- Freshen (cantrip)Charm Person (spell)
- Beast Forms (sage ability)
- Aural Setting (sage ability)
- Town
- Restoration (spell)
- Span (spell)
- Light (spell)
- Part Water (spell)
- Beekeeping (sage ability)
- Grey Elf
- Sheba
- Abattoir (vendor)
- Cheetah
- Enlarge (spell)
- Phantasmal Feature (spell)
- Flame Strike (spell)
- Abbassides (dynasty)
- Adab (ruin) (real world place, though the image is fanciful)
- Senses I (sage ability)
- Type-8 Hex
- Spook (spell)
- Dispel Malevolence (spell)
- Find Place (sage ability)
- Actor I (sage ability)
- Animate Dead (spell)
- Wound
- Combine (spell)
- Alarm (spell)
- Jackalwere
- Flavour (cantrip)
- Javelin (weapon)
- Purify Food & Drink (spell)
- Shield (armour)
Showing posts with label Authentic Adventures Inc.. Show all posts
Showing posts with label Authentic Adventures Inc.. Show all posts
Friday, March 14, 2025
This Week's Wiki
For those not following me on Patreon, this is a list of adjusted or rewritten Authentic Wiki content compatible with 1st edition D&D, or merely of interest, updated in the last week.
Friday, July 31, 2020
What You've Missed in July
Here's a list of subject I wrote for The Higher Path and Authentic Adventures Inc. during the month of July 2020, that you haven't seen for want of a $3 or a $10 donation, towards my Patreon. These posts are all a thousand words or more in length.
The Higher Path ($3/month)
The Higher Path ($3/month)
Happy D&D: relating a video by Ian Danskin and the way that DMs and Players approach the game the way they approach life, and why there are many things that can go wrong in a game. Investigations pursue the questions, why do we DM? And why kill our own campaigns and get the players we deserve?
Why Rules Exist: an essay about the practical aspects of rules rather than philosophical, applied directly to why equipment lists demand rules to understand how equipment is used. Some time is given to the simplification of equipment and why this creates less meaty games.
Why Experience is Vodka: a discussion of how game experience creates patterns of behaviour that are addictive to players, and how overfeeding that addiction is a bad thing. Includes a detailed breakdown of different ways to grant experience, for combat, cleverness, participation and the choice of not using it at all, with pros and cons to each approach.
Nine Flaws: deconstructing what goes wrong in a campaign, relating to the failure of following procedures and dismissing the necessities of complications, making good rules and communicating those rules to players.
Combat and Honesty: not a discussion of screens and fudging, but a discussion of why OSR combat was broken from the very beginning and why all the changes that have been made to that system have utterly ignored the fatal flaw: it is boring. Finishes with why gamesmanship for fun is a self-destructive process.
Effectively Playable: describes the precision in which rules are made in other games and how precision is so utterly lacking in D&D ~ and how that has wrought the process of constant necessary redesigns for the last 47 years.
The Road to the Last Word: a confession that rule-writing is the most boring sort of preparation that a DM can embark upon, and why it is absolutely essential.
What Makes Good Players: how D&D changes the DM's real life personality and character, and how that change, conveyed to players, creates a better gaming experience through education, permissiveness and responsibility.
Point-maps: an argument for why a DM should master the ability to make and consistently run a point-map before moving onto more complicated mapping and setting design. Point-maps aren't the end goal and they're not really a solution, but they're workable and they can act as a stepping stone.
Mnemonic: an approach towards the essentials of seeing how the world works behind the mapped curtain. Encourages the DM to see past what can be meaningfully designed on paper and into the very heart of world-active comprehension.
That's How You Get to Carnegie Hall: defines the difficulty of progressing through the creative process when we feel concern for how others will view and comment upon our work. Offers constructive but time-consuming exercises to help learn the difference between bad writing and good writing.
Memories & Creations: draws together numerous threads from earlier discussions about mapmaking, creativity and the enabling of players who have as much right to create points on a map as the DM, though this is something they must do without godlike powers.
Authentic Adventures Inc. ($10 a month)
If I haven't made it clear, these are notes on original adventure module creations and how to run them, not stories about a specific party moving through an adventure.
Dziwa: describes a dangerous journey across a desert to the town of Dziwa, introducing a description of the Mozabian Goat peoples. The challenge is to behave appropriately in a dangerous foreign country, or else face severe consequences and possible death if they fail to both trust the natives and act politely.
Beyond Dziwa: to gain more information about their quest for the Ruby Cloak, the opportunity to speak to the dead requires a journey to a desert tomb, which will be found to be infested with giant wasps. The complications and difficult invasion of the nest is followed by a fairly generous reward by the clerical guide for the party's success.
Tweggurt: describes the dangers of entering the town of Tweggurt, which is not denied to outsiders but is presently under the control of bandits who have seized and plundered the city, and now remain at the behest of the bandit queen Zegida. To reach an important clue, however, the party would have to pass through the environs of Tweggurt, which will almost certainly get them arrested; how they deal with the arrest and how forthcoming they are creates both opportunities and hazards.
On to Wed Souf: escaping from Tweggurt, a party travels along the Wadi Rir towards Wed Souf, only to experience a desert downpour. This brings the desert alives, creates circumstances by which the players will have to circumvent the appearance of many large animals who will congregate upon watering holes. The players arrive a Wed Souf to find that a vast lake has formed near the town on account of the rain.
Aflu Lake: after many scenes in the dry desert, the party finds themselves crossing a pure-and-glorious freshwater lake created by the recent rainfall. They encounter giant waterbeetles and iron feathered stymphalian birds, or merely pass them by, depending upon the DM's personal whims, in order to reach a monastery surrounded by water. There they learn of the Ruby Cloak's probably location in the town of Mandel.
Mandel: at last, the end of the adventure, wrapping up the last questions and compelling the players to think out of the box in order to finally obtain the Ruby Cloak from the desert elements. This leaves the players with a dilemma: do they keep the Cloak, which has vast power but not especially for the players, or do they hand the item over to the Taureg people in order to obtain great wealth and prestige?
Introducing Saithden: introducing a new adventure, in which a party stumbles across a deserted platform in the wilds of eastern Romania that hints of a huge treasure that was accumulated and hidden nine centuries before by the King of the Avars. The hook includes details surrounding how to patiently introduce adventures patiently and not as a "you-must-do-it-now" demand.
Pierre LeBousqat: the players meet a key NPC in discovering the location of the treasure and what Saithden is, learning that the King who took the treasure lays sleeping under a mountain, and that he is probably possessed of a crown that brings immortality to the wearer. The scene offers a pleasant role-playing opportunity for players who like to seek knowledge.
The Guardian of Rodna Tower: the players are asked to defeat an undead being to force it to yield information about where the mountain of Saithden is, so that they may go there and plunder it. Introducing Khasparr a fighter-lich of great power, who will give in only if he is met repeatedly in single combat; failure to do so will mean the party cannot continue to pursue the quest for a full year.
All of this is available for the price it costs to obtain access to Authentic Adventures Inc. If you like the posts I'm writing on Tao of D&D, these posts behind the pay wall are less frivolous, designed to help you successfully world build your campaign. They are filled with inspiration and new concepts that you need to be a better and more progressive DM.
Please support me on Patreon every month.
Monday, July 20, 2020
Moving The Ruby Cloak to Stage 2
[You can read today's post on Authentic Adventures Inc. here]
On Thursday, I completed the first adventure, The Ruby Cloak, on my Authentic Adventures Inc. blog, that I launched back in May. Took me 17 posts to complete the adventure, which amounts to about 30,000 words; judging from the feedback, it doesn't seem to have any loose ends. I've begun laying out pages to create a pdf document and possibly a physical booklet; I have no idea how long that will take, but that's how these things always go.
Seems I'm always starting projects and never finishing them. Believe me, it weighs heavier on my mind than the reader can imagine.
I'm beginning a new adventure today, Saithden. While the Ruby Cloak took place at the edge of the Sahara Desert, this adventure takes place in the shadow of the Carpathian Mountains in Transylvania. There won't be any vampires.
Considering the matter of creating a module for sale, I'm faced with the process of obtaining art for the project. At least, I've watched while others struggle to raise thousands of dollars in GoFundMe in order to pay artists to create works. It's obvious that a great many people buy modules for the artwork, as a kind of fantasy porn, but I am skeptical regarding the actual value that art provides.
Let's say I want to produce a module adventure that I sell for $25. I'm seeing Wizards content priced from between $25-45 that is drenched in artwork, setting the standard for the market I'd be plunging into. Typically, I'm quoted $500-1000 per artwork from artists I've spoken to online; which would mean that 8 pieces of art (which would still be thin compared to Wizards content) would cost me roughly $6000. This would mean I'd have to sell 240 copies just to break even on the art cost, whereas during that time I'd be getting nothing for the months of work that I put into writing the content.
This seems crazy to me. I'm just a small producer; I don't expect to sell more than 100 copies of something this obscure, at best. Probably, I'd do better to produce a module without any art at all, sell it for $10 a copy and be satisfied with selling 20 copies. I would make more money that way.
Additionally, I can't see what purpose the art actually provides. The module can't be witnessed by the players during the actual running of the adventure; most of that artwork appears on the same page as the details of the adventure itself, so the DM can't exactly share the book around to show how glorious the castle is or how frightening is the monster. These pictures are also just snippets of the whole description of the adventure, which must be conveyed through words, not pictures. I can appreciate that DMs often need images for inspiration, but books and written words can also be sufficient inspiration for these things. You're having no trouble picturing what I mean right now, and I'm not adding any pictures to these words as I write them.
It seems to me that the market has its head on backwards. We're paying high costs for images when the images are actually largely useless to the process of running the adventure. We're paying dreck costs for writers who actually do produce the necessary material, since the adventure's value is based on how complex and innovative is the sequence of events involved. We're demanding that small publishers support a whole industry, fantasy art works, which is extraneous to the product's design. Why?
Particularly since gorgeous, plentiful fantasy art is everywhere on the internet. It isn't as though we can't find images of battle scenes, beautiful women, spectacular dragons and so on simply by typing these words into an image search. Exactly why is this content "better" if it is placed into a physical book, when the cost for printing color and visuals is excessive? As a publisher and as a client, how does this serve us?
I'm going to be publishing my module with a few maps and no superfluous images. The art market is ridiculously overpriced for what it provides me and I'm not going to be using it. My writing is of very high value and the intricate design and uniqueness of the Ruby Cloak adventure argues its value. I don't expect to sell many copies, but I do expect that those who buy it will become repeat customers for later adventures that I create and sell ~ because the writing is going to be that good. It breaks all the rules of adventure module publishing; but it respects profitability and purpose of design, so I don't care.
I am open to an artist who wants to step up and produce some art in exchange for a percentage of the sales. I am an artist who wrote art, and all I'm going to get is a percentage of the sales, even though I am responsible for the adventure's creation and all the layout involved in making it a product. I'm taking a risk on producing this; I don't see why an image artist shouldn't be expected to take the same risk.
An artist won't, of course. If an artist does step up here (and I find that unlikely, as I've made this offer before), it will be out of respect for me, and not from a profit motive.
I should point out that obviously, if I plan not to include an artist at all (except my own efforts at producing maps), then the quality of art I'm willing to consider is probably not that high. Amateurs reading this should give that some thought.
On Thursday, I completed the first adventure, The Ruby Cloak, on my Authentic Adventures Inc. blog, that I launched back in May. Took me 17 posts to complete the adventure, which amounts to about 30,000 words; judging from the feedback, it doesn't seem to have any loose ends. I've begun laying out pages to create a pdf document and possibly a physical booklet; I have no idea how long that will take, but that's how these things always go.
Seems I'm always starting projects and never finishing them. Believe me, it weighs heavier on my mind than the reader can imagine.
I'm beginning a new adventure today, Saithden. While the Ruby Cloak took place at the edge of the Sahara Desert, this adventure takes place in the shadow of the Carpathian Mountains in Transylvania. There won't be any vampires.
Considering the matter of creating a module for sale, I'm faced with the process of obtaining art for the project. At least, I've watched while others struggle to raise thousands of dollars in GoFundMe in order to pay artists to create works. It's obvious that a great many people buy modules for the artwork, as a kind of fantasy porn, but I am skeptical regarding the actual value that art provides.
Let's say I want to produce a module adventure that I sell for $25. I'm seeing Wizards content priced from between $25-45 that is drenched in artwork, setting the standard for the market I'd be plunging into. Typically, I'm quoted $500-1000 per artwork from artists I've spoken to online; which would mean that 8 pieces of art (which would still be thin compared to Wizards content) would cost me roughly $6000. This would mean I'd have to sell 240 copies just to break even on the art cost, whereas during that time I'd be getting nothing for the months of work that I put into writing the content.
This seems crazy to me. I'm just a small producer; I don't expect to sell more than 100 copies of something this obscure, at best. Probably, I'd do better to produce a module without any art at all, sell it for $10 a copy and be satisfied with selling 20 copies. I would make more money that way.
Additionally, I can't see what purpose the art actually provides. The module can't be witnessed by the players during the actual running of the adventure; most of that artwork appears on the same page as the details of the adventure itself, so the DM can't exactly share the book around to show how glorious the castle is or how frightening is the monster. These pictures are also just snippets of the whole description of the adventure, which must be conveyed through words, not pictures. I can appreciate that DMs often need images for inspiration, but books and written words can also be sufficient inspiration for these things. You're having no trouble picturing what I mean right now, and I'm not adding any pictures to these words as I write them.
It seems to me that the market has its head on backwards. We're paying high costs for images when the images are actually largely useless to the process of running the adventure. We're paying dreck costs for writers who actually do produce the necessary material, since the adventure's value is based on how complex and innovative is the sequence of events involved. We're demanding that small publishers support a whole industry, fantasy art works, which is extraneous to the product's design. Why?
Particularly since gorgeous, plentiful fantasy art is everywhere on the internet. It isn't as though we can't find images of battle scenes, beautiful women, spectacular dragons and so on simply by typing these words into an image search. Exactly why is this content "better" if it is placed into a physical book, when the cost for printing color and visuals is excessive? As a publisher and as a client, how does this serve us?
I'm going to be publishing my module with a few maps and no superfluous images. The art market is ridiculously overpriced for what it provides me and I'm not going to be using it. My writing is of very high value and the intricate design and uniqueness of the Ruby Cloak adventure argues its value. I don't expect to sell many copies, but I do expect that those who buy it will become repeat customers for later adventures that I create and sell ~ because the writing is going to be that good. It breaks all the rules of adventure module publishing; but it respects profitability and purpose of design, so I don't care.
I am open to an artist who wants to step up and produce some art in exchange for a percentage of the sales. I am an artist who wrote art, and all I'm going to get is a percentage of the sales, even though I am responsible for the adventure's creation and all the layout involved in making it a product. I'm taking a risk on producing this; I don't see why an image artist shouldn't be expected to take the same risk.
An artist won't, of course. If an artist does step up here (and I find that unlikely, as I've made this offer before), it will be out of respect for me, and not from a profit motive.
I should point out that obviously, if I plan not to include an artist at all (except my own efforts at producing maps), then the quality of art I'm willing to consider is probably not that high. Amateurs reading this should give that some thought.
Thursday, June 25, 2020
What You've Missed in June
Here's a list of subject I wrote for The Higher Path and Authentic Adventures Inc. during the month of June 2020, that you haven't seen for want of a $3 or a $10 donation, towards my Patreon. These posts are all a thousand words or more in length.
The Higher Path ($3/month)
Worldbuilding: three posts detailing considerations that world builders can take ideas from regarding general science, mathematics, chemistry, geology, medicine and engineering, along with other factors worth examination.
The Setting's Life: examining ways to give the game setting a life of its own, providing depth to the game world experience and adjusting oneself as a DM to see through the eyes of NPCs and monsters.
All Europe, All the Time: a post challenging the Eurocentric view in mapmaking, discussing the drawbacks of Middle Earth, Greyhawk, Faerun and Eberron.
The Field Guide to Bad D&D: beginning a series on problem solving and deconstruction in DM-designed settings, discussing the drawbacks with assigning blame, the "bad apple theory," common fallacies and presumptions about game design, the presence of real skill where it comes to playing D&D and habits that drive us to all out embrace ideals that don't work.
The Sharp and Blunt Ends: an examination into why the DM feels pressured by players and the Internet as well to assume attitudes and techniques that ignore the DM's personal experience and potential success.
Why'd You Have to Go and Make Things So Complicated: discussing the strategies of simplification vs. complex rule-making in D&D, and the effects each has on the attitudes of players and the manner in which they approach the game.
Understanding the Importance of Procedure: nearly what it says right on the tin, with techniques and tactics I employ to ensure that DMs maintain player focus, game momentum and player awareness of the game's rules.
Robur's Choice: a breakdown of why some players act badly and attack the game system instead of investing themselves into actual game play, asking the question, "Why did Robur the Thief set the bar on fire?"
Authentic Adventures Inc. ($10 a month)
Common Threads: explaining the importance of maintaining common themes and ideas in a game adventure, while laying out the structure of the adventure I'm writing on the blog, The Ruby Cloak. Introduces my D&D race of Tauregs (npcs) based loosely off existing Earth clans crossed with Star Wars tusken raiders.
Events in Mraier: adventure notes on the caravan outpost of Mraier, located in the semi-desert north edge of the Sahara, featuring clues to the location of the Ruby Cloak, colored by encounters with a feral lion and the presence of dangerous bandits.
Cedrata Part I: describes the journey from Mraier to the deep desert trading town of Wargla, where the Cedrata ruins are encountered along way that serve as a potential side quest, one that does offer additional information about the location of the cloak. Discusses how to run situations where a secret entrance would be irrational, due to the area being known and well searched for hundreds of years. Includes the first half of the Cedrata mini-dungeon.
Cedrata Part II: completes Cedrata, introducing an unexpected "big bad" and potential for the party to increase their magic and make a big leap to an adventure that would be otherwise hard to reach.
Wargla Part I: a double-sized post introducing the town of Wargla, persons of importance that serve as contacts for the party, the solving of a puzzle piece in the location of the cloak, knowledge about a hidden order, the White Brotherhood, the obtaining of a map to Wargla's underground aqueduct system and set up for the 14-point underground lair of the hidden order.
Wargla Part II: a map of the lair and its first eight points of interest, featuring a battle with monks and pursuits taking place through several locations.
Wargla Part III: an advanced map of the lair and a set up for getting the party trapped in the lair between a high level npc and a rhinocerous version of the minotaur, a Cernnoth. Plenty of potential roleplaying between the npc managing the lair and the party.
Wargla Last: how to get the party out of a spot where they've completely gotten themselves locked inside, with a combination of fighting monsters, piecing together a concealed exit and a mystery, and getting at least some treasure.
The Higher Path ($3/month)
Worldbuilding: three posts detailing considerations that world builders can take ideas from regarding general science, mathematics, chemistry, geology, medicine and engineering, along with other factors worth examination.
The Setting's Life: examining ways to give the game setting a life of its own, providing depth to the game world experience and adjusting oneself as a DM to see through the eyes of NPCs and monsters.
All Europe, All the Time: a post challenging the Eurocentric view in mapmaking, discussing the drawbacks of Middle Earth, Greyhawk, Faerun and Eberron.
The Field Guide to Bad D&D: beginning a series on problem solving and deconstruction in DM-designed settings, discussing the drawbacks with assigning blame, the "bad apple theory," common fallacies and presumptions about game design, the presence of real skill where it comes to playing D&D and habits that drive us to all out embrace ideals that don't work.
The Sharp and Blunt Ends: an examination into why the DM feels pressured by players and the Internet as well to assume attitudes and techniques that ignore the DM's personal experience and potential success.
Why'd You Have to Go and Make Things So Complicated: discussing the strategies of simplification vs. complex rule-making in D&D, and the effects each has on the attitudes of players and the manner in which they approach the game.
Understanding the Importance of Procedure: nearly what it says right on the tin, with techniques and tactics I employ to ensure that DMs maintain player focus, game momentum and player awareness of the game's rules.
Robur's Choice: a breakdown of why some players act badly and attack the game system instead of investing themselves into actual game play, asking the question, "Why did Robur the Thief set the bar on fire?"
Authentic Adventures Inc. ($10 a month)
Common Threads: explaining the importance of maintaining common themes and ideas in a game adventure, while laying out the structure of the adventure I'm writing on the blog, The Ruby Cloak. Introduces my D&D race of Tauregs (npcs) based loosely off existing Earth clans crossed with Star Wars tusken raiders.
Events in Mraier: adventure notes on the caravan outpost of Mraier, located in the semi-desert north edge of the Sahara, featuring clues to the location of the Ruby Cloak, colored by encounters with a feral lion and the presence of dangerous bandits.
Cedrata Part I: describes the journey from Mraier to the deep desert trading town of Wargla, where the Cedrata ruins are encountered along way that serve as a potential side quest, one that does offer additional information about the location of the cloak. Discusses how to run situations where a secret entrance would be irrational, due to the area being known and well searched for hundreds of years. Includes the first half of the Cedrata mini-dungeon.
Cedrata Part II: completes Cedrata, introducing an unexpected "big bad" and potential for the party to increase their magic and make a big leap to an adventure that would be otherwise hard to reach.
Wargla Part I: a double-sized post introducing the town of Wargla, persons of importance that serve as contacts for the party, the solving of a puzzle piece in the location of the cloak, knowledge about a hidden order, the White Brotherhood, the obtaining of a map to Wargla's underground aqueduct system and set up for the 14-point underground lair of the hidden order.
Wargla Part II: a map of the lair and its first eight points of interest, featuring a battle with monks and pursuits taking place through several locations.
Wargla Part III: an advanced map of the lair and a set up for getting the party trapped in the lair between a high level npc and a rhinocerous version of the minotaur, a Cernnoth. Plenty of potential roleplaying between the npc managing the lair and the party.
Wargla Last: how to get the party out of a spot where they've completely gotten themselves locked inside, with a combination of fighting monsters, piecing together a concealed exit and a mystery, and getting at least some treasure.
All of this is available for the price it costs to obtain access to Authentic Adventures Inc. If you like the posts I'm writing on Tao of D&D, these posts behind the pay wall are less frivolous, designed to help you successfully world build your campaign. They are filled with inspiration and new concepts that you need to be a better and more progressive DM.
Please support me on Patreon every month.
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