Dungeons & Dragons - The Metallic (Good) Dragons
1. Gold
2. Silver
3. Bronze
4. Copper
5. Brass
Designs for the 5th Edition from Wizards of the Coast’s Art Gallery
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PUT YOUR BEARD IN MY MOUTH

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@musingbetweentherolls
Dungeons & Dragons - The Metallic (Good) Dragons
1. Gold
2. Silver
3. Bronze
4. Copper
5. Brass
Designs for the 5th Edition from Wizards of the Coast’s Art Gallery
The Evolution of Dice ! I’ve been wanting to do this one for a long time. Is it pretty understandable? Crits welcome!
Tumblr has deleted a lot of my older posts so please follow this other stuff to see more. INSTAGRAM / FACEBOOK / ETSY
Some of my favorite weirdass shit of all the weirdass shit in Exalted:
An off-balance, amnesiac elemental dragon who travels the world as a ragged human hobo and gives people he likes magical pillow creatures with faces that explode in the owner’s face when he gets pissed
Tiny, pissy, bitter multicolored sparkledeer that are eternally enslaved to giant sentient mountains that read their thoughts
An ancient race of dinosaur-people with names straight out of a Thundercats cartoon who start out life as Jurassic-park level vicious monsters and have a limited and non-replenishable pool of reincarnating souls
bio-engineered giant reptiles who eat drugs, use their stomachs as refineries, and piss out stronger drugs
a man so done with the state of the world that he has spent centuries as a killer whale eating giant squids
a giant imprisoned primordial who affects the form of an angry boarlike being and a giant imprisoned primordial who comprises a vast silver forest who are probably totally boyfriends
faeries that are actually every-shifting entities of chaos who approach simple things like “identity”, “euclidian geometry”, and “feelings of any sort” like they are cosplay props
If you think I haven’t been obsess with pastel d&d dice for months now. You are very wrong. JUST LOOK AT THEM
TwT
Do you think there's a reason games that DON'T use d20s as their primary dice are considered inherently more "narrative" than games that do, when as you say BOTH types create narratives, just different kinds? You've got me curious now about how the type of dice you select can influence the mechanics of a game and how those mechanics translate in turn influence the storytelling!
The shape of the dice has nothing whatsoever to do with a tabletop roleplaying game’s baked-in assumptions about what sorts of stories it’ll be used to tell. It’s pure marketing; d20s are popularly associated with Dungeons & Dragons, and back during the early 1990s, a lot of other RPG publishers – most notably White Wolf of Vampire fame, though they were far from the worst offenders – decided it would be a bright idea to adopt promotional pitches that went something like “D&D is for stupid mainstream normies who just want to roll dice; come play our game instead, which is for Cool People who want to tell Real Stories“. Predictably, a lot of folks fell for it, and the tabletop roleplaying hobby has been dealing with the fallout of the resulting culture war ever since.
(Ironically, most of the games that advertised themselves in this way were not meaningfully less preoccupied with complicated dice tricks and long lists of cool powers than contemporary iterations of D&D were; the disconnect between what they claimed to be about and the rules they actually presented has become something of an inside joke.)
one of my fave DnD things is how, during character creation, people start talking in first person without realising. they start out like ‘well, she’s a paladin’ and within ten minutes their fists are clenched as they shout ‘MY SISTER DESERVED WHAT SHE GOT AND IF YOU DISAGREE I’LL KILL YOU TOO’
Method acting
you know how most of the things humans use as spices are poisonous or repellent to most other mammals? and you know how anything vaguely d&d inspired has dwarves being way more poison resistant than even humans?
dwarf cuisine shouldn’t be bland, it should be unimaginably spicy and potentially harmful or fatal to humans. like green potato and rhubarb leaf salad with a festive garnish of yew berries and deadly nightshade berries, that kind of thing.
Concept: humans think it’s bland cuz rather than memorizing what kills humans it’s safer to just pass on the spices.
Of all the Dungeons & Dragons tropes that have worked their way into JRPGs in some form, slime monsters fascinate me the most. Old-school D&D has a bewildering variety of conveniently colour-coded slime monsters, and by and large they’re absolutely nightmares to deal with. Encountering even one of the little fuckers probably means a TPK for a low-level party, and many of them can straight up no-saving-throw you no matter how high level you are. How did early JRPGs look at that and go “actually, the Hell Amoebas are our friends”?
@nightpool replied:
i’ve always found slime monsters in general fascinating. what are their cultural antecedents? why does dnd have a Giant Cube of Jello as one of its main monster types
Funnily enough, we actually know the answer to that one.
As part of its dungeoneering-as-wilderness-survival conceit, old-school D&D distributed responsibilities for keeping track of what was going on much more equitably than most modern tabletop RPGs do, and one of the responsibilities that fell to the players was drawing maps. The GM would simply make observations, and it was up to the players – typically the party would have a designated “mapper” – to figure out how to draw it.
In order to make the mapper’s job feasible, dungeons were generally treated as being composed of stacks of ten-foot cubes. Rooms and passages might notionally have more irregular shapes, but for mapping purposes, getting it to the nearest ten feet was considered good enough. Predictably, this led to most groups treating hallways – the basic unit of dungeon construction – as though they were literally exactly ten feet wide, ten feet high, and some multiple of ten feet long, unless there was a specific reason to presume otherwise, since that’s how they’d be mapped anyway.
So: why is all this relevant? Well, the other contributing factor is that D&D has always had a love affair with cryptic monsters: monsters that pretend to be something else. You might have a monster that masquerades as a statue, or a treasure chest, or even the ground under your feet; I made a post hitting some of the highlights a few years back, for the curious. Slime monsters in particular would frequently leverage the transparency of their bodies for mimicry purposes, appearing as water or smoke or some other innocuous substance.
The slime monster that would become the gelatinous cube had, as its central gimmick, the ability to mimic empty space – that is, its body was sufficiently transparent and had a refractive index sufficiently close to that of air that, if you were looking at it dead on, it would appear as though there was nothing there at all. Of course, if you could see the edges of such a creature it would give the game away, so it was additionally supposed that this slime could conform to the shape of its environment, expanding itself to fill passages from edge to edge and presenting a uniform, flat surface to approaching prey.
And guess what you get if a slime monster that conforms to the shape of its environment inhabits a dungeon that, by convention, is treated as consisting of twisty passages all exactly ten feet wide by ten feet high?
That’s right: a ten-foot cube.
Or, to TL;DR it: the gelatinous cube is a monster that mimics a map square.
why are cyberpunk tabletop things so obsessed with decency and personhood being tied to how many surgeries you haven’t had
“if you have a prosthetic it takes out a part of your soul” like thanks shadowrun
in early cyberpunk, the point was more along the lines of “if we integrate technology into our bodies we risk becoming dependent upon the people and institutions who control that technology, who would then use that to enrich themselves at our expense”
unfortunately that was too anti-corporate for American mainstream culture so as cyberpunk moved out of its niche it became “uhhh it eats your soul I guess”
tags by @rubyvroom:
#this is important context #if you weren’t around at the time it is easy to miss but #anti-corporate sentiment was pretty much the lynchpin of cyberpunk until there were movies and games making money off it #it was the 1980s you guys #the entire point was that corporations are evil and technology should be used to circumvent them and escape their control over our lives #and not be used to make ourselves into another product #now that the internet is entirely monetized and corporate it’s harder to remember that originally it was synonymous w freedom & independence
Yes, exactly. Cyberpunk is anti-corporations, not anti-body-modification.
Also? I don’t really buy that it’s the result of an ideal being twisted because people weren’t ready for an anti-corporate message, or that the theme was lost. Cyberpunk 2020 and Shadowrun are the hallmarks of that genre of RPG and they both were and still are explicitly anti-corp.
Instead, I think it’s a reflection of two things:
Cyberpunk dealt with the question of ‘how much chrome is too much chrome’ by asking how it impacts our ability to relate to one another and ourselves. It’s why we have stories like Ghost in the Shell and Tetsuo The Iron Man. Another example would be “The Man Who Bites His Tongue” from AD Police Files, which was directly inspired by Robocop from just a few years earlier. Stories in which people are losing themselves as they find more and more of themselves replaced by machines.
Similarly, cyberpunk as a genre was also concerned with the commodification of human beings, with corporations treating people like disposable tools rather than people. There was a fair lot of this in Shadowrun in particular, as anyone with a corporate background was probably chromed specifically to make them a more valuable tool. Both games and the various other titles they inspired actively criticized the way that corporate entities treat human beings like objects.
Robocop itself is a great exploration of these themes, asking the question of how those modifications have changed Murphy’s identity, while simultaneously turning him into a manufactured good that exists to be used by the corporation.
However you analyze it though, I think this makes one thing clear:
No, Cyberpunk 2020 and Shadowrun didn’t deviate from those core themes, nor did they ease off on condemning corporate power.
The heroes of both games have always been the poor and down-trodden warriors fighting for both their humanity and freedom from the corporate machines. And when a game deals with themes like that, it usually has a strong influence on the game mechanics, hence why you get a stat that tells you how much the tech you’ve implanted has affected your fundamental humanity.
It’s kinda like Vampire: The Masquerade. Even if it didn’t work, the designers of that game wrapped the whole idea around the Humanity statistic because they really wanted it to be a core theme in the game.
So I’ve just statted out a Gulper Eel Changing Moon Lunar Exalt. Jaws-That-Swim-Beneath-the-Light (name subject to change), who was a guild assassin before Luna exalted him after he survived a botched job after jumping overboard in middle of the ocean.
More importantly, do I have a custom charm that lets him eat things in unlimited size and quantity? You bet I do. (I was pondering calling it something-something dromedary but this sounded cooler >.> ).
Bottomless Tiger Shark Maw Cost: 3m, Mins: Stamina 5, Essence 3, Type: Reflexive. Keywords: Combo-OK, Gift. Duration: Indefinite. Prerequisites: Moonsilver Stomach Conversion. A child of Luna can gorge on sustenance whilst it’s available and won’t allow anything as minor as being full stop them. A Lunar with this charm active has an infinite stomach capacity, storing the food in a gullet woven from Elsewhere and processing it in time. This allows a Lunar to eat any amount worth of food and water and hence absolve themselves of the need for sustenance over the period of time the ingested sustenance would normally sustain them for, as long as they keep the mote cost of this charm committed. Prematurely ending the commitment has no negative effects on the Lunar, causing them to require normal sustenance from that moment on. The Gift use of this charm allows the Lunar to commit one mote to have their Deadly Beastman Transformation benefit from the effects of this charm.
The party's wizard, everytime they meet any minor inconvenience:
Dungeons & Dragons dragons by age category:
0-10 Years: Basically a giant fire-breathing housecat. Has a big ego, but rarely plans beyond the next meal. Distract with something shiny.
10-100 Years: The firepower of a small army paired with the emotional keel of a somewhat sheltered teenager. Has grand ambitions, but makes poor life decisions; has probably fucked a bard.
100-1000 Years: Remember Smaug’s boast? The unabridged version from the book, not the cut-up version from the movie? Yeah, that. Legitimately scary, but not quite as clever as it thinks it is. Decent “final boss” material.
1000+ Years: A shapeshifting world-class sorcerer with superhuman intelligence, unlimited resources, and a lot of time on its hands. Some decide to impersonate gods; most are motivated primarily in terms of “hey, you know what would be hilarious?”. Distract with something shiny.
why do people in dnd each occupy a 5ft by 5ft square, how far apart do you think people need to be? why are dnd minis afraid of touching
dnd minis standing five feet apart in a dungeon cuz they’re not gay
look, if the guy to my left has to do the turbo-macarena while charging a bolt of flesh melting while the guy on my right is doing every bruce lee move at the same time and the guy in front of me is flourishing a broadaxe like hes doing yo-yo tricks im going to give each of them enough floorspace to not liquefy myself
Indeed. Plus, from at least 3rd ed onwards it mentions that your character is presumed to not actually be standing still, they’d be dodging, weaving, making feints, jabs or snarky comments, just nothing mechanically meaningful until their turn.
The same concept is included in earlier editions of D&D all the way back to the beginning, if I recall correctly. The idea was that the combat round generally included the sort of back-and-forth dodging and weaving and parrying and the like that would otherwise be going on. Your rolls for the round only represented the important attacks, whereas your defensive maneuvers were represented by your Armor Class.
So your character was assumed to be Flynning the entire time, with the single rolled attack representing committing to a thrust or whatever, and enemies missing you was likewise assumed to be you dodging/parrying/etc as opposed to them just whiffing for no reason.
why do people in dnd each occupy a 5ft by 5ft square, how far apart do you think people need to be? why are dnd minis afraid of touching
dnd minis standing five feet apart in a dungeon cuz they’re not gay
look, if the guy to my left has to do the turbo-macarena while charging a bolt of flesh melting while the guy on my right is doing every bruce lee move at the same time and the guy in front of me is flourishing a broadaxe like hes doing yo-yo tricks im going to give each of them enough floorspace to not liquefy myself
Indeed. Plus, from at least 3rd ed onwards it mentions that your character is presumed to not actually be standing still, they’d be dodging, weaving, making feints, jabs or snarky comments, just nothing mechanically meaningful until their turn.
some things never change
My first thought: Na, he probably just had decent AC.