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Sample File the Hutchingsonian Presents the Habitition of the Stone Giant Lord and Other Adventures from Our Shared Youth
Sample file The Hutchingsonian Presents The Habitition of the Stone Giant Lord and other adventures from our shared youth Introduction 1 Jon Peterson Editors Notes 6 Tim Hutchings The Habitition of the Stone Giant Lord 7 Gaius Stern Stone Death 26 Richard C. Benson The Crack at Garn’s Canyon 38 Matt Morrison The Ring of Gaax Sample file 45 Wayne Lacroix The Golden Scepter of the Trollfens 58 Mike Walters The Tomb of Areopagus the Cloaked and Japheth of the Mighty Staff 86 Michael M. Hughes The Lair of Turgon 96 Todd Nilson The Maze of Death 108 Mike Walters All content copyright of the respective creators. Layout ©2013 Timothy Hutchings and The Hutchingsonian Presents. No claim is made on any copyrighted or trademarked material intentionally or accidentally presented herein. The Hutchingsonian Presents Introduction Jon Peterson When Dungeons & Dragons first appeared early in Thus, there was little thought at first that dungeons 1974, it contained an extraordinary invitation: it asked should be made into commercial products. us all to participate in the creation of fantastic worlds. By the middle of 1975, demand for dungeons at No longer would we merely passively read about - conventions began to chip away at this secrecy. When fantasies someone else had conceived, or watch them - Gary Gygax operated a tournament dungeon for the in films—now we would be participants and protago first Origins Game Fair in July, there was sufficient nists, authors and architects of fantasy. This is per demand to play that he scheduled two groups to haps best captured by a line in the final pages of the - explore instances of the dungeon simultaneously: one original rules, which asks, “why have us do any more under Gygax’s own supervision, the other refereed by of your imagining for you?” Everywhere there are op his son, Ernie. -
Welcome to the Great Ring
Planescape Campaign Setting Chapter 1: Introduction Introduction Project Managers Ken Marable Gabriel Sorrel Editors Gabriel Sorrel Sarah Hood Writers Gabriel Sorrel Sarah Hood Layout Sarah Hood 1 There hardly seem any words capable of expressing the years of hard work and devotion that brings this book to you today, so I will simply begin with “Welcome to the planes”. Let this book be your doorway and guide to the multiverse, a place of untold mysteries, wonders the likes of which are only spoken of in legend, and adventurers that take you from the lowest depths of Hell to the highest reaches of Heaven. Here in you will leave behind the confines and trappings of a single world in order to embrace the potential of infinity and the ability to travel Introduction wherever you please. All roads lie open to planewalkers brave enough to explore the multiverse, and soon you will be facing wonders no ordinary adventure could encompass. Consider this a step forward in your gaming development as well, for here we look beyond tales of simple dungeon crawling to the concepts and forces that move worlds, make gods, and give each of us something to live for. The struggles that define existence and bring opposing worlds together will be laid out before you so that you may choose how to shape conflicts that touch millions of lives. Even when the line between good and evil, lawful and chaotic, is as clear as the boundaries between neighboring planes, nothing is black and white, with dark tyrants and benevolent kings joining forces to stop the spread of anarchy, or noble and peasant sitting together in the same hall to discuss shared philosophy. -
HAlls Of HEroes
HALLS OF HEROES AN ORGANIZED PLAY CAMPAIGN FOR D&D 5E DUNGEON MASTER GUIDE v1.2 Effective Date: 2020-November-17 Website: hallsofheroes.com Facebook: https://www.facebook.com/groups/HallsofHeroes/ Twitter: @Halls_of_Heroes. Reddit at /r/HallsOfHeroes Discord: https://discord.gg/Kf8sEen 1 HE ASICS T B PREPARING THE ADVENTURE Before you sit down at the table, you want to have Halls of Heroes is an organized play system for read through the adventure to get an idea of what’s th Dungeons & Dragons, 5 Edition, continuing the going on behind the scenes. Not all adventures spirit of the first seven seasons of Adventurers explain everything up front, and so it’s a good idea League. As with all organized play, the players and to have read the entire adventure to get the big DM follow a shared set of principles so that picture. You can also use this time to run what-if characters may move from adventure to adventure scenarios for how to make an adventure more or and from DM to DM freely. less challenging on the fly. Settings SITTING DOWN AT THE TABLE Halls of Heroes currently has two settings: Whether the tabletop is real or virtual, eventually Forgotten Realms (FR) and Eberron (EB). See the the players gather around. Halls of Heroes Players Guide for the relevant Ask players for relevant information about each of setting for character creation and advancement their characters that will help you balance and run rules for each setting. the adventure. What’s relevant may vary from Available Adventures adventure to adventure, but often includes things See Appendix C; Content Catalog for the full list of like character name, classes, levels, armor class, adventures for each setting. -
Planescape Part One: Sigil by Cutter
Planescape Part One: Sigil By Cutter Welcome to Sigil, the City of Doors! The centre of the Planes and the local multiverse too. Sitting on the inside of a giant torus that itself floats above an infinitely tall mountain at the centre of the very plane of neutrality itself – the Concordant Domains of the Outlands. Here neutrality is enforced. Gods are barred from the city, and the Lady of Pain takes very aggressive steps to make sure nobody drags Sigil into the troubles outside. It is even a haven from the Blood War. Unfortunately, this means many, many criminals and troublemakers from outside land come here as a last resort. ‘Course, not everyone’s here of their own free choice. Sigil’s ridded in doors to other planes, and sometimes a local from outside falls in. What got them in Sigil rarely is what gets them out of Sigil, and they’re stuck here until they find a door back home. These planar doors all throughout Sigil would make it the most valuable place in the multiverse to hold. Master Sigil, you can master the Planes. But the Lady won’t let that happen. Piss her off and the best thing you can hope for is being locked in an extradimensional maze unable to die of age, hunger, or thirst. The unlucky ones get flayed alive in an instant. But on the bright side, you’ll see all kinds of things in Sigil. A devil and a demon (don’t call ‘em that, trust me) having friendly drinks in a bar. -
Tomb of Horrors
Tomb of Horrors LEGEND OF THE TOMB tional information which player characters would have no way of know- The legend of the tomb is an old story with many parts, some of ing, and avoid facial expressions or voice tones which might give which may be lost or obscured. Characters attempting to glean spe- helpful hints or mislead players. The real enjoyment of this module is cial information by consulting sages or through legend lore spells managing to cope, and those players who manage to do so even may still have difficulty obtaining as much background as they de- semi-successfully will appreciate your refereeing property and allow- sire, for the scraps of information are often minimal and mystical. ing them to “live or die” on their own. These bits of information are available as clues, and characters can The starting information for the module depends upon whether you make of them what they wish: Ancient Burial Places; Ancient Tombs; are using the Tomb as an insertion into your own campaign, as a Sorcerous Kings; Challenges; Surpassing (Certain Death); Soul Eat- section of THE WORLD OF GREYHAWK, or simply as a one-shot ers; Treasure; Great . The other parts of the legend can be fur- exercise for your players. Because of the variableness, the informa- nished by the Dungeon Master from the description which follows: tion for starting is stated so as to assume the expedition has arrived at the site of the TOMB OF HORRORS. As Dungeon Master, you The Tomb of Honors: Somewhere under a lost and lonely hill of may fill in whatever background Is needed, and if this is a section of grim and foreboding aspect lies a labyrinthine crypt. -
An "Official" Spelljammer Guide to the Spheres [Revised 1.0]
Guide to the Spheres An "official" Spelljammer Guide to the Spheres [revised 1.0] By Paul Westermeyer aka GMWestermeyer Table of Contents: Page Section 1 Introduction 2 Phlogiston Navigation 4 Phlogiston Transit Times 4 Where is the Rock of Bral? 6 “Official” Flow Map 7 The Spheres and other Phlogiston Locations 23 ‘Loose’ Planets/Worlds 34 Bibliography: Introduction Spelljammer is a very unique and creative setting, but it is also one of the worst organized settings TSR produced with material is scattered among many different products. This makes it very difficult to find what you are looking for, a problem exasperated by Spelljammer’s status as a ‘connection’ campaign, designed (like Planescape) to connect the ‘big’ three settings, Forgotten Realms, Greyhawk, and Dragonlance. I’ve been working to alleviate this problem by writing guides and indices for those aspects of Spelljammer that are most important for creating a coherent, rational game setting. The first of these guides was An “Official” Spelljammer Timeline, which collated Spelljammer-related historical mentions in published TSR products into a cohesive, coherent timeline that Spelljammer (or Hackjammer) gamemasters could use as the foundation of their own, personalized campaigns. This guide, An “Official” Spelljammer Guide to the Spheres, has a similar purpose. Spelljammer’s iconic center is the Rock of Bral, just as Sigil is the iconic heart of Planescape, Spelljammer’s setting cousin, but Sigil’s location is quite firmly placed at the center of the Plane of Concordant Opposition, metaphorically the heart of the entire Advanced Dungeons and Dragons multiverse. Moreover, the various inner and outer planes are all well mapped in relation to each other, and have been ever since the Advanced Dungeons and Dragons Player’s Handbook in 1978. -
PSCS Chapter 8
Planescape Campaign Setting DM’s Dark Chapter 9: DM’s Dark Project Managers Sarah Hood Editors Gabriel Sorrel Sarah Hood Andy Click Writers Janus Aran Dhampire Orroloth Rip Van Wormer Chef‘s Slaad Nerdicus Bret Smith Charlie Hoover Galen Musbach W. Alexander Michael Mudsif Simson Leigh Smeazel Mitra Salehi Sarah Hood Layout Sarah Hood 1 Well, by now a canny cutter like yourself is itching to gather your favorite victi—ahem—players, and start running a game. Of course, if you‘re completely green to the task you could always use a little bit of advice on where to start. And if you‘re old-hat, a little bit of a refresh DM’s Dark couldn‘t hurt, now could it? This chapter of the PSCS aims to help any new GMs out there who don‘t have anyone locally they can turn to for advice on some of the common or stereotypical problems with a planar game. We‘ve tried to cover the major ‗issues‘ that creep up for bashers lost in a sea of clueless, and of course if you have a question that isn‘t answered here, please feel free to drop by Planewalker.com and we‘ll be glad to give some extra advice. Preparing the Game Starting advice for a Planescape campaign is the same as it is for any other game really: Define what sort of a campaign you‘re looking to run. A planar campaign can have as wide or as narrow a scope as you like, and any sort of tone that you care to adopt. -
AD&D Designer Q&A!
AD&D Designer Q&A! http://www.dragonlanceforums.com/forums/printthread.php?t=19663&pp... AD&D Designer Q&A! Printable View Dragonhelm 11-15-2009 07:18 PM AD&D Designer Q&A! Hey, folks, I have a special treat for you guys. AD&D Dragonlance game designers Colin McComb and Tim Beach have agreed to join us for a Q&A session! Colin was a designer for the Tales of the Lance boxed set, as well as Knight's Sword, Taladas: the Minotaurs, and Unsung Heroes. You can see his various RPG credits here . Tim was designer for Flint's Axe, has additional design credits for Taladas: the Minotaurs, and was a designer for Unsung Heroes. You can see Tim's various RPG credits here . Gentlemen, welcome to DragonlanceForums.com! I'm going to start out with a few questions, and everyone else should feel free to ask their questions as well. Colin and Tim will be able to answer as time permits. I ask that everyone please be respectful of our guests and their time. 1. First of all, how did you two get involved in Dragonlance? 2. Colin, tell us about the Tales of the Lance boxed set. What brought it about? Was it challenging writing a new sourcebook for Dragonlance? 3. What were the design goals of Tales of the Lance? 4. Colin, tell us about writing Knight's Sword. 5. Tim, tell us about writing Flint's Axe. How closely did it tie into Flint, the King? Did you and Colin coordinate on this project? 6. -
Tomb of Horrors | Dungeons & Dragons
TOMB OF HORRORS™ ROLEPLAYING GAME ADVENTURE Ari Marmell • Scott Fitzgerald Gray CRED1TS Design Art Director Ari Marmell (lead), Scott Fitzgerald Gray Mari Kolkowsky Development Cover Illustration Stephen RadneyMacFarland (lead), Ralph Horsley Stephen Schubert Graphic Designers Editing Keven Smith, Emi Tanji Cal Moore (lead), Miranda Horner Additional Graphic Design Managing Editing leon Cortez Kim Mohan Interior Illustrations Director of D&D R&D and Book Publishing Kerem Beyit, Zoltan Boros & Gabor Szikszai, Bill Siavicsek Nicole Cardiff, Vincent Dutrait, Steve Ellis, Jason A_ Engle, Warren Mahy, Vincent Proce, D&D Creative Manager Franz Vohwinkel Christopher Perkins Cartographer D&D Design Manager Jason A. Engle James Wyatt Publishing Production Specialist D&D Development and Editing Manager Erin Dorries Andy Collins Prepress Manager D&D Senior Creative Art Director Jefferson Dunlap Jon Schindehette Imaging Technician Carmen Cheung Production Manager Cynda Callaway Game rules based on the original DUNGEONS & DRAGONS" rules created by E. Gary Gygax and Dave Arneson, and the later editions by David "Zeb" Cook (2nd Edition);Jonathan Tweet, Monte Cook, Skip Williams, Richard Baker, and Peter Adkison (3rd Edition); and Rob Heinsoo, Andy Collins, and James Wyatt (4th Edition). 620·25385000001 EN U.S., CANADA, ASIA, PACIFIC , EUROPEAN HEADQUARTERS WIZARDS OF THE COAST, BELGIUM 987654321 & LATIN AMERICA Hasbro UK Ltd Industrialaan 1 Fi rst Printing: Wizards ofthe Coast LLC Caswell Way 1702 GrootBijgaardcn P.O. Box 707 Newport, Gwent NP9 OYH -
Changes to D&D Adventurers League Rewards
Changes to D&D Adventurers League Rewards Xanathar’s Guide to Everything (XGE) presents our campaign with a number of exciting possibilities, including the chance reconceptualize and simplify how we handle rewards. With the start of season 8, the D&D Adventurers League (DDAL) will be undergoing a sweeping overhaul of many of our rulesets and here we focus on how we can make our system of rewards fit more styles of play and give players more choices. Let’s take a look at the new changes regarding rewards. Advancement Checkpoints Starting with Season 8, the DDAL will be using the Advancement Checkpoint system described in XGE with some slight adjustments (see below). This system rewards every character (and player) for taking part in a play session. For published hardcover adventures, a character receives 1 advancement checkpoint for each hour played that DM deems the characters are making progress towards the adventure’s goals. For all other types of Adventurer’s League adventures, the adventure’s prescribed duration determines the number of advancement checkpoints that a character receives, with those checkpoints being awarded for achieving specific goals listed in the adventure. The Fruits of Success and Price of Failure Some adventures may award or subtract an advancement checkpoint based on the level of success. For example, your party might complete an epic quest and save all the land, receiving a bonus checkpoint, or they might choose to let all the innocents burn in favor of sleeping in, losing an advancement checkpoint from their total for playing that adventure. Playing Out of Tier References to rewards for playing above or below a character’s tier are ignored. -
Fiendish Aspects Full
INTRODUCTION Got demons? Well, you will if you pick up a copy of Fiendish Codex I: Hordes of the Abyss, which is packed full of information on demons and demon lords and how to use all this nastiness in your campaign. The chapter on demon lords mentions aspects of the demon lords as more common foes than the demon lords themselves, FIENDISH but few aspects are presented in the book since the ASPECTS designers put so many other useful things in that tome. Well, that is where this little guide comes in. In A Web Enhancement for Fiendish this combined edition of Fiendish Aspects, you’ll meet eleven aspects of demon lords, all suitable for mid- Codex I: Hordes of the Abyss level campaigns. Several of the demon lords could have aspects that are different than the ones you see here, because an aspect is one facet of a demon lord CREDITS rather than a lesser version of the whole package. If Design: Robert Wiese you don’t like the aspect presented here for your Editing: Miranda Horner demon lord of choice, choose a different “view” of the Typesetting: Nancy Walker demon lord and make your own. For example, Juiblex Web Production Bart Carroll has a few combat tricks, plus a few spell-like and ooze- Web Development: Mark A. Jindra related powers. If you want a more oozy aspect of Graphic Design: Sean Glenn, Cynthia Fliege Juiblex, take away the grappling and constriction & Jen Page powers and give it the create slime and summon ooze Special T h a n k s : Michael Donais, Skaff Elias, Rob abilities. -
Underworld Radcliffe .G Edmonds III Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Greek, Latin, and Classical Studies Faculty Research Greek, Latin, and Classical Studies and Scholarship 2018 Underworld Radcliffe .G Edmonds III Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: https://repository.brynmawr.edu/classics_pubs Part of the Classics Commons Custom Citation Edmonds, Radcliffe .,G III. 2019. "Underworld." In Oxford Classical Dictionary. New York/Oxford: Oxford University Press. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/classics_pubs/123 For more information, please contact [email protected]. Underworld Radcliffe G. Edmonds III In Oxford Classical Dictionary, in Oxford Research Encyclopedia of Classics. (Oxford University Press. April 2019). http://dx.doi.org/10.1093/acrefore/9780199381135.013.8062 Summary Depictions of the underworld, in ancient Greek and Roman textual and visual sources, differ significantly from source to source, but they all draw on a common pool of traditional mythic motifs. These motifs, such as the realm of Hades and its denizens, the rivers of the underworld, the paradise of the blessed dead, and the places of punishment for the wicked, are developed and transformed through all their uses throughout the ages, depending upon the aims of the author or artist depicting the underworld. Some sources explore the relation of the world of the living to that of the dead through descriptions of the location of the underworld and the difficulties of entering it. By contrast, discussions of the regions within the underworld and existence therein often relate to ideas of afterlife as a continuation of or compensation for life in the world above.