at 1 point per round, even if on the brink of death (-9 hp.) If a druid dies but the body is preserved (not burned completely or disintegrated), then there is a 10% chance per level of the druid that another lving creature will give its life to the character, restoring life (the GM can have a little fun with this, however, instilling in the character some of the traits of the creature that gave its life.)
Above these rather impressive powers, druids start with 5 slots from the following powers.
Slots
½
½
½
½
½
Skill
Imitate Animal: Druid can make his/her voice, smell, and even footprints mimic that of any animal.
Hide in Nature :In a natural surrounding the druid is able to blend in to the point of complete invisibility.
Move through nature :In a natural setting, the druid is able to move unhindered by natural barriers including walls of thorns, snow drifts, or even naturally flowing waters. This does not confer the power to breath under water.
Tough Skin :The druid’s skin becomes a natural armor, giving a +2 to AC. The effect lasts for one round per level of the druid.
Thorny Touch: Touching the druid’s skin will cause d10 thorns (d4 damage each) to become embedded in the victem’s skin. These thorns must be removed in 10 rounds or damage will double each 10 rounds they remain as the thorns grow.
Attrib
Con
Dex
Dex
Con
Str
Penalty Time
-5 1r
-10
-10
-5
-10
3r
1r last 1h
1r/l
1r
49
1
1
1
½
1
1
1
2
2
2
3
½
½
3
3
Dark Vision: The druid is able to see in the dark in the same way a nocturnal animal can.
Wild Attacks: The druid, through his/her affinity with animals, may make attacks that immitate those of a wild beast: one attack per free limb (d4 each), and one bite
(optional) if mouth is free (d10). If the bit does 10 points of damage, the druid is attached to the victem’s throat (if it has a throat; if not the druid will be attached to some other vital part) causing an additional
10 points of damage per round until dislodged.
Animal speed: The druid may move at the rate of a fast animal for the purpose of running.
Fool the Wise: By use of this power, the
Druid is able to appear as any animal to any being with a wisdom above 5.
Leap: Using this power, the Druid is able to leap up to his/her level times height.
Stone Skin: Like tough skin, but this gives the druid a +10 to armor class.
Lighten self: This allows the druid to reduce his or her weight by a factor of his or her level.
Speak with Animals: Obviously this allows the druid to speak to all animals.
Speak with Plants: This is a little different as plants don’t actually have a language of their own. The GM should just give the druid the general impressions of the plant such as something dark or light, damage, etc.
Glide: The druid is able to glide on winds and updrafts or fall at an incredibly slowed rate (1 foot per minute.) This only allows control in a limited fashion over flight direction (Roll vs. Dex-10 each round; failure means the druid changes direction at random.) If there are no winds, the druid cannot rise from the height he/she is currently at.
Call Animal Aid: When the druid calls in this way, some animal that is native to the area will come at its highest speed to help the druid in what ever way its natural abilities will allow.
Absorb Lgiht: The druid can ignore eating and drinking as long as a single ray of sunlight can touch his or her skin once per day (with a successful roll of course.)
Disrupt Unnatural Power: With this ability, the druid is able to break up the powers of
Wizards or Clerics including undead. Add the level of the caster of the power to be disrupted to the difficulty to succeed.
Additionally, this will take 1 round per level of the caster of the power being disrupted.
Share Regeneration: The druid is able at this level to share his or her regeneration power (regaining hp each round in a natural setting) with other creatures being touched. As long as the druid is touching the target and something natural and living, the Druid may heal that target 1 point per round. The druid may not restore life to the dead in this way.
Immunity to extreme elements: The druid may use this power to resist any damage which may be caused by Earth, Air (or lack of air),
Wis
Str
Dex
Wis
Str
Con
Con
WIS
Wis
Dex
Wis
Con
Wis
Con
Con
50
-10
-10
Roses and Ramparts
1r
Last 10r
1r
-10
-10
-5
-10
-5
None
-5
1r
Last 1h
1r
Last 1h
1r
1r/L
1r/l
1h
1h
-10
-10
-5
-10
-10
-10
10r
1r
Special
Special
Special
1r
Roses and Ramparts
3
3
3
3
4
5
Water, or fire.
Sunshine: The druid may take in sunshine by looking directly at the source for 1 round and store it internally. At will the druid can use this sunlight either slowly to grant light and warmth to an area 20’ radius for an hour, or as a burst shooting forth doing d6xlevel to one target (may be redirected with mirrors.)
Commune w/Animal: This power allows the druid to enter the mind of any animal within
1 mile of the druid. While in the mind of the animal, the druid can direct the animal to any action which is normal for that kind of creature. Additionally, the druid can use all of the creature’s senses. If the druid fails on a roll attempt for this skill, he or she will mental places with the target animal (it will be in his or her body) until the two creatures physically touch. If the distance between them becomes greater than 1 mile, then the bond will be broken and both will be trapped in the new body perminanetly (although the druid may attempt to make a new connection, fail, make the bond break, and thus be trapped back in his or her orriginal body again.)
Charm Animal: Though it is up to the GM to determine if something in the game is an animal or not, most creatures of extremely low intelligence including humanoids with an INT of 5 or less are subject to this power.
The druid may give them orders (as far as the druid is able to communicate) and they will obey as long as the command is within their normal abilities.
Control Plants: This ability allows the druid to control the speed and growth pattern of any plant. After a successful roll, and as long as the druid is not disturbed, the druid can control all plants within a 5’ raduis (times the druid’s level.)
Speed of growth is increased by a factor of the druid’s level (a second level druid can make a plant grow twice as fast, a 5 th level can go five times as fast.)
Transfigure: Upon a successful roll, the druid is able to change into any natural creature (including plant life) for 1 hour per level of the druid. During this time the druid will maintain normal intelligence but in all other ways shall be the transfigured being. If early return is desired, the druid must again roll for a transfigurement.
Mass Call: The druid, through this power, can call an army of animal aid. The army must be of a kind typical to the area, but the druid may choose what common animal in the area responds to the call and how they respond. Typically all of a certain species of animal in a 10 mile radius will come.
Con
Wis
Int
Wis
Con
Wis
-10
-5
-10
-5
-10
-20
Special
1r
1r
1r
1h/l
10r
As a druid increases in level, they also gain 2 slots each level.
Druids gain a level every 2000 experience points times the level to be gained.
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Roses and Ramparts
Fighter
Fighters are a rather interresting class, choosing a path through life of war, battle, and pain. Unlike barbarians, fighters train hard to become skilled in all areas of fighting.
It is far more than merely hitting their opponent with a weapon; true fighters work with and without weapons, train in wound care and sometimes even battle surgery, and even learn how to stop opponents without killing. Fighters gain a d12 each level for HP.
Fighters are given five slots at first level and two added slots each level thereafter (1500 exp times the level to be gained.)
Slots
½
Attrib
Str
Penalty Time
-5 1r
½
½
½
½
½
½
½
1
1
1
1
1
1
Skill
Unarmed Fighting: damage from successful hits will cause d4 damage times the level of the fighter.
Mounted Fighting
Resist Stun
Ignore Pain: Effects of pain (usually making things more difficult) can be ignored by the trained fighter.
First Weapon Proficiency: The first weapon a fighter trains in always does double damage, double stunning, or even doubling of effects from Improved weapon attacks.
Ignore Armor Weight: For normal people, armor removes any AC bonus from dex and restricts some movements. If the fighter tries, he/she can ignore the effects of the weight of armor.
Sense Opponent’s Attack: This lowers the chance that a fighter can be surprised and removes the chance of being back stabbed.
Armor and Shield repair: The fighter can effect small repairs to armor and shield, d4 repairs the the item’s HP.
First Aid: Stop loss of HP with 1 round of care per point HP lost from a wound. Wound heals at double the natural rate with daily care by the fighter.
Shield Use: Allows the fighter to block completely one attack per round, the shield taking the full damage from the attack until destroyed. Any object may be used as a shield, though the GM should use reason here. This can be done at the same time as other skills.
Disarm Opponent: This only works if the opponent is using a held weapon (you cannot disarm claws.)
Dodge Attack: Allows the fighter to dodge out of the way of one attack per round. This can be done at the same time as other skills.
Parry Attack: If the fighter is facing an opponent with a similar weapon, he/she may parry one attack per level each round. This
(these) action(s) can be immediately followed by one free attack on an attacker.
Stunning Blow: Carefully placed attacks to
Dex
Con
Con
Str or
Dex
Str
None
Wis
Wis
Dex
Dex
Dex
Dex
Str
-5
-5
-5
None
-10
None
-10
-5
-10
-10
-10
-10
-10
None
None
None
1r
1r
None
4h
10r
1r
1r
1r
1r
1r
52
3
3
3
2
2
4
5
5
5
2
2
3
4
Roses and Ramparts opponents of “normal” body types can result in a momentary stunning of the victim
(d4 rounds.) The victim’s CON increases the difficulty of this attack.
Makeshift Weapon: The skilled fighter can turn anything into a weapon, with a little thought. The potential damage such a weapon can inflict is based upon a d4 roll:
1=d4, 2=d6, 3=d8, and 4=d10.
Flurry of Attacks: For the fighter wiling to forgo all defence, it is possible to let loose a rapid series of attacks (10 per round.)
During this time, however, the fighter gains no benefits from dexterity, armor, or special attacks; also, no other Fighter
Trained Powers are allowed during the round.
Added Weapon
Improve Weapon Attack: This will increase the damage the fighter can do with a weapon he or she is already skilled in. This skill can be purchased as often as the fighter desires. Each time it will increase the number of dice rolled for damage: 1d?,
2d?, 3d?, and so on.
Occupy Opponent(s): The fighter can choose to keep an opponent busy instead of simply hitting them. The down side is that the opponent does not take any damage and can still try and hit you; the up side is that the fighter can engage up to his/her level in opponents simultaneously, and if one tries to break away and face someone else, the fighter gets a free hit at the maximum damage allowed on the opponent.
Catch Missile: As long as the missile is within the fighter’s physical strength to catch, it can be done without injury to the fighter.
Capture Weapon: The Fighter can choose to trap an opponent’s weapon for a full round, rendering the weapon useless for that round.
Field Surgery: If the fighter trains hard, he/she can actually use surgical skills to heal wounds, mend bones, and bring characters back from the brink of death.
The target must be of a similar body type (ie.
Humanoid) in order to work, or of a kind the fighter normally encounters (horses.) For one hour of surgery, the fighter can heal
10% of the damage up to 50%. After that the wounds must heal naturally (although First
Aid will still heal these at double the rate.)
Improve Weapon: By working with a weapon
(sharpening, balancing weights, making small adjustments), the fighter can increase the damage the weapon will do temporarily (1 round per level of the fighter.)
Back Stabbing: The fighter can outflank an opponent or strike from behind doing a massive hit (damage x STR.) Opponents who are not surprised can roll v. wis to avoid the attack.
Added Attack per round
Added AC +1
Added HP +d4
Int
None
Int
Dex
Str
Wis
Dex
Dex
None
None
None
-5
None
Special -10
None None
-10
-10
-10
-5
-10
-20
None
None
None
1r
None
1r
None
1r
1r
1r
1h
1h
1r none
None
None
53
Roses and Ramparts
Fighters gain skills in their ability to fight as they increase in levels. This takes the form of weapon proficiencies (weapons that can be used without penalties), number of attacks, and unarmed attacks.
54
Roses and Ramparts
Ranger
Rangers could be called professional hunters. They are akin to the fighter and the druid, but even take on some skills of healers and wizards. As such, they are often seen as living outside of the laws, wild, and somewhat dangerous.
Rangers receive a d8 for HP at each level plus 1 HP for each wild pet which travels with him or her. Rangers get 5 slots to begin with, and 2 more per level.
Slots
½
½
½
½
½
½
1
1
1
2
2
2
Skill
Track: Rangers are especially gifted at following tracks.
Hunting/Fishing: Rangers can gather wild game food (though the type found each time is at the GM’s discretion) at a rate of d10 rations per hour of hunting/fishing.
Gathering: Rangers can gather plants.
Berries, and roots (though the type found each time is at the GM’s discretion) at a rate of d20 rations per hour.
Bow Use:: Rangers with this skill gain a
+1 to damage with each arrow times their level.
Sense strong emotion: Just as animals can smell fear, the ranger can sense strong emotions.
Find Water: If there is water within 100 feet, the ranger will be able to point the direction to it.
Craft Outdoor Shleter: Rangers are skilled at creating small shelters that fit the environment and protect from the elements. Each shelter can house
1 person per level of the ranger.
Hide in Natural Surroundings: This allows the ranger to become practiacally invisible in a wild setting.
Hide/Find Tracks: An obvious skill.
Natural Cures: The ranger may find herbs and other items needed to heal d4 damage per level of the ranger.
Healing effects will take d4 hours to be fully effective.
Call Wild Pet: Rangers can have up to their CHA in wild pets. These pets will aid the ranger to the best of their abilities as long as they live. The ranger makes the call by being within
20 feet of the target pet and speaking to it for an hour. The Wild Pets will not hurt one another, but this does not imply that the wild pet will like or even put up with other companions of the ranger. Wild Pets stay with the ranger until one of them dies.
Sense Danger: If something poses a
Attrib
Wis
Dex
Int
Dex
Wis
Wis
Dex
Wis
Int
Int
Cha
Wis
Penalty Time
-5 1r
-10
-5
-5
-10
-10
-5
-10
-5
-10
-10
-10
1h
1h
1r
1r
10r
10r per person
1r
1r
1h
Special
1r
55
Roses and Ramparts
5
5
5 threat to the ranger, he or she will sense it at 10 feet per level.
Second Weapon Proficiency: The ranger can take either a str weapon or a dex one.
Talk with animals
Added shot with bow per round
Special -10
Wis
None
-10
None
1r none
None
Rangers need 1500 experience times the level to be gained to gain a level.
56
Roses and Ramparts
Wizard
Wizards devote their lives to “knowing” the greater and lesser secrets of the world. Most find employment as advisors to royalty, rarely seeking such honors to themselves as they detract from the really important matters of gathering knowledge for magic. Wizards gain only a d4 for
HP.
Most wizards begin their careers as either court magicians or jesters. There is a great deal of the theatrical about them as all great wizards seek to keep their knowledge secret.
Wizard Skills per Level
Slots
½
½
½
½
½
½
½
½
1
1
1
Skill
Speed/Slow Time: The caster is able to adjust the flow of time in a small area or for a single creature. Unfortunately, the side effect is each time the caster alters time at all, his/her age is affected by d20-5.
Life Share: The caster is able to place part of his/her life force (HP) into an object or other creature (forcing a bond of friendship between them.) Or the caster is able to take part of the life force of a target into him/herself (though each point up to the caster’s normal maximum hp is a -1 to the roll, and each point above the caster’s normal maximum is a -5 to the roll..)
Mind Share: Allows the caster to imbue objects or creatures temporarily with his or her mind (if amount is higher that the current intelligence, the caster controls the target.) Or the caster can temporarily take part of the target’s mind into his/her own (though each point of intelligence of the target is a minus to the success, failure meaning that the caster becomes subject to the mind of the target.
Caster rolls each round to regain control, regaining only on the roll of a 1)
Shape Air: Causes air to move in patterns and directions that the caster desires.
Shape Water: Makes water take on a form temporarily.
Shape Fire: Makes a burning flame take any shape.
Shape Earth: Shapes solid earth (stone) into whatever shape the caster desires.
Telekinesis: Move objects with the mind of the caster up to the INT of the caster in lbs per level of the Wizard. The speed is also limited to the caster’s INT in miles per hour times the level of the caster.
Read Magic
Write Magic
Sense Magic (5’ range)
Attrib
Int
Int
Int
Int
Int
Int
Int
INT
Int
Int
Wis
Penalty Time
-10 1r
-10
-10
-5
-5
-10
-10
-10
-5
-5
-10
1h
10r
1r
1r
1r
10r
None
None
None
1r
57
Roses and Ramparts
2
3
4
4
2
2
3
3
3
3
Craft/Charm Temporary Items
Craft Weak Potions
Combine two cantrips
Weaken/Strengthen Magic
Shield from elemental damage +5
Combine three cantrips
Sense Magic use/user
Shield Mind – protection from mind share
Combine four cantrips
Craft/Charm permanent items
Int
Dex
Int none
Int
Con none
Wis
Int none
Int
Dex
Int
Int
-5
-10
-10
None
-10
-5
None
-5
-10
None
-10
-15
-10
-10
4
4
4
4
4
5
5
5
5
5
5
Craft Strong potions
Break Magic – break the spells of lesser magicusers.
Speed Cantrip – Single cantrip spells take only
1 round to cast.
Improved Element Shield +25
Improved Magic Sense (20’ range, know the nature of the spell, identify caster)
Deflect magic – turns aside magic of others.
Self Magic – Any spells directed internally
(only at the caster him/herself) take 1/10 of a round no matter how many cantrips are involved.
Reflex Spells – complex sets of spell effect can be set up ahead of time to immediately be triggered by specific events.
Distance Magic – For each 10 times longer on a spell, the caster can double the range of his/her magic.
Dismiss Magic – Wizard can choose to immediately dispell the effects of any spell cast by a wizard of lesser level.
Touch Magic – the wizard takes 1/10 of a round on any spell affecting something the caster can touch.
Int
Con
Int
Int none
Int
Int
Level
Dex
-10
-10
-10
-10
None
-10
-10
None
-10
* A sepparate roll must be made for each cantrip(the ½ slot skills.) Failure on any one roll means the whole spell fails.
24h
1h
None
1r
1r
None
1r
1r
None
1 month
8h
1h
None
10r
10r
None
None
Special
Special
None
1r
Spell Failure
If a spell fails, there is a 50% chance that some magic will still occur. If it does, use the following table for the results with a d20:
1-10 – Spell Sparks – Caster recieves d4 in damage.
11-15 – Spell Backfires – The results of the spell turn back on the caster (or away from.)
16 – Spell Doubles – The spell doubles in strength.
17 – Spell Twists – The spell works on the target but the results are twisted (usually agaist the spell caster’s good.)
18 – Mage Flies – d20 little gnat like, faintly glowing lights are released and hover permanently around the caster (10 th level Wizards or higher can dismiss them.)
58
Roses and Ramparts
19 – Mage Maggots – like Mage Flies, d4 appear. These little worm like creatures immediately burrow into the caster’s skin. Each lowers the caster’s intelligence by one point until removed (can be burned out with drops of molten silver (d6 each drop), or removed by Self Magic.)
20 – GM’s gambit – As the GM, come up with something you want to afflict or otherwise torment the caster with.
Example of Wizard Magic at work:
GM: Ahead in the tunnel you can see three Trolls.
Bert: Don’t look at me. My sword won’t even scratch Troll hide.
Criss: The stars are not in line for me.
Mark: What? Sure, leave them to the mage. Okay, how far away are they?
GM: Twenty feet. They are clearly out of your nine foot range.
Mark: True. What are they doing?
GM: Roasting someone over a fire and laughing. They don’t seem to have noticed you yet.
Mark: Cool. There are loose boulders around on the floor, aren’t there?
GM: A few.
Mark: Good. Okay, I’m going to reshape one of the larger boulders so that it is hollow and has wheels. Big enough for me to fit inside. Oh, and I want a little window to see out of.
GM: Okay… roll with a -3. That’s a little complicated but not too bad.
Mark: [rolling a 1] Doesn’t get much better than that!
59
Roses and Ramparts
Other Skills
Players may also choose additional skills based upon their level and intelligence.
INT 0-2
3-5
6-8
No added Skills per level
1/2 Added Skill per level
1 Added Skills per level
2 Added Skills per level 9-11
12-15
16-17
18
3 Added Skills per level
4 Added Skills per level
5 Added Skills per Level
Gaining New Skills
Classes often gain new skills automatically as they increase in level. Other skills (not class specific) can only be gained when you have someone present to teach the skill. These skills use the same rules for improvement as the class skills: any roll of a 1 (successful or not) improves the skill by d4-1 (0-
3 points); on a roll of a 20 (again, successful or not, and again before adjustments) the score is adjusted by d4-3 (-2 to +1.)
� Acting 1 Cha -1
� Agriculture 1 Int +1
�
Alertness 1 Wis +1
� Animal handling 1 Wis -1
� Animal training 1 Wis 0
� Artistic ability 1 Wis 0
� Backstabbing 1 Dex -10
� Balance 1 Dex 0
� Bargain 1 Wis -2
� Barkeeping 1 Int 0
� Bartending Int 0
� Bee-keeping 1 Wis 0
� Blacksmithing 1 Str 0
� Blazoning 1
� Boasting 1
Int +1
Cha +3
� Boating 1 Wis +1
� Boatwright 1 Int -2
� Body language 1 Wis -2
� Brewing 1
� Butcher 1
Int 0
Int +1
� Candle making 1 Int 0
� Caravaneer 1 Wis 0
� Carpentry 1 Str 0
�
Cartography 1 Wis 0
� Cartwright 1 Int 0
� Catching 1
� Chanting 1
Dex 0
Wis +3
� Cheese making 1 Int 0
� City lore 1 1
� City lore 1
�
Climbing 1
� Cobbling 1
Int +1
Int -2
Dex -2
Dex 0
� Comedy 1
� Commerce 1
Cha 0
Wis -1
� Cooking 1 Int 0
� Craft instrument 2 Dex 0
� Crowd working 1 Cha +2
� Cryptography 1 Int
�
Dairyman 1 Int 0
� Dancing 1 Dex 0
� Danger sense 2 Wis -10
� Debate 1 Int 0
� Decoding Int -10
� Differencing 1 Int +2
� Diplomacy 1 Cha 0
� Direction sense 1 Wis +1
� Distance sense 1 Wis 0
� Diving 1 Dex 0
� Draftsmanship 1 Dex 0
� Drinking 1
� Drover 1
Con -15
Int +1
� Dyer 1 Int -1
� Eavesdropping 1 Int +1
� Etiquette 1 Cha 0
� Falconry 1
� Farming 1
Wis -1
Wis 0
� Fashion 1
� Find water 1
Wis +1
Int 0
� Find/RemTrap 1 Dex -10
�
Fire building 1 Wis -1
� Fire control 1 Dex 0
� Fishing 1
� Freefall 1
Wis -1
Dex 0
� Fungi recognition 1 Int +3
� Gaming 1 Cha 0
� Geography 2 Int 0
�
Geology 2 Int -1
� Glazier 2 Dex 0
� Goldsmithing 1 Dex 0
� Heat protection 1 Int -2
� Heraldry 1
� Hiding 2
Int 0
Int -1
� History, family 1 Int 0
� Intimidation 1 Cha 0
�
Kissing 1 Cha -2
� Laijutsu 2 Dex 0
� Languages 5 Int 0
� Law 2 Int 0
� Leatherworking 1 Int 0
� Masseur 1 Str 0
� Mathematics 1 Int 0
� Merchant 1
� Miller 1
Int -1
Int 0
� Mime 2 Cha +1
� Mind over body 1 Wis -2
� Mining 2 Wis -3
� Monster trivia 2 Int -2
� Mortician 1 Int +1
� Navigation 2 Int 0
� Net making Dex 0
� Nightsight 1 Wis -2
� Observation 1 Int 0
� Orienteering 2 Wis 0
� Persuasion 1 Cha 0
� Pharmacy 1 Int 0
�
Pick Locks 1 Dex -10
� Pick Pockets 1 Dex -10
� Poetry 1
� Poison 2
Cha 0
Int Special
� Pottery 1 Dex -2
� Psionic detection 1 Wis -2
� Reading Int
�
Riding, airborne 2 Wis -2
� Riding, land based 1 Wis +3
� Riding, sea based 2 Wis -2
� Riding, space based 2 Wis -3
� Rope making 1 Dex 0
� Rope use 1 Dex 0
60
� Sail manipulation 1 Dex 0
� Scribing 1 Dex 0
� Seamanship 1 Dex +1
� Seamstress/tailor 1 Dex -1
� Seduction 1 Cha -2
� Semaphore 1 Int 0
� Shipwright 2 Int -2
� Sign language 1 Int +2
� Signaling 1 Int +2
� Silversmithing 1 Dex 0
� Singing 1
� Skiing 1
Cha 0
Dex-1
� Skinning 1 Int 0
� Slow respiration 1 Con 0
� Smelting 1 Int -1
� Sound analysis 1 Wis 0
� Spacemanship 1 Dex +1
� Spell mimicry 2 Int -2
� Spell History 2 Int -1
� Spying 1 Int 0
� Statecraft 1
� Stealth 1
Int 0
Dex 0
� Stewardship 1 Int 0
� Stonemasonry 1 Str -2
� Story telling 1 Cha 0
� Survival 2 Wis -3
� Swimming 1
� Teaching 1
Str 0
Wis 0
Roses and Ramparts
� Throwing 1 Dex 0
� Tightrope Walk 2 Dex -15
� Toasting 1
� Torture 1
Int -2
Int 0
� Torture resist 1 Con -2
� Weather sense 1 Wis -1
� Weaving 1 Int -1
� Whistle/hum 1 Dex +2
� Wine making 1 Wis 0
� Wine pouring 1 Wis 0
� Wine tasting 1 Wis 0
� Writing 1 Int
� Yelling 1 Cha
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Equipment
One of the fun parts of creating a character is outfitting him or her with all of the things needed for an adventure. Your character’s starting funds depend upon your GM.
GMs can choose to either give uniform gold to each player, a lump sum to the group, or assign random rolls for gold based upon class or social status. I generaly recommend 3d6x10 for average wealth, 3d4x3 for poor, and up to 3d12x10 for richer characters.
Think through the items your character has carefully. Buy those things you need to survive. Quite often you GM will put you in a situation at the beginning of the scenario where you can gather information and shop for other things needed. Buy everything you need for your character to do his or her job.
How To Choose Your Equipment.
By Tony Reeves.
Choosing your equipment is not only fun, but can also mean the difference between having a good adventure, and having one go sour. Often new players don’t realize how important their equipment really is, this is generally because they haven’t experience all the nuances of the game, or some of the things that a wily Dungeon Master can throw their way. Even my own players fail to ask what equipment to choose, which leads to a good chuckle from me sometimes. Let’s face it. It isn’t always easy to choose your PC’s stuff. Often players will just choose a few items, and leave out the most important things!
This being the case most often with new players, I decided to write this article to see if I could help a bit. In here, I hope to provide a list of standard equipment that you should never be without, give some useful tips on choosing “special” items, and give you a couple of veteran “tricks.” I also hope to address a few of the rules, which were not well defined, or are difficult to locate.
All of the information contained herein came strictly from the 1 st edition rules, specifically from the PHB, DMG, UA, WG, and DG. My researches into theses subjects delved even further than that though, since the information was so scattered, or non-existent! I even found myself perusing
Dragon magazine articles, the second edition books, (which differ significantly I might add, particularly where encumbrance is involve. IF you’re curious just compare the strength charts between 1 st & 2 nd editions), and also from the cover of the player character sheets released in the 1980’s. I
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Roses and Ramparts sifted through all this data with an eye on reality, before I even began to engage my calculator. I found the bulk density of Gold, made some calculations, conferred with a fellow engineer, and started writing. Specifically this had to do with the sizes, I used for small sacks, large sacks, and backpacks, and I found later after my calculations had been done that my numbers tied in quite nicely with what little is stated in the original books. The things I found have cleared up several gray areas in my own game, and I hope the data contained herein will help some of you too!
In the beginning….
You should always try to choose your characters’ equipment based on several criteria. Your DM will nearly always allow you to be in a place to make purchases from the various shops, and vendors. Before picking up your stuff, though, you should spend some time gathering as much information as you can. You should know where you're going, and try figure out what type of creatures you're likely to be facing. You should pay close attention to the weather, and know what the weather is going to be like wherever it is you're going. Pay very close attention to this! If you're going to a desert area, then you need to make sure you carry extra water for you, and your mount, or you could risk dehydration, starvation, or worse! Carry extra food too! If you're going someplace cold, then make sure you carry a winter cloak, extra blankets, boots, water, (even though you can potentially melt snow!), and maybe even some extra firewood in case there isn't any nearby, or the wood is frozen. If you don't take these things into consideration, and do the "little things", then things will go hard for you later.
Believe me, many DM’s enjoy making life difficult for players that don’t prepare. Always know how far you have to go too, because if you don’t you may run out of food, or water, and could find yourself walking! As far as monsters go, if you know you are going to meet lycanthropes, then adjust your equipment accordingly! Buy Holy water, wolfs bane, silver weapons, or seek magical items, which you expect will affect the creature(s) in question. Don’t forget scrolls for protection, death’s door, or resurrection for the cleric, or spells for the mage! Be prepared! You should always purchase a few healing potions at the very least! Your cleric isn’t going to be right beside you every second! Besides, why should the cleric or druid have to pay for all the healing potions? What if your cleric dies? Surely you know the Gods don’t always answer prayers! If you don’t know what is effective against certain creatures then ask other PC’s, clergymen, sages, magic users or even shopkeepers! Often benign information
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Roses and Ramparts can come from the strangest places! Being prepared will leave you with a lot less trouble and who knows might even save your neck some time!
You have to have a place to carry all those items, right? Right!
So to start with, the first thing you have to consider is the strength of your character. In first edition, all weights and volumes are combined together, and this is called encumbrance. Encumbrance is a major part of knowing how much weight (and volume) your character, his mount, and items can carry. You must know how much you can carry, before you can carry it! Strength is the prime requisite that helps determine how much you are allowed to lug around. On page
9of the PHB (Players Hand Book) is the strength attribute chart. If you peruse it, you’ll see a column titled weight allowance. Weight allowance is always measured in gold pieces. Note that anytime weight is mentioned, you keep in mind that 10 g.p. are equivalent to 1 pound. The strength chart shows basically that the higher your strength, the more you can carry. Conversely, the weaker you are, the less you can carry. Also there’s a portion of this chart that says that you can carry the “normal” amount. What is the normal amount?
Well, for a fellow with an average strength of 8-11, it references 500 g.p (50 lbs) as being the average amount you can carry, without suffering any encumbrance penalties. If you look at the bottom of pg. 225 in the DMG (Dungeon Masters
Guide), at the bottom left side of the page, you’ll see that there’s a note that says the maximum weight an average person can carry is 1500 g.p. (150 lbs) with full movement & encumbrance penalties! This person can barely move. The number in the strength chart is to be added to or subtracted from the base (500g.p. or 50 lbs) and this will give you your min/max scores. For instance, a PC with 17 strength has a carrying capacity of 1000 g.p. (100 lbs) without suffering any encumbrance penalties, and his total maximum is 2000 g.p. (200 lbs) One other thing to remember it to exclude from total encumbrance are the following items: clothing worn, material components (as long as they’re not too bulky!), thieves’ tools, and even helms (up to the size of a great helm).
These things are not to be included while figuring up your encumbrance and while you can carry more than your minimum, if you want to make a fast getaway from that red dragon that’s began chasing you at full speed, then you’d better consider dropping something quick! So, this all being said, you really have to keep a sharp eye on the weight of what all you’re carrying, and it also makes it even more important to look for and obtain items such as bags of holding, Hewards’
Handy Haversack, etc.
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Roses and Ramparts
Your backpack, how much it can contain, its appearance, special features, and its material of construction become even more important when you become fully aware of the effects of encumbrance. Getting the data, so you that know more about your backpack isn’t very easy either! I searched extensively through the 1 st edition rules and found nothing that gives the amount a backpack can carry, its volume, or what its even comprised of! I kind of like this in a way, because every backpack I ever saw was different anyway! That leaves it up to the Dungeon Master (and/or his players) to decide what it is and how to make it fit in. If you are using encumbrances then I guarantee this will come up, if it hasn’t already! In the case of a backpack for example, it may hold 750 gold pieces, but it is not overly full, and there is still space inside it. It might be on the point of ripping out the seams! In other words, if you don’t know how big your backpack is by volume, then you really don’t know how much it holds! In this case, for the sake of ease, I’ll describe what I consider to be a
“standard” backpack. I’ve used this same description in my games for the last 20 years. I don’t generally utilize small, medium or large backpacks, because these are things that should be purchased directly from a leather worker, if they are wanted. I consider a backpack to be one of those things that’s specifically designed to be carried by a normal or average person, (with a base Strength 10). Remember your min/max encumbrance? This being the case, in my game, a backpack will hold exactly 750 g.p. (75 lbs) maximum. Note that this number also includes the volume, and that is important! It’s not too likely that the average person living in medieval times would be carrying 750 g.p. inside a backpack anyhow, much less be able to carry it! However a person could carry a few potions, a small hand axe, pitons, lantern, or other items that may not weigh much but are bulky, weigh little, or do take up quite a bit of space without weighing much. You'll need to consult your Dungeon Master to confirm exactly what your backpack can hold, as many items are quite bulky, may take up space that has not been considered. He should be able to tell you exactly what you can put in your backpack. To that end, I’ve detailed the area of the standard backpack in a list below as well as some other items that I thought might be handy as a quick reference.
When you design or purchase a backpack, consider its material of construction carefully. For some DM’s the standard backpack is made of cloth, others use leather.
Consult your DM regarding this because as you adventure, you'll find that leather is much more sturdy than cloth, and it can take the outside elements much better. Technically,
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Roses and Ramparts leather just gets a better saving throw than cloth does. Take advantage of this. There are also many different types of leather, such as alligator skin, cowhide, dragon hide, etc. and this too may help your saving throws. Another consideration is what features the backpack has. For instance, does it have external straps, hooks, or external pockets? If so, that’s to your advantage. Remember you need a place to put your shield, crossbow, rope, etc, if you want to get to them quickly. In a melee, it can take anywhere from 5-10 segments just to get into your backpack, and find what your looking for! Now imagine your crossbow buried beneath potions, gold, bed-roll, extra clothes, or even tangled up in your rope! Wouldn’t it be humiliating to be killed by a lowly goblin while rummaging around in your backpack? How much would your companions laugh? Make sure to get information from your DM. Sorry I got a bit carried away, so now back to my standard backpack. Mine are always comprised of sturdy, thick bull’s hide to resist the elements. It’s also been treated with waterproof, nonflammable oil. Each one has 2 (12” x 1” long) leather straps, 2
“ brass rings, or hooks on each side, bottom, and on top.
There’s also a strap (or again a hook) just below the two brass buckles, specifically designed for holding a shield or lantern.
It also has a small leather loop, or ring on the very top so it can easily be hung on Milord’s coat rack, or Sea Biscuits’ saddle horn. Colors are optional. One last word about backpacks, what you put into one, a good thief, or sneaky old hobgoblin can take out! Many veteran adventurers go out of their way to protect their belongings from others. Special locks, protective spells, and many other means can be purchased if an imaginative fellow looks or asks around. All I can say to this is, be inventive it’s more fun, and oh yeah, just because that dead fellow’s lying there beside the road, doesn’t mean you can just go up and ransack his backpack! You may find yourself standing in the nearest local jail cell sharing it with the town drunk, or wishing that fireball hadn’t gone off!
There are some other places where you can carry goods. I want to go over a few things first though to set up a kind of basis for some basic items. I’m not changing anything, only doing a bit of clarification. Note that there might be some things you or your DM disagree with. Starting out, it is clear that one gold piece equals 1/10 th pound. This is mentioned several places throughout the books. However no mention is made of how large, or small a gold piece is! For all intents and purposes, I computed that a gold piece is 1-1/4” diameter and 1/8 th inch thick since gold is quite heavy in its pure form.
Gold weighs approximately 1210 pounds a cubic foot, in other
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Roses and Ramparts words a block of gold 1 foot by 1 foot by 1 foot would weigh roughly 1210 lbs! That said, a small sack would be 8 in. diameter and 12 in. tall and would hold exactly 112 gold pieces, a large sack would be 24 in. diameter and 36 inches tall, and it would hold exactly 336 gold pieces. This is as close as I could get to the wide ranges of numbers in first edition while maintaining the size of the gold piece. To further clarify, if one were to fill a bag to this extent it would be on the verge of ripping. Considering the density of pure gold,
(remember that in medieval times there were very few pockets of pure gold and there were few methods of removing the impurities, unlike there are today). For the record, based on the coin size above I say a small sack will hold 100 g.p. and a large sack 300 g.p. maximum. Following these figures, I have included a small list below of common items, their capacity in pounds, and gold pieces, as well as the area of each. Note:
Again just because an item will hold the amount of weight, does not mean it will fit inside it! For instance the weight of a quarterstaff is 2 g.p and a small sack is capable of holding 2 g.p. easily, however the staff is much too long to go into the sack! Another rule of mine is that if the weight exceeds the maximum amount an object can hold, then the seams will rip, the object will become unwieldy (thus severely penalizing movement & dexterity), will cause faster exhaustion, will cause the straps to break, material to tear, and will cause severe, moderate or mild chafing, caused by straps or strings.
DM’s are encouraged to use these, or any other problems they see fit when excessive weights are being handled. I encourage you to use your imagination.
Item
Backpack
Belt pouch, large
Belt pouch, small
Sack, large
Sack, small
Small chest
Large chest
Saddle bags (Each side)
Capacity
In pounds
75 lbs.
3 lbs
2 lbs
30 lbs.
10 lbs.
1210 lbs
2420 lbs
25 lbs
Capacity in
Gold Pieces
750*
30
20
300
100
12,100
24,200
250
Dimensions
WEIGHT X HEIGHT
X THICKNESS
16”W X 18”H X 12”T
10”W X 5”H X 8”T
6”W X 4”H X 6”T
24”dia. X 36”T
8” dia. X 12”T
1’ X 1’ x 1’ CUBE
2’ x 2’ x 2’ CUBE
1’x 16” x 8”
Animals and their carrying capacities in Gold Pieces (From the
Wilderness Survival Guide)
Unencumbered
3000
4000
5000
Maximum
5000
6500
7500
Animal
Lt War horse
Med War horse
Heavy Warhorse
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2000
5000
2000
5000
3000
7500
4000
10000
Pony
Mule
Pack ape
Elephant
One forgotten place to carry items is the saddlebags on your horse, or riding beast. I generally consider that each set of saddlebags can carry at the very least as much as a backpack, and every horse should have a set. A pannier is used with stronger pack animals such as mules. Basically these are frames that fit comfortably over the mules back, so that large leather sacks, wooden boxes or baskets can be tied and carried with the contents safe. Each single pannier such as one used for a mule can carry up to 2000 g.p. without the mule being discomforted, or encumbered! The maximum weight for a mule is a whopping 7500 g.p, though the mule will fight and not want to move! At this weight it most certainly would have some movement penalties! Since a large sack can hold 300 gold pieces, and a small sack 100 gold pieces, either of these could easily be tied to your mule, or horse unless your riding beast is wearing heavy barding, or you had no rope to tie it on with. I suggest you carry your horses’ food and water, as well as any bulky items in your saddlebags. Carry the things you won’t need in the dungeon, but might otherwise be of use!
Usually, there are some standard items I place in every backpack. I use this same list if a character needs items really quickly, or for an NPC whenever I DM. These items should always be carried and include:
ï‚·
ï‚·
ï‚·
ï‚·
ï‚·
ï‚·
ï‚·
ï‚· water skin
Iron rations for 2 weeks
6 torches (or lantern)
Flint, steel, and tinderbox
2 small sacks, (for treasure)
Sharpening stone, (For fighters & thieves only!)
Oil for armor, and weapons, (For fighters & thieves only!)
Lantern oil.
Also I include 2 healing potions, or more whenever I can get them. Pretty short list isn't it? Remember these are just basic necessities, and should never be overlooked anytime you adventure. If you’re going out with less than this, then you can expect the DM to have some fun with your character!
Needless to say this might not be “fun” for you!
Other things you may want to consider are personal items.
Some items should be chosen because of your characters’
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Roses and Ramparts personality traits, or even class. For instance, every thief should have 2 sets of lock picks. After all what happens if one set gets broken or damaged? What about acid for those reluctant locks, or blinding powder? Now granted, these are not powerful items, and may be costly, but if they help just one time, or save your characters life, then what’s a few gold pieces? Other considerations for items might come from your alignment, or even personal tastes. Take a lawful character for instance. He may decide to carry a comb, or brush, not because he is vain, but because they believe in being orderly, and thus cares for his appearance. The same character might also choose to carry a small silver cup, plate and spoon, which would be mighty useful at supper when you camp! Not to mention the fact that this character would likely be quite civilized, and such a fellow would never consider eating with his fingers when not appropriate! The small items like these only help to further establish your PC, and help give him character! They also provide some fun role-playing opportunities. Now that you see this, use your imagination and see what other things you can come up with! Just remember not to overload yourself. To keep from doing this, write down the minimum and maximum weight you can carry next to strength or someplace near your backpack where it’s visible!
Note to the GM:
Prices listed here are for general use. In your game you may need to lower or raise prices to reflect the economy. If characters come back to a small town with lots of gold, prices will likely go up sharply as merchants try to make more money. One fun thing to do is to give your merchants a personality and let the players haggle over prices. Also, sometimes offer a really good bargain price, but include the chance that the item will be defective.
Most of all, have fun.
Note: Some prices have the letter “d” next to them. These prices are usually very flexible with merchants. Prices without the d are usually fixed.
Price List
Item GP Weight Store Notes
Accommodation, dorm 1d n/a Innkeeper per day
Accommodation, room 6d n/a Innkeeper per day
Acid, strong 30d 0.05 Apothecary per ounce
Acid, weak 6d 0.05 Apothecary per ounce
Ailettes, cour-boulli 15d 0.5 Armorer coverage: Sh
Ailettes, plate 75d 2.3 Armorer coverage: Sh
Alchemist's burner 80
Alchemist's glass works 65
Alcohol - ale (light) - 2
3 varies
4 per half-gallon pitcher
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Alcohol - beer (heavy) -
Alcohol - brandy -
Alcohol - moonshine -
Alcohol - tonics
Alcohol - wine -
Alcohol - wine -
3
20
Alcohol - champagne - 18
Alcohol - mead (sweet) - 1
12
1
10
4
4
5
5
4
8
5
1
5
5 per half-gallon pitcher per bottle per bottle per half-gallon pitcher per jug
(foul tasting) - per pint good quality - per bottle poor quality - per bottle
Ale 0.25d 1 Innkeeper per pint
Ale, cask 250d 280 Innkeeper
Ale, hogshead 72d 70 Innkeeper
Amber 16d n/a Jeweller per ounce
Ambergris 180d n/a Whaler per ounce
Anchor, boat 12d 20 Shipwright
Anchor, ship 100d 100 Shipwright
Apples (see: Fruit)
Apron, full length, cloth 25
Apron, full length,le 60
3
6
Apron, waist down, cloth 15 2
Armillary sphere 720d+ 50 Metalsmith
Arrowheads 6d 0.5 Fletcher per dozen
Arrows 15d 1 Fletcher per dozen
Arrows, anti-armor(1) 3d 0.1 Fletcher each
Arrows, blunt(2) 6d 1 Fletcher per dozen
Arrows, edged(3) 4d 0.1 Fletcher each
Arrows, incendiary(4) 3d 0.1 Fletcher each
Arrows, whistling(5) 2d 0.1 Fletcher each
Ass - 1100 carries 300lbs/pulls1000lbs
Astrolabe 320d+ 2 Shipwright +20 to piloting EML
Awnings 18d n/a Tentmaker
Axe, wood 12d 2 Metalsmith
Axle 6d 15 Metalsmith
Backpack - leather – sm 40 4
Backpack - leather – sm 20 2
Backpack, frame 30d 3 Hideworker 30 lbs. cap.
Backpack, frameless 18d 2 Hideworker 15 lbs. cap.
Bacon 2d n/a Foodmerchant per pound
Bag, canvas, lg. 5d 3 Tentmaker 20 lb. cap.
Bag, canvas, sm. 2d 1 Tentmaker 10 lb. cap.
Ball and chain 60d 4 Metalsmith
Ball, lead 4d 1 Metalsmith
Ball, leather 4d 1 Hideworker
Ballgown - extravagant 300+
Ballgown - simple 150
Bandanna 2
Barge 800
Barley 5d 10 Foodmerchant per bale
Barrel, cask 40d 24 Woodcrafter 32 gal. cap.
Barrel, hogshead 15d 6 Woodcrafter 8 gal. cap.
Barrette 50 fancy - gold - no gems
Barrette
Barrette
55
30 fancy - gold - with gems (gem value is extra) fancy - silver - no gems fancy - silver - with gems
(gem value is extra)
Barrette
Barrette
Barrette
Barrette
Barrette
Barrette
Barrette
35
12
18
25
30
15
20 fancy - wood - no gems fancy - wood - with gems
(gem value is extra) plain - gold - no gems plain - gold - with gems
(gem value is extra) plain - silver - no gems plain - silver - with gems
(gem value is extra)
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Barrette
Barrette
5
10
Basket 2d 1 Thatcher plain - wood - no gems plain - wood - with gems
(gem value is extra)
Basket - wicker, no handle 2
Basket - wicker, large 4
Bastard sword 180d 5 Metalsmith
Battleaxe 100d 6 Metalsmith
Battlesword 230d 8 Metalsmith
Beads, clay 5d 0.1 Potter per dozen
Beads, copper 7d 0.1 Metalsmith per dozen
Beads, glass 12d 0.1 Glassblower per dozen
Beads, wooden 3d 0.1 Woodcrafter per dozen
Beans 0.25d n/a Foodmerchant per pound
Bear, trained 300d+ n/a Animal Trainer
Beartrap 20d 4 Metalsmith
Bed, four post 200d n/a Woodcrafter
Bed, wooden frame 50d n/a Woodcrafter
Beef 2d n/a Foodmerchant per pound
Beef - jerked - per pound 5
Beef - leg or roast 25
Beef - salted - per pound 4
1
12
1
Beef - side 75
Beef - smoked - per pound 4
Beef - steak
Beef - whole cow
4
190
150
1
4
300
Beer 0.25d 1 Innkeeper per pint
Beer, cask 250d 280 Innkeeper
Beer, hogshead 72d 70 Innkeeper
Beeswax 1d n/a Beekeeper per pound
Bells, hand 5d+ 1 Metalsmith
Bells, small 1d+ 0.5 Metalsmith
Bells, temple 200d 50+ Metalsmith
Belt - cloth - no buckle 2
Belt - cloth – w/ buckle 4
Belt - leather - no buckle 4
Belt - leather – w/ buckle 6
Belt - rope - no buckle 1
Belt, leather 10d 1 Hideworker
Beltpouch, buckram 5d 0.5 Clothier five lb. capacity
Beltpouch, silk 35d 0.5 Clothier five lb. capacity
Biggin
Bit and bridle
5
3 3
(thin cloth head covering to go under helmet
Blacksmithing tool kit - 100
Blanket - cloth
Blanket - wool
6
10
80
2
5
Blanket, heavy 20d 8 Clothier
Blanket, horse 12d 4 Ostler
Blanket, light 10d 3 Clothier
Block and tackle 6d 2 Woodcrafter
Bodice - fancy 80
Bodice - plain 50 specialized hammers, tongs, clamps, etc. protects to -5°C protects to -10°C
Books 10+1d 1+.02 Scribe base + per page
Books - common/novels 250 5 100-200 pages
Books - paper - glued
Books - parchment
50
100
8
3
4
200-500 pages
100 sheets
100 sheets
Books - parchment
Books -
150
450
Bookshelves 2d 1 Woodcrafter per foot of storage
Boots - knee - cloth 15
Boots - knee - hard le 35
4
7
100 sheets professional/religious
Boots - knee - soft le 25
Boots - short - cloth 8
Boots - short - hard le 20
Boots - short – reinf 30
71
Roses and Ramparts
Boots - short - soft le 15
Boots - thigh - soft le 35
Boots, calf 38d 2.9 Clothier coverage: Ft Cf
Boots, knee 44d 3.3 Clothier coverage: Kn Cf Ft
Boss gore 12d 1 Metalsmith
Bottle – glass, 1 pint 5
Bottle, glass 6d 0.5 Glassblower one quart capacity
Bottle, perfume 5d 0.1 Glassblower one ounce capacity
Bowl, ceramic 3d 0.5 Potter
Bowl, copper 6d 0.5 Metalsmith
Bowl, pewter 4d 0.5 Metalsmith
Bowl, wooden 2d 0.5 Woodcrafter
Bowstring 2d 0.05 Ropemaker
Box - 50 8
Box -
Box -
30
20
5 metal, hinged lid – large - 10x8x8 inches metal, hinged lid – small - 5x5x5 inches - W rigid paper, lift-off lid – large - 5x5x5 inches
Box -
Box -
15
10
Branding iron 18d 1 Metalsmith rigid paper, lift-off lid – medium - 3x3x3 inches rigid paper, lift-off lid – small - 2x2x2 inches
Brandy, hogshead 1800d n/a Innkeeper
Brandy, per glass 4d n/a Innkeeper
Brass 3d n/a Miner per pound
Brazier 100d 25 Metalsmith
Bread - four loaves 1 1
Bread, rye 0.25d 0.25 Foodmerchant per loaf
Bread, wheat 0.5d 0.25 Foodmerchant per loaf
Breastplate, kurbul 60d 2.2 Armorer coverage: Tx Bk
Breastplate, plate 300d 9.0 Armorer coverage: Tx Bk
Bridle 12d 2 Ostler
Broadsword 150d 3 Metalsmith
Bronze 4d n/a Miner per pound
Bronze Leaf - 2 oz
Brooch/Clasp -
50
100 fancy - gold - no gems
Brooch/Clasp -) 150 fancy - gold - with gems
(gem value is extra) fancy - silver - no gems Brooch/Clasp 50
Broom 1d 1 Thatcher
Brush, wooden 3d 0.25 Woodcrafter
Brushes - low quality 4
Brushes - Sable hair
Bucket with handle
20
7 2
Bucket with handle W 5 3
Bucket, copper 10d 2 Metalsmith
Bucket, wooden 4d 1 Woodcrafter metal - 5 gallons - W wood - 5 gallons -
Buckle (for belt)
Buckle (for belt)
130
65
1
1
Buckler 24d 3 Metalsmith
Buckram, cloth 10d n/a Clothier per square yard
Bull 600 fancy - gold-plated - no gems fancy - silver-plated - no gems
Buns 0.5d 0.25 Foodmerchant per dozen
Buns/rolls - two dozen 1 1
Butter 0.5d n/a Foodmerchant per pound
Butter - salted 3 1 per pound
Butter - unsalted 2 1 per pound
Buttermilk 2 1 per pint
Cabinet 144d 50 Woodcrafter 400 cubic feet
Cage - large
Cage - medium
130
80
40
25
Cage - small 30 10
Cage, iron, large 50d 40 Metalsmith 100 cubic feet
Cage, iron, medium 25d 20 Metalsmith 27 cubic feet
Cage, iron, small 12d 8 Metalsmith one cubic foot
Cage, wood, large 30d 20 Woodcrafter 100 cubic feet
Cage, wood, medium 15d 10 Woodcrafter 27 cubic feet
72
Roses and Ramparts
Cage, wood, small 7d 4 Woodcrafter one cubic foot
Calf 60d n/a Farm/market
Calf boots -- see boots
Caltrops - per 10- W 5 2
Caltrops, cavalry(6) 10d 2 Metalsmith per square yard
Caltrops, infantry(6) 6d 1 Metalsmith per square yard
Camel
Can opener
1300
6 1 carries 400lbs/pulls 1200lbs
Candle, calibrated 10d 0.25 Chandler time-telling; 8 hrs.
Candleholder, hand 4d 0.5 Metalsmith
Candles, beeswax 24d n/a Chandler per pound (12 hrs.)
Candles, tallow 8d n/a Chandler per pound (8 hrs.)
Candlestick, iron 7d 1 Metalsmith
Cane 500 6 fancy - hidden rapier
Cane - fancy
Cane - plain
Cane - plain
Canned Fruit
Canned Vegetables
80
250
30
4
3
5
5
4
2
2 hidden rapier - W
Canvas 3d 3 Clothier per square yard
Canvas stalls 24d 20 Tentmaker
Canvas, waterproof 10d 4 Shipwright per square yard
Cap 15 muffin style with ties
Cap - plain 5
Cape - long - fancy
Cape - long - plain
50
25
Cape - long and hooded 80
Cape - long and hooded 35
-
- fancy plain
Cape - short - fancy
Cape - short - plain
40
15
Carpet, wool 40d 12 Clothier per square yard
Carriage - fancy
Carriage - plain
12,000
300
Carrier pigeon leg case 4
700
500
Cart - carries 1 ton 50
Cart - carries 1/2 ton 30
Cart harness 8
300
200
10 leather - W
Cart, two-wheeled 80d 300 Woodcrafter
Cask - wood - 10 gallons 18 25
Cask - wood - 25 gallons 30 40
Cask - wood - 4 gallons 12
Cat - barn 20
Cat - purebred
Cauldron - iron - W
150
120
15
100
Cauldron, iron 10d 30 Metalsmith 15 gal. capacity
Chain - heavy - per 10' - W20 10
Chain - light - per 10' - W10 2
Chain 125 (for necklace or bracelet) fancy - gold - per inch
Chain 75 (for necklace or bracelet) fancy - silver - per inch
Chain, heavy 5d 5 Metalsmith per foot; 1500 lb. max.
Chain, light 1d 1 Metalsmith per foot; 150 lb. max.
Chain, medium 3d 3 Metalsmith per foot; 500 lb. max.
Chair 12d 4 Woodcrafter
Chalk - dozen sticks 2
Chalk, bulk 1d n/a Mason per pound
Chalk, powder 4d n/a Mason per pound
Chalk, sticks 10d n/a Scribe per pound
Charcoal 0.5d n/a Charcoaler per pound
Charcoal sticks
Chariot - riding
2
400 150 per dozen
Chariot - war 1000 250
Cheese 1d n/a Foodmerchant per pound
Cheese - imported - 8 1 per pound
Cheese - local - 2 1
Chemicals/Drugs/Herbs - 2 per pound everyday - per oz
73
Roses and Ramparts
Chemicals/Drugs/Herbs - 100
Chemicals/Drugs/Herbs - 60
Chemicals/Drugs/Herbs - 25 extremely rare - per oz rare - per oz semi rare - per oz
Chicken 2d n/a Foodmerchant per pound
Chicken, live 6d n/a Farm/market
Chisel 6d n/a Metalsmith
Chopping board - wood 1 5
Cider 0.25d 1 Innkeeper per pint
Cider, cask 300d n/a Innkeeper
Cider, hogshead 80d n/a Innkeeper
Cigarette holder - W 30 1
Circlet (head)
Circlet (head)
Clasp - gold - barrel
45
25
6
1
1 fancy - gold - no gem fancy - silver - no gem
Clasp - gold - lobster 3
Clasp - silver - barrel 3
Clasp - silver - lobster 1
Clerical vestments
Cloak
Cloak
Cloak
Cloak
10
50
30
80
4
1
3
2
5 cloth - hooded - protects to -5°C cloth - protects to -5°C wool - hooded - protects to -10°C wool - protects to -10°C
60
Club 12d 3 Metalsmith
Coal 2d n/a Charcoaler per pound
Coat 9 down filled - long –
Coat
Coat
Coat
Coat
Coat
Coat
Coat
Coffee (dry) -
55
120
70
40
40
55
20
6
8
8
8
6
2
4
2
1 protects to -20°C 75 down filled – short protects to -15°C fur - fancy - protects to -15°C fur - plain/common protects to -10°C heavy - protects to -5°C leather, minimal lining protects to -5°C - W leather, padded lining protects to -15°C - W light - protects to 0°C per pound
Coffin 9d 50 Woodcrafter
Coins, debased n/a 0.001-0.02 Minter
Coins, gold n/a 0.006-0.05 Minter
Coins, silver n/a 0.002-0.02 Minter 1/160 pounds average
Comb 2d 0.1 Woodcrafter
Comb, horse 3d 0.25 Ostler
Contract 12d+ n/a Litigant
Cooking oil 1 1 per 2 pints
Copper 2d n/a Miner per pound
Costume set 120 25 basic decorative pieces
(cannot be used for disguise)
Coudes, kurbul 10d 0.4 Armorer coverage: El
Court appearance 12d+ n/a Litigant per day
Courtesan 12d+ n/a Courtesan per evening
Cow 115d n/a Farm/market
Cow 400
Cowl, long, mail 135d 4.5 Armorer coverage: Sk Nk Sh
Cowl, long, ring 63d 3.2 Armorer coverage: Sk Nk Sh
Cowl, long, scale 90d 5.4 Armorer coverage: Sk Nk Sh
Cowl, short, mail 90d 3.0 Armorer coverage: Sk Nk
Cowl, short, ring 42d 2.1 Armorer coverage: Sk Nk
Cowl, short, scale 60d 3.6 Armorer coverage: Sk Nk
Cowl/hood, beaver 27d 1.0 Clothier coverage: Sk Nk
Cowl/hood, buckram 9d 0.3 Clothier coverage: Sk Nk
Cowl/hood, ermine 60d 0.8 Clothier coverage: Sk Nk
Cowl/hood, leather 12d 0.9 Clothier coverage: Sk Nk
Cowl/hood, linen 6d 0.3 Clothier coverage: Sk Nk
Cowl/hood, quilt 24d 1.2 Clothier coverage: Sk Nk
Cowl/hood, russet 18d 0.4 Clothier coverage: Sk Nk
Cowl/hood, sealskin 30d 0.8 Clothier coverage: Sk Nk
74
Roses and Ramparts
Cowl/hood, serge 7d 0.4 Clothier coverage: Sk Nk
Cowl/hood, silk 55d 0.4 Clothier coverage: Sk Nk
Cowl/hood, worsted 28d 0.5 Clothier coverage: Sk Nk
Crab 1d n/a Fishmonger per pound
Crampons
Crate - wood
30
5
10
8
Crate - wood 30 15 well-made for shipping - W
Cream 6d 8 Foodmerchant per gallon
Cream - per pint 2 1 per pair, strap onto shoes/boots rough planks, no top, etc.
Crossbow 60d 5 Metalsmith
Crossbow bolts 20d 1 Metalsmith per dozen
Crow Quill Pen 3
Crowbar 9d 2 Metalsmith
Cuirass, kurbul 120d 4.4 Armorer coverage: Ab Tx Ch Bk
Cuirass, plate 600d 18.0 Armorer coverage: Ab Tx Ch Bk
Cup, ceramic 1d 0.25 Potter
Cup, copper 3d 0.25 Metalsmith
Cup, pewter 2d 0.25 Metalsmith
Cup, wooden 0.75d 0.25 Woodcrafter
Cutlery - fork 8
Cutlery - fork
Cutlery - fork
3
1/2 fancy - gold fancy - silver plain - metal plain - wood fancy - gold
Cutlery – fork
Cutlery - spoon
Cutlery - spoon
Cutlery - spoon
Cutlery – spoon
1/2
8
3
1/2
1/2
Cutlery - knife
Cutlery - knife
8
3
Cutlery - knife 1/2
Cutlery – knife 1/2
Dagger 24d 1 Metalsmith fancy - silver plain - metal plain - wood Cutlery - table fancy - gold fancy - silver plain - metal plain - wood Cutlery - table
Deed 18d n/a Litigant
Disguise kit 300 40
Dishes - bowl/plate
Dishes - bowl/plate
Dishes - bowl/plate
Dishes - bowl/plate
Dishes - bowl/plate
10
8
8
3
7
2
1
1
2
1
Dishes - bowl/plate
Dishes - flagon/pitcher
Dishes - flagon/pitcher
Dishes - flagon/pitcher
Dishes - flagon/pitcher
Dishes - serving platter 35
Dishes - serving platter 20
Dishes - serving platter 20
Dog - trained - guard
5
15
25
4
5
80
Dog - trained - hunting 150
1
2
5
4
3
4
2
3 does not include makeup, just set of generic robes and clothes fancy - ceramic/china fancy – metal fancy - wood plain - earthenware plain - metal plain - wood fancy - ceramic/china fancy - glass plain - earthenware plain - wood fancy - ceramic/china fancy - metal fancy - wood
Dog - trained - shepherd 120
Dog - untrained 30
Dog, sled 50d+ n/a Animal trainer
Dog, trained 24d+ n/a Animal trainer
Donkey 150d n/a Ostler
Donkey
Doublet - fancy
1100
120
Doublet - plain
Dowsing rod - W
Dress/Gown - fancy
Dress/Gown - fancy
Dress/Gown - plain
Dress/Gown - plain
Dried Fruit
Dried Vegetables
80
10
100
60
30
50
1
1
2
1
1 carries 300lbs/pulls 1200lbs silk and embroidered accents silk cloth wool per pound per pound
75
Roses and Ramparts
Drinking vessel – goblet 20
Drinking vessel – goblet 12
Drinking vessel - goblet 8
Drinking vessel - plain 3
2
1
1
1 glass metal wood earthenware
Drinking vessel – plain 7 1
Drinking vessel – plain 5 1
Drum, bass 50d 8 Woodcrafter
Drum, hand 20d 2 Woodcrafter metal wood
Duck 2d n/a Foodmerchant per pound
Duck, live 9d n/a Foodmerchant
Dye, average 30d n/a Clothier ounce (green, brown)
Dye, rare 100d+ n/a Clothier per ounce (blue, red)
Dye, very rare 160d+ n/a Clothier ounce (purple, orange)
Ear cuff - fancy - gold 18
Ear cuff - fancy - silver 10
Ear cuff - plain - gold 8
Ear cuff - plain - silver 4
Eggs 2d n/a Foodmerchant per ounce
Eggs - per dozen 1 1
Embalming 200d+ n/a Embalmer
Etching needle 4
Etching plate
Eye patch - leather
15
3
1
Falcastra 60d 6 Metalsmith
Falchion 120d 4 Metalsmith
Falcon - trained 500
Falcon, trained 120d+ 5 Animal trainer
Feathers 6d n/a Fowler per pound
Feed (for livestock)
Feed (for livestock)
Feed (for livestock)
Feed (for livestock)
10
15
7
20
25
25
25
25
Fetters 6d 5 Locksmith
Fighting claw 12d 1 Metalsmith hay - per 25 lbs oats - per 25 lbs straw - per 25 lbs wheat - per 25 lbs
Firewood 0.5d n/a Charcoaler per pound
First aid kit 75 5 contains bandages, basic poultices, small blade, etc
Fish - common 2 5
Fish - game fish
Fish - salted -
Fish - shell fish
6
3
8
15
1
3 per pound per dozen
Fish - smoked 3 1 per pound
Fish, cod 1d n/a Fishmonger per pound
Fish, dried 2d n/a Fishmonger per pound
Fish, eel 0.75d n/a Fishmonger per pound
Fish, herring 0.5d n/a Fishmonger per pound
Fish, mackerel 0.25d n/a Fishmonger per pound
Fish, pike 1d n/a Fishmonger per pound
Fish, salmon 2d n/a Fishmonger per pound
Fish, salted 2d n/a Fishmonger per pound
Fish, trout 2d n/a Fishmonger per pound
Fishhooks 2d 0.1 Metalsmith per dozen
Fishing hook - barbed 4 (+5% to fishing skill)
Fishing hook - plain 2
Fishing line 2d 0.1 Ropemaker per ten feet
Fishing line 3 per 20'
Fishing pole 15 4 with simple wind - 6'
Five-leaf 8d+ n/a Apothecary per ounce
Flagon, pottery 4d 1.5 Potter
Flagon, wood 3d 1 Woodcrafter
Flail, grain 12d 2 Metalsmith
Flask - large - 2 pints 3
Flask - small - 1 pint 1
Flint and steel 3d 0.5 Metalsmith
Flour - per pound 1 1
Flour, rye 0.25d n/a Miller per pound
Flour, wheat 0.5d n/a Miller per pound
Flute, iron 18d 1 Metalsmith
Flute, wooden 3d 0.5 Woodcrafter
Fowl - chicken - whole 5 7
Fowl - chicken 10
76
Roses and Ramparts
Fowl - duck - whole
Fowl - duck
Fowl - goose - whole
Fowl - goose
8
10
12
15
Fowl - pheasant - whole 20
Fowl - pheasant 25
Fowl - pigeon - trained 30
Fowl - pigeon - whole 3
Fowl - pigeon 5
6
8
6
5
Fowl - quail - whole
Fowl - quail
Fowl - turkey - whole
Fowl - turkey
Frog - leather
10
12
15
20
3
4
15
(belt attachment to hold sword)
Fruit Juice - 2 9 per gallon
Fruit, apples 0.25d n/a Foodmerchant per pound
Fruit, berries 0.75d n/a Foodmerchant per pound
Fruit, dried +50% n/a Foodmerchant to basic price
Fruit, grapes 1d n/a Foodmerchant per pound
Fruit, pears 0.5d n/a Foodmerchant per pound
Fruit, plums 0.75d n/a Foodmerchant per pound
Fruit, raisins 1.5d n/a Foodmerchant per pound
Frying pan - iron - large 8 12
Frying pan - iron - small 4 8
Furs (see Hides)
Gambeson, quilt 228d 11.4 Armorer Ua Sh Tx Ab Hp Gr Th
Games - cards - marked 50
Games - cards - normal 10
Games - dice (pair) - 30
Games - dice (pair) 100
Games - dice (pair) 2
-
- fancy fancy - weighted normal - W
Games - dice (pair) 50 - normal - weighted
Gauntlets, leather 10d 0.8 Clothier coverage: Ha
Gauntlets, mail 75d 2.5 Armorer coverage: Ha
Gauntlets, ring 35d 1.8 Armorer coverage: Ha
Gem var. See Treasures
Girdle 8
Glaive 54d 8 Metalsmith
Glass, drinking 12d+ 0.75 Potter
Glass, stained 12d 1 Glassblower per square foot
Glass, window 3d 1 Glassblower per square foot
Gloves - fancy – cloth 10 hand only
Gloves - fancy - silk - 15
Gloves - fancy - silk - 25
Gloves - fancy - silk - 20
Gloves - fancy - silk - 30
Gloves - plain - cloth - 1/2
Gloves - plain - cloth - 1
Gloves - plain - leather 8
Gloves - plain - leather 5 hand only to elbow to mid forearm to mid upper arm no fingertips - protects to 0°C protects to -5°C lined - protects to -15°C unlined - protects to -5°C
Gloves - plain - wool - 1
Gloves - plain - wool - 2 no fingertips -10°C protects to -15°C
Gloves, buckram 8d 0.3 Clothier coverage: Ha
Gloves, leather -- see gauntlets
Gloves, russet 15d 0.3 Clothier coverage: Ha
Gloves, silk 46d 0.3 Clothier coverage: Ha
Glue 3d 1 Apothecary per pint
Goat 2d n/a Foodmerchant per pound
Goat 80
Goat, live 10d n/a Farm/market
Goblet, pewter 3d 1 Metalsmith
Gold 6400d n/a Miner per pound
Gold leaf - 1 oz 100
Goose 3d n/a Foodmerchant per pound
Goose, live 9d n/a Farm/market
Grainflail 12d 2 Metalsmith
Grant of arms 5000d+ n/a Herald
Grapple, heavy 35d 2 Metalsmith supports 300 lb.
Grapple, light 10d 1 Metalsmith supports 150 lb.
Grappling Hook - W 4 4
77
Roses and Ramparts
Grease 2d n/a Chandler per pound
Great Helm, plate 225d 6.8 Armorer coverage: Sk Fa Nk
Greaves, cour-boulli 60d 2.2 Armorer coverage: Cf
Greaves, plate 300d 9.0 Armorer coverage: Cf
Grindstone 24d 50 Mason
Habergeon, mail 645d 21.5 Armorer Ua Sh Tx Ab Hp Gr
Habergeon, scale 430d 25.8 Armorer Ua Sh Tx Ab Hp Gr
Habit 40
Hair brush - all wood - W 4 3
Hair brush -
Hair brush -
Hair comb -
Hair comb -
25
15
250
400
Hair comb -
Hair comb -
45
90
Hair comb - 60
Hair comb - plain - gold 45
3
2 metal with bristles - W wood with bristles - W intricately carved - ivory intricately carved - jade intricately carved - wood intricately wrought - gold intricately wrought - silver
Hair comb - plain - jade 225
Hair comb - plain - wood 10
Halfhelm, kurbul 30d 1.1 Armorer coverage: Sk
Halfhelm, plate 100d 3.0 Armorer coverage: Sk
Halfhelm, ring 28d 1.4 Armorer coverage: Sk
Ham 2d n/a Foodmerchant per pound
Hammer, utility 6d 2 Metalsmith
8
Handaxe 70d 3 Metalsmith
Hard Candy - per pound 8 1
Harness, horse 25d 8 Ostler
Harness, ox 18d 7 Hideworker
Harp 300d 20 Harper
Harpoon 40d 5 Metalsmith
Hat -
Hat -
Hat -
Hat -
Hat -
Hat -
Hat -
80
30
45
65
40
55
45 extravagant - women's style fancy - beret fancy - bowler style fancy - top hat fancy - Venetian style fancy - women's style jester style - no bells
Hat -
Hat -
Hat -
Hat - - W
Hat -
55
10
35
50
15 jester style - with bells plain - cloth - protects to 0°C plain - large brim outdoor, cloth plain - large brim outdoor, le plain - short brim outdoor, cloth
Hat -
Hat -
2
15 plain - straw plain - wool - protects to -10°C
Hat pin - plain end 8
Hat/cap, beaver 18d 0.7 Clothier coverage: Sk
Hat/cap, buckram 6d 0.2 Clothier coverage: Sk
Hat/cap, ermine 40d 0.5 Clothier coverage: Sk
Hat/cap, leather 8d 0.6 Clothier coverage: Sk
Hat/cap, russet 12d 0.3 Clothier coverage: Sk
Hat/cap, sealskin 20d 0.5 Clothier coverage: Sk
Hat/cap, serge 5d 0.3 Clothier coverage: Sk
Hat/cap, silk 36d 0.3 Clothier coverage: Sk
Hat/cap, worsted 19d 0.3 Clothier coverage: Sk
Hatchet 6d 2 Metalsmith
Hauberk, long, mail 900d 30.0 Armorer Ua Sh Tx Ab Hp Gr Th Kn
Hauberk, long, ring 420d 21.0 Armorer Ua Sh Tx Ab Hp Gr Th Kn
Hauberk, long, scale 600d 36.0 Armorer Ua Sh Tx Ab Hp Gr Th Kn
Hauberk, short, mail 855d 28.5 Armorer Ua Sh Tx Ab Hp Gr Th
Hauberk, short, ring 399d 19.9 Armorer Ua Sh Tx Ab Hp Gr Th
Hauberk, short, scale 570d 34.2 Armorer Ua Sh Tx Ab Hp Gr Th
Hay 1d n/a Thatcher per pound
Hide, beaver 30d 2 Hideworker
Hide, calf 16d 4 Hideworker
Hide, deer 6d 4 Hideworker
Hide, ermine/sable 30d 2 Hideworker
Hide, exotic 120d+ n/a Hideworker
78
Roses and Ramparts
Hide, horse 10d 4 Hideworker
Hide, lamb 3d 2 Hideworker
Hide, otter/weasel 24d 2 Hideworker
Hide, ox 12d 4 Hideworker
Hide, pig 5d 2 Hideworker
Hide, rabbit 1d 0.75 Hideworker
Hide, reindeer 16d 4 Hideworker
Hide, seal 24d 2 Hideworker
Hide, sheep 4d 4 Hideworker
Hoe 3d 2 Metalsmith
Holy symbol, brass 12d+ 0.2 Metalsmith
Holy symbol, iron 18d+ 0.2 Metalsmith personal
Holy symbol, wood 8d+ 0.1 Woodcrafter personal
Honey 2d 2 Foodmerchant per pint
Honey - per pint
Hoods -- see cowls
2 1
Horn, hunting 20d 1 Hideworker
Horn, musical 72d 1 Metalsmith
Horn, narwhal 60d n/a Whaler per pound
Horse, cart 225d n/a Ostler
Horse, plough 285d n/a Ostler
Horse, riding 440d n/a Ostler
Horse, war 720d+ n/a Ostler
Horsemeat 1.5d n/a Foodmerchant per pound
Horseshoe 1d 0.75 Metalsmith
Horseshoes 1 10
Hourglass - W 50 8
Incense 12d n/a Perfumer per pound
Ink (in bottle) -
Ink (in bottle) -
Ink (print) -
3
6
8
1
1
1 black - 6 oz colour - 6 oz heavy - 6 oz
Ink, black 24d 8 Lexicographer per gallon
Ink, blue 32d 8 Lexicographer per gallon
Ink, brown 40d 8 Lexicographer per gallon
Ink, green 32d 8 Lexicographer per gallon
Ink, red 48d 8 Lexicographer per gallon
Inkwell, copper 12d 1 Metalsmith
Inkwell, glass 30d 1 Glassblower
Iron, pig 0.05d n/a Miner per pound
Ivory 75d n/a Jeweller per pound
Ivory - bead - large 80
Ivory - bead - medium
Ivory - bead - small
45
25
Ivory - raw elephant tusk150 (pr: 300) 5
Jam - per pint 3 1
Jar - glass 1 ½
Jar - glass
Jar - glass
4
8
1
2
1 pint
2 pints
4 pints
Jar - glass 10 4 8 pints/one gallon
Jar, ceramic, large 8d 2 Potter two quart capacity
Jar, ceramic, small 4d 1 Potter one quart capacity
Jar, glass, large 18d 2 Glassblower two quart capacity
Jar, glass, small 9d 1 Glassblower one quart capacity
Javelin 36d 3 Metalsmith
Jerkin - fancy 85
Jerkin - plain 50
Jug - ceramic
Jug - ceramic
Jug - ceramic
Juggling - balls - 3
Juggling - pins - 3
10
25
15
35
50
5
15
8
1
4
4 pints/half gallon - W
5 gallons - W
8 pints/one gallon
Juggling - torches
Kettle - copper - - W
60
4
2
4
Kettle - iron - - W 5 15
Keys 2d+ 0.1 Locksmith
4 pints/half gallon
8 pints/one gallon
Kilt 125
Kite shield 72d 7 Metalsmith
Kite, crewed 250d 40 Woodcrafter 130 lbs. capacity
Kite, toy 4d+ 1 Woodcrafter
Knee boots -- see boots
Kneecops, kurbul 75d 2.3 Armorer coverage: Kn
79
Roses and Ramparts
Knife, kitchen 10d 1 Metalsmith
Knight shield 60d 5 Metalsmith
Lace 50d n/a Clothier per yard
Ladder - wood - 10' - W 30 20
Ladder, 8 feet 6d 5 Woodcrafter
Lamb 3d n/a Foodmerchant per pound
Lamb - leg or roast
Lamb - side
Lamb - whole
12
35
65
10
35
75
Lamb, live 6d n/a Farm/market
Lamp, glass(7) 24d 2 Chandler
Lance 120d 8 Metalsmith
Lantern, metal(7) 12d 1 Chandler
Lard 1d n/a Foodmerchant per pound
Lard - per pound 1 1
Lead 0.25d n/a Miner per pound
Leather, tanned 12d n/a Hideworker per square yard
Leggings, beaver 207d 7.8 Clothier Hp Gr Th Kn Cf Ft
Leggings, buckram 69d 2.3 Clothier Hp Gr Th Kn Cf Ft
Leggings, leather 92d 6.9 Clothier Hp Gr Th Kn Cf Ft
Leggings, linen 46d 2.3 Clothier Hp Gr Th Kn Cf Ft
Leggings, mail 690d 23.0 Armorer Hp Gr Th Kn Cf Ft
Leggings, quilt 230d 8.3 Clothier Hp Gr Th Kn Cf Ft
Leggings, ring 322d 16.1 Armorer Hp Gr Th Kn Cf Ft
Leggings, russet 141d 3.2 Clothier Hp Gr Th Kn Cf Ft
Leggings, sealskin 230d 6.0 Clothier Hp Gr Th Kn Cf Ft
Leggings, serge 54d 3.2 Clothier Hp Gr Th Kn Cf Ft
Leggings, silk 419d 3.2 Clothier Hp Gr Th Kn Cf Ft
Lighting - candle -
Lighting - candle -
5
1
Lighting - candle holder 2
Lighting - candle lantern 6
Lighting - charcoal - 4
Lighting - flint/steel 3
1
1 long burning (lasts 3 hours) normal (lasts 45 min)
(earthenware, uncovered) per pound
Lighting - oil - per pint 4
Lighting - oil lamp -
Lighting - oil lamp
15
8
Lighting - oil lantern 20
1
2
1
4
2
1
12hr, 2 pint
6hr, 1 pint
12hr, 2 pint
6hr, 1 pint Lighting - oil lantern 10
Lighting - tinder box - W 5
Lighting - torch 3 fast light, lasts 3 hours
Lighting - torch 1 1 full minute to light, 1 hour
Limestone, powdered 3d n/a Mason per pound
Linen, coarse 4d n/a Clothier per square yard
Linen, fine 25d n/a Clothier per square yard
Lingerie - cloth and lace 90
Lingerie - cloth 45
Lock 8d+ 0.25 Locksmith
Lock pick set - basic 50
Lock pick set - master 150
5
5 +10% on skill
Lockbox, large 24d+ 5 Locksmith 20 lb. capacity
Lockbox, small 12d+ 3 Locksmith 5 lb. capacity
Lockpick set, large 40d 1 Metalsmith +20 to lockcraft EML
Lockpick set, small 18d 0.5 Metalsmith +0 to lockcraft EML
Loincloth - leather 2 bottom and bikini-style top
Loincloth - leather 1 bottom only
Longbow 36d 3 Fletcher
Longknife 96d 1 Metalsmith
Longshirt, cloth 50d 2.55 Clothier Fo El Ua Sh Th Ab Hp Gr
Longshirt, leather 100d 7.55 Clothier Fo El Ua Sh Th Ab Hp Gr
Longshirt, quilt 200d 10 Clothier Fo El Ua Sh Th Ab Hp Gr
Longshirt, ring 350d 17.45 Armorer Fo El Ua Sh Th Ab Hp Gr
Lute 200d 3 Woodcrafter
Lyre 120d 3 Metalsmith
Mace 84d 4 Metalsmith
Magnifying glass - W
Makeup - personal
Makeup - brushes
100
40
35
1
1 per jar (50 applications per jar)
Makeup - stage
Manacles - hand
50
15 2 per jar of colour
(25 face applications per jar
80
Roses and Ramparts
Manacles - leg
Maple syrup
Maple syrup candy
25
2
3
2
1
1
Maps 12d+ n/a Cartographer per pint per pound
Marbles, glass 10d 1 Tinker per dozen
Marbles, stone 5d 1 Tinker per dozen
Mast 6d n/a Shipwright per foot
Maul 24d 7 Woodcrafter
Mead 0.25d 1 Innkeeper per pint
Mead, cask 250d 280 Innkeeper
Mead, hogshead 72d 70 Innkeeper
Meal, cold 0.75d n/a Innkeeper
Meal, hot 1d n/a Innkeeper
Meat, jerked +33% n/a Foodmerchant to base cost
Meat, smoked +25% n/a Foodmerchant to base cost
Mercenary, heavy 60d n/a Mercenary per day
Mercenary, light 15d n/a Mercenary per day
Mercenary, medium 35d n/a Mercenary per day
Milk - cow 4 9 per gallon
Milk - goat 2 9 per gallon
Milk, cow 3d 8 Foodmerchant per gallon
Milk, goat 2d 8 Foodmerchant per gallon
Milk, sheep 2d 8 Foodmerchant per gallon
Mirror - glass - large 80 1 5x5 inch
Mirror - glass – small
Mirror - metal - large
Mirror - metal - small
50
50
30
1
1
1
Mirror, bronze 12d 2 Metalsmith
2x2 inch
5x5 inch
2x2 inch
Mirror, iron 20d 2 Metalsmith silver-coated
Mittens, mail -- see gauntlets
Morningstar 48d 5 Metalsmith
Mosquito netting -
Musical Instrument
Musical Instrument
Musical Instrument
Musical Instrument
Musical Instrument
Musical Instrument
Musical Instrument
Musical Unstrument
10 1/2
Mule 200d n/a Ostler
40
30
10
60
40
100
1
60
8
3
1
15
2
25
15
15 per 4 square feet padded wooden case percussion** - bells percussion** - castanets percussion** - drum percussion** - tambourine percussion** - xylophone - wood soft leather case string – small harp
Musical Instrument
Musical Instrument
Musical Instrument
Musical Instrument
Musical Instrument
175
60
40
15
15
8
2
1
1
1 wind - bagpipes wind - clarinet wind - flute wind - mouth organ wind - pan flute
Musical Instrument 90 5 wind - trumpet/horn
Mutton 1d n/a Foodmerchant per pound
Mutton - leg or roast
Mutton - side
Mutton - whole
8
25
40
12
50
100
Nails 2d n/a Metalsmith per pound
Necklace - beaded 120
Necklace - beaded plain 40
Needle and thread 3d 0.05 Clothier 5 ft./thread
Net 8 3 fishing line with metal handle
Net - rope - animal
Net - rope - man-size
15
30
5
10
Net, combat 48d 4 Ropemaker
Net, fishing 5d 2 Shipwright per square yard
Nightgown - fancy - silk 25
Nightgown - plain - cloth 10
Nightgown - plain - wool 15
Nunchaku 12d 1 Metalsmith
Nuts - per pound 3 1
Oar 5d 1 Shipwright
Oat meal (dry) - per pound 1 1
Oatcakes 0.25d 0.75 Foodmerchant per dozen
Oatmeal 0.25d n/a Miller per pound
Oats 2d n/a Miller per pound
Oil, cinnamon 60d n/a Perfumer per ounce
81
Roses and Ramparts
Oil, cooking 3d 12 Chandler per gallon
Oil, lamp 12d 12 Chandler per gallon
Oil, myrtle 25d n/a Perfumer per ounce
Oil, rose 20d n/a Perfumer per ounce
Oil, whale 12d 12 Whaler per gallon
Olives 8d n/a Foodmerchant per pound
Opiates 100d+ n/a Apothecary per ounce
Overdress 90 fancy - silk and embroidered
Overdress 50 fancy - silk
Overdress
Overdress
25
35 plain - cloth plain - wool
Ox 100d n/a Farm/market
Oysters 0.5d n/a Fishmonger per pound
Paint 20d 12 Chandler per gallon
Palanquin 100d+ 40 Woodcrafter
Pan, copper 12d 2 Metalsmith
Paper -
Paper bag -
Paper bag -
8
10
5 dozen 9x12 inch sheets large - grocery size small - lunch size
Parchment 2d 0.25 Lexicographer per square foot
Parchment - 15 dozen 9x12 inch sheets
Pen, metal 4d 0.1 Lexicographer
Pen, quill 2d 0.05 Lexicographer
Pen, wood 1d 0.1 Lexicographer
Pendant - intricate
Pendant - simple
250
30
1
1
Pepper 1 per oz
Perfume 6d+ n/a Perfumer per ounce
Pewter 3d n/a Metalsmith per pound
Pheasant 2d n/a Foodmerchant per pound
Pick 8d 4 Metalsmith
Pie, fruit 0.75d 0.5 Foodmerchant
Pie, meat 1d 0.5 Foodmerchant
Pig 24d n/a Farm/market
Pig 300
Pike 96d 12 Metalsmith
Pillow - down filled
Pillow - rag filled
30
5
4
2
Pipe - carved - W
Pipe - corncob
4
1
Pipe, smoking 2d 0.25 Potter
Pipes 60d 0.5 Woodcrafter
Pitchfork 6d 3 Metalsmith
Piton - W 2 1/2
Pitons, iron 6d 2 Metalsmith for six; 200 lbs. cap.
Plate, pewter 5d 0.5 Metalsmith
Plate, tin 2d 0.5 Metalsmith
Plough, metal blade 72d 12 Metalsmith
Plough, wood blade 48d 10 Woodcrafter
Poleaxe 80d 7 Metalsmith
Pork 2d n/a Foodmerchant per pound
Pork - side
Pork - steak
Pork - whole pig
Pot - copper
Pot - iron
20
4
50
3
5
100
4
200
22
8 pints
4 pints/half gallon
Pot - iron 10 12 gallon
Powder pigments - earth 4 2 oz each
Powder pigments – other 8 1 oz each
Prosthetics - fake hand 100 5 wood - average quality
Prosthetics - fake hand 500 5 wood - realistic quality
Prosthetics - fake leg 150
Prosthetics - fake leg
Prosthetics - fake leg 650
Prosthetics - forehead
Prosthetics - glass eye 5000
Prosthetics - hook
Prosthetics - peg leg
900
20
40
25
30
25 priceless
5
8
Purse - belt - leather 4 wood - average quality wood - realistic quality
- bending knee wood - realistic quality
- non-bending knee
(to put upon your real head)
(1D6 damage) large - room for many coins
82
Roses and Ramparts
Purse - belt - leather 2
Purse - pocket - leather 3
Purse - pocket
Purse - pocket
2
1 and a few small items small - room for many coins large - room for many coins and a few small items leather - medium – room for many coins leather - small –
Purse - shoulder
Purse - shoulder
Purse - shoulder -
12
8
5
2
1 room for a few coins leather - large leather - medium leather - small
Purse, buckram 9d 0.75 Clothier ten lb. capacity
Purse, silk 60d 0.75 Clothier ten lb. capacity
Pyjamas - fancy - silk 30
Pyjamas - plain - cloth 10
Pyjamas - plain - wool 15
Quarterstaff 24d 4 Woodcrafter
Quick Silver (mercury) 20
Quill 1d 0.02 Lexicographer per ounce
Quiver 8d 1 Hideworker
Quiver 8 (holds dozen arrows) - leather
Rabbit 1d n/a Foodmerchant per pound
Rabbit 15
Rabbit/Squirrel - whole 8 4
Razor 6d 0.25 Metalsmith
Rerebraces, cour-boulli 30d 1.1 Armorer coverage: Ua
Rerebraces, plate 150d 4.5 Armorer coverage: Ua
Rice (dry) - 1 1 per pound
Robe - heavy - wool - 35 5 hooded - protects to -15°C
Robe - heavy - wool - 30
Robe - light - cloth - 25
Robe - light - cloth - 20
4
3
2 protects to -15°C hooded - protects to 0°C protects to 0°C
Robe, beaver 356d 13.4 Clothier ElFoUaShTxAbHpGrThKnCf
Robe, buckram 119d 4.0 Clothier ElFoUaShTxAbHpGrThKnCf
Robe, ermine 786d 10.3 Clothier ElFoUaShTxAbHpGrThKnCf
Robe, linen 51d 2.6 Clothier ElFoUaShTxAbHpGrThKnCf
Robe, russet 242d 5.5 Clothier ElFoUaShTxAbHpGrThKnCf
Robe, sealskin 395d 10.3 Clothier ElFoUaShTxAbHpGrThKnCf
Robe, serge 93d 5.5 Clothier ElFoUaShTxAbHpGrThKnCf
Robe, silk 719d 5.5 Clothier ElFoUaShTxAbHpGrThKnCf
Robe, worsted 373d 6.3 Clothier ElFoUaShTxAbHpGrThKnCf
Rope - hemp - per 10'
Rope - silk - per 10'
1
5
1
1/2
Rope ladder - hemp - per 20'25 3
Rope, hemp, heavy 2d 0.35 Ropemaker per foot; supp. 500 lb.
Rope, hemp, light 1d 0.25 Ropemaker per foot; supp. 200 lb.
Rope, silk 5d 0.1 Ropemaker per foot; supp. 200 lb.
Roundshield 42d 6 Metalsmith
Runestones 40d 3 Mason per set
Russet cloth 12d n/a Clothier per square yard
Rye 1.5d n/a Miller per pound
Sack - burlap -
Sack - burlap -
Sack - burlap -
15
10
7
2
1 huge - holds 100 apples large - holds 25 apples medium - holds 10 apples
Sack - burlap - 3 small - holds 3 apples
Sack, buckram 2d 0.25 Tentmaker 25 lb. capacity
Sack, linen, large 1d 0.25 Tentmaker 50 lb. capacity
Sack, linen, small 0.5d 0.1 Tentmaker 20 lb. capacity
Saddle - pack 10 15
Saddle - riding 60
Saddle - riding - plain 25
Saddle Bag - leather
Saddle blanket
20
2
35
35
2
4
Saddle, riding 80d 4 Ostler
Saddle, war 240d 10 Ostler
Sai (parrying dagger) 36d 2 Metalsmith
Salt - fine
Salt - rock
5
3
1
1 per pound per pound
Salt, rock 1d n/a Salter per pound
83
Roses and Ramparts
Salt, sea 0.5d n/a Salter per pound
Sandals 8d 1 Hideworker
Sandals - fancy 35
Sandals - plain 10
-2 damage on bottom of foot*
-2 damage on bottom of foot*
Sausage - smoked
Sausage - spiced
2
2
1
1
Saw, hack 10d 2 Metalsmith
Saw, two-person 20d 4 Metalsmith
Scabbard, dagger 12d 0.5 Hideworker per pound per pound
Scabbard, sword 24d 1 Hideworker
Scales 72d+ 3 Metalsmith
Scales and weights
Scales and weights
Scales and weights
10
100
200 varies
10
100 falsely marked weights fine - for gems, powders, etc. huge - for game and large items
Scales and weights 150 25 standard - for merchandise
Scallions 0.25d n/a Foodmerchant per pound
Scarf - decorative silk 25
Scarf - wool 8
2' square
3' long - protects to -15°C
Scones 0.5d 1.5 Foodmerchant per dozen
Scroll/document tube
Scroll/document tube
8
5
1
Scythe 24d 4 Metalsmith
Seal, signet 36d 0.25 Lexicographer leather - large - holds paintings leather - small - holds papers
Seaweed 6d n/a Fishmonger per pound
Serge cloth 6d n/a Clothier per square yard
Sewing kit 15 1 several needles and thread
Sewing needle
Sewing thread
1
3 any colour - 20' spool
Sheath - boot
Sheath - knife/dagger
Sheath - knife/dagger
Sheath - long sword -
Sheath - long sword
3
8
10
1
25 1
1 holds knife/dagger decorated plain decorated plain
Sheath - short sword
Sheath - short sword
Sheath - wrist -
- W
15
5
5
Sheep 12d n/a Farm/market
Sheep 300
Shirt - fancy - silk 35 decorated plain - W holds 5 darts or one knife/dagger embroidered accents
Shirt - fancy - silk
Shirt - plain - cloth
15
5
Shirt - plain - wool 8
Shirt, beaver 194d 7.3 Clothier Ua Sh Th Ab Hp Gr
Shirt, buckram 65d 2.2 Clothier Ua Sh Th Ab Hp Gr
Shirt, ermine 428d 5.6 Clothier Ua Sh Th Ab Hp Gr
Shirt, leather 120d 6.5 Clothier Ua Sh Th Ab Hp Gr
Shirt, linen 43d 2.2 Clothier Ua Sh Th Ab Hp Gr
Shirt, quilt 172d 8.6 Armorer Ua Sh Th Ab Hp Gr
Shirt, ring 301d 15.0 Armorer Ua Sh Th Ab Hp Gr
Shirt, russet 132d 3.0 Clothier Ua Sh Th Ab Hp Gr
Shirt, sealskin 215d 5.6 Clothier Ua Sh Th Ab Hp Gr
Shirt, serge 51d 3.0 Clothier Ua Sh Th Ab Hp Gr
Shirt, silk 391d 3.0 Clothier Ua Sh Th Ab Hp Gr
Shirt, worsted 203d 3.4 Clothier Ua Sh Th Ab Hp Gr
Shoeing, horse 2d n/a Ostler per shoe
Shoes - fancy 45 protect to 0°C/ -1 damage foot
Shoes - plain 20 protect to -5°C/-2 damage foot
Shoes, leather 14d 1.1 Clothier coverage: Ft
Shortbow 24d 2 Fletcher
Shorts
Shorts
3
5
Shortsword 90d 2 Metalsmith
Shovel 12d 3 Metalsmith bikini-style bottoms - cloth bikini-style bottoms - leather
Sickle 10d 3 Metalsmith
Silk cloth 72d n/a Clothier per square yard
Silver 320d n/a Miner per pound
Silver leaf - 2 oz 40
Skirt - fancy 50
Skirt - fancy - silk 30 silk and embroidered accents
84
Roses and Ramparts
Skirt - plain - cloth 15
Skirt - plain - wool 25
Skis 42d 3 Woodcrafter per pair
Slate board - 18x24 in 10 5
Slave, gladiator 480d+ n/a Slaver
Slave, laborer 240d+ n/a Slaver
Slave, pleasure 300d+ n/a Slaver
Sled - generic - 40 50
Sled - snow 300 70 carries 200lbs carries 1 ton 100
Sled, cargo 80d 150 Woodcrafter
Snood - fancy 12
Snood - plain 3
Snowshoes 36d 3 Woodcrafter per pair
Snuff 6 per oz
Snuff box 5
Soap 1d n/a Perfumer per ounce
Soap - perfumed -
Soap - perfumed
Soap - plain -
10
20
2 per ounce per ounce per ounce
Socks - cloth
Socks - wool
1/2
1
Spade 8d 2 Metalsmith
Spear 60d 5 Metalsmith protects to -5°C protects to -15°C
Spice, Alum 16d n/a Spicemerchant per ounce
Spice, Camphor 50d n/a Spicemerchant per ounce
Spice, Cinnamon 40d n/a Spicemerchant per ounce
Spice, Frankincense 75d n/a Spicemerchant per ounce
Spice, Ginger 30d n/a Spicemerchant per ounce
Spice, Ginseng 170d n/a Spicemerchant per ounce
Spice, Keddryth 45d n/a Spicemerchant per ounce
Spice, Marthyn 200d n/a Spicemerchant per ounce
Spice, Myrrh 150d n/a Spicemerchant per ounce
Spice, Nard 100d n/a Spicemerchant per ounce
Spice, Nutmeg 50d n/a Spicemerchant per ounce
Spice, Pepper 36d n/a Spicemerchant per ounce
Spicebox 24d 1 Woodcrafter 0.5 lb. capacity
Spices - per oz 5
Spigot 9d 0.25 Metalsmith
Sponge 5
Sponges 45d 0.1 Apothecary each
Spoon, pewter 4d 0.1 Metalsmith
Spoon, wood 2d 0.1 Woodcrafter
Spurs 18d 0.25 Metalsmith
Spy glass 600 8
Stabling 1d n/a Ostler
Stabling, with feed 2d n/a Ostler
Staff knob - fancy 150 2 (screws into end of staff)
Steel 5d n/a Metalsmith per pound
Stockings - silk
Stockings - wool
10
2
Stones 0.5d 400 Mason per eight cubic feet
Stones, fine 10d 400 Mason per eight cubic feet
Stones, marble 20d 400 Mason per eight cubic feet
String 2d 0.1 Weaver 10 yds.; .5 lb strain
String - per 100' spool 5 1
Sugar 60d n/a Foodmerchant per pound
Sundial, bronze 225d 50 Metalsmith
Sundial, stone 200d 100 Mason incl. base
Surcoat - custom deco 80+
Surcoat - plain 40
5
5
Surcoat, buckram 81d 2.7 Clothier Sh Tx Ab Hp Gr Th Kn
Surcoat, leather 151d 8.1 Clothier Sh Tx Ab Hp Gr Th Kn
Surcoat, linen 51d 2.6 Clothier Sh Tx Ab Hp Gr Th Kn
Surcoat, silk 491d 3.8 Clothier Sh Tx Ab Hp Gr Th Kn
Swan 3d n/a Foodmerchant per pound
Swan, live 12d n/a Farm/market
Table 36d 20 Woodcrafter
Talc, fine 10d n/a Apothecary per ounce
Talc, rough 1d n/a Stonemason per ounce
Tankard, pewter 4d 1 Metalsmith
Tankard, wood 2d 1 Woodcrafter
85
Roses and Ramparts
Tapestry 200d+ 20+ Embroiderer
Tar 9d 15 Chandler per gallon
Tea 35d n/a Spicemerchant per ounce
Tea (dry) 4 1 per pound
Tent - 1 person
Tent - 10 people
Tent - 2 people
Tent - 20 people
Tent - 4 people
50
150
75
250
100
5
75
16
120
40
(includes poles and ropes)
(includes poles and ropes)
(includes poles and ropes)
(includes poles and ropes) -
Tent canvas 15 2
Tent, pavilion 200d+ 300 Tentmaker
(includes poles and ropes) - per 4 square feet
Tent, sleeps two 27d 8 Tentmaker
Thread, flax 1d 0.1 Weaver per yard
Throwing axe 48d 2 Metalsmith
Throwing dagger 20d 1 Metalsmith
Thrusting sword 150d 3 Metalsmith
Tiara - gold - no gems 50
Tiara - gold - 75
Tiara - silver - no gems 35
2
2
2 with gems (gem value is extra)
Tiara - silver 55 2 with gems (gem value is extra)
Tin 2d n/a Metalsmith per pound
Tinderbox 6d 2 Chandler
Tobacco - chewing 9
Tobacco - dried smoking 5 per oz per oz
Tobacco pouch
Tools - anvil
Tools - axe/hatchet
Tools - bellows
Tools
Tools - crowbar - W
5
40
3
90
150
5
Tools - cutters 2
Tools - files and chisels 2
Tools - glass cutter 15
Tools - glass cutter
Tools - hammer – hand
30
8
Tools - hammer - sledge 15
Tools - hammer - small 12
150
2
10
7
5
1
1
1
2
12
1 contains wax block, files, etc,
(requires a craft skill)
(wire cutters, scissors, etc.) no handle pen-style handle
(gem, fine work, etc.)
Tools - hoe - W 3
Tools - miner's pick - W 15
Tools - nails - - iron 5
Tools - pliers – fine 8
Tools - pliers - large 5
Tools - plough - W
Tools - rake - W
Tools - saw - W
10
4
8
3
10
5
1
2
30
2
2 per 50
Tools - shovel - large
Tools - shovel - medium
Tools - shovel - small
Tools - spike - iron - W
10
5
3
1
15
8
2
8
Tools - wrench - small - W 8 3
Torches 1d 1 Chandler each; 2 hrs.
Tower shield 96d 8 Metalsmith
Traps - metal - no teeth 20 15
Traps - metal - no teeth 10 10 for medium animals (does 1D6) for small animals (does 1D4)
Traps - metal - teeth 50
Traps - metal - teeth 10
Traps - metal - teeth 20
Traps - snare cord - W 2
35
20
25
Trident 72d 6 Metalsmith bear size (does 2D6 damage beaver size (does 1D6 damage wolf size (does 1D8 damage) for small animals
Trousers - fancy 35
Trousers - plain - cloth 12
Trousers - plain - wool 20
Trunk 24d 12 Woodcrafter 250 lb. cap.
Trunk - metal - large 60
Trunk - metal - small 35
Trunk - wood - large
Trunk - wood - small
Tunic - fancy -
Tunic - fancy - silk
40
25
90
55
30
20
40
25
4x3x2 feet
2x1.5x1 feet
4x3x2 feet
2x1.5x1 feet - W silk and embroidered accents
86
Roses and Ramparts
Tunic - plain - cloth 25
Tunic - plain - wool 45
Tunic, beaver 257d 9.7 Clothier Ua Sh Tx Ab Hp Gr Th
Tunic, buckram 86d 2.9 Clothier Ua Sh Tx Ab Hp Gr Th
Tunic, ermine 567d 7.4 Clothier Ua Sh Tx Ab Hp Gr Th
Tunic, leather 114d 8.6 Clothier Ua Sh Tx Ab Hp Gr Th
Tunic, linen 57d 2.9 Clothier Ua Sh Tx Ab Hp Gr Th
Tunic, russet 174d 4.0 Clothier Ua Sh Tx Ab Hp Gr Th
Tunic, sealskin 285d 7.4 Clothier Ua Sh Tx Ab Hp Gr Th
Tunic, serge 67d 4.0 Clothier Ua Sh Tx Ab Hp Gr Th
Tunic, silk 519d 4.0 Clothier Ua Sh Tx Ab Hp Gr Th
Tunic, worsted 269d 4.6 Clothier Ua Sh Tx Ab Hp Gr Th
Turban - head only - 20 gives 10 degree natural, outdoor heat tolerance bonus
Turban - with drape - 30
Twine 4d 0.2 Ropemake 10 yds.; 5 max. strain
Undergarments - cloth 2
Undergarments - silk 8 gives 15 degree natural, outdoor heat tolerance bonus
Undertunics -- see tunic
Urn, five gallon 12d 7 Potter
Utensils - kitchen knives 6
Utensils - ladle - metal 2
Utensils - ladle - silver 4
1
1
1
Utensils - ladle - wooden 1
Utensils - meat cleaver 2
Utensils - spatula
Utensils - spatula
2
1
1
1 metal - plain wooden
Utensils - tongs
Utensils - wire whisk
2
2
1
1 metal - plain looped - metal
Vambraces, cour-boulli 25d 0.9 Armorer coverage: Fo
Vambraces, plate 125d 3.8 Armorer coverage: Fo
Vase 4d 3 Potter
Veal 3d n/a Foodmerchant per pound
Vegetables, cabbage 0.5d n/a Foodmerchant per pound
Vegetables, carrots 0.5d n/a Foodmerchant per pound
Vegetables, lentils 0.25d n/a Foodmerchant per pound
Vegetables, peas 0.25d n/a Foodmerchant per pound
Vegetables, tomatos 0.5d n/a Foodmerchant per pound
Vellum 2d 0.1 Lexicographer per square foot
Venison 3d n/a Foodmerchant per pound
Venison - leg or roast 30 10
Vest - fancy
Vest - plain
35
15
Vest, beaver 122d 4.6 Clothier coverage: Sh Tx Ab
Vest, buckram 41d 1.4 Clothier coverage: Sh Tx Ab
Vest, ermine 269d 3.5 Clothier coverage: Sh Tx Ab
Vest, leather 54d 4.1 Clothier coverage: Sh Tx Ab
Vest, linen 27d 1.4 Clothier coverage: Sh Tx Ab
Vest, russet 83d 1.9 Clothier coverage: Sh Tx Ab
Vest, sealskin 135d 3.5 Clothier coverage: Sh Tx Ab
Vest, serge 32d 1.9 Clothier coverage: Sh Tx Ab
Vest, silk 246d 1.9 Clothier coverage: Sh Tx Ab
Vest, worsted 127d 2.2 Clothier coverage: Sh Tx Ab
Vetches 1d n/a Foodmerchant per pound
Vial - glass 2 (with cork stopper)
Wagon - carries 2 tons 100 400
Wagon, four-wheeled 220d 400 Woodcrafter
Warflail 60d 5 Metalsmith
Warhammer 90d 5 Metalsmith
Washcloth
Washtub - metal
Water skin
Water skin
Water skin
1
15
5
10
15
8
2 when full
4.5 when full
8.5 when full fits standard sized human adult
2 pints
4 pints/half gallon
8 pints/one gallon
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Waterclock 1000d+ 200 Locksmith
Waterproofing +50% n/a Clothier for clothing/cloth
Wax - bees' - 10 1 per pound
Wax - clear - 12 1 per pound
Wax - sealing/signet 15 1 per pound
Wax, candle 2d n/a Chandler per pound
Wax, sealing 4d n/a Chandler per pound
Whalebone 6d n/a Whaler per pound
Wheat 1.5d n/a Foodmerchant per pound
Wheel 18d 10 Woodcrafter
Wheel, iron rimmed 30d 12 Woodcrafter
Wheelbarrow 10d 12 Woodcrafter 200 lb. cap.
Whetstone 1 1
Whip 12d 2 Hideworker
Whistle - metal
Whistle - wood
Wig
Wig - straw
6
3
300
10
1
3
2
Will 24d n/a Litigant race-specific hair
Wine 0.75d n/a Innkeeper per glass
Wine, cask 420d 280 Innkeeper
Wine, hogshead 120d 70 Innkeeper
Wineskin, large 12d 2 Hideworker four gallon capacity
Wineskin, medium 9d 1 Hideworker one gallon capacity
Wineskin, small 6d 0.5 Hideworker one quart capacity
Wire, copper 2d 0.1 Metalsmith per foot
Wood cutting Tools 3 each 1
Wood, Ash 12d 200 Timberwright per 10 cubic feet
Wood, Birch 4d 200 Timberwright per 10 cubic feet
Wood, Cedar 8d 200 Timberwright per 10 cubic feet
Wood, Elm 10d 200 Timberwright per 10 cubic feet
Wood, Fir 12d 200 Timberwright per 10 cubic feet
Wood, Larch 6d 200 Timberwright per 10 cubic feet
Wood, Maple 14d 200 Timberwright per 10 cubic feet
Wood, Oak 16d 200 Timberwright per 10 cubic feet
Wood, Pine 8d 200 Timberwright per 10 cubic feet
Wood, raw 4d 225 Farm/market
Wood, Spruce 6d 200 Timberwright per 10 cubic feet
Worsted, cloth 24d n/a Clothier per square yard
Yoke - horse 5 15
Yoke - ox 3 20
Rare knowledge: 75d (reading dead languages, descriptions of foreign lands, old history)
Very rare knowledge: 200d (reading ancient dead languages, descriptions of the farthest reaches of the known world, ancient history)
Dangerous/illicit knowledge: 500d+ (reading magical texts, descriptions of poisons, heretical theological speculation)
Incomes:
Aricultural Laborer -- about 4d./day
Building worker -- 5-6d. per day
Soldiers wages:
a knight -- 2s. per day
a man-at-arms -- 1s. per day
an archer -- 6d. a day
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Weapon Table
ITEM
Arquebus ***
Battle Axe
Blowgun
Blowgun, Barbed
Dart
5
0.02
Blowgun, Needle 0.01
Bow, Composite
Long
WEAPONS
COST
(GP)
WEIGHT
SIZE TYPE
(lbs)
SPEED
FACTOR
DAMAGE DAMAGE
(S-M) (L)
500
5
100
10
7
2
0.1
0.1
3
M
M
L
S
S
L
P
S na
P
P na
15
7
5 na na
7
1d10
1d8 na
1d3
1 na
1d10
1d8 na
1d2
1 na
Bow, Composite
Short
75
Bow, Long 75
Bow, Sheaf Arrow 0.04
Bow, Short 30
Bow, Flight Arrow 0.02
Club 0.5
Crossbow, Hand 300
Crossbow, Hand
Quarrel
1
Crossbow, Heavy 50
Crossbow, Heavy
Quarrel
Crossbow, Light
0.02
35
Crossbow, Light
Quarrel
Dagger or Dirk
Dart
0.01
Footman's Flail
Footman's Mace
Footman's Pick
Hand or Throwing
Axe
2
0.05
15
8
8
1
2
3
0.1
2
0.1
3
3
0.1
14
0.1
7
0.1
1
0.5
15
10
6
5
M
L
S
S
M
S
S
M
S
M
S
S
S
M
M
M
M na na
P
M na
P
B na
P na
P na
P
P
P
B
B
P
S
6
8 na
7 na
4
5 na
10 na
7 na
2
2
7
7
7
4 na na
1d8 na
1d6
1d6 na
1d3 na
1d4+1 na
1d4
1d4
1d3
1d6+1
1d6+1
1d6+1
1d6 na na
1d8 na
1d6
1d3 na
1d2 na
1d6+1 na
1d4
1d3
1d2
2d4
1d6
2d4
1d4
89
Harpoon 20
Horseman's Flail 8
Horseman's Mace 5
Horseman's Pick
Javelin
7
0.1
Knife
Lance, Heavy
Horse @
0.1
15
Lance, Light Horse
@
6
Lance, Jousting @ 20
Lance, Medium
Horse @
Mancatcher **
Morning Star
10
30
10
Polearm, Awl Pike
#
5
Polearm, Bardiche 7
Polearm, Bec de corbin
Polearm, Billguisarme
8
7
Polearm, Fauchard 5
Polearm, Fauchard-
Fork
8
Polearm, Glaive * 6
Polearm, Glaiveguisarme *
10
Polearm, Guisarme 5
Polearm,
Guisarme-voulge
8
Polearm, Halbred 10
Polearm, Hook fauchard
10
Polearm, Lucern
Hammer #
Polearm, Military
Fork *
7
5
10
8
8
8
9
8
10
9
9
6
10
7
7
7
13
9
9
9
7
5
4
2
7
6
6
8
L P
M B
M B
M P
M P
S P/S
L P
L P/S
L P/S
L P/S
L S
L P/S
L S
L P/S
L P/S
L P/S
L
L
P
P
L P
L na
M B
L
L
P
S
L P/B
L P/B
L P
15
7
9
8
10
8
15
15
8
5
20
10
8
12
12
12
10
15
7
4
2
0.5
6
5
6
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1d10
1d8
1d10
1d10
2d6
1d8
2d4
2d6
1d4
1d8
1d2-1
2d6 na
1d6+1
1d12
2d6
1d6
1d6
2d4
2d6
1d4+1
1d4
1d4
1d6
1d2
3d6
2d4
1d6
1d8
1d6
2d4
2d4
2d4
1d10
1d4
1d6
1d3-1
1d6+1 na
2d4
1d6
2d4
1d8
2d4
1d8
2d4
1d4+1
1d6
1d4+1
1d6
1d3
1d8+1
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Polearm, Partisan # 10
Polearm, Ranseur # 6
Polearm, Spetum # 5
Polearm, Voulge
Quarterstaff
Scourge
Sickle
Sling
5
1
1
0.2
0.2
Sling Bullet
Sling Stone
Spear
Staff Sling
Sword, Bastard
One Handed
Sword, Bastard
Two Handed
Sword, Broad
Sword, Katana One
Handed
0.1 na
0.3
0.3
25
25
10
25
Sword, Katana
Two Handed
Sword, Khopesh
Sword, Long
Sword, Scimitar
Sword, Short
Sword, Two
Handed
Trident
Warhammer
Whip
25
50
10
15
15
10
15
2
0.5
12
4
2
3
0.1
8
7
7
0.1
0.1
5
2
10
10
4
6
6
7
4
4
3
15
5
6
2
L
L
L
L
L
S na
S S
S na
S
S
M P
M na
M
M
M
M
P
P
P
S
B
B
B
S
S
S
S/P
M S/P
M S
M S
M S
S P
L S
L P
M B
M na
4
9
5
5
3
10
7
4
8
10
4
5
4
6
9
8
8 na na
6
11
6
8
5
4
1d6
2d4
1d6+1
2d4
1d6
1d4
1d4+1 na
1d4+1
1d4
1d6 na
1d8
2d4
2d4
1d10
2d8
1d6+1
1d12
2d6
2d4
1d8
1d8
1d6
1d10
1d6+1
1d4+1
1d2
2d6
1d6
1d12
1d8
1d8
3d6
3d4
1d4
1
1d6+1
2d4
2d6
2d4
1d6
1d2
1d4 na
1d6+1
1d4
1d8 na
1d12
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* This weapon inflicts double damage against charging creatures of L or greater size.
** This weapon can dismount a rider on a successful hit.
*** This weapon available only if allowed by the GM.
@ This weapon inflicts double damage when used from the back of a charging mount.
# This weapon inflicts double damage when firmly set to receive a charge.
The “Type” category is divided into Bludgeoning (B), Piercing (P), and Slashing (S).
This indicates the type of attack made, which may alter a weapon’s effectiveness against different types of armor. See optional rule in the PHB page 90.
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One last thing
When creating a character, the above information really is the heart of what you need. Sometimes, however, a few additions come in handy. I provide the rest of the character charts here as additions that are entirely up to the GM.
First, write an interesting history for your character. Your history doesn’t have to read like a Hemingway or be as detailed as the Iliad, but it should describe the basic details of your character’s background. In particular, your character’s history should explain where your character comes from, what his or her ambitions are, and why he or she has traveled to the town of Travance. The more detailed you want to be, and the more thoughtful you’d like to make your prose, the better.
Give your character some character with a little insanity:
Minor Insanity Table
D100 Insanity
01Nightmares
05
06-
10
Panic Attacks
11-
15
16-
20
21-
25
26-
30
31-
35
36-
Delusional
Shaky Hand
Absent-
Mindedness
Apathy
Blackouts
Incontinence
Description
You must role-play suffering from a bout of nightmareplagued sleep.
You must role-play having a panic attack. The character can take no action whatsoever for the duration of the attack, but is conscious and aware of her surroundings.
You must role-play seeing or hearing something that is not there. No amount of proof will dissuade the character from her belief; she will simply insist the source has moved or is hiding.
You must role-play your character’s dominant hand shaking uncontrollably. You cannot hold or grasp any object with this hand for the duration of the episode.
You must role-play an episode of forgetfulness. Your character might forget the purpose for which she set out to do something, or the destination of her travel, or any other detail of her intentions. Your character also will not recall information learned for the duration of the episode, though she will remember the subject(s) that she discussed.
You must role-play being uncaring of anyone else’s welfare for the duration of the episode. Your character may not help anyone in any endeavor, no matter how important to her. Your character can fight and defend herself with full faculties, if attacked directly.
You must role-play fainting. Your character falls unconscious as though she had been struck by the
Waylay skill. The episode can be abated by any means that can treat the effects of the Waylay skill.
You must role-play being unable to control your
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40
41-
45
Stammering
46-
50
51-
55
56-
60
Melancholia
Rash / Hives
Lethargy
61-
65
Mild Phobia
66-
70
Catatonic Fits
71-
75
Dementia
76-
80
Tick
81-
85
Nervous Leg
86-
90
Mania
91-
95
96-
100
Headaches
Blurry Vision
Roses and Ramparts bladder and/or bowels. Your character must spend the duration of the episode attempting to relieve herself, and cannot take any other action, no matter how important to her.
You must role-play being unable to speak clearly. A character cannot cast spells, prayers, bard songs, or use any skills or abilities that require speaking for the duration of this episode.
You must role-play an overwhelming bout of sadness.
Your character can take no action other than defending herself for the duration of the bout, but is conscious and aware of her surroundings.
You must role-play suffering from an itchy rash or hives. Your character can take no action other than defending herself for the duration of the episode.
You must role-play being extremely drowsy and slowwitted. Your character can take no action other than defending herself for the duration of the episode, but is conscious and aware of her surroundings.
You must role-play having a mild fear of a specified thing or situation. While in the presence of the subject of her phobia, your character cannot concentrate on any skill, spell, or ability that requires concentration or a verbal trigger. She also suffers from an inability to take hostile action against the subject of her phobia – if it is a being – as if under the effects of the skill Intimidate. A Mild
Phobia affects your character continuously.
You must role-play lapsing into a catatonic state. Your character can take no action whatsoever for the duration of the episode, and is unaware of her surroundings.
You must role-play losing self-control with respect to social etiquette. Your character will speak plainly and openly about any subject – he cannot lie. In addition, he will have no regard for personal space, decency, or modesty, and will not care what anyone else thinks for the duration of the episode.
You must role-play having a nervous tick. The tick should be a minor physical or verbal defect that may or may not have a trigger. If you select to have a trigger, it must be something common to ensure that the tick will be evidenced on numerous occasions. A
Tick affects your character continuously.
You must role-play one of your character’s legs shaking and trembling uncontrollably. Your character cannot stand or walk for the duration of the episode.
You must role-play hyperactivity. Your character will not tolerate sitting still, and if no tasks or goals await her, she will find something requiring a lot of physical activity to keep herself busy for the duration of the episode.
You must role-play suffering from a severe headache.
Your character can take no action other than defending herself for the duration of the episode.
You must role-play being unable to see clearly. Your character can see well enough not to walk into walls or other people, but not well enough to read, perform manual tasks, or engage in combat (unless she possesses the skill Blindfighting).
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1
2
3
4
5
6
Insanity
Amnesia
Psychopathy
Depression
Severe Phobia
Total Catatonia
Schizophrenia
Major Insanity Points
Description
Your character loses all memory of her personal identity. She retains access to all abilities on her character card, but cannot recall her name, any biographical information, or any of the events of her life that preceded the point at which she was afflicted with amnesia. Within an hour of this
Insanity Point being cured, all of your character’s memory is restored with the exception of the five minutes just before she was afflicted with it. An amnesiac character tends to be highly emotional and occasionally paranoid.
Your character becomes profoundly egocentric and anti-social. She disregards all bonds of friendship and love, and becomes quickly irritated in crowds or after prolonged social interaction. A Psychopath is not inherently violent, but her total lack of empathy or interest in other beings results in violence being a perfectly acceptable means to her ends. Your character cares only about her personal ambitions and well-being.
Your character becomes overwhelmed with a sense of desperation and hopelessness. She will, by turns, embrace friends out of insatiable need for solace, and then reject them – convinced that they do not care about her fate or well-being. Your character retains her sense of self-preservation, but feels as though her life is meaningless and worthless.
Your character becomes deathly afraid of a specified thing or situation. She will not approach the subject of her phobia to closer than 20 feet under any circumstances, and if she is forced to within that distance of the subject, she collapses into a trembling panic, and can take no action whatsoever other than attempting to crawl away until she and the subject are far enough apart. No matter how seemingly harmless or inoffensive the subject may seem, including if it is a creature that has been slain, these conditions always apply to your character.
Your character enters a catatonic state, and can take no action whatsoever, and is unaware of her surroundings. Some catatonics go limp, while others become rigid.
Your character begins to separate herself mentally from reality. She becomes delusional – seeing people or things that are not there, and finding it possible to interact with them. The people that she imagines quickly make themselves warm friends or powerful authority figures to her. Your character may start with minor interactions with her delusions, and even have the presence of mind to keep them discrete and secret from others. In time however, the figments will become increasingly influential and impossible to ignore. Your character will do everything she can to sustain her belief that they are real, even rejecting friends and loved ones who try to help her understand.
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7
8
9
10
Severe Dementia
Blindness
Suicidal
Frenzy
Your character loses all self-control with respect to social etiquette. She will speak plainly and openly about any subject – she cannot lie. In addition, she will have no regard for personal space, decency, or modesty, and will not care what anyone else thinks about her behavior. Your character will also imagine herself to be someone of much greater importance than she actually is, possibly even adopting a high noble title to substantiate the belief. Her memory of friends and loved ones will be altered to the point that she believes them all to be her servants. Anyone who attempts to interfere with her beliefs will be considered useless, and will be cast off in your character’s mind.
Your character becomes completely blind as a result of her insanity.
Your character seems to lose her sense of selfpreservation. Your character may seem normal at times, but is frequently depressed or morose. She will attempt to place herself in mortal harm whenever given the chance, and once per event must make a deliberate attempt to take her own life. The suicidal character does not truly want to die, however, and in every case where she attempts to kill herself or be killed, she will leave ample warning and opportunity to be rescued. Peril and rescue are the cycle by which your character draws attention to herself.
Your character becomes irritable and intemperate, and quick to rise to violence at the slightest provocation. When her temper is at ease, your character maintains friendships and other relationships as she normally would. No one, however, is immune from striking her temper with the least joke or insult, the slightest unexpected touch, or the most innocent of questions. When provoked in the least way, your character will attempt to kill the offender, and will also attempt to kill anyone that intervenes. If your character has gone more than six hours without someone offering even the smallest excuse to become angry, she will then select someone nearby and accuse that person of staring at her, or whispering a joke to someone at her expense, or anything to that effect. Anything that the person says in response will provoke her to violence.
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Character Sheet
Name: _________________________________ Race: ______________________
Class: ________________________________ Gender: ___________________
Hair Color: __________________________ Length: ____________________
Eye Color: ___________________________ Vision: _____________________
Skin Tone/Color: ___________________ Covering: __________________
Other Notes on Appearance: ______________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
STR: _____
INT: _____
WIS: _____
DEX: _____
CON: _____
CHA: _____
Dam:_____
# Lang:_____
Weight Max: _____
Max Skill Bonus: _____
Exp. Bonus: _____%
Mov.: _____ AC Bonus: _____
HP Bonus: _____ Poison Resist: _____
Max. Henchmen: __________
Languages: ______________________________________
____________________________________________________
____________________________________________________
Character Sketch
HP: ________ Injuries: ________________________________________________
AC: ________ Armor: __________________________________________________
Skill Att
+/-
Skill Att
+/-
Experience:
Level: _________
Equipment on the Back
Other Notes:
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Chapter Three: Game Mastering
Players have it easy. Their job is simply to react to the world the GM describes for them and stay in character. The GM’s job is to be the world. Any character, and monster, every blade of grass is there because the GM says it is. As the GM, you need to know (or come close to knowing, everything about the world you are going to guide the players through.
The more you put into knowing the world, crafting it, and describing it, the better the game will be. In a way, the GM is also a player: while the rest of the players get one character
(or on a few occasions two), you as the GM play the biggest character of all, the world. In fact, as the GM your world gains experience, changes, and develops much as the players do. Think of yourself as the leading player.
By thinking of yourself in this roll, a player and not just the person in charge, your view of being the GM is shaped. If one of your players suddenly started trying to use a sword that has incredible magical properties, you would want to see it on the character sheet, know how it got there, and see what rules govern it. The same applies to the world you make.
Write everything down you can think of; figure out how and why things are what they are; and most importantly, know the rules that govern everything in your world.
Starting World
As a GM of many years, I always start new GMs with the same advice: start small. There are two ways to do that. First, you can play a very simple scenario with your players, just to get your feet wet. Make a simple map of a simple area with a very straightforward goal for them to accomplish, and then play.
Keep the number of encounters (places where things are planned to happen) to a low number (4-8.)
For example, start the players just outside of a cave entrance. Tell them that they have travelled for three days from the nearest villiage to reach this cave, following a map that one of them won in a game of chance. The map indicated a treasure that was hidden away inside many years ago. Seeing this as the first good chance they have had to get some money, the players have travelled through the hills to get here.
Remind the players that this is just a little practice game and that you haven’t developed any thing beyond the cave. If they
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Roses and Ramparts choose to leave, the game ends until you have a chance to prepare more.
It is dark in the cave. If they look carefully, there are a lot of small, clawed footprints in and out of the cave. a b a d e f c a – Cave Entrance – If a player has a tracking skill, there is a
(-5) against a skill roll that he/she will be able to identify that lizard men have left the tracks in and out of the cave. b – A single lizard man sits on a rock here on guard duty. If the players make a lot of noise coming into the cave, the guard will hide, count how many there are, then go and warn the others. If the players are quiet, the guard will most likely be surprised as no one ever comes into the cave.
Lizard man [HP – 10; AC 3; Attacks – claw (d4), claw (d4), bite
(d6) (Hit on 14 +AC adjustment); EXP – 200] c – An elven skeleton lies in this back corner. Most everything on it has decayed past use, but there is a pretty brooch lying in the bones (worth 30 Gold.) If players examine the walls, they will see that the elf wrote something on the wall: “Eloni.” [This could be used to spur on a future adventure where the players must carry the corpse’s bones back to the elf lands for burial.]
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Roses and Ramparts d – Larder – the lizard men are keeping several decaying corpses in this corner for eating later. Rats (roll d12 for how many) have been drawn to the meat and will attack the players if they begin digging through the bodies at all.
Rats [HP – 3; AC 6; Attacks – Bite (d4-1) cause disease (roll 3+ traget’s CON) (Hit on 17 +AC adjustment); EXP 20] e – Lizard men hold – beside the guard, four additional lizard men live here. If the players enter here, the lizard men will fight. Buried in their mess is a small, jeweled daggar (250
Gold) and a ring (50 Gold.) f – Treasure – Right where the map said it would be, buried under a pile of rocks, is a small chest filled with gold coins
(600 Gold.)
After your players have completed the cave, let them take the treasure back home, divide it up, and then spend it at a shop to get more equipment they might need for your next adventure.
Each time you play, try expanding what you are doing a little.
Add details about the town they are using as their base. Put a new, little place for them to “check out” just a little ways from the town, and let them play. In this way they will improve their skills as you improve your own. Eventually the area you have made will expand and become filled with interesting sites.
The second method is to jump in and create a whole world. The method is almost the same, but you will have to spend many more days preparing this kind of adventure. The basic method, however, is the same: build one area, write everything down, then do it again and again until you have filled a large region for the players to wander through.
Unlike starting the players in the mini-scenario play, this type of world allows them to wander, explore the world, look for adventures, and develop personas (personalities.) They may have several quests they wish to pursue in such a world, and they need to be selective about what they do. Some adventures may be too hard for them, others too easy. That’s just the way it works.
Also keep in mind that things change. For example, the players may play through the lizard men cave, wipe out all of the bad guys, and bring the treasure home, but a few months later
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Roses and Ramparts they learn that a band of theives have taken over the cave, fortified the entrance, and are making life miserable in the area. When the thieve steal something of value from the players, they players may have to return to the cave with a whole new set of things to do.
The Placement of Monsters and Magic
By Tony Reeves.
Some DM’s enjoy creating their own adventures as opposed to buying pre-made ones. Not only does this save some them some bucks, but allows the DM to use imagination, ingenuity, and creativity in making a module or campaign work. Most DM’s have or should have a vivid imagination, and very good ideas.
Sometimes though, the ideas when put into gaming terms don’t quite work out the way they wish that they did. This is particularly true of new DM’s, but sometimes it happens to long term DM’s too. That’s why sometimes it’s a good thing to go back to the basics.
A common problem I’ve seen in adventures is a blatant lack of reality. Imagine this. You’re deep inside an active volcano, and have had to skirt boiling mud pits, hot lava and the spray of hot steam geysers many times. It’s hot and your armor is sticky, and wet with sweat. Eventually, you come to a very large cavern and an ancient white Dragon appears. Excuse me? Is there something wrong with this picture? This actually happened to me several years back! Irregardless, geography should play a very major concern when placing your monsters in a campaign or adventure. Now reconsider, if the great white wyrm appeared atop a glacier, or deep within an ice cave, wouldn’t that have been better? It’s very easy for a beginning
DM to make mistakes like this. Fortunately if you have the knowledge and know where to get the right information then this dilemma goes away permanently.
Put the right information in your hands.
The way I add monsters to my adventure is in several planned stages. After I know what I want the adventure to consist of, have created the necessary hooks to get the players attention and where I want them to go, have the entire dungeon finished, including traps, insert the creatures. I look over a detailed map of the area to refresh my memory first.
Then take a glance through the monster manuals and always
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Roses and Ramparts keeping my players level in mind just look at all they can face, and logically defeat.
That doesn’t mean that the characters won’t meet something that’s too hard for them to kill. It just means that I add it at the last, because it’ll need the most attention. The creatures in all the monster manuals are very detailed. Each description will give frequency, number appearing, AC, movement rates, special abilities, hit die, etc. The hit die value is basically the level of the monster and how many hit points each has. As I peruse the books, if something that looks appealing, I put it down in a list of possible beasties, along with their treasure type, and experience point value. A good rule of thumb when you select monster is not to select them if they are more than three levels higher than the player characters. Putting all the info on the monsters down serves two purposes. They’re committed to my failing memory, and I can make decisions later on whether or not I really want a particular monster. I may not want to use that particular monster in the dungeon, but might want it as a wandering monster or outside. Many times
Dm’s will also make their list of wandering monsters at this time. Sometimes I do too, but other times I make set encounters for the PC’s trek to the dungeon, castle, ruins, etc. If I want a list of wandering monsters then I make it at the same time as the “regular” beasties only I put them on a separate list.
Personally, I find that “set” encounters are much less work, but use what ever works the best for you. Again, have a good idea of what beasts you want to use, in particular the main critter(s) or NPC, and add them to your list. This time is very well spent for me as it also sparks the old imagination.
Anything now that comes to mind that will fit, I add to my list too. After you’ve done this for several years, you’ll begin to have a “feel” for what the characters can handle as they attain certain levels after that begins to happen you find that selection of monsters is extremely easy. After I’m done shopping for critters, I turn to the back of Monster manual II,
Fiend Folio or DMG. Here, I can find two, or three things that are the most useful and important. Charts detailing creatures found in every type of geographic area, from sandy deserts to cold salt-water surfaces. I can also find the monsters by level and even find random wandering monster table too if I want. I do use the tables in the book occasionally, but not all the time. I like to add a bit of spice. (My players say that I am just sadistic and enjoy watching them struggle!), but honestly, I only enjoy watching them squirm a little.
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Now I‘ll totally finish my list adding from the lists I see, again keeping the level of my player foremost. After this, I generally put the books down until the next day to give my poor little brain a rest. This isn’t necessary for you, but I do it so that it gives time to think about what the monsters
“personal” characteristics are, how they’ll react to the PC‘s, and last but not least, time to think about how each monster will fit into what I want to do in the overall picture. When I’m finished, I want to know the reason for every single creature in the dungeon and be able to explain this to the characters.
(Yes, I’m a perfectionist, but this is the part that makes my job as DM sweet! This little bit of extra effort on my part, means the monsters are instantly real to the PC‘s and one single sentence, spoken at the right time, will make the creature truly come alive and months later I often find that my players can even remember specific monsters names! If you can do that, then it’s the best compliment you could ever get! When I finally sit down at the books again. I mark off anything I’ve decided I don’t like, don’t want or otherwise seems out of place. I double-check the level of the creatures. I circle the ones I think the PC’s will have the worst times with combat wise. Later, I’ll address this by adding ways of defeating said beasts, such as magic items. I now insert the monsters into their proper places in the dungeon. I add my role-playing notes to each creature, reason for being there, etc and a brief note to myself. I finish the wandering monster tables.
Now for today I’m done. Keep in mind, that you absolutely must have a good working knowledge of the beasts themselves, or else you’ll get into trouble when you run them in your session!
Having the book on the table in front of you is the very best way to do this kind of research. If you can’t remember something, read up on it!
While I’m away I think of how my player characters are to accomplish everything in my dungeon and how they’re supposed to fight some of the harder monsters. Do they need outside help? Is the monster one that I’ve thrown in for them to run from? If they need help I add it now. As far as monsters that are too hard that’s easy. Choose one that is 3 levels or more higher. Just make sure that you allude to it, through notes, or other means of warning. I consider these things at least a whole day before returning and writing it all down.
Sometimes this part may take several days of planning because this is the most likely place to disrupt or adversely affect the balance of my campaign. I try to look at my dungeon for escapes, or other things that the characters might do to give me a surprise and make adjustments to my notes. Now that the
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Treasure and magic.
Many times, I’ve heard players discuss their characters with other players. Normally, the discussion includes character comparisons, their deeds, what neat monsters they’ve defeated, and what magic stuff they‘ve acquired. (Really good players will often hint at how great their DM is too!) Some
DM‘s are very comfortable throwing around treasure and magic, doing this without thought or any reasoning behind it whatsoever. This is far from true for me. If anything, I’m a bit stingy or others call me a perfectionist. All that is very true.
There’s several very good reasons it though. Foremost, if you give out too much stuff, it’ll unbalance the entire game. It makes it harder to choose the right level of monsters for the
PC’s to fight. Some of the other players might even be weaker than others. Thus those players will no longer want to play, because they’ll feel your dungeon is unfair, or that you’re playing favorites. To top it all off, it’s not fun for you or the players. Magic is a very fine balance, and requires the utmost care in placement. Done correctly, the players will have an appreciation for the magic you present them. If you give things out too easily or often then often the troupe will begin to expect it. That’s the last thing you want. Be unexpected, and you’re players will appreciate it. Basically if you give too much, then you have to pay the price and the price is your players’ enjoyment and yours. So why work extra if you don’t have to?
Make sure that every player is aware of how precious magic is.
They need to understand that while PC’s may throw spells by the bucketful, such is not the case with the common people who RARELY see spells. In some instances, the common folk may even fear, or hate those who cast spells. PC’s are not like the normal folk. One thing I always do consistently is reward hard work. It should always pay off for the PC’s. A simple formula. If the PC’s have a tough encounter with a challenging monster, then I give them magic and gold. I can’t stress enough though that you have to be careful. Here are a few tips on distribution.
Magic comes in many, many forms. There’s scrolls, weapons, wands, staves, armor, clothing, and the list goes on and on.
Even after all these years, I base all the magic on what I find in the first edition books. I do this primarily because the amount of treasure there is consistent with the levels of the
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With the magic, it‘s a bit different to figure out what to give, than the treasure is but then again it’s also similar in the method I use to allocate it. I‘ll explain. Treasure in a nutshell is laid out so that each level of creature is designed to have a specific amount of treasure dependent on the level of creature. In some cases, it may be a great deal, in others very little. Generally, the numbers reflect that a creature has a percentage chance of having treasure or magic items. This is based on the level of difficulty for the creature. For an example of how they do this, go to the back of any monster manual and you find a listing of treasure types for each creature. For an example look up a goblin (in MM1) and see what treasure the book recommends on the table(s). You’ll see the book lists treasure for individual and multiple creatures, or lairs. You can see a single goblin won’t have very much. To me a goblin is an excellent 1st level creature.
Look up a Titan now, and compare what his treasure types are to the goblin. A big difference. Now you’re catching on! Since a first level character would not be defeating a Titan in a logical scenario in the first place, it’s highly unlikely he’ll end up with that much treasure either. That’s the way you want it too! Otherwise, your players will kill every monster you pit them against and neither they nor you will be having a fun.
When I add the magical items, I try to add them such that there is a balance. Nobody should ever feel left out. That doesn’t mean that every adventure every character gets something.
Generally though you could actually say every 2-3 adventures, all characters will have received one or two magic items. I don’t always follow the books to a tee though because this can lead to too few items due to my lousy die rolls. Before adding treasure, just like monsters know your characters and what they currently have. I keep track too of what I gave out during the last adventure. When you created a list of monsters, if you recall you already wrote down what treasure type the monster manual recommended. Now start going down the list by treasure type. Make the die rolls to ascertain what treasure the creatures have. Total all the treasures up. Okay, now roll up all the magic items, and add the experience points, based on which character you feel will get each separate item. If you roll cursed items, then so be it, add them unless they seem inappropriate. List the GP value for each magic item.
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Compare the XP values to the experience charts for each class, and decide whether or not that much XP is reasonable.
Lower it as you feel is appropriate based on the level of the monsters, and everything else in the “dungeon“. Some DM’s don’t do this, but I don’t like characters to rise up two levels from a single adventure, just because I gave them a powerful weapon. I don’t feel that is fair to the other players either, unless you do the same for them. This is your decision to make though. Now add in the experience point values for the gold or other moneys.
Now look at the magic items you rolled for. Ask yourself if there’s anything that will make any players too powerful for the current group, or otherwise destroy your plans for the future. If so delete, or change them to something more acceptable. Now go back through and add any twists, command words, etc. that are necessary to complete your list. Be devious. Don’t give them all good stuff! Throw them a curve once in a while, just to keep them suspicious, and on their toes.
Go over all the lists and make sure that they don’t have things you don’t want them to. For instance, a 3rd level character having a staff of the magi. Or perhaps you want to be devious?
Go ahead and give it to them, but when they get it identified, no one knows what it is. I’ve literally lead mages across my entire realm looking for keywords! Devious, yes some might even say sadistic, (this again is my players opinion, but they wouldn‘t have it any other way)! Don’t be afraid to be imaginative. That’s the one single advantage you have over the players, and is a major means of fun for you.
Yes, you are supposed to have some fun too! One final word of advice. Every DM uses their own style for giving experience.
Some don’t give points for accruing money, treasure, or even exceptional role-play. Some don‘t give anything for maps, etc.
You get the picture. Do what you feel is fair to the players. If the characters rise either too fast or slow in levels, then adjust their experience points, or treasures as necessary to put them where you want them. In regard to any type of item, if you do happen to make a mistake, and give away too many then don’t forget.....The DM giveth....and he taketh away!
Monsters
There are quite simply, tons of monsters. In the Monster manuals, Fiend Folio, on the Internet, television, and in some cases from our own minds. When selecting monsters you have
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Roses and Ramparts to narrow this huge field down a lot. This require a lot of hard work and forethought, which when done right means the player and you will have lots of fun.
Before I decide what the players are going to meet, I look at their characters’ stats. For the most part, I know more about my player’s characters stats and abilities than the players do.
Part of this is merely a result of having played for so long but it is very helpful when setting up certain situational problems and clues later. (It’s up to them to miss the clues later, and that’s part of your fun!) Know what their level is, what armor they have and what their to hit rolls are. Know what kind of magic items and what level of spells they can cast. Last of all know all of their special abilities.
Once I know all these, I assign a “general” level of monsters I feel would be a challenge to them. This doesn’t mean that I only throw out a certain level of creature. It means that I stay within boundaries that allow me to make quick, small adjustments to the creatures as I need to during the game. It’s too easy to just throw out a creature only to find later that the creature can kill the whole party. So to cut down on this,
I do extra work now.
Selection of terrain.
This area is badly misused. I’ve had the personal experience of meeting a white dragon in the middle of an active volcano, complete with pool of lave and pits of steaming water. To my chagrin, the creature acted as if it were normal! Please don’t do this it insults your players. To me it ruined the whole adventure, because it was neither realistic nor believable. I always try to keep things realistic, because it’s easier for me, and the players to visualize the game as we play. This means that the surprises are more real! That’s why my monsters always are where they’re supposed to be. Want a white dragon? Try looking in COLD mountainous areas, glaciers, or deep ice caves.
Select the terrain or geography of the area the monsters are going to be in before choosing creatures. Now choose the toughest monster you want to use as well as some of the lesser ones you want to use, based on terrain and where they’ll be met whether the monsters will be in the air, on the ground, in the river or the ocean, castle, dungeon, cave, trees, hills, etc. In the monster manuals in the back you can find lists detailing some random table for wandering monsters.
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This can be a godsend if you get stuck or even if you want to use it as the basis for the entire adventure.
NPCs
Each time you create a new being, be it a monster or a character that helps the players, you need to give the being a few basic stats. The more information you provide, the more interesting the being will generally be, but start with the basics:
Name [HP – #; AC #; Attacks – Type and damage (Hit on # +AC adjustment); EXP #]
HP – The number of HP the being has (normal humans have 4)
AC – The difficulty penalty to adjust the player’s attacks.
Attacks – List each possible attack and the damage it might do.
Hit on – The roll the being must get before AC adjustment
EXP – The experience points earned by overcoming the being.*
*Please note that a character does not have to kill a being to gain experience from it. Simply sneaking past a guard may earn a character the experience if that is part of the character’s skills.)
If there is anything else about the character, add it in after these basic stats such as magical powers, special items the being has that it might use, personality traits such as insanity, and anything else that comes to mind.
Treasures
Most treasures have a Gold Piece value. This simply helps to keep track of them. While players often love to get piles of gold to spend, it is often better to give them things that have some value or could be made to have value if taken care of correctly.
Beginning GMs usually make the mistake of putting too much treasure in front of the players. This takes away from the game play terribly, so remember a general rule: no being will usually have more value of treasure than it is worth in EXP.
Instead of giving gold, you migh give a knife blade with a rotting handle. The player can’t actually use it, but if taken
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Roses and Ramparts to a blacksmith, the play might sell it for a few gold, or trade it for a little armor repair.
Magic items should be kept to a minimum. Also remember that anything that has a magical item will likely use that item against the players. If it is something that can only cause harm to the bad guys, the bad guys are very likely to try and damage it. This means that the players might get what they want but need to effect major repairs, possibly requiring another adventure, before it can be used.
Everyone is Here to Have Fun
I think it is fairly safe to assume that gamers roleplay in order to have fun. In my view, a good game is one where everyone
(players and GM alike) enjoy themselves - regardless of whether or not I would enjoy that style of play personally.
Thus, to my mind the first and most important goal of any GM should be to make sure that everyone is having fun. This is a wonderful underlying principle for all other decisions - "Will this add to or subtract from people's fun?" If it will make things more fun, then it's probably a good idea. If it will tick people off, it's probably a bad idea. If no one will care either way it may be a waste of time.
In reality, sometimes one player's idea of fun will ruin the fun of another, or the players will want something that will ruin the GM's enjoyment, and so on. In this case, the best course is to look for the most enjoyable compromise. In fact, I'd say that the only really good reason to prevent a player from doing what they want is when what they want would ruin someone else's fun.
When running games it's easy to get caught up in other concerns. You might be trying to tell a good story, or stick to the canon game mechanics, or avoid things which others would say are cheesy, or any of a number of other concerns.
Remember that the ultimate reason you have these goals in mind is that they will hopefully make the game more fun. If they ever stop adding to the fun, or they start to detract from it, forget them.
So, whenever you don't know what decision to make, or when things don't seem to be going well, apply the fun test to what you are doing. If it isn't fun, change it. If it will mean more fun, go for it! If you're not having fun, then stop. Follow my advice,
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So, are you Perfect?
Presumably you are reading this because you'd like to improve your GMing. This is quite easy to contemplate in theory, but when you're faced with tired, angry whinging players the thought that it isn't all their fault can be quite alien. So, in order to get better than you already are, you'll need to change things. In order to change things, you'll have to accept that some things might need changing. Basically, you'll only improve if you contemplate what it is that you might be doing wrong.
It's a good idea to think about this whenever something goes wrong in a game you run. Ask yourself how it might be the result of something you did. Ask yourself what you could do differently to avoid it. This isn't about "taking the blame". I'm not suggesting for a minute that you should beat yourself up about every tiny mistake you make in a session. Neither am I suggesting that players never do anything wrong (Oh boy do they do things wrong! This advice goes for players too). What
I'm suggesting, is that looking at what you, as the GM, can do to fix something is a lot more productive than blaming someone else.
Think back to that old saying - a wise man knows that he knows nothing.
No, they really don't get it!
Another major GMing faux pas is to assume that your players know what you're going on about. People are different. Your players may not have the same interests as you. They might enjoy different things. They might have different habits. They might think things are cool which you think are stupid, and vice versa. They might not have the same assumptions about how the world works that you do. In many cases players aren't doing something irritating in order to annoy you - they often genuinely think they are doing the right thing. Recognizing that people have different ways of seeing the world is the first step in harmonious roleplaying.
It's a lot more productive to assume that you just haven't explained something properly, than it is to assume that your players are malevolent idiots! Why the hell are you running
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So, to extrapolate a little, it's usually a good idea to give your players some idea about what you think is a good way to roleplay, and conversely, get them to tell you a bit about what they think. If you discover that you want to run a game of romance and political intrigue, with a player who is annoyed by irrelevant in-character discussion, and wants to focus on killing things, you might have a problem. It's a really good idea to discover this problem before the game starts. Some people advocate a specific and formalised play contract, which lays out everyone's expectations. Personally, I don't think you have to be that formal, as long as everyone has had a chance to express their thoughts. Regardless, I do think it's a good idea to put these thoughts in writing somewhere (if only through email) so that everyone knows where they stand.
If it's not on the screen - it doesn't exist
Likewise, it's important to remember that your players don't know what you are thinking. You can hardly blame them for making decisions which are stupid when you take into account things they don't know. Remember, if the players haven't seen it, it doesn't exist as far as they are concerned - this goes for good things as well as bad. There's no point in saying that you have lots of good stuff, only the players haven't gotten to it yet. They will (IMO, quite fairly) judge the success of the game based on what they've already experienced.
Communicate!
I can't emphasise this enough. Talk to your players. Talk to them out of game, as well as just running it for them. Find out what they think, and think about their comments. Get feedback about the game. Ask them what they most enjoy, and if you're feeling brave and diplomatic, ask them what they'd like to change. Tell them what you enjoy about what they do (this is always rewarding - everyone likes praise). Tell them when you don't like something, rather than assuming that they should know, or just punishing them in game - and when you do, do it diplomatically!
A few quick rules on giving criticism diplomatically are -
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Do it privately. Take the player aside rather than doing it in front of the group. the other players may want to jump in with their own "helpful" comments about what the first player did wrong - and believe me, it is never fun to sit there while a bunch of people gang up on you. In fact, never let a group of players do this to one player even if they all start it themselves.
Keep it simple and focused. Don't bombard them with criticism, but pick one point and leave the others for another time. They'll be much more open minded if you don't just rant at them about how crap they are. Besides, if you make too many points at once people tend to forget them.
Praise things at the same time. This is called the "criticism sandwich" - you insert your negative comment between two positive comments. This softens the blow, and lets them know that you don't hate everything they do.
Try to be impersonal and non confrontational. Phrase things in terms of what you'd like to focus on, rather than what you want them to stop doing.
Be positive as well as negative. If you tell them you don't want them to do something, try to give them some idea of what you want them to do instead.
If you loathe personal confrontations, you can always try giving feedback on a group level, rather than a personal one, making suggestions as to what you want the group to do more or less of. The only problem here is that the person you really want to change might assume that it isn't relevant to them - and people who are doing fine will suddenly become paranoid that they're doing something you don't like.
Give Them What They Want
Some GMs will say that you can't just give players everything they want. They'll say that you don't want to pander to their every whim. Tish-pshaw. Find out what they want, and give it to them. It's fun. People enjoy it. The only good reason not to give someone what they want is when that would interfere with fun. So, feel free to say no when what they want would ruin enjoyment in some way, but other than that, GMs really are there to pander to the players whims. Note that your enjoyment is also important. If you don't think you'd enjoy what they want, you are perfectly justified in refusing. Just remember, if you don't want to give them what they want as a matter of course, perhaps you shouldn't be running for them at all.
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This gets complicated, of course, because players won't always tell you what they want. The might say they want something because they think it's the "right" thing to want.
They might not know what they want. They might want things that are incompatible (say, they might want the game to be exciting, but also want nothing bad or threatening to ever happen to their character). But at the end of the day, what the players say they want is probably your best bet for working it out. You can also watch them and take note of what they react best to in game, or you can ask them to tell you what their favourite movies and books and interests are (and then try to incorporate this sort of thing into the game). All this
"saying yes" leads me to my next point...
Just Say No
Should you find that you don't want to allow something that a player wants (presumably because it will make the game less fun), for God's sake, tell them no simply and clearly right at the outset, when they ask for it. Don't give them something that looks like what they want, but later proves not to be.
Likewise, don't give them what they want and then make sure that it's useless or irrelevant. Don't give them what they want, and then take it away in game as soon as you possibly can. Don't say that they can have it just as soon as they've
"earned it" in game, only to keep it forever out of reach. Don't give them what they want, and then punish them for having it.
Do what Nancy Regan advised and just say no.
Feel free to explain why you don't want them to have it, and remember that "I personally just don't like it" is a perfectly good reason - even if you have no other reason to disallow it.
You see, if they are turned down right at the outset, they can give up on the idea and come up with a different one that you both like. If you say yes (but mean no), game after game will pass with the player rightly expecting you to follow through, and then getting angry and frustrated when you don't. Be honest right from the start.
Be Bold! (polishing the final product)
Finally, confidence is one of the best things you can have as a
GM. Even if you're nervous, try to project an aura of confidence and self control. If you look like you know what you're doing, the players are far less likely to notice the slips
(or care about them if they do). Try to avoid prevarication and justification of your descriptions and decisions - I've seen GMs apologise every time an NPC bested a PC, and then go on to
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If there's something you don't know, admit that you don't know it and move on. Don't be afraid to look things up, or make rules and information up as needed. If the players are getting out of hand (for example, by not paying attention) calmly and firmly ask them to stop, or if that doesn't seem likely, call a break.
Postpone lengthy arguments until after the game session, so that you don't have to break your stride mid scene. All of these things add to a confident and professional looking presentation. If you're going to spend all this effort preparing and delivering a roleplaying experience to your friends, you may as well take some pride in your work and give it some polish!
Avoid Overscripting
Overscripting refers to the tendancy some GMs have of overplanning their plot to the point where they won't allow the PCs to effect it in any way - it's a kind of inflexibility which can become very quickly obvious (and annoying) to your players, who after all want to have their actions actually achieve something from time to time. For this reason you need to be willing to abandon elements of your plot arc when the players quite obviously would rather do something else. In fact you need to be prepared to abandon the entire thing, although with a little cunning a forethought you should be able to come up with something which will interst the players most of the time. It can be helpfull to only prepare long term plot in broad strokes - have a general idea of where you are going, and a few of the major stages, and then sort out the details when the events come closer, and you know what the
PCs have allready done. The trick here is to entice your players into your plot rather than forcing them into it.
Think About the Player Characters
One of the first (and in my view most important) ways to inspire your players to engage with your plot is to design the plot with their characters firmly in mind. Have the story be
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Give NPCs Plans Rather Than Predestined Actions
Try to establish the motivations and plans of the NPCs, and then allow these to change in response to the PCs actions - even if this means rearranging your plot a little. You won't always be able to accurately predict what the PCs will do in a given situation, and it can be worth remembering that there can be more than one path to the final outcome you have in mind. If you define the various elements of your world, and then set them into motion, the PCs can interract with them as they please, while you subtly lead them to the destination of your choice. On a similar note, try having a number of important and interesting things happening in your world at the same time, and then let the PCs struggle to work out what to tackle, and what to ignore. Make them all difficult to ignore, and eventually have them all relate to the same source - which has the added advantage of creating a nice meta-plot for your entire campaign, consisting of a number of semi-discrete stories.
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Remember That Scenes Can Move
It's possible to design many of your scenes in advance in such a way that they can be moved, depending on what the PCs do. For example, you want them to fight a group of bandits who are holed up near the mountain passes, but they've gone by ship - let the bandits be pirates. Or perhaps there was a shop owner in a city who had importnat information, but the PCs have decided to avoid cities entirely - let the shop owner be a travelling merchant they meet on the road. While some scenes really do rely on location, it's surprising how many of them don't, and never forget that if the players don't know where in the world a location is, you can often move it into their path. As long as you maintain retroactive consistency (that is you don't contradict things you've allready told them) everything in your world can be changed. Just remember not to force the PCs into encounters the players are deliberately avoiding - that way lies overscripting.
Allow the PCs to Shine
Remember to focus on imagery as well as plot - much of the intensity of roleplaying games comes from the life you give scenes with your descriptions. Try focusing on the imagery of the PCs actions from time to time, as well as that of the NPCs, and enthuse your players by letting them see how cool their characters are. In many respects, whilst complicated and intersting plots can lend alot of life to a story, without well rendered individual scenes even the best plot will fall flat.
And one of the best ways to draw the attention and inspiration of your players is to render their character's actions and their consequences in vivid detail.
1. K.I.S.S (Keep It Simple, Stupid!)
If you are looking for ways to flesh out your games without adding hours of effort, just remember that sometimes the smallest throw-away line can often engage the players for hours...*if* they perceive that it has some importance to the game... Sit down before the game or campaign and write a page of one line descriptions of a range of things or events that could happen in your game world, but which are mostly independent of locations or contexts....i.e. :A low lying fog slowly encroaches upon the city, A shadowy figure stands in a doorway down the street, A shiny coin glints from under the wet leaves in the gutter....
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Then, when you want to add something to a slow moment or need to add something interesting to the game, scan down and pick one, and include it in the game. Let the players make of it what they will, and take your inspiration for what it could
*really* mean from the situation, the players and your own imagination. With luck, you may have just introduced a major plot thread! Remember to sit down and work through it after the game to maintain consistency.
2. Give it a Twist
Take a plot from a book, film, comic or news article, and add a twist. Imagine how Star Wars would have changed if, in Return of the Jedi, the Emperor had corrected Darth in telling Luke that Obi-Wan was his real father? What if Gandalf had actually been Sauron? Or the Huntsman in Little Red Riding
Hood was a werewolf? By giving an existing story a twist, you can make use of a lot of pregenerated material with your own flavour added... Also, you don't have to stick to the same genre as the story idea you're using; players probably won't notice if you use the Arthurian legend as the basis for a modern-day police game (Arthur as the energetic young cop,
Merlin as his aged and streetwise partner etc....)
3. Consequences
One of the major elements of a good story is how the heroes deal with a mistake they make early on. Take Sparrowhawk in A
Wizard of Earthsea, for example. If you are running an existing campaign and are looking for ideas for the next story, go back over the game and look at the opportunities the players have given you for fate to catch up with them. Old enemies returning who they thought were dead, a political crisis caused by some information the characters had let slip, the long term effect of large scale magic/warfare the characters were involved in. If you can reintroduce an element to your game that the players loved last time round, you'll be developing a richer game world and pursuing a longer-term story arc.
4. The Outside Context Problem
This phrase comes from Iain Banks, a sci-fi writer. What happens when the party are introduced to something they don't even have a context for understanding? This is where you can get very weird with your game. The Outside Context doesn't have to be an alien artifact...it can be a way of thinking or a series of events which just don't make sense from
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Roses and Ramparts the world view of the character (or players!). It can make a game much more challenging, detailed and roleplaying oriented if the players/characters need to "unlearn what they have learned" in order to solve the problem. A simple example: Modern day setting. The group sees an NPC standing out in torrential rain, staring off into space. It's horrible weather, and they'll probably get sick. Most people would assume the person was very depressed, drugged or slightly mad, and probably interpret everything they do on that basis.
If, however, you knew they were a water elementalist, it would suddenly make sense...but to get there you need to make some leaps in thought that most people wouldn't consider. From a game point of view, as the GM you can present conflicting, confusing and contradictory information to the characters until they start to change the way they see the problem. As their paradigm shifts, make the information more understandable. By the end of your story, not only will they have worked out what was going on, they'll have a much broader perspective on your game world and have really developed their characters.
5. Why should I care?
The best way to make a game compelling, generate roleplaying and enthusiasm, and make the players interact with the plot is relevance. The key point here is this: If your characters have no meaningful reason to be involved with a plot or story, they won't engage with it. Characters who are hired to do a bit of investigative work on a cheating spouse won't necessarily stick to the plot if they start getting shot at. They're only in it for the money..why risk their lives? If, however, the person they are investigating is a sister, former lover or other emotionally important figure, then they have a reason to stay with the game. These important factors must be developed in game...make sure the players have experienced the connection, at least briefly, so it means something to them when the flack starts... This technique also gives you a whole swag of ideas for story...just read the character backgrounds your players have written and you have a ready made source of material they're already committed to caring about. And you can always add a twist!
Combat is one of the areas of roleplaying that, in my opinion, receives more attention than it really warrants (not that it isn't fun from time to time!), so I suppose this article is something of a diversion for me. It is, however, something I've been planning on writing for some time now, because in all of my time as a GM, one of the things for which I have consistently
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Roses and Ramparts received the most compliments, and from the most people, are large scale battle scenes. How odd. So the following article is a collection of guidelines and thoughts I try to adhere to when I run large scale combat, and some questions to consider.
Battles are Dramatic
Think of all of the battle scenes you've seen in movies, think about how dramatic they are, how exciting, how emotive. Think of the battle scenes in the movie Braveheart - we get to see screaming Scotsmen, weapons flying, arrows descending on the ranks of men, inspired speeches, vast armies running across fields - no matter what you think of the movie as a whole, the large battle scene in the middle is certainly dramatic. Think of the battle scenes in Gladiator or Saving
Private Ryan or The Fellowship of the Ring, or any other movie that contains large scale conflict. This is the kind of excitement, drama, terror, confusion, pain, heroism, suffering, tension, fear, rage, fire, blood and death which you can evoke with a well presented battle. This is what you can aim to replicate in your games, which leads me to my next point.
Maps Miniatures and Mechanics
Avoiding the Bird's Eye View
Imagine all of those previously mentioned movies, only this time, imagine that the battle scenes were only ever filmed from the air, at a steady height which allowed you too see the whole field all at once. For the entire scene. Imagine that they showed the whole battle, from beginning to end, as a static image of little men running around in a field. You would certainly get a better look at the strategy side of things, but would it be dramatic?
Maps, miniatures and mass combat rules were the birth of roleplaying - D&D was created as a way for war gamers to play with individual characters, and a whole load of assumptions from war gaming stayed for the ride. In fact, many modern systems still advocate the use of miniatures for combat (my current favourite system 7th Sea for example), and
I can't currently think of a system that doesn't offer some kind of mass combat mechanic. However, if you want your players to feel as if they are actually involved in the battle, down there in the mud and smoke and death, you're going to have to encourage them to see things from their character's perspective. The first thing that happens when you lay out a map, and put down miniatures or cards, is that the players
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Roses and Ramparts start to see things from that elevated, impersonal point of view. When the PCs are heading into the thick of battle, they won't have the luxury of a strategic viewpoint. Even if they are in command of the army, and positioned on a nearby hill top, they probably won't have that good a view of the battle field. Even if you're playing a Sci Fi game, and the PCs have real time readouts of where everyone is, they'll still have to contend with information overload and the speed at which things are changing. Whilst maps are generally intended to give the players a clearer view of the terrain, in my experience they generally don't give the players that first person perspective essential to roleplaying.
Emphasize the Personal Level
To take the movie example again, most large battle scenes use very few long shots of the whole army, and when they do it is generally just to give a sense of scope before they narrow down again to the close ups of the fighting. When you describe a battle it can be very effective to focus mainly on what is happening immediately around the players, only describing larger events - like the movement of an entire wave of men if the PCs can actually see it, or only briefly to provide a sense of magnitude. To capture the interest and emotions of the players try to characterize the people around them, describing them vividly and individually. Instead of simply saying that they face "another of the enemy" give them individualised descriptions of their raised weapons, snarling faces behind dented helms, or whatever is in keeping with your genre. Even if you want the enemy to all be faceless behind their glinting blast visors, still describe what they are doing.
At this point it can be far more engaging for the PCs to face a few spotlighted opponents with the individual combat mechanic, then to use a mass combat mechanic. If the PCs are just soldiers in the army I recommend determining the outcome of the battle before hand, and simply describing its effect on the PCs.
What if the PCs Control the Army?
If the player character's are the commanders of the army, you will probably want to give them a little more input into the battle's outcome than whatever their individual fights would achieve. This is a great chance to make use of the character's tactical know how, their leadership skills, and their ability to make quick decisions - and you don't need to resort to war gaming to depict any of this. First of all, play out the planning stage of the combat. Have the NPC advisors and the PCs
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Roses and Ramparts discuss their tactical approach in character, while they all pour over their maps, schematics and intelligence reports. If the players don't feel like they can generate a good plan on their own, then let them roll their various skills/abilities/etc. to generate a plan. Then, when the combat starts describe the scene from the character's point of view. If that means they're in a command tent behind the lines, then describe what they can see from there, and give them information and opportunities to change their plans only as the characters would receive them. Perhaps part of the army is obscured by the terrain, or smoke, or is too far away to see - the characters can only hear the distant screams and clash of weapons from that quarter. If a messenger rushes in with a report of an unexpected flaw in the plan, they'll have to send their revisions back by messenger - and maybe that will be too slow. Maybe some of the enemy will break through to their location, and they'll suddenly have to fight for their lives rather than think about the tactical situation of the army as a whole. If the PCs decide to lead from the front, they are unlikely to ever have the chance to give orders in the middle of the battle, other than the most basic commands to
"charge" or "retreat". Finally, always remember that their plan will likely not survive long after contact with the enemy
- something unexpected will almost always happen, and they'll have to deal with it as best they can on the spot.
Confusion and Scope
I once engaged in full speed, full force, armoured combat using rattan weapons - both tournaments and large scale battles involving a few hundred fighters at a time. One of the first things I noticed about large scale combat is how incredibly confusing it is, and that is something I try to bring across when I run battle scenes in roleplaying games. Even if you have a clear line of sight to the rest of the field, you'll probably be too busy concentrating on those near at hand, and watching out for archers to pay any attention to much beyond your immediate field of view. Anything outside the battle disappears entirely, unless you have a damn good reason to focus on it. Combat is fast, shocking, exciting, and very, very tiring once the adrenalin wears off - and that is just mock combat, I imagine that when you're really fighting for your life things are that much more intense.
Another pitfall of running battle scenes lies in their scope.
Whilst using a personal point of view heightens the tension, making sure that the battle seems to involve more than just a few people is also important. Resist the temptation to simplify
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Roses and Ramparts the battle down into a few one on one combats, try throwing them in here and there amongst the other things that happen.
Don't forget that one on one fights won't necessarily stay that way - others will join in, ranged weapons will be a constant risk (arrows, bullets, magic, thrown axes...), large scale weapons can play havoc (such as siege engines, cannons, bombs, Greek fire...), the terrain may be trapped (mines, man traps, pits, spikes....), the terrain may not be even, and some people may be more mobile than others (cavalry...). Finally, don't forget to at least occasionally describe the full spread of what the players can see, feel, hear, smell and taste. In lulls in the fighting describe the chaos of people screaming and fighting all around. When the battle starts describe the whole array of the enemy rushing forwards, and the terrible clash as the shield walls meet, or the thunder of hooves as the PCs and their forces are flanked by the enemy cavalry, or the eye watering, throat catching smoke, or the screams and moans of the injured, or people disintegrating next to you.... the list goes on.
Whatever you do, don't let up on the PCs unless it's a dramatic
"calm before the storm", keep the threats coming in quick succession and try to imbue the scenes with as much excitement as you can.
What About the Non Combatants?
It can be tempting when you have PCs in the game who are not inclined towards joining the fray to give the players alternate characters for the duration of the fight, or to just ignore them until the fight is over. What a waste! Battle can be terrifying from the point of view of the non combatants, and it's far more exciting as a player to have events impact on your usual character rather than a quick, slap up replacement. First off, try to find something to involve those non fighting PCs with. The obvious choice is to have the enemy get through to where they are - it can be incredibly dramatic to have the fight burst into the castle, or to the supply wagons behind the lines, or what have you. Things can get very nasty very quickly as people use whatever they have on hand to defend themselves, and historically there have been some fascinating accounts of this. For example, in the middle ages a group of women were made knights of the specially created
Order of the Hatchet for fighting off a Moorish raiding party
(while their husbands were away at war themselves) with nothing but hand axes.
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Of course there are far more possible solutions than simply forcing all of the PCs into combat. It can be an interesting juxtaposition to cut back and forth between an elegant dinner party and a raging battle in the dark and pouring rain.
Perhaps there is something else the non combatant PCs can be doing to aid the combat - such as healing the injured (what happens when the son of one of the other PCs, or the daughter of the King is brought in for aid...), or spying on enemy movements (Oh my God! They have three units approaching just over the hill! It's a Trap!), or trying to rally support from a lord who is having second thoughts. Whatever you do, don't forget that all of the PCs want to have fun, not just the combative ones.
Mood
It can be worth thinking about the kind of mood you want to impart with your battle scenes, and then playing to it. If you're after gritty realism then focus on the descriptions of death and horror - the bodies on the battle field, the blood, the sudden death of someone nearby and the seeming lack of point to it all. Show them that the enemy are just people too, maybe even very young people at that (my Grandfather was 16 when he signed up in World War II). If you're after a heroic feel then focus on the greatness of individual warriors, on the successes of the PCs and their allies, and on the evils of the enemy. Give the PCs something to hate, and something to defend, and don't make it too ambiguous. Have the deaths around them mean something. If you want to play up the inhuman nature of technology then focus on the technology itself, and what it does to the human body. Describe that laser cutting five men in half before shearing through a nearby bulkhead.
Get Inspired
If you want to run good battle scenes then find ways of inspiring yourself. Watch movies, read books, read up on your history (if applicable), read poetry - essentially anything to do with war and fighting can be a good inspiration for GMing combat. To this end, I've included a few of the things I've found to be appropriate.
Movies - The Fellowship of the Ring, Gladiator, The Thirteenth
Warrior, Saving Private Ryan, Braveheart, Henry V (The
Kenneth Brannagh version), Starship Troopers (for marines getting eaten by aliens), Aliens (not quite large scale, but it certainly expresses the confusion well).
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Books - try the Vorkosigan novels by Lois McMaster Bujold for Sci Fi battle scenes that focus on the people rather than just the machines. Read the poetry of Wilfred Owen for a harsh look at trench warfare. Read the Iliad of Homer for epic battle scenes.
In the interest of starting things off, and to demonstrate the inspiration can come from all manner of sources, I'll finish off with a few lines from the Dire Straits song "The Iron
Hand"
"The blue line, they got the given sign
The belts and boots marched forward in time
The wood and the leather, the club and shield
Swept like a wave across the battle field
Now with all the clarity of a dream
The blood so red, the grass so green
The gleam of spur on the chestnut flank
The cavalry, it burst upon the ranks"
Advice
One of my growing concerns as of late, was that my gaming sessions were getting somewhat dry. My characters seemed to be able to visualize the world, but they weren't attaching to their characters like they used to. I had spoken with some of them about it, and none of us were really able to identify the problem, but we all knew it existed. Some of the conclusions that were drawn as possibilities included:
Players being players for too many years and just growing bored with the over all "freshness" of the game.
Me simply running out of new ideas (which is quite possible after running games in a D&D format, almost every week and over the course of 8 years.)
People having a "powerful character" goal rather than a
"fun campaign" agenda when playing.
People missing the "good old days" where they didn't know every monster in the monster manual, rules we didn't know were made up on the fly (or there not actually being rules for everything), times before children and job responsibilities when we all had the energy and time to gather once a week and overnight for massive 8-12 hour gaming sessions or even
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"big black binder of characters long forgotten" and throw into a campaign together, and the list goes on.
So after examining these possible problems, my players and I worked towards making sure they weren't issues. We started inventing creatures, abilities, spells, and taking ideas from other game systems which helped a lot with how "fresh" the gaming was. I started looking elsewhere for ideas or bringing back old adventures with new twists (a once dead family of wizards that we had killed in a campaign five years before were being resurrected by followers 100 years in the future to wreak havoc on the land that oppressed and destroyed them.) Ideas from other game masters around the web helped me get my confidence back that even after all this time I wasn't out of new ideas and that I just needed some inspiration. We went through lengthy discussions about
"power charecters" and we all made efforts to make sure our focus remained on the game and not the stats of the PC's and
NPC's. We stopped reminiscing about old characters and decided that it was time to make new "epic characters" and we all started doing our best to set more time aside for gaming sessions...
...but alas, something was still missing and we all knew it. This is where your website came in. It was so simple I kick myself for not noticing it sooner. It was the combat! The vast everchanging and twisting story lines were there. The goals of the
PC's to interact with and be part of the world was there. We were working towards an epic group again, and we were fighting new monsters, seeing new worlds and doing things we hadn't done before but one thing was different this time around: we were using figurines. I had never even considered prior to reading it on this site that using figurines and game mats was taking away from the game. We all liked having our own figures, we all liked being able to see everything that was going on. Granted, this really sucked for massive army-style tactical battles, but we got through it. But this was the major problem all along.
I'm not asking you to post my email on your website or anything like that, [thanks for letting us - Riina] but you need to stress how detrimental this game dynamic is to roleplaying. We started the new style just before 3rd edition came about, and for a long time we thought some of the trouble with the game was how detailed the rules had become in 3rd edition, and to an extent it was. Everyone knew their speed for their bone-
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Roses and Ramparts stock human fighter was "30" but we never really used it unless someone was being chased down. (see rolling the dice for 5x base speed movement against your constitution...) Now character base speed was a huge factor. It meant you could put yourself tactically anywhere on the game mat you wanted if you were a monk. It meant you had to think twice about getting an attack of opportunity every turn if you just couldn't run fast enough to get away. It meant having to calculate exactly who got attacks of opportunity on whom if a character happened to walk through an adjacent square on the map... That's not roleplaying. That sort of thing isn't even much fun in Warhammer or MageKnight.
So after discussion with my players, we pulled the system. We went back to "the old way" of dealing with things regarding speed and position on the battlefield. I starting using estimates again, I started taking guesses and not bothering with exact location details anymore. Let me tell you, it's the best thing I've done for our gaming sessions since we stopped sharing dice and books and started writing on character sheets unstead of college ruled notebook paper.
I imagine that most GMs have had the irritating experience of watching their players romp happily through the supposedly dangerous and terrifying combat they devised, without even looking vaguely nervous, let alone terrified like they were supposed to. Worse yet, sometimes your group can get so blasé about combat that they'll attack *any* NPC who annoys them - even those big scary ones who they are supposed to fear so much that when said NPC looks miffed they drop to their knees and beg for mercy. At this point what you really want to do is convince your players that combat is deadly, and get them to have some respect for your NPCs!
One of the ways around this is to make combat seem more deadly. Actually making it deadly is easy - just give the NPCs nastier combat stats, maybe fudge some dice rolls, and watch the PCs die. That's not the point, however. What you want to be doing is convincing your players that combat is deadly, so that when it occurs it's more intense and dramatic, and so that your
PCs think quite hard before initiating it. Remember, without the characters the story is over.
Now for the tricky part. How you solve the problem depends on the cause of the problem - you need to work out why your players aren't taking combat seriously.
1. Have Consequences.
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What are the consequences of combat in your game? Do the
PCs just need to heal some hit points/health levels or what have you - not really a consequence in a world frame with magical (or high tech) healing. Try introducing some consequences.
Examples: - have healing be harder to access (if possible). In
D&D have the local temple charge exorbitant fees for healing, or have the party Priest's god only grant healing powers for wounds received in a worthy cause. In Vampire, make hunting harder - if blood is scarce they won't be able to spend it like water. In Cyberpunk put them into horrible debt to the hospital they were taken to - and have agressive debt collectors. Make getting injured a hassel, and injure them in combat.
- Give them lingering problems. This works best in worlds where healing isn't magical, instant and total, but can really be slotted anywhere. Have injuries never quite heal properly, give them scars, give them small difficulties ("My hand has just never been the same since that knife wound").
- Give them a reputation. Are they behaving like big scary violent psychopaths? If they are, have people give them a wide berth, act frightened, not trust them, refuse to deal with them, call the police/guard when they see them...etc.
- Show them the consequences of killing NPCs. Obviously life is cheaper in some gameworlds than others, but usually someone will be upset about people being slaughtered. Have them charged with murder. Have friends/relatives of the deceased start seeking revenge (possibly by indirect means), have it be either pitiable (the five year old son vowing to kill them later), or extreme and total. Show them the impact of the NPC's death on their community (little Orc children stealing bread from the party because their parents were killed and now they're starving).
2. Don't over do the combat.
Perhaps your players are blasé because combat happens all the time. If it's rarer players may respect it more.
3. Have non lethal combats most of the time.
This may seem odd, but if combat always escalates to lethal levels, it becomes common place. In the normal world fights are usually non-lethal. People hit each other a lot, and then
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Roses and Ramparts stop when one party looks beaten. Have most combat be non lethal, have fist fights, duels to first blood, enemies who flee when they start losing. Then when you introduce an enemy who seems to be trying to kill the PCs it should be way more scary, and should definately get their attention.
4. Make sure combat isn't too deadly.
This one is counter intuitive, but I've seen it a few times. When combat seems too deadly players withdraw from the game, in an attempt to not care when what they perceive as the inevitable death of their character occurs. They start becoming goal oriented, rather than roleplaying oriented to get their character out of danger. They start making decisions based on power, rather than character, and stop doing all those little roleplaying things which are detrimental mechanics wise, but flesh out the character.
Constant, intense, terrifying tension can only be maintained for so long before players start to desperately seek ways out of it, at the cost of roleplaying. In this case, your players will look like they don't care, but have probably stoped caring because it became too stressfull.
5. Set things up.
Have you set up the situation as dangerous? Have NPCs talk about horrible things which happen when you fight so and so.
Sacrifice NPC allies, the more respected by the PCs the better, to show them that combat is fatal (just remember that if you sacrifice all of the important NPCs the PCs will have no one to roleplay with - make sure you leave enough to have meaningfull relationships with). This will only work if you have fleshed out the NPC before hand - no one cares about storm troopers (see my article on using NPC allies for more on this). Give them personalities, have them be around for a while, and *then* kill them. Or better yet, have soldiers working for the PCs crippled, and let the PCs deal with finding them someone to care for them afterwards. Have them contact the
PCs regularly to tell them how they are going, and to reminisce about the good old days when they were able bodied.
6. Are combats too mechanics oriented?
The most mechanics heavy part of most roleplaying systems is combat, which gives it a tendancy to become focused on dice rolls and statistics, rather than roleplaying. Real combat is increadibly fast, intense and confusing, you don't get time to think, and it's usually all over in less than a minute, if it drags
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Roses and Ramparts on loger then that, it's *increadibly* tiring. To help create this atmosphere, don't let players spend ages thinking about their next move - give them a count of five and if they haven't declared and action by then, they have to wait untill next round. Don't give bird's eye view descriptions of the battlefield (as fun as they are, miniatures on maps do encourage a bird's eye view in the players), rather describe only what each PC sees, and leave them fuzzy about where everything else is in relation to them - "As you swing at the battered face of the knight in front of you someone stumbles into your back and you topple forwards into your opponent, his blade catching on your pauldron (shoulder armour) as you twist desperately to one side to avoid being impaled..."
Describe things vividly using all of the senses, and keep it fast and chaotic. Mass combats are a bit different to run, but that's a whole other tip :-)
Furthermore, include descriptions of non combat raleted things, such as the fire creeping up the wall, the puddles on the ground, the glitzy clothes behind the shop window the PCs face is slamed into and so on. Have the NPCs they are fighting still have personalities. Have them swear, grunt, insult the
PCs, call on their God, parley, beg, try to rescue comrades, threaten the PCs and so forth.
7. Have them lose.
Have the PCs lose the fight occasionally, have them captured, beaten, robbed or otherwise mistreated. Let them know that they won't win everytime. If they go up against an NPC who is too powerfull for them, have the NPC win and come up with another reason for their survival (rescued? NPC couldn't be bothered killing them? etc.). This is really a part of set up - have them lose a small, early battle, and then watch them be more carefull about the larger, nastier battles they come accross later.
A rule of thumb for making Combat more intense is to make sure that it feels like a part of the world. Have it effect the game world, the PCs and the NPCs. Make sure that it always has nasty consequences, and set those consequences up before hand with stories and NPCs.
Character Death
I think the most important thing, as it usually is, is communication. The GM and Players should establish
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Roses and Ramparts boundaries right at the beginning for what they feel comfortable with as far as character death is concerned.
Some games naturally lend themselves to high character turnover, such as Call of Cthulhu, but it isn't necessarily inherent in any system.
Every GM will have a different approach to PC death, that will reflect their own views, and the tone of the campaign they are running. Players also have their views; not necessarily predictably "I don't want my character to die, ever". Sometimes, the tragedy of a death can be what a player wants; dying to save the group, the world, an ideal or just their dignity. On the other hand, some players may not want to explore death at all. One player in my game stressed to me at the beginning that they didn't have a problem with their character dying if it came down to it, but if so, they didn't want to roleplay it or really explore it at all for personal reasons.
My standard rule for Character Death is that I don't kill characters strictly as a result of dice rolls. If the dice are doing horrible things to a character, I don't think it gives them anything fun to roleplay if their character's death is meaningless and arbitrary. I will work to get their bacon out of the fire; they may not come out unscathed, but they will have a chance to experience imagery relevant to their character and hopefully fix the situation.
If, however, the Player has been particulary silly, unthinking or ignored a series of warnings that their character is in serious danger, then i will respond as the situation warrants.
Fortunately, I haven't had to kill very many characters because of stupid player actions, and when I have Imake sure the Player understands what I feel they did wrong and why they ended up in the deadly situation.
PC death is not just the GM's responsibility either; the players need to appreciate that by killing a PC, the GM has probably just significantly altered their game world. Games tend to develop around players, and it causes quite a hole when a PC is no longer there to provide a focus. A player who has just lost a favoured character can be fairly strange; I've seen people tear up their character sheets, fling them at the GM and storm out. Its difficult to remember that you're there to have fun when all your hopes, dreams and plans for your character have just been snatched away by the demon behind the GM screen. The only advice i can give is to avoid saying or
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It is a problem that some Players will want to abuse the situation; if they know they won't die unless they're stupid, they may do things a character with more sense of self preservation wouldn't dream of. Again, I think its a communication issue.
I must say, though, that games where the threat of character death is real can be tension-building and exciting. A real risk of losing all that you have worked for can make victory all the sweeter. So long as the player, through their character's death, gets to experience at least something of the intense imagery that death can cause. The last, desperate words of a character too far gone to be healed, with their colleagues standing watch, or the consequences of the death that affect the game world so the player can feel they made a difference; these things should go some way to salving the loss a Player will undoubtedly feel.
So, I guess for me the essential elements are:
1) Establish Ground Rules with the group about how you will approach Character Death, and stick to them.
2) If a Character dies, don't belittle the process or be flippant; give it meaning and importance within the context of the game so long as thats what the player wants.
3) If a Player is putting their character in a situation the GM feels is exposing them to Character Death, their should be warnings, both in game and out, of the possible consequences.
All this boils down to the fact that, ultimately, the GM may have to do the deed and say, "You're dead." For some people thats not a problem; I felt sick the first time I did it, to a long term character in a fairly intense game. We all get attached to characters to some degree, and as long as the whole issue is presented so there can be no doubt about favouritism, unfairness or vindictiveness, the game can benefit from it and the player(s) will get to explore an intense aspect of their roleplaying of the character.
Death is a real testing ground; if it's done badly, it can seriously damage a players enjoyment of the game and their respect for the GM. If its done well, it can become a memorable
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In life, or in death, your character is still what you make it.
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Cities
Creating and running an effective city environment can be a major element of your game. Here are some ideas for how to give a clearer impression of the urban landscape, and distinguish it from others in your game.
Describing Cities:
1) Give each City a theme:
If your group is involved in a lot of travel, and visit many different cities, then it helps to focus on what makes each city different. For example, focus on lighting and darkness in a city where you want clear distinctions between two elements of the game. Give another city a carnival feel by focusing on street parades or parties, and in another highlight the vegetation and parks to give it an organic feel. They could all be the same city, but the theme provides a different flavour.
2) Relate the City to its purpose in the game
If the PC's are visiting a city to trade, concentrate on the markets and guilds and make them the most significant element. In a game based on thieves and skullduggery, highlight the class distinction and the differences between
'have' and 'have not'. If the City is under siege, focus on the ways the citizens are reacting in small ways; barricaded windows, normally peaceful barkeeps with swords at their belt etc.
3) Describe height differences
The major difference between cities and the wilderness is its dimensions; cities tend to go *up*. Describe things above eye level such as balconies, flags on rooftops, washing lines across alleys, police and news helicopters etc.
4) Limit line of sight
The difference between encounters in cities and the country is in how far you can see. Ambushes can be around every corner, and making a few quick turns can lose the pursuing mob. It can also help to give a sense of claustrophobia to encounters. Use words that give a sense of closeness.
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5) Use character perspective
If the PC's are from a rural setting, play up the dirt, squalor, close-packed humanity and lack of recognition from passersby, homeless people etc. If they are city people born and bred, they may not notice, so instead describe clean and shiny buildings towering above the streets. If they are wealthy, they'll see the wealth. If they are poor, they'll see the poverty.
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Problems with City Based Games
1) Availability of services
One of the problems in a city-based game is that, if the city is large enough, the PC's should reasonably be able to acquire most of the things they need. This can make a game which requires a lot of resources fairly easy, as the group can just visit their local hardware store if they run out of rope, nailguns, chains, crowbars etc. Place some other barrier in the way; lack of finances, a time-limit etc to make them plan their equipment effectively.
2) Too many NPC's
In a city game, there are more potential NPC's than any GM could easily describe. Groups have a habit of saying "We go and visit the park/restaurant/mall/library", and expect to interact with a range of NPC's you may not have planned. It helps to have a list of NPC names and simple personality traits ready in this case, to support the imagery of a bustling metropolis.
3) Ease of transport
Part of the fun of some games is just in getting to the destination. In a city, everything is relatively closely spaced, and for a few coins you can get taken wherever you want to go, by taxi, rickshaw, carriage etc (or walk if its small enough). This also applies to moving large objects; if the group uncovers a gold statue, they can just hire a taxi-truck or oxdrawn wagon to get it home. If you want to delay the group, use traffic jams, riots, breakdowns, bad weather or inaccurate directions to keep them from just arriving on the
Villain's doorstep, or escaping afterwards.
4) Location, Location, Location!
In the wilds, one bit of forest can look much like another for many days travel. In a city, however, just turning a corner puts you in a different world. Being prepared for the vast array of different 'sets' the group may visit can be a challenge. The Abandoned Warehouse is very different in atmosphere, content and structure from City Hall just down the road. Have a few short prepared descriptions ready for the sort of locations your characters may visit in the city;
Stables/Parking lot, Market/Mall, Guardhouse/Police
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Station, Seaport/Starport, Tavern/Nightclub, Dark Alleyway
(common to any genre!) etc.
5) Getting there is half the fun
Out of a city, the build up can be the journey to a place. In a city, the build up can be in *finding* the place. There may be only one Cavern of Chaos, but if the enemy is in a high rise building, determining which one can be the source of many games worth of investigation and fun.
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Monster List
This list is a starting point for a GM. All I have provided is a name and a little information about the creature. As you choose to include the creatures, write down the basic information for each. This gives you control over what the creatures are and how they affect your game.
Name and Characteristics
Afrit
(pl. Afriti. Also transliterated
"Afreet/Afreeti" and "Efreet/Efreeti")
Arabic fire spirit.
Alfar
(see also Dockalfar and Liosalfar, see
Elves): Norse equivalent to Elves.
Amphisbaena
A two headed venomous serpent
Ananta
Anka
(alias Angka) giant bird
Anthropophagus
(plural: Anthropophagi) Cannibal humanoids thought to dwell in the
East and in Africa.
Ant-Lion
(See Mermecolion)
Arimaspians : a legendary one-eyed Scythian people who would attempt to steal gold from Griffins in order to adorn their hair.
Aspidoceleon
(also spelled Aspidochelone)--a seamonster, much like a whale, but having a turtle-shell and a snake-like head. Cf. Leviathan. In various translations, rendered cethegrande
(Middle English) Cetus (Latin for whale), a grande (literally a "large"), and even a "sea-pig" by one homilist.
Ass Centaur
(alias Onocentaur) A creature with the body of a donkey and the waist, arms, and head of a human placed where the donkey's head should be.
They were notorious for drunkeness and debauchery. In one version of the Physiologus, they are used as a symbol of hypocritical churchmen.
Astomi
HP AC #At Dam To Hit Magic Treas. EXP
Barnacle-Goose
(alias a carnard): Medieval bestiaries stated that a species of goose existed that hatched out of barnacles. The
French word for a barnacle goose
( canard ) thus became a common term for any false report.
Basilisk
(Compare with Cockatrice, below):
A venomous reptilian creature so lethal it had the power to turn people
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to stone.
Bean Sidh
(often spelled "Banshee," Irish prophetic spirit)
Blemiyeh
(Headless men, also spelled
Blemmyae)
Brownie
Bucentaur
Caladrius (also spelled Charadrius, see below)
Callitrice
Canocephalus , pl. Canocephali (also spelled
Cynocephalus): men with the heads of dogs. These dog-headed men were supposed to live somewhere in the
East. Purportedly, they sent a delegation to the Pope in Avignon. In some accounts, they are carnivorous, and in others they are vegetarians who model their lives on principles akin to that of Beneditine monks. In many medieval legends, Saint
Christopher is a canocephalus.
Capricorn :
A fanciful beast with the body of a fish and the head and forelimbs of a goat, precursor to the Zodiac symbol.
It may have originated in a
Babylonian water-god, Ea, or the
Indian myth of the Makara.
Caristae
Catoblepas
Cecrops
Centaur , cf. Ichthyocentaur (sea-Centaur),
Onocentaur (Ass-Centaur),
Bucentaur, etc.
Cerberus (classical Greek)
Charadrius
Cheiron
Chemosit
Ch'i Lin (Oriental, see Ki-Lin, below)
Chimera (Greek)
Cinamon Bird (Cinomolgus in bestiaries)
Criosphinx
Crocotta , cf. Leucrotta
Cockatrice Resembling a mixture of rooster and serpent, a cockatrice was created when poisonous toad sat upon an abandoned(See Basilisk)
Cyclops . See also Arimaspians
Cynocephali (see Canocephali):
Demon (Judeo-Christian examples:
Asmodeus, Belial, Mamman, Grizzel
Greediguts, Acheron,
Mephistopholes)
Click here for Autumn Roger's bibliography on demons.
Dhampir (Serbian vampire)
*Djinni
(Arabic, also spelled genie) In the
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Arabian Nights, lived in a rosedomed city called Shadukiam. The oldest genie, by whom they swear, is named Kashkash. Ampharool is the genie who can teach men the secret of flying, according to a medieval grimmoire called The Book of
Power.)
Djinniyeh
(Arabic, female djinn, see djinn)
Domovoi
*Dragon, Western
A fire-breathing reptile of unusual size and ferocity, often with a varying number of legs, sometimes winged. In most versions it either breathes fire, has a venomous bite, gives off noxious fumes, or some combination of these three traits. In
Norse and Anglo-Saxon legends, dragons have a lust for gold and often sleep on huge piles of treasure in burial mounds. They are often linked to greed. For instance, the dragon Fafnir was originally a dwarf who killed his brothers to gain access to their treasure, and then over the years of guarding and hoarding his treasure turned into a dragon until
Siegmund kills him. In Beowulf, a dragon becomes enraged when a golden cup is stolen from his treasure hoard and he goes on a rampage in
King Beowulf's kingdom. In
European legends, the dragons often have a taste for the flesh of young virginal princesses, and often have the loathsome habit of bathing in springs or lakes and poisoning these waters with the pollution that comes from their slimy bodies. Cf. Lung, the Oriental Dragon
Dragonhorse
Dryad
(cf. Hamaryad, Greek)
*Dwarf (Norse)
Short, stalky beings that resemble
European craftsmen. In Norse legends, when the Frost Giant Ymir died, his body turned into the various parts of the universe. The dwarves were the pale maggots that rose from his flesh. They are associated with the earth, both in the sense of hidden treasure or secrets and the sense of decay and death. Any hero that gains a sword from the dwarves in Norse legend is almost certainly going to find the weapon is cursed in some way, and if dwarves discover or create a magical item, it will almost certainly lead to murder.
Echeneis
(Greek, "ship-detaining")--a classical and bestiary fish that can stop a ship going full sail by attaching itself to the hull.
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*Echidna , the mother of Monsters (Greek)
*Elf , Irish Tuatha de Dannan, Seelie and Unseelie varieties.
*Elf , Welsh
Ekimmu (Mesopotamian)
A bloodsucking ghost that resembles a pale giant with a bull's head on its shoulders.
Ercinee
Bird of the Hercynian Forest, glows in the dark.
Ettin (Norse)
*Faerie, Fairies
Click here for Annie Gately's student bibliography on faerie beings.
Faun (cf. Satyr)
Fenris Wolf , the (Norse)
Frost-Giant (Norse)
Fox-Maiden (medieval Japan) shapeshifting seductresses. One,
Jewel Maiden, Tamamo No Mae, fox-maiden who infiltrates Summer
Palace of Emperor Toba, the Mikado of Japan. Fox-maidens are masters of illusion, arson, seduction; True reflection appears in water. No direct cognates appear in European medieval lit, though there is Reynard the Fox as a trickster in beast-fables.
Ganesha , the Deity (Hindu)
A deity who had his head chopped off, only to have it replaced with an elephant's head. Ganesha is associated with luck, plenty, and good fortune in Hindu mythology.
*Gargoyle (European architecture)
Garm
Garuda (giant bird, cf. Roc, griffin, simurgh, and angka)
Ghul (Arabic, modern Ghoul)
*Giant Cf. Titan (Greek), cf. Frost-
Giant (Norse)
Giant Ants of India (Greek legend, described in Herodotus)
Glaistig
Glaucus
*Golem (medieval Hebrew)
*Gnome
Griffin: (also Gryphon, Griffon):
A large predatory composite monster with the wings, forelimbs, and head of an eagle and the hind-parts and tail of a lion. The eagle head also has strange, pointed, upstanding ears.
*Grotesque (architectural monster)
Gryllus
Humorous monster in medieval manuscripts, usually depicted with two legs, a head, a tail, and no body or arms. Often furry or maned.
Hags (Celtic legend)
Hamadryad (see Dryad)
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Harpy
Hea-bani
Hengeyokai (Japanese shapeshifter)
Hercynian stag --cf. Unicorn.
Hieracosphinx
Hippocampus
Hippogriff (Renaissance invention in Orlando Furioso)
Hippopodes
Hsien In Chinese mythology, angelic
"feathered folk" with winged or feathered images appearing in Chou art. The book of Chuang-Tzu pictures hsien as white-skinned, delicate superhuman beings: "These are divine persons dwelling there, whose flesh and skin resemble ice and snow, soft and delicate like sequestered girl-children; they do not eat the five cereals; they suck the wind and drink the dew; they mount on clouds and vapors and drive the flying dragons--thus they rove beyond the four seas" (quoted in
Schafer 63). See Schafer, Edward
H . Ancient China . Great Ages of
Man: A History of the World's
Cultures. NY: Time Life Books,
1967.
*Hydrus, Hydra
Hydrippus
Ichthyocentaur (sea-Centaur)
Incubus
Jack-in-the-Green, the
Jormungandr
Kaliya
Karkadann
Kelpie
Ki-Lin : Chinese equivalent to the
Occidental unicorn. See Unicorn.
Ki-Rin : Japanese pronunciation of the Chinese Ki-Lin
Kobold
Kraken
Lamassu
Lamia
Leshy (Russian forest spirit)
*Leprechaun
Leucrotta
Leviathan (Hebrew sea monster)
Click here for Michael Zibelman's student bibliography on seamonsters.
Lillith, Mother of Demons
(Hebrew) Adam's first wife, before
Eve in the Hebrew Midrash tradition.
Click here for Catherine Anne
Gunderson's student bibliography on
Lillith.
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Lilit (pl. Lilitu: Hebrew succubi, the daughters of Lillith
Click here for Catherine Anne
Gunderson's student bibliography on
Lillith.
Lindworm
*Lung: (Oriental Dragon)
Click here for Jeremiah Mattson's student bibliography on Lung.
Magyr --ugly mermaids with webbed hands, deformed faces, double-chins, and fishy tales reported by Vikings around Greenland.
Malebranche Demon (Dante,
Inferno )
Manticore (alias Manticora, Tiger-
Lion)
Medusa -snake-haired Gorgon from
Greek mythology
Melusinae --Paracelsus' term for water spirits. The name comes from
Melusine, a fairy-woman who turned into a half-dragon or a mermaid, depending upon version of the legend.
*Mermaid
Mermicolion (Greek, Ant-lion,
Latin, Formicoleon)
Midgard Serpent , the (Norse) Seamonster destined to kill Thor during the final battle of Ragnorok.
Click here for Michael Zibelman's student bibliography on seamonsters.
*Minotaur, the (Greek)
*Monocerus (see Unicorn)
Monkfish, the
Monopod (alias sciopod ): The original version of the monopod legend appears in Pliny's Natural
Histories , his series of Latin books dealing with the wonders of the biological and geological world.
There, he describes how travellers have told him of the monopods, which have a broad-toed foot, with the toes curled upward in a shape reminiscent of a little boat. Their extraordinary method of resting was
Lying flat on their backs with the single leg straight up in the air like a parasol, protecting them from harsh sun or rain. They travelled by hopping from place to place, and they apparently lived in the antipodes
(i.e., the southern hemisphere).
Most mythological critters of this sort were probably transmitted to medieval readers by Isidore of
Seville, whose encyclopedic works, the Etymologiae , included a compendium of strange words, creatures, herbs, and gems, discussing their magical properties.
The legend did not spread very widely, but the monopod was resurrected in literature by C. S.
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Lewis' Christian fantasy series, The
Chronicles of Narnia . Naming the creatures Dufflepods, he places them on the Island of the Voices, as reported in the Voyage of the Dawn
Treader . Aside from C. S. Lewis' book in English, most of the sources are in Latin, and they are not widely available in English translation.
Naga (Medieval Hindu water spirit)
Nag-Kanya (fish-tailed maiden in medieval Hindu myth)
Naiad (cf. Mermaid)
Narasimha
Nasir (Arabic)
Nemean Lion, the (Greek)
Ness Monster , (driven off by St.
Columba in medieval legend, source of modern Loch Ness monster)
Niluus
*Nixie
Nuckelavee
Obour
A short-lived Serbian vampire-spirit that arises from the body of a slain spirit. It "lives" in undeath for forty nights, during which time to smears dung on walls, vandalizes property, and tears the udders of cows to drink the mixture of blood and milk. It often appears as a blue ball of light or a shadow. At the end of those forty nights, it will rise as a fullfledged vampire.
Odontotyrannos huge one-horned beast in the
Alexander romance. Takes 1300 soldiers to drag its body it is so huge.
Ogre, the (a specific monster in the
French legend)
Ogre , generic (related to Giant)
Onocentaur
(see Ass-centaur)
Pan , the deity
Panther of the Fresh Breath
(bestiaries)
Pastinaca --gigantic fetid weasel, bigger than an elephant, mentioned in medieval bestiaries.
Pazuzu , the demon (Assyrian)
Pegasies :
Ethiopian bird with ears like horses.
Pliny discusses them. (Not be confused with Pegasus, below)
*Pegasus
A winged horse in Greek mythology, often associated with poetry and inspiration. Bellerophon rides the
Pegasus in order to fight the Chimera
(see above).
Pennaglan
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Perryton
*Phoenix
Click here for Cassie Sorenson's student bibliography on the phoenix.
Pholos
Piast enormous, lake-dwelling serpent in
Irish legends
Pirobolus , (pl. Piroboli) male and female burning rocks in the
Physiologus.
Pooka (Puka, var. spellings)
Rakasha (Indian)
Roc (alias rukh, ruc) Arabic legend.
Salamander
*Satyr (cf. Faun)
Sciopod (see Monopod): In classical
Latin, pronounced "Skee-oh-pod," and usually written out with a masculine ending as "Sciopodius." In medieval Latin or "church Latin," it would be pronounced with an initial
/s/ sound, as in "See-oh-pod," and medieval writers would usually treat it as a neuter word, so it would end with the neuter ending of
"Sciopodium." Take your pick for pronunciation, or if you focus on classical sources, use classical pronunciation, and if you focus on medieval sources, use medieval pronunciation.
Scorpion-men , (Mesopotamian)
Sea-Bishop
Sea-serpent . Cf. Leviathan,
Jormandgundr, Tiamat, etc. Olaus
Magnus' map of Scandinavia first incorporated them into artwork.
Click here for Michael Zibelman's student bibliography on seamonsters.
Senmurv --dog-headed, barking eagle in Persian folklore.
Serra --sea-monster based on biological swordfish. In Philippe de
Thaun's Bestiary, serra is a bird-lionfish similar to the Lion-of-the-Sea.
Shang Yang (Oriental)
*Silenus , pl. Sileni
Simurgh (giant bird)
Sin-you
*Siren : face and breasts of a woman, but bodies ending in either bird-like or fish-like shape, associated with their moon. Their sweet singing lured men to leap overboard and drown, and then the Sirens would devour their bodies. Thought to be daughters in
Classical mythology of the river-god
Achelous, transformed into semihuman form because of their pride in their own beauty.
Skoffin :
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Icelandic analogue to basilisk (see above). It could only be killed by the sight of another of its kind in early
Icelandic legend. In later versions, it was believed that a silver bullet or the sign of the cross might also kill it.
Sleipnir , the Horse (Norse)
Odin's fantastic horse, which possesses eight legs and can run as fast as the wind.
Sphinx (Greco-Egyptian)
Stymphalian Birds , the (Greek)
*Succubus (Demonology)
Sun-Lizard (alias "Sun-Eel,"
Bestiary)
*Tarasque (French)
Tengu (Bird Goblins).
Playfully malicious Oriental spirits thought to plague Buddhist monks with thefts and pranks. They often took the form of crows or kites. "The
Tengu road" refers to the path taken by hypocritical priests. They steal children and molest woodcutters in rural regions, but entertain some guests lavishly in their great, goldroofed palaces. They could take on human forms, but with unusually long, beak-like noses.
T'ien Kou (pronounced tee-en-go):
Celestial dog-spirits. Flying creatures that function as terrifying, meteoric omens of catastrophe in Chinese mythology.
Typhon , the monster (Greek)
Tragelaphs
Triton , the demi-God (Greek)
*Troll (Norse/Scandinavian)
Click here for Cheyl Haning's student bibliography on trolls.
Turtle-Asp Whale (See
Aspidoceleon)
*Unicorn (Western)
Click here for Martine Evan's student bibliography on unicorns.
Urisk
Urobus Worm (also spelled
Ourobus)
*Vampire (eastern Europe)
Vegetable Lamb (Odoric of
Pordenone's journal describes it)
Vrykolakas (Greek, vampire)
Werewolf (aka lycanthrope, Le
Loup-Garou)
Click here for Aaron Belloni and
Jessica Wilcox's student bibliography on werewolves.
Wild-man (see Woose)
Will-of-the-Wisp , the spirit (will o'
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wisp)
Woose (alias Woot, Wild-man)
Woot (see Woose)
Wyvern (also Wyver): a heraldic dragon or cockatrice that possesses only two legs, but has wings.
Yale (heraldric, also appears in
Pliny).
Hippopotamus-sized creature with black fur, elephant tail, boar-jaws, and movable horns that can point forwards or backwards.
Yllerion (alias Allerion, Ilerion,
Ylerion)
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