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I just started running a play-by-post of Entombed with the Pharaohs (set in Eberron, so a few changes). The antiquities auction is going well so far, but I'm having a bit of trouble thanks to the comprehend languages spell. In short, I'm concerned about it instantly destroying the mystery of a "dead language" I decided to use in place of Ancient Osirion, as well as destroying any motivation the PCs might have for hiring Neferet Anu. Any suggestions?
Okay, so one of my players is running a tortle PC (from, like, Dungeon #6!). Clearly, one of his primary goals in life is to figure out where the heck he came from and what he is. I've been planning on incorporating tortles into the history and ecology of the Isle of Dread, but I haven't had time to develop this yet. So far the vague idea that I have is that the remnant of tortles remaining on the Isle of Dread are enslaved, perhaps by Emraag? I think it would be fun for the PC to have the opportunity to free his people. We just finished up Tides of Dread (which my players LOVED, though they're itching to get away from Farshore for a while), so I need to get cracking on this. Any ideas/suggestions/whatevers would be most appreciated! Thanks!
I just finished reading the round 3 rules. At first I thought - "holy cow! They have to come up with a whole new villain in three days??" Then I finished reading the rules, and discovered that creating an all-new villain was just an option. I love the rules for round 3 and can't wait to see what the contestants come up with. Surprising, because I expected to be bored by this round. Nice job, Paizo!
Announcing the creation of an "unofficial Pathfinder Society Open Call Critique Group" on GoogleGroups! Go here to request membership and get started. I decided to start this group as a way for us to help each other improve our adventure design and writing skills. It occurred to me after receiving several useful critiques of my (rejected) first proposal for the PFS Open Calls that it would have been even more useful if I'd had someone in the "Pathfinder-know" look over my submission before I confused Josh Frost. I'm involved in a few online critique groups for novels, and figured the format might work for this writing niche as well. Here's what I have in mind for the critique group, at least to get things started: each member will exchange submissions with another member a minimum of five days before the submission deadline for the active Open Call, and return a review of the scenario outline within two days. I don't foresee this being a complicated or time-consuming process, since each submission has a cap of 750 words. We can hash out a list of "Reviewer Expectations" and "Submission Expectations", which I will post as a Group Page. All suggestions and input are welcome. Thanks for giving this a try with me!
My players' party set sail for the Isle of Dread during our gaming session last weekend, and I was rather surprised by how many of the PCs talked someone into going along with them. I had planned out an appropriate contingent of NPC colonists and sailors for the Sea Wyvern (now re-named "Ursus Major"), but ended up replacing most of them with choices made by my players - the shifter captain wanted to recruit one of his brothers (he came from a pirate family), the wizard recruited his childhood friend/love interest from Witchwarden Tower, the druid talked his love interest into going along, the restored and rehabilitated Brissa Santos joined to make a new start in Farshore, etc... So now I have the unexpected problem of having too many "important" NPCs on board, and not enough "freebies" to kill off en route to keep things hopping. I don't want to treat these NPCs with kid gloves, but neither do I feel comfortable killing them off randomly. I'm particularly nervous about dealing with the shipwreck at the end of Sea Wyvern's Wake. How did you decide who lived and who died (besides DM fiat)? Did you allow checks to increase a percentage of NPCs saved?
*SPOILERS* So the PCs in my campaign not only managed to convince Captain Javell of her mistake, obtain her earring, and then talk Drevoraz into leaving Vanderboren manor...they also convinced the bullywugs to ally with them by promising them Kellani blood instead. That was where the last gaming session ended, and now that I'm prepping for the next session, I'm contemplating the different ways to handle this development. My first thought is that Lavinia will not be keen on turning loose a band of frog-men in the city, and will try to convince the party to turn on the bullywugs. Knowing my players, I'll still have to prep up some Kellani Manor encounters -- but being in the midst of the great Festival, there may not be anyone home. I also have to consider that due to the amount of "trouble" the PCs have been involved in, the Merchant District watch captain would be less than happy to find them at the scene of yet another disturbance, especially one in which they would be more than a little culpable. They may, in fact, be forced to flee the city if they choose this path... Anyway, I was just wondering if any of you brilliant people had some ideas /input/comments...any of which would be appreciated!
Alright, so I can't tell you how happy I was that just when I was considering kicking off a campaign in Eberron with a 5th level adventure, Riding the Rail arrived in my mailbox. I think it's great for getting a party together, and will give my players an idea of the flavor of the setting (most of the players in this campaign are new to DnD and all are new to Eberron). I'm running into a snag, however.... (SPOILERS BELOW) There are going to be at least two warforged in the party, and it seems to me like that will really nix most of the difficulty of the first encounter. Reafrin and the thugs aren't going to make it very far into the cart when there are PCs who never sleep...and it doesn't seem like the sickening sleeps are going to be very effective against warforged. Any ideas on how to deal with this? I've thought about possibly having a member of the Pilfered Wand (disguised as an attendant for the passenger cart) require the passengers to deposit their weapons into a lockbox as they board to help even the playing field (especially since there will be 6 PCs in the party). It's also occurred to me that the Pilfered Wand would be sure to scope out the passengers to determine who is the most likely to cause trouble...so they could prepare something ahead of time to help deal with the 'forged. As a first-time DM, however, the answer isn't obvious to me...
I plan on having my bard take the Disguise Spell feat (from Song and Silence I think) the next time she levels up. I've been thinking about interesting ways to use this feat, and it occurred to me that it would be pretty cool to use it to enhance her performances with images and sounds -- basically, use illusions to illustrate the songs. So, in telling the story of the party's recent adventures, she could have a big monster appear right in front of the audience, etc. I have a few questions... One, have any of you done something similar to this, and if so, how did it work out? Any great ideas on how to use this feat, or suggestions as to what spells to use with it? And finally, for the DMs out there, how would you incorporate this mechanically into rewards for the performance? (Or, how much more money could she make? :-) Thanks for the help!
Quick question about how "bonus spells" work (based on the appropiate ability modifier for a spellcaster)...As a bard with 18 charisma, do I KNOW the bonus spells (for example, instead of knowing 3 2nd level spells, I would know 4 at level 5), or do I just get an extra use/day of the normal amount of spells? I'm under the impression that bonus spells add to the list of known spells, but I could use some clarification. Thanks!
This is the campaign journal of Elora Gwyre, and is a record of the first DnD campaign I've been in. All of the players (including myself) are completely new to roleplaying, so bear with us in our journey! Fortunately, our DM Seth has experience and is patient enough to put up with our stumblings in good temper. I'm really enjoying writing up our adventures, but again, I'm new at this, so I apologize in advance for any "newbie" mistakes I make! Campaign – the imaginings of Seth the DM PCs (race, sex, and class rolled randomly, except for Elora): Elora – female human bard
Ok, so I admit I'm new to DnD and roleplaying...but I don't understand why bards are so looked down upon. I really enjoy playing a bard -- my character is very flexible, and I've saved my group's collective arse on more than one occasion since we started playing 5 months ago. My bard can pick up a nice bag of gold pretty much every night we spend in a town by performing, she's great at finding out important pieces of information and persuading people to talk before killing, etc...and in the field she can hold her own fairly well and has been among the last standing on several occasions (and not because she was hiding in the back). Best of all, she's great at "filling in the blanks" in the group, eg-- the group isn't screwed when the cleric goes down and there's still 2 dire wolves left and your fighter keeps getting his feet knocked out from under him. So, I've been thinking about why the class is dimissed so quickly by most people, and I think it's at least partly due to the conception of a bard as a "jester/funny guy". (I know the stats are a bit weaker than for other classes as well, but I think that the flexibility, mixed with some cleverness, more than makes up for that). I can see why one would tire quickly of being the "hero" that can juggle. But that's not how I see a bard -- my conception of a bard is more along the lines of Taliesin or Merlin from Stephen Lawhead's Pendragon Cycle. Specifically, I fashioned some of my bard's aspects after Llew Silverhand from Lawhead's Song of Albion trilogy -- like Llew, she favors a longsword and a spear. Or, for a series you all may be more familiar with, think of a bard as someone who has a "wishsong of Shannara" ability. Basically, my bard is not an entertainer...she is a storyteller, "moving" souls and shaping events using her innate understanding of the power of song and music. If you would like to have a bard included as a PC in your campaign, or if you are thinking about playing one, I would encourage you to read some of the books mentioned above or suggest them to your players. |
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