writtenword @ghettoelvish - Tumblr Blog

One of the best tips for writing descriptions of pain is actually a snippet I remember from a story where a character is given a host of colored pencils and asked to draw an egg.

The character says that there’s no white pencil. But you don’t need a white pencil to draw a white egg. We already know the egg is white. What we need to draw is the luminance of the yellow lamp and the reflection of the blue cloth and the shadows and the shading.

We know a broken bone hurts. We know a knife wound hurts. We know grief hurts. Show us what else it does.

You don’t need to describe the character in pain. You need to describe how the pain affects the character - how they’re unable to move, how they’re sweating, how they’re cold, how their muscles ache and their fingers tremble and their eyes prickle.

Draw around the egg. Write around the pain. And we will all be able to see the finished product.

dalishious

Do you know anythi g about Aeonar, the mage prison??

Aeonar was at one point a Tevinter stronghold, like Ostagar. It is now a magic prison hidden somewhere in northern Ferelden, its specific location only known to a handful of templars.

In theory, people who are accused of being possessed, under the control of blood magic, or being blood mages are taken there to prove whether or not it’s true. For unknown reasons the veil is extremely thin there which apparently makes it easier to find a verdict. Mary Kirby described this as a “trial-by-fire” on the forums…

Here is a note from WoTv2, written by Lily (yes, Lily as in Jowan’s lover) about Aeonar:

…According to Lily’s diary, this “trial-by-fire” is just repeated torture and experimentation, pushing mages to possession. Lily has been there for ten years, and they still torture her day after day. Well, until everything has apparently disappeared.

Of course in reality, we know templars instead often just kill the suspects and ask questions later, “just to be safe.” Either way, the mages end up dead.

dailyadventureprompts

I’d be interested to know if you had any thoughts on what an actual magocracy would look like, or at least how you would approach making a magocracy the setting of a game to run in instead of the typical realm of the king. Do you have any ideas about that?

Largely I think it’d depend on how the magic a) worked b) was handed down, much in the same way as military power has shaped the way our IRL power structures have worked over the centuries.

Wizards make terrible rulers, as their need to study the arcane leaves them little time to attend to affairs of state. They do however make great conquerors or political strong-men, acting as a threat of force while leaving the day-to-day administration of their realm to underlings. The Gibili Eearthsea movie has a wizard who’s served by cartell of slavers, and uses the revenue squeezed out of the people’s suffering to buy rare tomes and specialized material components.

Inherited magical power makes for a far more stabilized ruling class, as they could be relied upon to produce erstwhile practioniers generation after generation, securing their place in society. Imagine the horsetrading of heirs and bastards but with sorcerous bloodlines, or a reclusive noble family allowed to do whatever they wish because they hold the patronage of some particular edritch being.

Divine magic is it’s own kit-and-caboodle, and largely revolves around a subjective connection to one’s particular deity/ideals. Standing religious structures likely have a place of honor for their magical devotees “ living saint, godstouched and the like” that grants these folks privlages while keeping them out of the core administration. Though cults forming around these folk can also be common.

As for how a magocratic society would look? Honestly not all that much different than another civilization that lived in the same environment: people still need to be fed and trade would still be the lifeblood of a culture’s prosperity. While magic can make food, it can’t feed a village, or make everyone sustainably rich, so the day to day lives of the citizens would likely be as you’d expect.

what WOULD change is where these magocratic nobles focused their efforts on building: Laylines and other sources of power would be especially prized, leading these nobles to build temples/sanctums in strategically inadvisable places ( swamps, off the side of cliffs, high up in the mountains etc). These sites would in turn require their own support structure of fortifications and supply-roads, stretching the society out in odd ways.

Industries would also likely be devoted to exploiting specialized materials that would fuel/boost/enable these casters, which would likely prioritize these industries over more domestic trades and craftspeople, leading to a need to import more complex trade goods.

Armies of magocratic societies would likely be smaller than those of their neighbors, either contracted mercenaries or conscript forces augmented with summoned or otherwise magically created irregulars. A magocratic military would rely on its standard troops for defence, while counting on its mage-commanders and summons to settle most engagements. High level casters have access to a LOT of crowd control spells, so expect your casters to stay far, far, FAR from the fray, and rain storms and meteors down on approaching armies.

This reliance on individual casters to turn the tide of battle would also create a surfeit of assassins, either hired by neighboring cultures or by rival noble families to sway the fortunes of politics and war. This in turn would cause the magocrats to seek guards and protections, likely further isolating themselves from the common people in proportion to how powerful they are.

Culture would also likely glorify these casters, so expect works of arcane art rather than suits of armor in noble’s houses, and mage duels rather than jousting as a popular sport of the nobility.

ranta000

#dnd shit

5theditionhomebrewing-deactivat

Oh hey, monsters to use in the Feywild! A fairy, a dinosaur, and a plant. There are about a dozen others, but i’ll wait and see if you guys like these before throwing them up as well. | Twitter | Discord Server

sirobvious

Fantasy writing tip:

Ducking and jumping in sword fights doesn’t work. You’re not going to be fast enough to get low enough for the duck, and you’re not going to jump high enough for the jump to work, and also horizontal “duckable” and “jumpable” cuts are pretty rare in sword fights anyway. Most swings are going to be diagonal because it makes them easier to recover from and harder to dodge.

Dodging is actually slower than parrying with your blade or crossguard anyway in most cases, but if your footwork is good, a dodge backward or to the left or right is a much safer and more effective means of dodging.

There are effective things you can do when crouching low, but these are usually combined with a high guard to protect the head instead of relying purely on the duck to keep you safe.

we-are-knight

Avoiding the attack by stepping out of the way (dodging) is my favourite tactic at present, but you really need good distance management to pull it off.

the-grand-duke-of-deadly-noodles

SOMEONE FINALLY SAID IT SO I’M GONNA PILE ON!

As an Eastern European sabre instructor (Polish, shashka, some Ottoman stuff) I find it extremely frustrating that a lot of Fantasy writers or universes that incorporate an Eastern flair just default to “they duck and dodge and never use parries!” when describing their sword play because it sounds sexy or whatever.

The Poles were well known for voiding the body away from cuts and even ducking on occasion, but those decisions were *extremely* calculated and they knew the consequences of getting it wrong: a severe cut, loss of a limb, or even decapitation if you choose the wrong moment. They were far more comfortable meeting a cut with a cut because they knew that steel v. steel is always a safer bet then relying on distance alone, and they only voided if they were almost 100% confident about being able to re-enter distance and disable their opponent before they could recover.

The Cossacks used shashkas (which have no hand protection whatsoever) and tended to rely more heavily on voiding incoming cuts due to that—but even then, in the middle of stumble stepping and parading a shaska, the knew that steel would be their only savior if they screwed up. Even then, their use of the stumble step was also calculated. If your opponent thinks you’re drunk, they won’t take you seriously and you can kill them faster. If they see through that and know what is going on, it’d be a terrible life choice to keep dodging and not begin to parry because that guy will straight up murder you.

The “exotic” Ottomans and Persians were also famous for voiding and dodging, but specifically in dueling contexts. It showed great skill as a swordsman to never have to meet steel with steel, but their duels also tended to end when one of their sashes was cut and their trousers dropped to the floor, humiliating someone without killing them. If they actually wanted to kill you and not be killed, they knew that it is always safer to meet steel with steel.

These were all cultures that became so well known for their ability to dodge and void because 1) it was a concept taught to them since childhood, 2) they understood that if you’re an idiot, you’ll die like an idiot, and 3) they saw first hand idiots dying like idiots because they tried to dodge, roll, level change or whatever at completely stupid and inappropriate moments which got them killed.

Also, anyone who thinks that you can role around effortlessly during a sword fight while still being an effective fighter and not getting ganked as soon as you start trying to do gymnastics can get bent.

For clarification on terms:

Void = removing the body (or a part of the body) from the arc of a cut, causing the opponent’s blade to pass by and allowing you to strike them while they are unprepared and relatively unprotected. You are generlly still within proper distance to be threatened by another cut if you do this wrong. You can still move forwards, backwards, or side to side while doing this, but you are generally still within distance.

Dodge = removing the entire body from distance, and as such you are unable to quickly offer a counter cut without a motion of the foot.

I mostly differentiate these two terms for students. It helps explain what useful dodging/voiding v the terrible stuff most people see in movies and tv

petermorwood

Very useful writer information.

A couple of other useful swordfight-write terms (that I use, anyway):

Parry = general term for meeting an opponent’s weapon with your own.

Block = parrying the incoming weapon by meeting it squarely with your own. This often happens edge to edge, which may result in notched blades but that’s better than a notched skull. (Mental sound effects: dead metallic noises that clang and clank.)

Glissade = parrying the incoming weapon by meeting it at an angle for deflection off to one side or down onto your guard; this allows for a close bind, sneering, snarky dialogue across the locked hilts and maybe some dirty work with a dagger or stamped-on feet. (Mental sound effects: lively metallic noises that clish, clash and slither.)

5ecardaday

Anger of the Gods (6th Level, Conjuration)

Casting Time: 1 action

Range: Self (1-mile radius)

Components: V, S, M (a bit of sulfur, or a used match)

Duration: Concentration, up to 1 min.

Classes: Cleric, Druid

Dark clouds, glowing with the light of a fire’s embers, begin to swirl and from in the sky above you. You must be outside to cast this spell. For the duration of the spell, small pellets of fire rain down in the spell’s radius. Flammable objects and structures in the radius ignite and begin to burn. Whenever a creature starts its turn in the spell’s radius or enters it for the first time on its turn, it must make a Dexterity saving throw, taking 4d6 fire damage on a failed save or half as much on a success. Creatures that have full cover from the sky while in the spell’s radius, such as those indoors or underneath solid outdoor coverings, are immune to the spell’s effects. If damage caused by this spell reduces a creature to 0 hit points, the creature is immediately killed as its body begins to burn, leaving behind nothing but ash.

At Higher Levels. When you cast this spell using a spell slot of 8th level or higher, the duration becomes concentration, up to 10 minutes.

If you’d like to help support me to keep doing what I’m doing, as well as request your own card conversions, check my page or the notes for the links to my Patreon.

mihri-the-sasscatte

To Banish an Old God

In order for the heroes of my campaign to even stand a chance against an ancient force that can consume gods and planes, the heroes needed much more than magical items. They needed to reach a level of power unheard of: They needed to acquire tools that could slay the Gods themselves.

The party affectionately referred to these powerful artifacts as the “God Killers.” Now, we will share some of their powerful items with you. Introducing the first Godkiller found: The Staff of Arvandor.

Obtained by the cleric Kiva Aviward. A devout servant of Corellon, Kiva found herself being resurrected by the divine power of Corellon himself. While the Silence of the Gods had begun, due to the fast approach of Y’gathok, Kiva discovered her god was rapidly decaying, and the party sought out to offer him their help, with the hope that he would aid them in the fight against Y’gathok. When the party finally stood before him, they stood before a weathered old man on the verge of death. He explained that Kiva had become his focus, that his divine spark, essentially his very soul and source of his power, had been implanted in her so that he could hide from Y’gathok’s hunger.

Corellon reqested that Kiva return his spark to him, so that he could finally destroy Y’gathok alone and the party came to a crossroads: give the divine spark back to the god and lose Kiva forever, or to stand against him. Though Kiva offered the spark back to the god, she eventually was resurrected by the Raven Queen, whom had become irritated that Corellon dared to trample on her domain by bringing Kiva repeatedly back to life. The party eventually struck down the god Corellon, whom they discovered had already become infected by the Hunger of Y’gathok, and had lost his mind. And so, Kiva took up the staff of Corellon, content now to follow her own path and save the world from Y’gathok’s black sickness.

Now, you too may use the Staff of Arvandor. Use at your own discretion: This weapon ,and all the God Killer weapons, are meant to be immensely powerful and were designed under the context of a POST 20 campaign. (IE: A campaign in which the players hit level 20 and continued to grow in strength, despite no longer gaining levels. These items became their ‘new upgrades.’) This staff was only able to be gained by the literal KILLING OF A GOD, so they should not be easily obtained in any way. So, if you’re ready to start fighting Bahamut instead of Ancient Dragons, these weapons are some ideas for you!

doctorslippery

Not Another Tavern Generator

rpgsandbox

https://thecoppersanctum.github.io/thecoppersanctum/taverns.html

dungeons-and-danis

On structuring your campaign’s main plot line... (Part 1)

So i’ve gotten a question or two about how to structure a campaign properly, especially if you’re a beginner DM who has no clue where to even begin when it comes to making a fully fledged campaign story. This will be a simple guide to structuring the plot of your campaign without over-preparing and writing yourself into a corner. I’ll be taking a bit of inspiration from Joseph Campbell’s 12-Step Hero’s Journey, which is a classic story model every creative writer should study.

DISCLAIMER: This guide is meant for people who already have a basic idea of what they want their campaign to be about, but are having trouble structuring it into a solid plot. If you don’t know what you want to do yet, focus on that first and then come back to this guide when you have an idea.

Before we begin, there’s a brief overview of questions you should already have answered about your campaign. We will start with three questions in specific.

What is your Setting Theme?

Decide what the central theme of the campaign setting is. Is it steampunk? Medieval fantasy? Post apocalyptic? Science fantasy? Psychological horror? Dystopia? Talk to your players about this part and see what everyone wants. This should be a unanimous decision everyone has a say in, not just the DM.

What is the party’s Common Goal?

Decide what the main goal of your party is eventually going to be. What will bring everyone in the party together to fight the big bad, whatever that may be? You don’t need to brandish this goal from the start. In fact, it’s better that you don’t do that. But come up with a cause to fight for, and then you can work on making the players care about that cause. This will be the central pillar of your plot. Every story needs a common goal to tie it all together. Otherwise, what is the point in playing?

What is your Campaign Pitch?

How are you going to pitch the campaign to your players? How are you going to make the concept sound cool? A pitch doesn’t need to be well-thought out or explain the entirety of the campaign, which is why I say you should have it ready before you even write all of the campaign. It is simply the thing that gets your players hooked and interested. It is the conceptualization of your plot– the thing that gets you started, the main idea.

Once you’ve answered these three key questions, I recommend you write down the answers somewhere to come back to in case you’re ever feeling lost half way through writing the campaign. This is the foundation of your plot right here, and it is very important to keep these three things in mind as you write.

mostlysignssomeportents

Random mansion generator

The Procgen Mansion Generator produces large three-dee dwellings to toy with your imagination, offering various architectural styles and other options. Each mansion even comes with floorplans:

https://boingboing.net/2019/07/12/random-mansion-generator.html

something-from-elsewhere

Oooooh! Saving this

lady-feral

That’s fun

vesperlionheart

Hey, but don’t fall asleep on this Medieval Fantasy City Generator

awrenthatwrites

Reblogging for the last!

writingquestionsanswered

NEAT.

rxbiteme

Human alcohol does nothing for Orcs. Especially mountain Orcs. It tastes like weird water. And looks like unhealthy piss.

Every Orc tribe has their own unique alcohol. The Orcs of the Valley produce sweet wines and liquors that a soft almost pastel colors.

The Orcs of the Desert produce a type of alcoholic milk made from their mounts after being allowed to ferment.

Mountain Orcs brew in a style similar to human ale. Except it's stronger and made from hardy plants that are almost entirely toxic to humans.

The Orcs of the Cave make a drink from the lichen that grows on the walls. It glows and tends to have a hallucinogenic affect. It's usually passed around for ceremonies, weddings and deaths.

The few humans who've been lucky to try any of the drinks and survive were never able to drink human alcohols again. They tasted like nothing.

writingbox

Here’s an invaluable writing resource for you.

i-penna

Was looking for this information just yesterday. Thanks so much.

phantom-of-the-keurig

Y’all I could have used this so many times before oh my good god

dungeonmalcontent

Also a fantastic resource for D&D

lauraharrisbooks

Beyond this, consider how these professions might vary depending on who the customers are - nobles, or lower class. Are they good at their job or just scraping by? Do they work with lots of other people or on their own? City or village?

For younger characters:

Apprentice to any of the above

Messenger/runner

Page/squire

Pickpocket

Shop assistant

Student

Looks after younger siblings

(Images all from Wikimedia Commons)

evelynatthecircus-blog

Also consider:

Candlemaker Ferryman Factor (looks after business for an employer in another city) Tiler Cutler Beekeeper Apothecary Interpreter Furrier Moneylender/Banker Winemaker Tinker (small trader who repairs stuff) Nightsoil collector Customs officer Also a bonus for animal related professions: Fowler (supplies game birds for eating) Warrener (catches rabbits on your land for you to eat) Ostler (looks after your horses) Falconer (looks after your falcons) Cocker (looks after your fighting cocks)

wotenoise

I need more fantasy rpg in my life that isn’t d&d-style. I think it’s time for some Sword & Backpack.

pomrania

100 Jobs for Fantasy Characters (that aren’t knight or peasant)

((long list, so it’s below the cut))

Keep reading

probablygoodrpgideas

Yes, this is good and important

noblecrumpet-dorkvision

Creating Deities and Pantheons

Creating Deities

Divine Portfolios

A deity has a certain realm that it lords over called a divine portfolio. A portfolio contains one or more species, places, things, or ideas that explain what the deity is all about. For instance, the Greek god Poseidon’s divine portfolio would include the seas, storms, waterborne travel, and horses.

Minor deities will only have one item in their portfolio, but major ones could have many. Further, a major deity that wished to delegate its power, perhaps to one of its children, could bestow one of the items in its portfolio onto another deity. Perhaps one deity goes to war with another in an attempt to seize an aspect of another deity’s portfolio for themselves.

New deities could even be created by filling a new role if a divine idea is not currently in any other deity’s portfolio.

Generally, the more power a deity has, the more broad the aspects in their portfolio will be. Likewise, lesser deities will have more specific aspects in their portfolio. For instance, a god of nature will be more powerful than a god of trees.

When creating your own pantheon of gods, try to divide up aspects into deities’ divine portfolios bearing all of this in mind.

Holy Symbol

A deity should have some sort of holy symbol that clerics can use for a spellcasting focus, but a symbol is more than that. A symbol lets mortals rally beneath it and recognize the deity’s followers. It a deity’s free advertisement to their people.

The symbol of a deity should reflect their portfolio in some way, as well as their alignment. It should be something unique that is easy to recognize, but also easy to replicate.

Favored Weapon

Many deities have some sort of weapon that they use and favor more than others. The deity will almost always use this weapon when manifested as an avatar. Wielding the same weapon as one’s deity shows an extra step of devotion to them, even if you aren’t a cleric to that god.

Random Portfolios

When creating your own deities, roll on the Random Portfolio Aspects table multiple times to find a random divine aspect to populate their portfolio. Some aspects defer you to another table to find a more specific aspect.

You can also use these tables as a jumping-off point to create your own portfolios and aspects, as there is no way to have a complete and exhaustive list.

Pantheons

Pantheons are groups of deities. Your setting could have one or several pantheons. Perhaps you include pantheons from a variety of settings and incorporate them all in one place. Maybe different kingdoms or countries worship different pantheons, or just group the same deities in different ways. Our own world has many religions, each with their own god or sets of gods, so why can’t your setting?

While it is possible to have a monotheistic setting where only one deity exists, polytheism tends to be more interesting and supportive. Multiple deities allow for players to choose who their character believes in. If they are a divine caster, they can choose where their powers come from. This choice affects a player’s character and creates additional roleplaying opportunities as they confer with folks of the same or different religion.

Types of Pantheons

Some settings may have multiple pantheons. Here are some pantheons that can easily exist in the same setting.

Racial Pantheon. A race or species could have a whole group of gods to worship that are unique to them. For instance, the elves of your setting may worship their own set of deities. People might commonly refer to the “elf gods” or “dwarf gods” in such a circumstance.

Aspect Pantheon. A broad aspect or domain normally placed in divine portfolios may have its own pantheon. For instance, your setting may have a pantheon of death gods who take on aspects like death, undeath, afterlife, martyrdom, murder, plague, famine, and drought. All the minor aspects should be related to one greater aspect.

Regional Pantheon. In your setting, a certain region like a kingdom, country, or continent may worship different deities and have an entirely different pantheon that hold sway in their lands. Each region could have a pantheon all their own.

Religious Pantheon. Many religions exist in our own world, some of which have their own pantheons of deities. Different pantheons could have arisen in your setting from religions that developed separately. This works especially well if your deities are created through mortal belief.

Creating Pantheons

Myths. Deities in a pantheon often take on different responsibilities in running the universe, or at least take part in its history or its creation. Try to come up with myth surrounding each deity that explain why that deity exists. A deity should have some significance or importance within any pantheon you create, and your pantheon should cover a broad spectrum of created things.

Deific Relations. Deities should have complex relationships with one another to create a robust pantheon. Pick one or more from the Divine Relationships table when deciding how two deities relate, or roll randomly. Trying to justify how conflicting or unusual relationships occurred can create unique and interesting ideas. Is one deity’s son also their lover? Don’t be afraid to tread in the realm of mythological fantasy or dream-logic here.

Remember, existing myths are likely far stranger than anything you can come up with. A Norse cow licked a god out of primordial ice. In Greece, Athena was born of Zeus’s cracked skull after he tried to eat her. The Egyptian ferry to the afterlife has a mast that is the phallus of a fertility baboon-god. So you can get pretty unusual with your myths.

Pantheon Metagame. When designing a pantheon, you should also consider satisfying different elements that exist in the game. Each player could very well worship a different deity that supports their worldview in some way.

A good start is creating gods with various alignments, not just good and evil. With nine possible alignments, you can create some interesting deities. If you are making an entirely random deity, you can roll from the Deity Alignment table to determine the deity’s alignment.

Another game-related thing to consider is creating deities that will cater to existing character archetypes, such as mages, naturalists, outcasts, spiritualists, and warriors. Many pantheons have deities that would be worshiped by different classes. Try to provide deities that are tempting for each archetype to believe in, or ensure that some of your deities are more universal so many different classes would be interested in them. If you are creating a random deity, you can roll from the Archetype Patron table.

lethesomething

DND teas and herb mixes

Probably not very original, but have some homebrewed herbalism mixes.

I run a low magic campaign, and I’ve been playing around with some more realistic uses for herbalism and ingredient mixes that feel more natural to the world. This is not ‘potion of giant strength’ type stuff that you drink to magically buff yourself before running back into the fray. These all have fairly minor effects and have more of a slow feel, meant specifically for downtime and short rests. Using the teas and baths is not a bonus action, but takes about ten minutes for most of them (only exception here is the tincture).

Inspired vaguely by CR’s Caduceus, but in oddly large part by TAZ’s Pocket Spa.

Coffee: A brew of roasted coffee beans that gives a temporary reprieve from Exhaustion. After drinking coffee, the character negates up to one exhaustion point for the duration of one hour. So a character with one exhaustion point will, for the next hour, not feel any negative effects from their drowsiness. A character with two exhaustion points stil has disadvantage on skill checks, but does not see their speed halved for the next hour, and so on. You can drink coffee for a maximum of three times per day, before it stops being effective. Once the active coffee period is over, the exhaustion points come straight back, and you still need to sleep to get rid of them in any lasting capacity.

Homely tea: Nettle leaves, roasted barley and dried apple, among other things. Add a dollop of honey and this tea smells and tastes safe and homely. Can be used as a cure for the Frightened status effect.

Soothing Tea: A fragrant mix of fennel, sage, chamomile and lemon balm. Soothes aches and calms down the drinker, making healing more effective. Drinking this tea on a short rest adds 1d4 to the effects of any healing spells or hit dice you roll.

Morning Tea: Mint and ginger are the main ingredients in this, helping you to start the day bright-eyed and bushy-tailed. Drinking this adds 1d4 to skill checks for the next hour.

Calming Tea: Lavender, tilia and chamomile, with licorice undertones. Winds down the body after a long, stressful day. This tea makes you sleep faster, allowing you to have a full rest in 6 hours instead of 8.

Flower tea: Elderflower, rose, marigold, chamomile and limeflower tea. The soft smells of this tea fill you with a sense of enormous well-being. Gives the drinker advantage on Wisdom saving throws for the next hour.

Booster shot: Turmeric, burdock root, aniseed and celery seed are the main ingredients in this, and it smells and tastes awful. Does make the drinker feel strangely energized, however. Gives advantage on Strength saving throws for the next hour.

Detox tea: A tea mix containing primarily green tea, parsley, red clover, cilantro and ginger. Someone added dried orange peel to make it taste better, but it is still, let’s say, an acquired taste. This tea works as a bit of a purifier to calm the stomach and clear the blood, giving the drinker advantage on Constitution saving throws for the next hour.

Cleansing pouch: A pouch containing nettles, pepper, parsley, dandelion and hibiscus leaves. Can be used to steep a tea. Alternatively, it can be wetted and placed straight on a wound as a tincture to clean it out. Removes Poisoned status.

Hair and body oil: A fragrant oil, made of almonds, argan and jojoba, with woodsy undertones in the scent. Using this makes the user look well put-together, as if they made an effort that day. It gives them advantage to Charisma checks for 1 hour.

Revitalizing bath salt mix: This jar of herbs smells quite strong, and contains, among other things, fennel, aniseed and cinnamon, as well as coriander and lemongrass. It’s a very refreshing blend that clears the head and soothes a weary body. Taking a bath with this mix in the water, in a relaxed environment, allows the user to gain one (extra) spell slot or mystic arcanum slot on a short rest, up to a maximum of their regular amount of spell slots.

inky-duchess

Fantasy Guide: Common battle wounds and how to fix them

Arrow wounds: Now if the lung, heart, kidney, other major organ is hit, there may be little to do. The kidney has a back up, so maybe a skilled surgeon could save him, not exactly sure however. If hit by an arrow and not hit dangerously in an organ or artery, we can help. Firstly, DO NOT REMOVE arrow by yanking. Arrow must be worked from the skin by skilled hands. Once arrow is out, wash would with clean water/alchohol/herbal remedies. To heal slow, sew up wound and wrap in bandages. To speed it up, cauterise the wound with fire. It will hurt and patient pay pass out but now the arrow wound can heal faster. This works for crossbow bolts as well. On the gross side, arrows may be smeared with dirt or shit, so sepsis is a danger. This is how the great Richard the Lionheart died. Sometimes the mighty lion is killed by a shit arrow. But hey, shit happens. Arrow wounds take a couple of weeks to heal.

Sword slashes: if shallow, wash and bind up. May require stitches. If deeper, repeat process with more stitches and more bandages. Even if shallow, the cut must be washed using alcohol or clean water. May take a few days to weeks to heal depending on wound depth and severity.

Stab wound: Again don’t remove knife or object. If already removed, wash would and sew it up. You may need to cauterise. If guts, organs, brain, is falling out, there is nothing to do. This may take a couple of weeks to months to heal depending on wound.

Broken Bones: A break must be splinted with a board of wood and bandages. Slings can support arms and wrists. If your character breaks a leg, it may be worse. Breaks don’t heal great without modern medicine. Your character may have a limp or leg pain. In you’re are living in a hot climate, you’re pretty much fucked because infection sets in fast. These may take months to heal.

For @maslovianwench

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