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@carpe--dm
The King in Yellow
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I'm just saying, if you're going to worldbuild magic being a "raw, primal force, akin to and interweaving with nature itself" you gotta explain to me why animals don't use it
I know the normal answer is "they just aren't smart enough for it" but idk I've seen enough media where a character uses a spell in a moment of brain-off panic ilI feel like animals could probably stumble into a spell or two like, accidentally
Also how funny would it be to see a completely normal regular bear cast magic missile outta nowhere
Also there is no way ravens wouldn't figure out spells, tbh
They're smart fuckin birds, I believe in them
Either through observing or just figuring shit out ravens could 100% learn how to cast spells I'm sure of it
Dogs can also cast Magic Missile but every time they do the projectile is shaped like a bone or a stick and they chase after it
Magic is a tool. Many animals are physically capable of using a tool but not all of them can intentionally do it.
Ravens, chimps, dolphins, elephants and so on have been observed doing it routinely. Other cases are a lot rarer.
Cows have been seen using Summon Backscratcher
"If you accept any food from the fae, they shall never let you go" is a human belief. The fair folk stand by the principle that if you feed 'em, you gotta keep 'em. If wildlife learns to rely on you for food, you have already fucked up, and you can't just stop feeding them cold turkey. That human is your responsibility now. Because you left your peach cobbler unsupervised.
If you start feeding the humans in your yard then you need to make sure you keep feeding them or else they’ll choose not to migrate and starve in the winter. I recommend rolling something in peanut butter and seeds and hanging it out on the porch
Some asshole who doesn’t know how to have fun: Umm this doesn’t follow the d&d rulebook
Me, a DM with a story:
robert wun | fall 2026
If a fantasy world has an ancient tree of wisdom, that means it must also have young trees that are dumb as shit. Just giving terrible advice like, "the evil wizard is kinda hot"'
@evilwizard
STOP SENDING ME THIS
Realis is live : )
A new tabletop roleplaying game by Austin Walker
I’m always a fan of actors embodying their characters, but there’s something so special about watching the Critical Role cast and their deep love and connection to the characters they created.
It’s Liam saying he has synthetic memories of falling in love with Will. It’s Taliesin knowing the library and gardens in Whitestone by heart because he walks them in his mind so often. It’s Laura getting a nose bleed when Laudna dies. It’s Marisha crying as Beau offers the hag her happiness. It’s the cast not sleeping well for days after an intense episode because they can’t stop replaying it in their heads. It’s Dani and Taliesin tearing up together as they talk about Ashton’s chronic pain mirroring their own. Its Liam working through the death of his mother through Vax. It’s the intimate and unmistakable ways that this game of pretend affects their lives and the deep love they have for each other and the game.
It’s falling in love with your friends over and over again in every universe. Roleplaying really is a language of love and I feel so lucky to witness it.
They are made to look like they are cuddling at first glance. Then you get closer and go Oh My God They Are Wearing Each Other.
Critical 1s and critical 20s are boring and uninspired. No nono no,no.
It will now be Critical 3s and critical 17s.
critical 3 - you fail but in a funny way
critical 17 - you succeed but in a stupid way
You could draw a Bard Owl who's a barred owl.
Good idea!
Inadvisable tabletop RPG gimmick #137: erotic RPG with Rolemaster style critical success and critical fumble tables, except divided by kink types instead of damage types.
I know you too well to think you don't know that Kink Dice are already very much a thing :p And now I wanna hear your nerdy reasoning as to why they're insufficient for the shenaniganeries you imagine.
Your kink dice must have lots of sides.
(via op)
There used to be a lot of activities that took place around a populated area like a village or town, which you would encounter before you reached the town itself. Most of those crafts have either been eliminated in the developed world or now take place out of view on private land, and so modern authors don't think of them when creating fantasy worlds or writing historical fiction. I think that sprinkling those in could both enrich the worlds you're writing in and, potentially, add useful plot devices.
For example, your travelers might know that they're near civilization when they start finding trees in the woods that have been tapped, for pitch or for sap. They might find a forester's trap line and trace it back to his hut to get medical care. Maybe they retrace the passage of a peasant and his pig out hunting for truffles. If they're coming along a coast, maybe your travelers come across the pools where sea water is dried down to salt, or the furnaces where bog iron ore is smelted.
Maybe they see a column of smoke and follow it to the house-sized kilns of a potter's yard where men work making bricks or roof tiles. From miles away they could smell the unmistakeable odor of pine sap being rendered down into pitch, and follow that to a village. Or they hear the flute playing of a shepherd boy whiling away the hours in the high pasture.
They could find the clearing where the charcoal burners recently broke down an earth kiln, and follow the hoof prints and drag marks of their horse and sledge as they hauled the charcoal back to civilization. Or follow the sound of metal on stone to a quarry or gravel pit. Maybe they know they're nearly to town when they come across a clay bank with signs of recent clay gathering.
Of course around every town and city there will be farms, more densely packed the closer you are. But don't just think of fields of grains or vegetables. Think of managed woodlands, like maybe trees coppiced-- cut and then regrown--to customize the shape or size of the branches. Cows being grazed in a communal green. Waiting as a huge flock of ducks is driven across the road. Orchards in bloom.
If they're approaching by road, there will be things best done out of town. The threshing floor where grain is beaten with flails or run through crushing wheels to separate the grain from its casing, and then winnowed, using the wind to carry away the chaff. Laundresses working in the river, their linens bleaching on the grass at the drying yard. The stench of the tanners, barred from town for stinking so badly. The rushing wheel-race and great creaking wheel of the flour mill.
If it's a larger town, there might be a livestock market outside the gates, with goats milling in woven willow pens or chickens in wooden cages. Or a line of horses for the wealthier buyer or your desperate travelers. There might be a red light district, escaping the regulations of the city proper, or plain old slums. More industrial yards, like the yards where fabric is dyed (these might also smell quite bad, like rotting plant material, or urine).
There are so many things that preindustrial people did and would find familiar that we just don't know about now. So much of life was lived out in the open for anyone to see. Make your world busy and loud and colorful!
This is a big reason that I have always loved the Brother Cadfael novels, set in the mid 1100s. Written by Ellis Peters, each book has such a vivid sense of the place and the time period. Many different settings around Shrewsbury are described, along with the people and their various jobs.
I love that kind of world building and would add that many resources were tightly regulated that we don't consider nowadays. Examples are the right to herd your pigs in an oak forest belonging to a specific monastery (saw an example where an altar piece had a carved pig to make sure the claim was known and advertised) or down to which farmers had the right to tree leaves in the fall (shortage of other animal bedding in certain Swiss valleys). The idea of a wilderness in a medieval setting is not what we think.
Great points! Thank you.
Forever recommending A Collection of Unmitigated Pedantry as an introductory resource for this! The author is a historian of the ancient mediterranean and he has a lengthy two-part blog post on "lonely cities": how fictional cities tend to look in pseudomedieval fantasy versus how real cities actually worked, specifically how they reshaped the land use for many miles around. Part I, part II, or available read aloud on YouTube here.
Harvest is a Folk Gothic diceless GMless RPG of tradition, necessity, and sacrifice, about a remote British island whose golden paradise only brutal ritual death will preserve
Harvest gives us laden orchards and barren fields; desperate fervour and doubts grown thick as weeds; calves born and pigs slaughtered; proud traditions, failing wealth, and hostile stares; juice-stained lips and dirt under nails; and always the questions echoing down through the generations: ‘Whose blood must be spilled to feed the land?’ and ‘Whose hand will hold the knife?’
In Harvest, each player chooses a member of the community to play—such as the established Old Name, the restless Young Blood, or the conflicted Homecomer. Together, you'll sketch the landscape of the island: its beauty and its terror. Across three escalating acts, you’ll explore the island’s buried secrets, succumb to community pressure and private desperation, and turn against each other.
Because the hard truth is this: one of you must die, hot blood soaking into the soil to feed the land. And one of you will wield the fatal knife. The only question is—who?
If you're a fan of historical British paganism and folklore, folk horror staples like The Wicker Man and Midsommar, or narratives about small town communities turning violent under as tension, pressure, and desperation mount, this game is for you.