Runeblades always have cool, evocative names… but it can be a pain to have to come with them from scratch all the time. So for all your Runeblade name needs, here’s the What’s Your Runeblade quiz!
Take the second letter of your first name, and the last letter of your last name. So, as Owen Stephens, my Runeblade name is Shadow Slayer. (Or Shadowslayer—you can run them together or not, as you prefer.)
Or, you can roll 1d100 twice to create a random name.
Or just pick something cool. 😊
Runeblade Name Beginning
(Second letter of your first name, or 1d100)
A (01-04). Ash
B. (05-08). Bane
C. (09-12). Battle
D. (13-16). Blaze
E. (17-20). Blood
F. (21-24). Bright
G. (25-28). Crimson
H. (26-32). Dawn
I. (33-36). Death
J. (37-40). Doom
K. (41-44). Fear
L. (45-48). Foe
M. (49-52. Gray
N. (53-56). Hell
O. (57-60). Ice
P. (61-64). Luck
Q. (65-68). Mourn
R. (69-72). Night
S. (73-76). Pain
T. (77-80). Rage
U. (81-84). Run
V. (85-88). Sea
W. (89-91). Shadow
X. (92-94). Soul
Y. (95-97). Storm
Z. (98-100). War
Runeblade Name Beginning
(Last letter of your last name, or 1d100)
A. (01-04). Blade
B. (05-08). Bringer
C. (09-12). Claw
D. (13-16). Cleaver
E. (17-20). Crasher
F. (21-24). Dragon
G. (25-28). Fist
H. (29-32). Flame
I. (33-36). Friend
J. (37-40). Gate
K. (41-44). Hammer
L. (42-48). Iron
M. (49-52). Master/Mistress
N. (53-56). Moon
O. (57-60). Raven
P. (61-64). Razor
Q. (65-68). Sigil
R. (69-72). Skull
S. (73-76). Slayer
T. (77-80). Song
U. (81-84). Star
V. (85-88). Thunder
W. (89-91). Tomb
X. (92.-94). Tooth
Y. (95-97). Wand
Z. (98-100). Widow
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I think it’s helpful for the name of an RPG to tell you something about what the game is (supposed to be) like.
For licensed properties, this is easy. A Star Wars RPG is about Star Wars For licensed properties, this is easy. A Star Wars RPG is about Star Wars (even if some folks will always claim it is just the Ghostbuster’s rules of D&D, “reskinned”).
Dungeons and Dragons does a good job of this–it’s a game about monsters and underground locations. Yes, it’s more than that, but it still tells you something. And it’s ubiquity allows you to show kinship with it easily enough — Tunnels and Trolls is clearly giving a similar feel as D&D. Mutants & Masterminds was brilliant.
Hero System and Champions are both pretty good.
Shadowrun was not as good as Cyberpunk, originally, but it is now. Gamma World was good, but Aftermath was better, and Marrow Project at least as good.
But Omega World was brilliant, because of Gamma World.
Both Vampire and World of Darkness did good jobs with this.
Star Frontiers was better than Traveller in this department, but Space Opera may have been better than either.
I’m not comparing the quality of these games as games. Just the ease of branding offered by their names.
I think about this, when I am working on things like Really Wild West, which I hope does a good job of immediately identifying itself as a kind of over-the-top Weird West setting.
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The most recent update to the Revised, Partial List of Very Fantasy Words can be found here!
Need to make a region sound more like a Croft or Realm? Want to make sure people reading your fantasy text think of you as argute?
Well then, you need a Very Fantasy Word!
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Blackskull (and its mistress) is a location you can use as the seed of one or more adventures. It can be a side-quest, the end of a small adventure, a goal for players to claim, or even act as a patron’s home base. Legend claims it is the remains of Akash, the Titan of All Knowledge and avatar of the Akashic Record. You can set it in a vast desert, at the center of a massive barrow ground, at the peak of a dangerous mountain, or just at the edge of a small town that has spring up to house and make money off people who come to speak to the oracle of Blackskull.
The one true power of Blakcskull is the highest chamber within the skull, known as the Lore Room, which once per day allows anyone making a Knowledge check there to gain a +10 circumstance bonus to the check, as the ancient knowledge of Akash soaks into their mind.
(Blackskull cartography from Dyson Logos, and available for use by license)
For years, Blackskull was a focal point for petty squabbles among various sects of gods of knowledge and wizards who wished to use its resources to design new forms of hybrid animals. After an unfortunate incident when two such forces combined and made a small chimera-like creature with the body and one head of a racoon, wings and head of a magpie, and additional head of an tiger keelback snake, which began stealing the holy books of all religious orders, the local baron set up a challenge that Blkacskull would be granted to the scholar who could answer the most difficult question the baron could pose.
And the winning sage was the Fel Sage, also known as the Blood of Knowledge, a minor bard lich who poses as a vampire.
The Mistress of Blackskull
The Fel Sage is legendary as a “reasonable” undead. She doesn’t have any ethical limitations on her choice of actions, and would happily burn orphanages to the ground if it further her own researches one iota. However, she is also an apt historian who has a clear view of what happens to evil overlords when they become a threat to the world at large—heroes come and destroy them. The Fel Sage doesn’t want to rule the world—that sounds like a lot of work—she just wants time to read all the books, scrolls, tablets, and folios she has gathered over more than a lifetime (which is why she became an undead to begin with—to have more time to read).
So, she used the power of suggestion to convince the baron to pose a question she already knew the answer to, answered it in a public show of her vast knowledge, and laid claim to Blackskull. As a result she even has some legal protections—as long as she doesn’t break local law, it’s illegal to kill her just for being an undead. Further, she acts as a sage for numerous adventuring parties and heroes, to ensure she has more allies than enemies—part of her plot to survive forever.
Though she used trickery to win her roost, in truth, the Fel Sage is capable of answering questions well beyond the norm for creatures of her power level. If she chooses to use the akashic communion spell she can gain a +10 insight bonus to one Knowledge check, and combine that with Blackskull’s Lore Room for a +10 circumstance bonus and her archivist version of lore master that allows her to take 20 on one Knowledge skill check per day, getting most of her Knowledge skill totals to +49 to +51. Of course even when this is her plan to answer a question, she insists such knowledge comes from days or even weeks of research, and generally only promises to have an answer after a petitioner has gone and gathered some rare book she desires (or rubbings off new ruins that have been discovered, or a drop of blood from an unidentified body that might spark a border war in a conflict zone so she can cast blood biography, or anything else that might quench her thirst for knowledge).
The Fel Sage only willingly sees people under the guise of a disguise self spell, and normally thus restricts herself to one meeting a day so as not to drain her spell resources (though she has scrolls if she is forced to break that rule). She doesn’t use her disguise self magics to appear human—that’s beyond the power of the spell. Instead she uses it to appear to be a vampire, a different form of undead than her own lich status, and an undead with a very different set of limitations and weaknesses.
While she sees significant tactical benefits to being mistaken for a vampire, her main motivation is actually pride. She is an extremely weak lich, having only barely managed to transform herself and only because she found a document with the easiest, most carefully-explained lich ritual ever. She fears mockery if the world at large ever discovered she was, essentially, the weakest lich ever. But if she poses as a vampire, her immunity to daylight and ability to claim she holds off bloodlust through ancient elixirs and pure willpower make her seem extraordinary and special.
She also uses her disguise self to make her whip look like a dagger, and to make an impressive magic ring appear on her hand, which she pretends is the source of her paralyzing touch lich power.
If a group comes to her with some question that must be answered she insist on being paid in rare knowledge and books, and often has some specific quest she insists on sending adventurers on. If possible, she picks tasks that are more dangerous than they sound, hoping anyone bothering her will be killed off rather than return for an answer—but if they do return, she sees the benefit in having adventurers who will put themselves as risk for her benefit, and treats them fairly. If any seem taken with her comely vampire guise, she does her best to establish a sense of intimacy, often creating a first name she offers to allow them to call her (which she makes up n the spot, the Fel Sage has long since forgotten her “life name,” which she considers irrelevant to her new existence).
Of course she is a lich, and she is evil. Someday, even with the tenuous protection of local law, someone will decide she has to go.
Her hope is that when that day comes, more adventurers will want to keep her around than get rid of her.
The Fel Sage
Female lich (human) bard (archivist) 7
NE Medium undead
Init +2; Senses darkvision (60 ft.), Perception +19; Aura fear (60-ft. radius, DC 19)
AC 18, touch 12, flat-footed 16 (+1 armor, +5 natural armor, +2 Dex)
hp 73 (7d8+35)
Fort +3, Ref +8, Will +7; +4 vs. bardic performance, language-dependent, and sonic
Defensive Abilities channel resistance +4; rejuvenation; DR 15/bludgeoning and magic; Immune cold, electricity, undead traits
Speed 30 ft.
Melee whip +7 (1d3–1), touch +2 (1d8+3 plus paralyzing touch)
Ranged light crossbow +7 (1d8/19–20)
Special Attacks bardic performance 22 rounds/day (countersong, distraction, fascinate, inspire competence +3, lamentable belaborment*, naturalist +2*), paralyzing touch (DC 19)
*Represents an ability gained from the archivist archetype
Bard Spells Known (CL 7th; concentration +12)
3rd (2)—akashic communion, charm monster (DC 19)
2nd (4) alegro, blood biography, invisibility, mirror image, suggestion (DC 18)
1st (6)—beguiling gift (DC 17), charm person (DC 17), disguise self, expeditious retreat, hideous laughter (DC 17), memory lapse (DC 17), saving finale, touch of gracelessness (DC 17)
0 (at will)—detect magic, ghost sound (DC 16), light, message, prestidigitation, sift
Str 8, Dex 14, Con -, Int 14, Wis 12, Cha 22
Base Atk +5; CMB +4; CMD 16
Feats Arcane Strike, Greater Serpent Lash, Lingering Performance, Serpent Lash, Weapon Finesse
Skills Acrobatics +12, Appraise +11, Disguise +16, Knowledge (arcana) +9, Knowledge (dungeoneering) +11, Knowledge (engineering) +9, Knowledge (geography) +9, Knowledge (history) +9, Knowledge (local) +11, Knowledge (planes) +11, Knowledge (nobility) +11, Linguistics +7, Perception +19, Perform (oratory) +16, Sense Motive +14, Spellcraft +6, Stealth +19, Use Magic Device +16
Languages Common, Giant, Polyglot, Necril
SQ bardic knowledge +3, jack of all trades*, lore master (take 20*) 1/day, magic lore*
*Represents an ability gained from the archivist archetype
Combat Gear scroll of comprehend languages, scrolls of disguise self (2), scroll of restful sleep, wand of cause light wounds (50 charges), wand of grease (50 charges); Other Gear quilted cloth armor, light crossbow with 10 bolts, whip, cloak of resistance +1, headband of alluring charisma +2, backpack, spell component pouch, 25 gp
Blackskull in Your Campaign
You can use Blackskull and the Fel Sage as traditional villains and adventure locations if you wish–just have the Fel Sage send thugs to gather lorebooks by any means necessary, the thugs steal something from friends of the PCs, and the adventure is on! Or she can become a colorful patron, always willing to answer the PCs’ questions… in return for their taking on some dangeorus mission (which gives you, the GM, an easy work-around any time your PCs are stumped–they can get the answer to any question, as long as they do an extra adventure for the Fel Sage to make up for it).
Of a PC could become the “legal” owner of Blackskull somehow, and have to kick the Fel Sage out of it.
Or the PCs could discover some foe of their is always one step ahead of them because that foe buys information from the Fel Sage, and force the PCs to decide if they want to kill her, or buy her off to gain information of her own.
It’s easy to add some encounters to Blackskull to make it a mini-dungeon. Since the Fel Sage is CR 8, throwing together some CR 4-9 monsters is easy enough. here are some examples.
*An androsphinx waits outside, having paid the Fel Sage to find him a new riddle, and he attacks anyone who tries to go in before he has his answer from her.
*An annis hag has become the Fel Sage’s apprentice, usually taking the form of a sky maid named “Lilly.” Lilly tries to get visitors to violate any of the Fel Sage’s rules, so she can kill and consume them. Also, she makes soup.
*One of the upper elvels is protected with a flame strike trap.
*A hill giant, Onks, serves as the Fel Sage’s guard. She has convinced him he is descended from the titan Akash, and that if he serves her long enough he’ll become smart. This is a lie.
*The lowest level has been blocked off and flooded, and there’s a globster in it. because the Fel Sage read about one, got one imported to study, and now doesn’t know what to do with it. She doesn’t feed it much, so it’s hungry.
The Fel Sage has stuck a lurker above in the room off the right eye socket, to protect access to the Lore room. It knows she’s rotted meat, and has no interest in eating her.
*Two bookcases are actually Wood Golems.
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Gambling, and being a professional gambler, are common Wild West tropes, so the ideas ought to be supported in the Really Wild West setting hack for the Starfinder Roleplaying Game (which, after a long rest, is going to start getting regular support from me again!).
On the one hand, those rules ought to include some way to have dramatic gambling scenes for when a game of chance has become crucial to the plot. On the other hand, most people don’t want to have to be good gamblers to play the gambler character (any more than they want to have to be sharpshooters to play gunslingers).
So the rules should be simple, and play to the character sheet as much as the player, while retaining some dramatic tension.
Step one is to explicitly allow “gambler” as an option for the Profession skill. In most cases, a character who wants to make money gambling just uses Profession (gambler). While all professional gamblers can pull from a broad toolbox to make money, the emphasis of their gambling style is determined by what ability score it’s based on. If the skill is Intelligence-based, the gambler depends primarily on knowing the odds and rules of the games, calculating the smart bet and using betting schemes to maximize wins and minimize losses. If the skill is Wisdom-based, the gambler depends more on reading other gamblers and trusting instinctive gut feelings on how to bet. If the skill is Charisma-based, the gambler depends more on bluffing, faking out other gamblers, or using a distraction to cover cheating.
Unlike most Profession skills, a character can make Profession (gambler) checks untrained *thought they cannot use it for the earn a living task if untrained). A player decides what ability score Profession (gambler) is based on when they take their first rank it in (and may choose any ability score if using it untrained).
To make things slightly more interesting, a character with Profession (gambling) can use casual betting when making the skill check for the Earn a Living task. The player bets a number of credits equal to their Profession (gambler) skill +10. Then if their skill check for the task (which they may not take 10 on) results in a d20 roll of 2-5, their bet is lost and no money is earned. On a 6-10, they win back their bet, but do not earn any additional income. On an 11-15, they win back their bet and earn credits normally. On a 16 or higher, they win back their bet and earn twice as much as normal for a week’s work. On a natural 1, they lose the bet and lose the same amount of additional credits. (Overall this option is good deal for the player.)
Once a character has used this option for a week in a settlement and made money doing so, it’s not normally available again for at least a month (as locals have learned better than to play with the character). A GM may modify this rule for cities with lots of gambling, very large settlements, and times when numerous new potential gambling partners are appearing regularly.
Dramatic gambling is only used when the GM calls for it, and normally only when there’s more on the line than just credits. This is the option when the master villain insists on playing poker to see who wins the blood-soaked contract that sells a soul to a devil, or a neutral third party won’t sell the crucial material for a required ritual, but will gamble for it. Unless all the players are gamblers (or find interacting with the dramatic betting rules interesting), this should be as rare as any other focus most players can’t interact with—it’s fine as a spotlight scene or a change of pace, but you shouldn’t build regular encounters out of these rules unless your players know the campaign is going to have a gambling focus.
Dramatic gambling can be done with Bluff, Culture, Diplomacy, Profession (gambling), or Sleight of Hand (with potential consequences). Characters must make multiple checks during a dramatic gambling event, usually using at least two different skills. Most of these skills cannot be used more than once during a dramatic gambling event. The exceptions to this are Profession (gambling) and Sleight of hand, which may always be used. If a character decides to use Sleight of Hand they are choosing to cheat, and all participants and bystanders are allowed to make an opposed Perception check with a -5 penalty and, with a successful check, spot the character cheating.
Before any rolls are made, the gambling event’s stakes must be determined. This can be as simple as an amount of money risked by each participant, but for dramatic gambling events it’s equally likely to be some sort of plot point. For example, if the PCs are trying to convince the Cattle Duke of Montana to allow them to lay train tracks through his grazing lands, the Duke might decide the issue is settled by a high-stakes game of Red Dog, as represented by a dramatic gambling event. Similarly, if the specific player is trying to pick up a legendary item using renown, a GM might decide the final task needed to do so is a throw of the dice with Death herself… again, as a dramatic gambling event.
If the stakes are money, the winner gets to double their stake, and everyone else loses their stake (any “unwon” money goes to the house, which is never a PC). If the stakes are more plot driven the GM should be clear about the consequences of winning and losing. The PCs convince the Cattle Duke to allow their train through his territory if they win, and lose any chance of a peaceful settlement of the problem if they lose. The PC wins a legendary weapon from Death with a win, and gains a temporary negative level with a loss.
Stakes should also include the cost of folding. A character can fold until the Final Reveal. Normally folding costs you half your stakes, though for dramatic gambling where the stakes are more conceptual, the GM should just establish stakes that are half as bad as loosing (the Duke won’t work with you, but will allow you to keep trying to find a new deal he likes better. Death doesn’t give you the legendary item, but the negative level only lasts 1d6 days.)
The First Deal
Once stakes are set, the First Deal is made. This represents how good a position each participant begins with in the gambling. This need not be one hand of cards, or even cards at all. It could represent luck in the first spin of a roulette wheel, how good information about a horse is, or the value of an initial die roll in a gambling dice game.
Each participant in the event rolls a d20 in secret. The die is set aside for the moment. The First Deal is used to determine the final winner of the dramatic gambling event, but not yet.
No abilities that affect d20 reroll can be used on another character’s First Deal, including things like rerolls, unless the character using the ability has successfully Read the d20 result first. Any participant can attempt to Read another participant’s First Deal with a successful use of the detect deception task of Sense Motive check. This can be attempted once after the First Deal, once after the First Deal, and once after the Raise Round, each time looking at a single participant’s First Deal. On a successful check, the raw d20 result of the First Deal is revealed. Once you use Sense Motive to attempt to Read a First Deal you can’t use Sense Motive for any other purpose during the dramatic gambling event.
The GM can ask to see anyone’s First Deal die result, but can’t have NPCs act based on that knowledge without successfully using an ability to Read it.
After the First Deal, comes the Raise Round. Each player makes one d20 roll in the open. Then, from lowest die result to highest, each participant chooses a skill to add the bonus of to d20 roll. Characters can only use their ranks + ability score for this bonus, unless they state they are using some other rule that affects it, such as a class feature, feat, racial ability, spell, or item. (Using spells or items is always considered cheating, and requires a Stealth check opposed by all bystander’s and participant’s Perception checks, to do so without being noticed). Any such ability that affects a die roll or skill bonus can only be used once at any point in the dramatic gambling event. If an operative decides to add operative’s edge to a skill check for the Raise Round, it cannot be used again in the Final Round, even for a different skill.
Once each participant has done this, and the current result of all the raise Round skill checks are known, in the same order characters may choose if they wish to change to a new skill (perhaps one with a higher bonus), or to add an ability that can impact the Raise Round skill check. If anyone does so, another round of potential chances to skills used and class features is taken, repeating until all players pass.
Any skill or ability used in this process cannot be used again in the Final Round.
The winner of the Raise Round is allowed to roll an additional d20, in the open. In the Final Round, that player can use his original First Deal d20 check, or the new d20 roll. This decision need not be made until all the Final Round actions are completed, and everyone’s First Deal is revealed.
If two or more character’s Raise Round skill check totals are tied for the highest total at the end of the Raise Round, whichever character got to that total first wins the round.
At any point in the Raise Round, a participant may Fold, in which case they lose half their stakes (or suffer the more minor penalty, for dramatic gambling events with nonmonetary stakes.)
In the Final Round, participants go in reverse order of the order used in the Raise Round. Each participant chooses a skill and declares what their total bonus for that skill is, but do NOT yet reveal what their total is with their First Deal die.
As with the Raise Round, after every participant has declared a skill and any abilities they wish to use to boost it, another round is held where characters may swap to new skills or add new abilities. After each round, characters may Fold, as with the Raise Round.
After everyone passes, everyone in the same order decides to Fold or Call.
Everyone who Calls reveals their First Deal d20 roll, adds their total bonus, and the highest total wins. Whoever won the Raise Round may swap to their second d20 roll in place of their First Deal roll after seeing everyone else’s total. In case of a tie, the character with the highest number of ranks in their chosen skill wins (better good than lucky). If there is still a tie, everyone tied rolls a d20 and the highest result wins.
Example of Play
Alex (a soldier), Janye (an operative), and Stan (an envoy) are playing out a dramatic gambling event. They establish stakes, 100 credits each.
Each of them makes a First Deal roll. Alex gets a 4, Jayne a 7, and Stan a 17, but none of those die results are revealed.
Alex decides to attempt to Read Stan’s First Deal die roll. Alex makes a Sense Motive check, opposed by Stan’s Bluff check. Alex succeeds, and learns Stan’s hidden die roll is a 17. Alex now can’t use Sense Motive for any purpose in this dramatic gambling event other than attempting another Read check after the Raise Round.
For the Raise Round, Alex, Jayne, and Stan each make another d20 roll this time in the open. Alex gets a 15, Jayne an 11, and Stan a 10. Since Stan rolled the lowest, he is the first to declare a skill total. Since he knows he has a 17 as his First Deal, he decides to use a lower skill here and states his using Diplomacy, which is +8, for a Raise Round total of (d20 roll 10 + 8) 18.
Jayne goes next. She has Profession (gambling) at +12, and is an operative with another +2 from operative’s edge. She can use Profession for both her die rolls, but can only apply her operative’s edge to one of them. Knowing she has a First Deal roll of 7, she’d like to win the Raise Round to get a reroll, but hopes she won’t have to use operative’s edge to do it. So she uses her Profession skill without her+2 operative’s edge, getting a total of (d20 roll 11 +12) 23.
Alex has a Raise Round result of 15, and knows his First Deal result is 4 and Stan’s is 17. His best skill is Culture, which is +12, and his second-best is Diplomacy, which is +9. He feels he must get the reroll in the Raise Round to have any hope of winning, and isn’t sure using Diplomacy is good enough. It would get him a 24, better than Jayne’s current total, but if she has any abilities to boost her result she could beat him. Alex decides to use his Culture to get a total of (d20 roll 15 +12) 27.
Everyone has a chance to change their skills now, again beginning with Stan. Stan decided he wants to prevent Alex or Jayne from getting the reroll from winning the Raise Round, even if he doesn’t need it, so he switches to his Bluff, which has a +12 bonus and gives him the option of adding a +1d6+1 expertise die. Stan decided to use the expertise die now, and rolls a (1d6 roll 4 +1) 5, giving him a +17 bonus for this skill check. That gives him a (d20 roll 10 +17) 27 total as well. However since Alex got that result first, he wins the tie.
No one else wants to use any other skills, so Alex wins the Raise Round. He makes a d20 Raise Roll in the open, getting a 12. Now he can use either his original First Deal result of 4, or his Raise Roll of 12, for the Final Round.
On the Final Round, participants go in reverse order of their Raise Round totals (Jayne 23, Stan 27, Alex 27). Each announced their skill total, but does not yet reveal their First Deal die. Jayne knows Alex has a Raise Roll result of 12 he can use, and she knows her own First Deal roll is a 7. She declares she is using Profession (gambling) again, which gives her a +12 bonus, and that she is using operative’s edge (there’s no reason not to), for a total of a +14 bonus.
Stan used his best skills (Bluff and Diplomacy) and his skill expertise class feature, so his best remaining option is to use his weaker Sense Motive skill, at +7.
Alex knows he has a Raise Roll of 12, but his best remaining skill is diplomacy at +9.
No one has any additional abilities to add or better skills to switch to, the everyone passes.
Jayne then must decide to Fold or Call. She has a skill bonus of +14 and a First Deal die roll of 7, so she knows her total is 21. She also knows Alex has at least a 12 (his visible Raise Roll) and a bonus of +7, also a 21. She thinks she has more ranks in Profession (gambling) than Alex has in Diplomacy, so she calls.
Stan has a skill bonus of +7, and a First Deal die roll of 17, for a total of 24. But he is afraid Jayne’s much higher skill bonus makes her more likely to win. He folds, and loses half his stakes (50 credits).
Alex thinks Jayne must have a really bad First Deal die roll, so he Calls.
Jayne and Alex then reveal their totals. They are tied at 21, but Jayne DOES have more ranks in her skill than Alex has in his, so she wins. Alex loses all his stake, and Jayne doubles her stake.
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Happy holidays all! Regular articles will return with the new year, but for now please enjoy this bit of silliness.
It was the Night before Adventure and all through the Party,
Not a Creature Was Stirring, their snores much too hearty.
No one on watch, they trusted a spell,
And if it didn’t work, their mage they’d give hell.
The steeds were all stabled, the familiars asleep,
The summoner’s eidolon made not a peep.
The rogue clad in mithral, paladin in full plate,
Knew the forces of evil would just have to wait.
When from camp’s edge there arose a loud scream,
Two boom, three zaps, and one laser beam.
“To arms” a knight screamed, to weapons they dashed,
Though the bard didn’t make it, his head was too bashed.
The wards all collapse, some hirelings did flee,
As a cyborg rust monster attacked us with glee.
“I won’t kill you all” it said in voice clipped,
“I’ll just rot your stuff, so your power is dipped.”
The adventurers all gasped, and considered the horrors,
Of loosing their status as bad-ass top scorers.
They rolled their initiative, and cast up their buffs,
And leaped up to engage in violent fisticuffs.
The monster did taunt them, and call them bad names,
As it used its evasion to dodge magic flames.
They stabbed it, and slashed it, and missiled it with magic,
Until its form was quite punctured, lifeless, and tragic.
The adventurers smiled, and kicked the dead brute,
For they knew in its lair, there was surely more loot.
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Adventure Sketches are just the most basic set up, plot, twist, and development for as many or as few sessions as a GM wants to turn them into. They’re enough guidance to make plotting out a game easy, but not so much it’s hard to fit into any existing campaign.
Intended for Pathfinder, this adventure sketch can be modified to work with nearly any RPG with lawless lands, frontier zones, and numerous races.
The rapids are the most dangerous part of the great river, but are also on a branch of the river easily bypassed by those wishing to use it for travel. The land around the rapids is rockier and heavily overgrown, bad for farming and hard to travel through. It was considered to be most concerning as a potential place for bandit hideouts, but no such group was ever known to use it. As recently as a generation ago the rapids were considered too far from anything of value for any thinking group to bother with them.
But in recent years, numerous aquatic animals and magical beasts have attacked all up and down the rest of the great river, and most ponds and lakes near it. At first such attacks were only on isolated groups, mostly itinerant traders, and local settlements ignored it. But in recent months the attacks have been bolder. Major trade shipments have been attacked, and a few small thorps have been abandoned, with signs of attacks in the disused buildings.
Major merchant princes in faraway lands wish the disruptions of trade to end, and assume some brigand ranger or petty druid is finally using the lands of the rapids to set up an outlaw camp. The merchant princes wish to end the problem quickly and cheaply, and thus have placed a bounty on the leader of these presumed “rapids rogues.” The PCs are drawn into this situation, perhaps to pay off a debt, perhaps as guards for a river trader and his shipment, perhaps as a favor for a struggling vendor, or perhaps just for the bounty.
But in truth, it’s a brine dragon (a juvenile brine dragon perhaps, CR 8, and a good capstone fight for 5th or 6th level PCs) and its lizardmen conscripts that have been causing problems. The brine dragon, Breakwave, has also conquered the local nixie clan who once lived in idyllic peace in the rapids and surrounding lands. Breakwave wishes to build an empire, and forces the nixies to use their talents to train and command aquatic threats (giant caimans, anacondas, arapaima, monstrous electric eels, and dire river otters), and uses threats and bribes to turn any other nearby creatures into soldiers.
The PCs must fight their way through the rapids, learn the true nature of the threat, rescue citizens of the abandoned settlements (many of whom have been pressed into service by Breakwave), bypass monstrous and aquatic guards, and finally defeat Breakwave himself.
And then the real adventure begins.
Breakwave has angered numerous other nearby threats–attacking some, extorting others–and his death causes those threats to rush into the lands around the rapids to claim his presumed hoard. Further, without his *undesired) patronage, and with the rapids now seen as a crucial tactical location, the nixies and their care for that section of the great river are doomed–unless they can convince the PCs to protect them (perhaps in return for the nixies’ loyalty).
And the merchant princes suddenly think the PCs may be making too great a profit. And the lizardmen came from a not-too-distant tribe, who expected regular payments in return for the lizardman mercenary service, and will demand recompense for the loss of the income Breakwater provided.
The PCs can flee the situation, or try to use diplomacy to re-establish equilibrium, or claim the area as their own base of operation, of even pick up where Breakwave left off…
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This Adventure Sketch exists in direct response to backer suggestions for more Pathfinder content, and more adventure ideas. I can only take the time to write up things like this, thanks to my Patrons support! If you’d like to support this kind of material, and suggest other content I might add more of, why not join my Patreon for as little as $3 a month?
One of the things I have given as advice to people who want to break into rpg writing or increase the amount of rpg writing work they receive, is to make pitches to smaller companies. The logic here is that while Paizo and Fantasy Flight and Wizards of the Coast pretty well all know exactly what books they are doing for the next 12-18 months, and likely already have some sense of their schedule over the next 5 years or so, smaller RPG companies are more likely to be flexible and interested in projects freelancers are excited to write. You probably can’t get WotC to publish your idea for an adventure or a book on halfling baking magic, but Rogue Genius Games, Rite Publishing, and other small-to-mid-range companies are more likely to be interested.
If you do it right. And I never really talk about what that looks like. So, here’s a new Writing Basics to cover making rpg-related pitches. A lot of this is going to carry over to other publishing mediums and freelance work… and a lot won’t. As usual this is where I have the most experience, so this is where I am focusing my advice.
Way Before You Pitch
But before you do more than jot down some ideas you want to pitch, you have some pre-work to do. A lot of this is boring, and requires you to put in a lot of effort and thought before you get to any of the fun stuff of making things up for a game. That’s one of the big secrets of freelance work. It’s three jobs—successfully get the assignment, do the assignment, and then get paid for the assignment. The willingness to do this “boring part” is a huge part of how to get good without depending on getting lucky.
So, you want to pitch some companies. That means you need to pick some targets, and study those targets. I don’t want to make this sound creepier than it has to, but that really is the best way to say this.
You need to know who to pitch to, and you need to know what to pitch to them. One good way to find companies who are doing current work in the game system you want to write for is to go to DriveThruRPG, search for the game system, and click its home page. On the left is a list of game companies that have had good recent sales on products for that game line. Those are prime targets, because they are making money on that game and are doing do recently.
That’s not the only method of course—see who is active, who freelancers are talking about, who releases lots of products. Ask around.
Once you know who you want to pitch, you want to make it as easy as possible for the people you pitch to say yes, and that requires knowing somethings about them. Check their web sites. Look to see if they have submission guidelines. Look to see if they have a “Contact Us” link somewhere. Look to see if the owners or employees or recurring freelancers have social media you can follow and, if they do, read everything you can.
You can’t be a writer if you aren’t a reader. You want to know as much as you can about every company you are going to send pitches to. If they are looking for something specific, if they work in particular game lines, you want to know. Do they use a lot of authors for each product? What size product do they publish? What kinds of products do they publish? Adventures? Monster books? New rules content? Campaign settings? Entire game expansions? Whole games?
Before you ever approach a game company asking if they want to give you work, you want to have a solid idea what kinds of things they publish. That’s a big part of “making it easy to say yes.” Sure, if you have a brilliant idea that’s radically different from what a company normally does they may opt to take a risk on you… but that’s a bigger ask than suggesting you be the person to fill a slot they are already likely to want somebody to fill.
Also, BUY some of the company’s products. Yes, this means spending money before you make money. But not every game company has a style guide, and even the ones who do don’t include all the things they do out of institutional momentum. How a company arranges headers, whether it uses first-person, second-person, or third-person language, how it handles pronouns, how much art it uses, how many maps it presents, how serious or jokey their products are—those things can vary wildly (and can vary by line, or even by product). Knowing at least some of how a company actually presents game material is a huge help both when deciding what to pitch them, and in producing a manuscript they like enough to want to work with you again.
If you can, categorize the types of products produced by numerous game companies and their various lines. This can be helpful when you are first pitching, but it can also be helpful later on. For example, if you know what companies product short monster books for pathfinder tied to a single theme, then if you pitch a book like that to one of them and get turned down, you can quickly decide who to pitch it to next.
Finally, if you have any contacts within the industry, you may want to ask about their experiences working for each of the companies you have picked. Knowing if they are friendly, timely, how they pay (profit-share? Per word? Upon completion or upon publication?), what rights they take (work for hire or share of rights?) can help you know what to expect. You can always try to negotiate these things if they don’t match your needs (and should walk away from an offer rather than take one not worth your time or that takes advantage of you), but that’s another issue that may make it harder for a company to say yes to you.
We’ll continue this advice with Part Two: What to Pitch and When to Pitch It.
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Very soon, RGG will be releasing Starfarer’s Codex: Horrifically Overpowered Feats.
And it’s my fault.
This is, obviously, a new entry in the Horrifically Overpowered line of game supplements, bringing the world of OP to Starfinder-compatible games. And while it WILL update many of the old Pf-edition OP feats, that’s not all the book has.
Oh heavens no.
It is SO much worse than that.
“How bad could it be?” you ask. Pretty bad. game-breakingly bad. You should never allow ANY of these into your campaign.
Seriously, let me show you.
Here’s just a few examples of Horrifically Overpowered Star Feats.
Ain’t Got Time To Bleed (Horrifically Overpowered)
You can rest when you’re dead.
Benefit: As a full action, you can use any option available to you that normally takes 10 minutes. You are subject to all the other restrictions of the action (it’s fast not free, get real).
Ancestral Plasma Canon
You have an item your family has carried into star battle with star demons for star centuries.
Benefit: Select one category of item that is not consumed when it is used, such as a small arm, heavy weapon, light armor, an armor upgrade, or a technological, hybrid, or magic item. Each time you gain a new character level, this item is upgraded to any item of the same category you wish with an item level no greater than your character level +2. If the item is lost or destroyed, it or a replacement returns to you no later than the next time you gain a character level.
Resolved (Horrifically Overpowered)
No one is more resolved than you are.
Benefit: The Resolve Point cost of any ability or option that requires Resolve Points is one lower than normal for you. If that makes the Resolve Point cost 0 or less (yeah, or less—if you are allowing THIS option, who KNOWS what you’ve allowed into your campaign?!) you can still only use the ability if you have at least 1 Resolve Point remaining in your Resolve Pool.
If you want to make me stop writing such ridiculous pandering products which appeal only to power gamers and bring shame on my reputation as a professional, feel free to join my Patreon, in the hopes the money will distract me and put an end to this terrible idea.
Or… I mean back me and tell me to write more. As long as you give me money, I don;t care what you ask me to do.