How Long Does It Take For Your Character To Go From 0-60?

There is a trend I've seen more and more over the years that I tend to call white rooming. In short, it is a tendency for players to create an ideal character build in a blank room, using optimal conditions, and assuming that the way it works in their head is the way it's going to work when they bring that character into game.

And as a spoiler alert, just because something works great under laboratory conditions that doesn't mean it's going to hold up when you put it out for a field test.

I don't understand... it worked PERFECTLY in simulations!

One of the most consistently overlooked aspects of character design is how long is takes them to go from 0-60. Because if you have half a dozen minutes to layer on protective spells, activate magic items, and strap on all your bells and whistles, then obviously you're going to be piloting a wrecking ball when it comes time to sneak through a fortress, break the back of the enemy, or whatever else your character was designed to do.

But what happens when you don't get that prep time? If you're caught with your pants down, so to speak, can you still get the job done?

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Action Economy And You

Action economy, for those who didn't read Understanding Action Economy (And Why You Need It), is basically making sure that you take the most efficient actions to get you to your end results quickly. And when it comes to revving up your character, it's often something we forget about, until we find ourselves in the middle of a life-or-death fight and we no longer have 5 rounds to get our game faces on.

He's coming right at you!

One of the best examples of going 0-60, in my opinion, is barbarian rage in Pathfinder. You can only do it for a certain number of rounds per day, but when it's your turn you can flip it on like a switch as a free action and just go. You now gain all the bonuses of this condition (which get bigger as you gain levels in the class), you can use all your Rage Powers, and it took no time at all to turn on. You just declared it, and moved on with your turn.

For all the complaints about barbarians, they are a class that can go from 0-60 quite rapidly.

However, say you had other things you wanted to add onto your character. Maybe you wanted to two-fist potions of bull's strength and bear's endurance to give yourself a little boost for the fight. Or perhaps you wanted to chug down a potion of barkskin. Drinking a potion takes a standard action, and you only get one of those per turn, which is going to slow your progress way down. Especially when you consider that potions need to be drawn, which is typically a move action.

So how do you deal with this? Do you just reserve your potion chugging for situations where you are going to ambush an enemy, or the bad guy is lost in a monologue, allowing you to fully hulk out? Well, that's one option. You could also take the Drunken Brute barbarian archetype, which allows you to drink potions (or alcohol) as a move action while you're raging. You could also keep a potion in a spring-loaded wrist sheathe, thus allowing you to draw it as a swift action. This would allow you to activate your Rage for free, pop the sheathe as a swift, drink the potion as your move action, and then leave a standard action to do something else. Drink another potion? Smash a bottle over somebody's head? There are all sorts of possibilities!

Another strategy is to focus on buffs and abilities that are either constantly active, or which last a particularly long time. Mage armor, for example, lasts hours per caster level, so if it's part of your monk's strategy for ensuring they have a huge AC, they can just reapply it from a wand once per hour (or have it cast on them by the party wizard at the start of the dungeon), and it will be ready to go if something happens. Many feats grant permanent abilities, and class features like a ranger's favored enemy are considered always on, which can make them more reliable since you don't need to spend your first few turns powering up. The drawback, of course, is these abilities are often situational. So if you're in the proper situation they're quite powerful, but otherwise they grant you no benefit at all.

Your Greatest Weapon is Your Allies

I said this back in Vulgar Displays of Power: Tips For Getting The Most Out of Your Magic in Pathfinder, but I feel it bears repeating. Your allies are going to be one of the best ways for you to rev yourself up quickly, because teamwork is a serious force multiplier.

Never underestimate the power of a helping hand.

Take this scenario. There's a big, angry giant coming the party's way and the barbarian needs to protect their companions. Instead of trying to balance self-buffing and engaging, though, their fellow party members take up some of the slack. The bard whips out a wand, and hits them with a bear's endurance. The transmuter casts enlarge person. Then on their turn, the barbarian activates their rage and charges.

The selfless actions of the other party members allowed them to act as corner men for their warrior, getting him ready to jump into the ring swinging hard. It also means that what would have taken the barbarian at least 2 turns to accomplish on their own was done before their initiative even came up on the first turn.

Teamwork is often key to making sure a character can go from 0-60 as quickly as possible. It's often not a glorious feeling, and it can be something that a lot of players resist because they'd rather be the one dunking the ball than providing the assist. But if you're all focused on overcoming the current challenge you're facing, it's important to make sure everyone shares in the credit, and recognizes how much they helped.

Because a party is so much more than the sum of its parts.

Looking For More?

I specifically mentioned that feats often give you odd abilities and strange wooge that can either be activated quickly, or which is always on. I've worked on a lot of these feats myself, which is why I'd recommend checking out some of the following if you want to help rev up your character's engine.

- Letters From The Flaming Crab: Inspired By Heraldry: A big collection of totemic feats that grant you (often permanent) abilities, I had entirely too much fun with this one.

- Feats of Legend: 20 Story Feats: Story feats are one of my favorite mechanics, and this is one of my best-reviewed installments in the entire Feats of Legend series. Highly recommend giving it a look if you just want more of these.

- Feats of Legend: 20 Orc Feats: While a little specific with the heritage of characters who can take and use them, I figured that folks who love playing orcs and half-orcs could use a bit of a treat.

Like, Share, and Follow For More!

That's all for this week's Crunch topic! For more of my work, check out my Vocal archive, and stop by the YouTube channel Dungeon Keeper Radio! Or if you'd like to read some of my books, like my alley cat noir novel Marked Territory, my sword and sorcery novel Crier's Knife or my latest short story collection The Rejects, head over to My Amazon Author Page!

To stay on top of all my latest releases, follow me on Facebook, Tumblr, Twitter, and now on Pinterest as well! And if you'd like to help support me and my work, consider Buying Me A Ko-Fi or heading over to The Literary Mercenary's Patreon page to become a regular, monthly patron! Even a little bit of help can go a long way, trust me on that one.

Savage Company's "Infantryman's Handbook" Is a Lovely Little Addition To High-Caliber Pathfinder Games

I've had guns on the brain of-late, and since my entry Guns Really Aren't as Powerful as You Think in Pathfinder seems to have attracted a pretty large amount of attention I figured I'd embrace the black powder spirit this week. Because as I mentioned pretty explicitly in that post, I was talking about the common sorts of early firearms you find in most traditional Pathfinder games. If you wanted to overcome some of the major handicaps these weapons had, then you needed to advance the timeline a little and field firearms with a much bigger punch.

And that's where the Infantryman's Handbook comes into the picture.

For those who wondered if Doom Guy was secretly an orc...

Before I get into the meat of this, wanted to remind folks to subscribe to my weekly newsletter if you haven't done that yet. Also, since I've been staying away from the outside world, I've become something of a kitchen goblin. If you're wondering how that side project is coming, consider checking out 5 Things You Should Be Putting Mio In (Other Than Water).

What is This Book All About?

If you're not familiar with the Savage Company Campaign Setting, and you missed my review "Savage Company" is Out (And You Should Totally Get Your Copy Immediately!), I'll give you a very brief run-down. The game is compatible with Pathfinder's first edition, and it embraces the high-caliber kind of adventure you can have when you really cut loose with the weaponry stocked in the armory. Following the adventures of the titular Savage Company, a mercenary band made up largely of monstrous races, outcasts, and other unwanteds, the campaign guide provided a big slew of content. From new classes and races, to shiny new weapons, vehicles, and rules, it was all there and ready to rock. One part Mad Max, one part Warhammer 40k, and all parts Pathfinder, it was a refreshing breath of air for those who wanted to really double down on the first edition.

The Infantryman's Handbook builds on that by giving us a new and improved version of the signature class; the infantryman.

You've got to mold them into what you want.

In the original release, the infantryman was the child of the gunslinger in much the same way the samurai was the child of the cavalier. It was more than just an archetype, but there was enough common DNA that there was still a very noticeable relationship.

What this book does is offer a bunch of different archetypes for the infantryman. From the battering ram of the breacher, to the special forces style snake eater, all of these options allow you to customize your soldier's skills and roles so that you could realistically make an entire party of infantrymen to act as your adventure's main squad if you so desired. There's some fun bits of fiction woven into the document as well, but the other big additions all come in the gear section. From chain bayonets, to rocket launchers, to three dozen different types of grenades, there's plenty of extra firepower in the back if you're looking to really bring the thunder when it comes time to open up with the big guns in your game. And even if you're not really interested in more class options, the dakka is more than worth the price of admission, in my opinion.

By itself, Infantryman's Handbook is a lovely little piece of work. Though if you don't already have your own copy of the Savage Company Campaign Setting, I'd highly recommend picking that up as well. They two of them really work best if they're both in play!

Like, Follow, and Stay in Touch!

That's all for this week's Moon Pope Monday. To stay on top of all my content and releases, make sure you subscribe to my newsletter at the bottom of the page!

Again, for more of my work, check out my Vocal archive, and stop by the YouTube channel Dungeon Keeper Radio. Or if you'd prefer to read some of my books, like my cat noir thriller Marked Territory, my sword and sorcery novel Crier's Knife or my latest short story collection The Rejects, then head over to My Amazon Author Page!

To stay on top of all my latest releases, follow me on Facebook, Tumblr, Twitter, and now Pinterest as well! To support my work, consider Buying Me a Ko-Fi, or heading to The Literary Mercenary's Patreon page to become a regular, monthly patron. That one helps ensure you get more Improved Initiative, and it means you'll get my regular, monthly giveaways as a bonus!

Rise of The Runelords Chapter 29: Crossing The Barrier of Greed

The Companions have fought their way past dangers untold, and found themselves in the lost realm of Xin-Shalast. Threatened and opposed at every turn, they have forced their way to the very doorstep of the Runelord Karzoug. Only one thing stands between him and them, and that is the barrier of greed. Only three servants hold keys, and the Companions must acquire one if they are to pass by to confront the master of transmutation in his own lair.

For those who need to catch up, previous installments are listed below:

- Chapter 1: Blood and Butterflies
- Chapter 2: Murder and Glass
- Chapter 3: The Sin Pit
- Chapter 4: Tussles in The Tangle
- Chapter 5: The Assault on Thistletop
- Chapter 6: Secrets Behind The Curtain
- Chapter 7: Murders At The Mill
- Chapter 8: Halflings and Ghouls
- Chapter 9: Fox in The Hen House
- Chapter 10: Something Rotten in Magnimar
- Chapter 11: The Crumbling Tower
- Chapter 12: Demonbane
- Chapter 13: Trouble at Turtleback Ferry
- Chapter 14: The Taking of Fort Rannick
- Chapter 15: Water Over The Dam
- Chapter 16: Mad Lovers, And Lost Captains
- Chapter 17: The March of The Giants
- Chapter 18: The Taking of Jorgenfist
- Chapter 19: The Secrets Beneath Sandpoint
- Chapter 20: At The Gates of The Runeforge
- Chapter 21: Storming The Halls of Evocation
- Chapter 22: The Bowels of Necromancy's Tomb

- Chapter 23: The End of Runeforge

- Chapter 24: Preparation For The Final Journey 

- Chapter 25: The Hunger in The Mountains 

- Chapter 26: The Gateway to Xin-Shalast

- Chapter 27: The Path of Temptation

- Chapter 28: The Three-Fold Challenge of Xin-Shalast

- Chapter 29: Crossing The Barrier of Greed

- Chapter 30: The Fall of Karzoug

 

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Stealing From a Dragon

After evaluating all of their choices, the Companions took some time to prepare themselves. Bargaining with a devil was not a contest they relished, nor was fighting a storm giant among the clouds. But she who was draped in gold had potential. For there was something they'd noticed in walking through the marketplaces of Xin-Shalast; gold was a worthless currency in that place. Barely worth paving the streets with, the riches that would have purchased kingdoms on the material plane were nothing more than decoration here. Yet the magma dragon's hoard was filled with gold and silver, and she herself encased in it to the point that she cold only fly through magic.

It was not her hoard, however. That treasure room had become her prison, and the "gift" that Karzoug had given her was the lock that kept her there. Enthralled to a magic mirror, she would stay there of her own volition, addicted to gazing upon her gilded reflection.

A more perfect prison has never been constructed.

To test this theory, the Companions dug through the hoard of the white dragon they'd slain who'd guarded the pass. In it they found a large mirror, wrought in gold and silver, carved with artistry and skill. It was a marvel to behold, and would have been a fit gift for any queen. When they presented the mirror to Zargatoth, the massive dragon lifted the mirror and examined it. Then, as if compelled to, she destroyed it, crumpling the beautiful piece of art in her fist. Sadness choked her voice when she spoke, saying she was allowed to have nothing of her own.

Thok slowly nocked an arrow, his shoulders tense as Zhakar approached the huge dragon. She was near to weeping, confused, and disoriented. She hadn't seen her mirror in so long... she knew it was close, but she couldn't find it. That was when Ivory spotted it, lodged in the melted gold on Zargatoth's back. The mirror was far too potent to be harmed by her body's heat, and she'd lost it within her own gilded shackles. Ivory told the dragon where it was, but she couldn't reach it; not with the heavy slabs of muscle that prevented her flexibility.

Speaking softly, and assuring her that they wished to help, Zhakar asked Zargatoth to allow them to extract the mirror from her. Reluctantly, the dragon lay down, digging her claws into the stone.

 A Delicate Procedure

Zargatoth's possessive connection to the mirror, and it's tight hold over her, made removing it a dangerous endeavor. Even if the Companions were careful, one wrong move could lead to bloodshed... bloodshed they'd rather avoid if it were possible.

Mirelinda spoke softly, the soothing sounds flowing from her lips as she cast a spell to calm Zargatoth's fears and furies. Focusing on the jagged rune burned into his forehead, Zhakar erupted in protective flames, flying onto Zargatoth's back. Using the burning claws of his twisted devil's hand, Zhakar peeled away gold and silver, reducing the metal to slag as he flung it away from him. Ivory floated nearby, keeping an eye on Zargatoth and using precise beams of fire to help cut the mirror out of the dragon's golden shackles. Though becalmed by magic, the dragon's anxiety raised her body's temperature, melting the gold and silver faster, the metal running into puddles on the floor. The mirror was singing a siren's song, trying to persuade Zhakar to look into its surface, to see what he desired there, but its song fell on deaf ears as the memories of what he saw in the gaps between worlds returned to him. Wrenching the mirror free, he set it down on the stone before Zargatoth, backing away from her.

The sight of the mirror immediately smote the dragon between her eyes. She stepped out of the pool of molten metal, shaking herself off. While the carapace that had weighed her down for so long was gone, her mind was as shackled as it had ever been. Withdrawing to a safe distance, the Companions spoke in low whispers; even though Zargatoth was completely lost in the enthrallment of her addiction.

They needed that mirror to cross the barrier, and Ivory could tell from the wefts of the magic around its enchantment that once bound to a new owner Zargatoth would be free of its compulsions. But the new owner would need to break that curse as well, or over time the mirror would enchant and degrade them until they were slaves to the reflection. She could create the spell to break it, given time, but they would need to steal the mirror.

As Ivory gathered the supplies, and penned the scrolls that would be necessary, escorted by Chikara to ensure none thought to try to steal Ivory, the others watched Zargatoth. She barely moved a muscle, lying there enraptured by what the mirror showed her. For hours she stayed there, and would likely have stayed there indefinitely had the Companions not taken action.

With the simple application of a few spells, Chikara vanished from sight, running like the wind. Hefting the huge mirror, she ran, bolting into the city. Confused, the spell broken, Zargatoth cast around for the cause of her mirror's absence. The rest of the Companions fled as well, their speed enhanced by both adrenaline, and magic. Unable to fly, and with no idea where they were going, Zargatoth quickly fell behind.

When they were safely away, or as safe as they could be under the circumstances, they found the mirror had shrunk itself, and changed its form. No longer a hand mirror for a dragon, it was now something sized for any of the Companions... should they wish to take it. After a brief discussion of the risks, and what could happen, Mirelinda held her hand out to the mirror. It all but leaped into her grasp, the metal warm, comforting, and familiar as she gazed into it, and bonded with it. Across the city Zargatoth awoke, truly awoke, for the first time in ages. The hunger in her was gone, the need absent for the first time she could remember in many years.

Mirelinda gazed at her reflection, lips pursed as she examined herself. She fixed her hair, and adjusted her necklace, nodding. When Zhakar cleared his throat she jumped, as if lost in thought, but put the mirror away in her satchel with only a little reluctance.

The final challenge was still ahead.

Return Next Time For The Finale!

One of the longest campaigns I've played in a while, and the finale is just around the corner! Stay tuned, and I'll see you next time on Table Talk!

For more of my work, check out my Vocal archives, as well as the YouTube channel Dungeon Keeper Radio where I help out from time to time. Or, to check out books like my hard-boiled cat noir novel Marked Territory, my sword and sorcery novel Crier's Knife or my recent short story collection The Rejects, head over to My Amazon Author Page!

To stay on top of all my latest releases, follow me on Facebook, Tumblr, and Twitter, as well as on Pinterest where I'm building all sorts of boards dedicated to my books, RPG supplements, and greatest hits. Lastly, to help support me and my work, consider Buying Me A Ko-Fi, or heading over to The Literary Mercenary's Patreon page to become a regular, monthly patron! Even a little donation can have a big impact.

Too Many Game Masters Are Just Itching To Say "No"

I'm not the oldest gamer out there, but I've been around the table a few times. I've played home games, and I've run home games. I've played in organizations, I've showed up for pick-up modules in game stores, I've played at conventions, and I've done my share of LARPing as the icing on the geek cake. And while I've had good game masters and bad, permissive and restrictive, amateurish and professional, there are really only two camps I separate them into these days; were they a game master who looked for a reason to say yes, or a game master who was just looking for a reason to say no?

 

Because the second one is far more common, and though I've intimated this before I'd like to say it plainly this week; that kind of attitude ruins your players' experiences far more than it helps you manage your game.

 

You want to do what? Sure, let's figure out how to make this work.

Also, before I continue on, wanted to remind folks to sign up for my weekly newsletter to get all of my updates sent straight to your email! Also, thanks largely due to the Rogue-Tober sale my collection 100 NPCs You Might Meet at The Tavern has finally reached Gold status! So if you don't have your copy, stop on in and check it out!

"No" Is Your Weapon of Last Resort

Since I can hear your throats clearing, let me be crystal on this one. What I am not saying is that as a game master you should do an impression of a doormat and let your players walk all over you to do whatever they want, say whatever they want, and play whatever they want. You don't have to give them everything on their wish list, and no you aren't supposed to just roll over and let them win because they want to. You and they are still confined by the rules of the game you agreed to play, and the setting you all agreed to be a part of. Whether you're playing it directly as it's written in the book, or you've made changes in the form of house rules, you and your players have agreed to the functionality and limits of the game as it exists. The tone of the game, and the entry rules you lay out in Session 0 must be observed, and respected.

However, this is a matter of perspective, and how you view your job as a game master. Because ideally it's your job to facilitate your players' enjoyment of the game, and that often comes down to working with them so that you and they can find a solution within the framework of the game that lets them do (or at least attempt) what they're aiming for.

I feel an example might be helpful.

Let's say you have a player who wants to make their character an homage to John Wick. Heck, I laid out exactly how you can do it both in Dungeons and Dragons 5th Edition and in Pathfinder using the rules as they exist. Or maybe they want to play a fantasy version of The Hulk, Killer Croc, or Guts from Berserk (guides at the links for those who are interested). The story practically writes itself, and as long as a player fits their story to the setting and world, and their build isn't breaking any of the rules of the game, what do you gain by telling them no?

 

And even if they don't have enough system mastery to lay out every step of their plan, as a game master, you get far more out of sitting down with your player and saying, "I like your enthusiasm. Let's talk this through and find a solution that works for both of us," than you do in sending them back to the drawing board with a, "And do it properly this time!"

As a game master, you always have that right of refusal. It hangs over everything, like that red button that launches a nuclear strike. However, if you deny your players the kind of game they want to play, and you keep putting up invisible walls above and beyond the ground rules you all agreed to, they're going to leave your table sooner rather than later. They can't play a game with no game master, but you can't run a game with no players. You both need each other, which is why you should work together.

Ensure You Are Both Operating On The Same Assumptions

This is very anecdotal as far as evidence goes, but it's something I've seen often enough that I consider it a pattern when it comes to game masters who are always looking for a reason to say no. Because a good 80 percent of the time the, "No," isn't because something is against the rules, or is directly against the lore of the setting... it's because it goes against the assumptions and preconceptions of the person sitting in the big chair. This is most common in pre-made settings where there's a rule book offering objective write ups, as opposed to a homebrewed setting where the game may exist only partially on paper, and largely within the game master's notes, but the point still stands.

Whichever situation you find yourself in, you need to make absolutely sure you and your players are on the same page regarding what's expected in the game, and why you should listen to them when they make a case for something they want to play even if it gives you a knee-jerk reaction at first.

You all need to be singing the same song for there to be harmony.

For example, the Pathfinder setting of Golarion is not Tolkien's Middle Earth, and it does not have the same lore and assumptions. If you want to play a gunslinging elven pirate with a green beard, heterochromia, and poisonous blood, all of that is possible within the rules and the setting. You could also play someone who's been kept in a statis tube in a crashed starship for a thousand years who now has to explore this strange world they find themselves in, discovering their own past and trying to piece together who and where they are. These characters can perfectly co-exist with the traditional wizards, paladins, and sorcerers we're so used to in our high-fantasy games, because that's what's in the setting as it's written. You're not defying the genre, or trying to be a weird and unique snowflake; you're just playing an option that is part of the game as it's written.

Yet there are a lot of game masters out there who will slam on the brakes for no reason other than that these character concepts are outside what they think of when they conceptualize their game. The characters fit the world, and they fit the lore, but they don't fit the game master's assumptions... and denying players the ability to play characters they want, which fits the world you all agreed to, is not a great way to start any campaign.

This happens all over the place. I've seen storytellers for World of Darkness games shoot down character concepts, or even just character choices, for no reason other than that they couldn't conceive of the events that would make these characters happen. Which is not to say that it couldn't happen, just that it goes against their views of how the game should be, or how they would personally execute a particular concept.

 

"A Nosferatu diplomat? Pshaw, impossible, they're too ugly and repulsive for such a high-charisma position!" Even though the clan would definitely have envoys and messengers in order to represent their interests and communicate with other clans, they can't wrap their heads around someone trying to play a face character with that clan's flaw. "A Get of Fenris who brings vehicle-mounted artillery to the battlefield instead of a hammer or their claws? Bah, the tribe would never tolerate that!" This opinion despite literally nothing in the rulebooks or write-up of tribe culture about how the warriors of this werewolf tribe refuse to use the tools of modern warfare against their enemies, and how the weapon is less important than the enemy it's turned on.

And so on, and so forth.

I could go on listing examples for a few thousand more words, but you get the picture. As a game master you get a lot more mileage out of thinking in terms of what is possible within the rules and setting, rather than what fits your preconceptions of them. And even if your player comes to you with a goal that's a little odd, a little weird, or a little off-kilter, you should try your best to find a way to give them what they're looking for within your framework.

You can still say, "No," if there just isn't a way to make it work, but if you can compromise so you both get some aspects of the story you want to tell then you're both going to have a far better experience with the game as a whole.

Like, Follow, and Stay in Touch!

That's all for this week's Moon Pope Monday. To stay on top of all my content and releases, make sure you subscribe to my newsletter at the bottom of the page!

Again, for more of my work, check out my Vocal archive, and stop by the YouTube channel Dungeon Keeper Radio. Or if you'd prefer to read some of my books, like my cat noir thriller Marked Territory, my sword and sorcery novel Crier's Knife or my latest short story collection The Rejects, then head over to My Amazon Author Page!

To stay on top of all my latest releases, follow me on Facebook, Tumblr, Twitter, and now Pinterest as well! To support my work, consider Buying Me a Ko-Fi, or heading to The Literary Mercenary's Patreon page to become a regular, monthly patron. That one helps ensure you get more Improved Initiative, and it means you'll get my regular, monthly giveaways as a bonus!

The Onion of Secrets (A Character Concept With Layers)

The inquisitor stormed into the room, his black robes billowing in his wake. The broad-shouldered, silver-haired Lord Janus Arendt stood near the window, leaning on his cane. His blue eyes showed mild surprise, but nothing else as the man in black approached him.

 

"My lord inquisitor, what a-"

 

"Silence!" The robed investigator hissed. "It is the only way you will be able to escape this unscathed, Lord Arendt. Understand?"

 

The inquisitor's tone was thick with scorn, but the older man simply nodded, as if he'd been politely greeted. He waited, his hands atop the intricate walking stick that he always carried. Once he was certain the man wasn't going to interrupt, the black-clad harbinger of the law began to speak.

 

"The person who calls herself the Black Rose has been meeting with members of the nobility. Those who would be considered disloyal, and open to corruption," the inquisitor said. "She is recruiting them to act in a coupe against the governor, and to force him from his rightful seat of power."

 

The silver-haired lord said nothing. His expression did not change, nor did he so much as shift his weight. When he said nothing, the man in black continued in a more measured tone.

 

"The sort of lord, for example, who has debts to the illicit gambling houses in the east quarter," the inquisitor said, his smile growing wider. "And who, despite his marriage to one of the great beauties of the city, often doesn't leave the Swallows Den until sunrise."

 

"What do you want, inquisitor?" Janus asked, tiredly.

 

"If this so-called Black Rose contacts you, you are to agree to assist her," the inquisitor said. "You will forward any information she gives you to me. In exchange my men will forget the places you go, and the slanderous things that go on there. You will be left to your life, and what little lands you have. Do you understand?"

 

Janus turned away from the inquisitor, glancing out the window. He leaned on his cane, shoulders slumped, and his jaw tight. Finally he said, "Yes. I understand."

 

The inquisitor tarried a moment to ensure his silence drove the point home. Then he turned on his heel, and left in the same whirl of movement as he'd come. The lord of the manor didn't move, staying at the window as he watched the man in black climb back into his carriage, and head off down the road.

 

"What a tedious little man," a voice said from near the fire.

 

Janus turned, and beheld a masked figure all in black. Black leather sheathed them from head to toe, and enameled daggers were slung low on their thighs, as well as under the arms. A black cloak seemed to meld into the flickering shadows. Janus twitched the curtain closed at his back, ensuring none could see within. Then he swept the figure up in his arms, clinging close.

 

"Careful Janus," the Black Rose whispered. "My ribs still ache."

 

"Yours and mine both," he said, tugging off the mask to reveal the beautiful, full-lipped face of his wife, the Lady Elsabeth Arendt.

 

The two of them kissed, clutching onto each other in the half-light of the study. When she finally broke the kiss, she sighed against her husband's broad chest. "It's getting dangerous out there. More so than it was."

 

"Darling," he said, tilting her chin up to look into her eyes. "Are you asking what I think you are?"

 

She took his hand, and smiled. It was a small, secret smile. "I know you haven't worn that mask in years. But would you? For me?"

 

"It would be my honor," he said, pressing the hidden lever that opened the stairway behind the bookcase. The two of them descended into the catacombs that ran beneath the city, and where secret tunnels ran to brothels, gambling dens, and so much more if one knew the ways. The Black Rose, and her companion the Shadow Thorn walked into the darkness together, ready to put an end to the small plans of the small men who'd had their boots on the people's throats for far too long.

 

What truly lies beneath our masks?

 

The Character With Secrets

We've all played characters with secrets. Whether it's the noble born knight trying to pass himself off as a common sellsword, or the former assassin trying to leave their old life behind, these secrets are usually kept up our sleeves to be played at dramatic moments later in the game. The Onion of Secrets, by contrast, is a character who has more than one layer of secrets active at any time.

The keys to these characters is to make sure that your secrets are relevant to the game at hand, that they do not pit you against the other players at the table, and that there's several of them to be revealed as the game goes on.

There's always something more.

If you're a Pathfinder player, one of the easiest ways to get this ball rolling is to play a vigilante. The dual identity allows one to lead a double life that can't be easily exposed by divination and other spells, and for those looking for inspiration I recently put together 5 Tips For Playing Better Vigilantes along with the supplement A Baker's Dozen of Fantasy Vigilantes to get the wheels turning. For those who enjoy the alchemist, however, the Master Chymist prestige class can offer a similar dual identity that can be equally fun to play with using the mutagenic form.

Whether you choose to use these classes or not, though, there are all sorts of secrets you can build into your character. For example:

- Membership to an organization you do not disclose.

- Belonging to a different social class than you claim.

- Possessing a curse, corruption, or affliction your companions don't know about.

- Fleeing a former life/old debts.

- A secret goal you've told no one about.

While any one of these things can work as a fun hole card for your character, the key to the Onion of Secrets is that someone discovering one secret may lead to another coming into play. Or the implications of multiple secrets all coming to a head as part of a plot.

As an example, take the swordsman Tarn Dalls. Though he claims to be nothing more than an experienced mercenary, Tarn's swordsmanship, linguistic palate, and other skills are suspiciously broad. Because the truth is that he is a prince who went into exile so there would be no war for the throne. He agrees to lead the secret society of the Red Dust with the rest of the party to overthrown the tyrant his brother has become, but his true goal is to liberate his mother and his sister from their prison inside the palace.

Alternatively, consider Shareen DeForest. Though most believe her a noblewoman from a neighboring land with some skills in languages and scholarly matters, in truth she's a common thief. She built this false life for herself, trying to buy her way out of membership in the Gravetouched, but the last job she pulled for the gang left her with a dark secret; the spirit of an unquiet ghost that shares her mind. She can sometimes pacify the ghost with little gestures, but there are times where Shareen will lose hours of time. Others where she'll wind up in places she's never been. She's been trying to find a way to put the ghost to rest, but if someone recognizes her from the old days all it would take is a few words in the wrong ears and everyone would know the truth.

Overlapping Your Secrets

The key to remember with an Onion of Secrets is that you need at least two layers (though the more the merrier), and that while they can be related, revealing one shouldn't inherently reveal all of them. Additionally, you should work with your GM to make sure your secrets are relevant to the plot, and you should give at least a little foreshadowing that there's more going on than meets the eye to the others at the table. I talked about this in Reveal Details About Your Character Through Flavor-Based Skill Checks, but it bears repeating; if you have secrets, they need to come out at some point. More importantly, there should be hints that there's something going on below the surface. Otherwise it just feels like the end of a Scooby-Doo episode where we pull off the mask to reveal someone we've never heard of, and who we couldn't have guessed was the ghost behind this week's haunting.

Lastly, and I cannot stress this enough, do not purposefully keep secrets that are going to put you at odds with the rest of the party. If your character has been a deep-cover operative for half the campaign, then make sure they're representing a neutral third-party, or a secret society that can assist the party, or something like that. Because while it might sound like a cool idea, a lot of tables will view it as unsanctioned player-versus-player, and it can lead to hurt feelings, and a stymied game. If you need some fun examples then you might want to check out 100 Secret Societies as well as 100 Fantasy Guilds.

Make sure your secrets add to the game, that they are something everyone can have fun with, and if you know your table, intertwine them with some other players' secrets without giving each other too many details. It can make for a daisy chain of surprises when the revelations start coming, and more importantly it can avoid the feeling like you're the only one doing big plot reveals.

 

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Like, Follow, and Stay Tuned For More!

That's all for this installment of Unusual Character Concepts. Hopefully this one gave you something to chew over, whether you're a player, or a game master.

For more of my work, check out my Vocal archive, and stop by the YouTube channel Dungeon Keeper Radio. Or if you'd prefer to read some of my books, like my alley cat noir novel Marked Territory, my sword and sorcery novel Crier's Knife or my most recent collection of short stories The Rejects, then head over to My Amazon Author Page!

To stay on top of all my latest releases, follow me on Facebook, Tumblr, Twitter, and now Pinterest as well! To support my work, consider Buying Me a Ko-Fi, or heading to The Literary Mercenary's Patreon page to become a regular, monthly patron. That one helps ensure you get more Improved Initiative, and it means you'll get my regular, monthly giveaways as a bonus!

"The Complete Windrow-Ravenswood Deck" is an Adventure in Tarot Storytelling

It's been a while since I've boosted a signal for some fellow creators here in a Monday slot, but since it's the Halloween season I wanted to shine a spotlight on a recent release from Dee Arbacauskas. If that name sounds familiar, she's the mind (and hands) behind Tormented Artifacts, and I talked about some of her leather work a while back in Get Your Hands on Some Tormented Artifacts! (Especially if You're a LARPer). However, while you should definitely take a look at her practical, wearable art, this week I want to talk about a different, unique piece of work... namely, the Windrow-Ravenswood deck.

Because it's more than just a deck of cards.

Before we get into that, though, wanted to remind folks that I have a newsletter now! So if you don't want to miss any of my weekly releases, make sure you sign up today!

All right, now, let's get into this lovely little bundle, shall we?

The Dual Story of The Windrow-Ravenswood Deck

First, let's start off with the really real story of the deck as it's told by the creator. We'll move into the juicy framing device later.

The origin of the Windrow-Ravenswood poker deck came to the creator as part of an art challenge that went more than a little out-of-control. To paraphrase her introduction, the ideas were coming to her almost faster than he could get them down on the page. While the flurry of activity resulted in some beautiful rough work, getting them cleaned up, organized, and available for purchase took time. The first run of the deck caught a lot of attention (and for good reason), and that drove further work to expand on it, and to fill in the gaps.

For example, expanding the deck by creating the Lost Arcana allowed the poker deck to transition into a full and proper tarot card deck. You can get all of this as a bundle on Drive Thru RPG, by the by. At just under $20 it is a hell of a steal!

But what's the second story?

The second story is in the Complete Windrow-Ravenswood Guidebook (not to be confused with the 2-page guide currently available for using the deck). Because in addition to being a guide to this unique tarot, offering both interpretations and translations for those familiar with more traditional decks, the book also presents us a framing for the deck's so-called founding. It paints a picture of a shadowy institute, a bizarre family lineage, and it chronicles the journey of the deck down the years. There are even several winks to the Cthulhu mythos, for those who enjoy the occasional Easter egg. Told primarily through the communiques and letters sent by "The Archivist," the book intermingles the practical aspects of using the deck with a surprisingly captivating story about the deeper, darker world from whence it hails.

 

While the full and complete guidebook is not currently available, it should be out in early November. Prices, according to the author, will be $11.99 for a digital copy, and $29.99 for the standard color hardback edition.

EDIT: The book is out! Take a look at The Windrow-Ravenswood Deck Guidebook!

So How Can You Use This Deck?

As everyone here knows, this is a gaming blog where I talk about RPGs. Interesting as this deck is, what does it have to do with a roleplaying games? Well, the answer is going to depend entirely on you, the games you play, and your imagination.

There are so damn many possibilities...

The first use for the deck is as a practical game piece. If you're a Chronicles of Darkness LARPer, for example, then these decks would make an ideal stack to draw from while players determine success or failure for their actions. Particularly for a Mage game, though they'd fit well enough in Vampire, Changeling, or others as well. For those who enjoy games like Savage Worlds Deluxe, this deck would be a handsome addition to the initiative pull. Especially if you're playing a game like Rippers, and you want a little extra ambiance.

Even if you're not using the deck itself as a game piece, it makes a lovely prop. Whether you're a Malkavian who believes the cards talk to them, or you want to use the cards as something left behind by a serial killer, they're something that can be interacted with. They can add an extra layer of fun to the game... especially if the players can pass them around and admire them for their beauty, and creeping dread.

The last use, and one I would suggest for any burgeoning storytellers out there who are looking for a solid world to base a Chronicles of Darkness: Mortals game or a Call of Cthulhu game in, is to adapt the cards, the setting, and the story as part of your campaign's bible going forward. While the setup could be a cousin to the SCP Foundation and other, similar creepy pastas, it's much narrower in scope, and allows you to keep things a little bit more grounded. And there are just enough references to the timeline, as well as to the sights that the Archivist witnessed, that you could attempt to ascertain what dire deeds Ravenswood committed in his pact to make this deck.

At the end of the day, it's a fun, handsome creation with unique art. Whether you use it as the basis for an entire campaign, or you just pull it out for Halloween poker nights, I seriously suggest giving the full Windrow-Ravenswood deck bundle a look, and staying tuned for when the final guidebook drops here in a few weeks!

Like, Follow, and Stay in Touch!

That's all for this week's Moon Pope Monday. To stay on top of all my content and releases, make sure you subscribe to my newsletter at the bottom of the page!

Again, for more of my work, check out my Vocal archive, and stop by the YouTube channel Dungeon Keeper Radio. Or if you'd prefer to read some of my books, like my cat noir thriller Marked Territory, my sword and sorcery novel Crier's Knife or my latest short story collection The Rejects, then head over to My Amazon Author Page!

To stay on top of all my latest releases, follow me on Facebook, Tumblr, Twitter, and now Pinterest as well! To support my work, consider Buying Me a Ko-Fi, or heading to The Literary Mercenary's Patreon page to become a regular, monthly patron. That one helps ensure you get more Improved Initiative, and it means you'll get my regular, monthly giveaways as a bonus!

Remember, Elves Need Blacksmiths and Dwarves Need Fletchers

Archetypes are everywhere when it comes to tabletop RPGs, and the stories we tell with them. All you need to do is mention a class or race you'd see in a fantasy game, and you immediately have an image leap to your mind. When someone says elf, you probably picture a long, lithe figure holding a bow, a scimitar, or both. They probably have long, flowing hair as well. When someone says dwarf you probably picture the opposite; a bulky, bearded figure with an ax or a hammer, likely bearing armor and a shield and ready for battle (assuming you're not a Gotrek and Felix fan, that is).

If you haven't read it yet, seriously, go check it out!

This applies to other games, as well. If you say the word Ventrue to a Vampire player (Masquerade or Requiem) they'll also have a very particular image immediately spring to their minds. Likely a man in a power suit, or a woman in an elegant sheathe dress. If you say to a Werewolf: The Apocalypse player Get of Fenris that immediately calls up images that are one part Boris Vallejo and one part Harley Davidson.

To be clear, these traditional images we have of classes, clans, tribes, fantasy races, etc. in our games are not wrong. From the paladin who is a handsome, holy knight in shining armor, to the half-orc barbarian who's allergic to shirts, those archetypes became archetypes for a reason. However, at the same time, it's important to remember that they are not a requirement by any stretch of the imagination. There is more beneath the surface-level reading of what characters can be, and choosing to disregard some (or even all) of a stereotypical imagery associated with your rules chassis doesn't make you a "special snowflake" who's trying to be different.

Because if the rules don't say you must be, do, or have X,Y, and Z, then it's not a requirement for your character.

Elves Need Blacksmiths, and Dwarves Need Fletchers

Thurandill shall be your name, and you'll be as deadly as you are beautiful.

This phrase was a gold nugget that someone dropped at my feet in the White Wolf subreddit, and it's become a part of my personal philosophy (permission was granted to steal it, which is why I'm sharing it with you fine folks). Basically, any time there is a role that would be common to a society, a race, a clan, etc., there is going to be someone fulfilling that role. The dwarven smith might be the stereotypical image you think of, but there are smiths among the elves, among the orcs, the halflings, gnomes, and humans, too. There will be differences, sure, but there will also be similarities. Elves may be the ones we associate with archery, but there are half-orc and halfling longbow snipers that may be just as deadly.

And so on, and so forth.

Despite what sounds very obvious on its face, there are a lot of DMs, GMs, STs, and others who will immediately lose their cool if someone proposes a character they deem too far outside that stereotype. A character who is, "too special," "too weird," or, "too unique," so they throw on the brakes. If you find yourself in that position, I would recommend taking a step back and asking yourself why you're doing that? Because as long as a character concept follows all the rules, and is consistent with the lore and physics of a setting, what do you gain by denying your players something they want to play?

Think Deeper, Think Broader

The stereotypes in our games are meant to be a starting off point, but they're by no means the law of the land. Unless the rules expressly state something is required, then enforcing that status quo does nothing but narrow the potential of your setting, your characters, and your players. It puts additional limits on our flights of fancy, whose only limits should be the agreed-upon rules of the setting and game.

And we've got enough of those to deal with as is.

To be clear, I'm not saying you can immediately ignore anything that gets in the way of your character concept. If there's a particular form of magic only accessible to those of elven blood, then only characters who have the proper DNA can learn and harness that magic. If you can only learn a certain fighting style at a particular temple, and from a particular teacher, then you need to have that as part of your backstory. And so on, and so forth.

But if there is nothing in the setting or rules that creates a requirement for a character to possess the skills they have, or to look or act the way they do? You get a lot more out of disregarding the stereotype in favor of saying to your players, "All right, lay it out for me. How did they get like this?"

If someone wants to play a half-orc barbarian who was adopted and raised by the duke and his husband, where does it say in the setting rules that this mounted fury who's infamous on the melee field during tournaments isn't a valid concept? If someone wants to play a Ventrue in your vampire game, but instead of a business suit and a red tie he wears leathers and runs a motorcycle gang of ghouls like a pack of Old West desperadoes, what do you gain by telling the player they can't do that? If a player has a broad-shouldered armorer with rippling thews and a grip that can crush a man's skull, why would you insist they play a dwarf instead of an elf if their concept is based entirely around being an elven smith who maintains old elven relics while attempting to recreate the styles of the old masters?

Pick your battles, and work with your players so that they can be happy with the characters they're bringing to your game. It really does set the tone for everything else.

Additional Reading and Thoughts

This isn't exactly a new concept, so I thought I'd leave some links to times I've talked about this before. Not to get too repetitive, but I thought it would be of interest to some folks. Also, while I have your attention, my new supplement A Baker's Dozen of Fantasy Vigilantes just dropped today! I'm pretty excited about that, and I wanted to bring it up. Also, if you want to make sure you never miss any of my updates and fresh content, consider signing up for my newsletter! One update goes out every week, recapping all the news and releases in a single missive.

- DMs, Learn To Take Your Foot Off The Brake: One of my more recent talks on this subject, a DM looking for reasons to say no instead of reasons to say yes is one of the most common causes of table enthusiasm flagging, then going out entirely.

- Everything is Weird in Fantasy RPGs (But That's Not How You Make a Character Stand Out): A reminder that just because something is weird or unusual in your experience, that doesn't mean it's all that strange by the standards of the setting.

- DMs, Please Stop Arbitrarily Limiting Race Choice in Your Games: There are few things more frustrating than showing up to a game that is full of possibilities, and then being told you can only play characters of X, Y, and Z races, for reasons. You want your players enthused, and you don't do that by narrowing down their options for no reason.

Like, Follow, and Stay in Touch!

That's all for this week's Fluff post!

For more of my work, check out my Vocal archive, and stop by the YouTube channel Dungeon Keeper Radio. Or if you'd prefer to read some of my books, like my alley cat thriller Marked Territory, my sword and sorcery novel Crier's Knife or my recent short story collection The Rejects, then head over to My Amazon Author Page!

To stay on top of all my latest releases, follow me on Facebook, Tumblr, Twitter, and now Pinterest as well! To support my work, consider Buying Me a Ko-Fi, or heading to The Literary Mercenary's Patreon page to become a regular, monthly patron. That one helps ensure you get more Improved Initiative, and it means you'll get my regular, monthly giveaways as a bonus!