#tatterpigsgiving

[fortooate]

FAMILIARITY

i finished up a document for tatterpigsgiving, in deference to the inimitable @xxxdragonfucker69xxx

A multiplayer pencil-and-paper game about binding a familiar, being bound in turn, and priorities in relationships.

fortooate.itch.io/familiarity-ttrpg

[xxxdragonfucker69xxx]

Beach Episode.pdf

Today’s game: Beach Episode, an emotional interlude for other games.

with apologies to dr jenna k moran for borrowing chuubos marvelous wish granting engine

the problems are not meant to be comprehensive but they should do for most issues in a pinch

why did i write so much about being angry and guilty? sorry cant hear you over the sound of how mentally healthy i am

[geostatonary]

A map game about going on pilgrimage and constructing a sacred landscape

[xxxdragonfucker69xxx]

Dicebending

Dicebending is a game about the world of Avatar: the Last Airbender, inhabited by people with elemental powers. Into each nation are born people with power over a certain element, called benders. The Earth Kingdom produces earthbenders, the Water Tribe produces waterbenders, the Fire Nation produces firebenders, and the Air Nomads.... well.

Three years ago the Fire Nation attacked the Air Nomads, decimating their lands and incinerating their temples. Fortunately, the Air Nomads were, well, nomads. Many of their number were traveling at the time of the attacks, and went into hiding instead. Isolated and afraid, they scattered among the other peoples. Likewise, many dissenters from the Fire Nation escaped before their court-martials, and have joined with resistance fighters or defending militias. Unfortunately, bending has both a biological and a spiritual component. The militarized culture of the Fire Nation has already severely constrained modern firebenders, who channel anger and violence into their bending; and with the loss of Air Nomad culture, it is unlikely that further airbenders will ever be born. You are fighting, not just for the freedom of the known world, but for the preservation of entire ways of life.

Of course, there is hope. The Avatar is out there somewhere, master of every element. It has been some years since Avatar Roku passed, of course, but his successor should be ready to appear at any moment. Opinions on the new Avatar are divided: some take the Avatar as a savior figure and place all their hope in him, while others believe they will have to save themselves. Even if someone is out there, they would be from the now-scattered Air Nomads, untrained and up against the might of the Fire Nation military machine. They'll need all the help they can get.

To create a character, decide what nation you are from: the Air Nomads, the Water Tribe, the Earth Kingdom, or the Fire Nation. It may be possible that you were born in one place but have blood from another. You are a bender of that element, unless you are not a bender at all.

Assign a d4, d6, d8 and d10 among four stats: Air, Earth, Fire and Water. Your highest stat is probably that of your primary element.... unless it's not? You will spend most of your time advancing your character by accumulating XP. Each element has its own XP pool, and is filled by different kinds of significant moments. You get 1-2 XP every time you bring your character development to the forefront in a scene, sort of look around and acknowledge that this is an XP moment. (If at all possible, XP should be represented by a pile of physical tokens -- quarters, candy, etc -- so you can look people in the eye and take one, and then someone can slide you another if they think you deserve it.) This is called a beat. You can only claim 2 XP per session, and one from rolling 1s (see below). Once you have 20 XP in an element, you level up in that element and can claim a reward. Alternately, you can spend 10 XP at any time from any element to learn a new technique, if you've been working on it or had a tutor. Leveling up an element can allow you to...

learn up to three new techniques

learn a specialized style of bending, like metalbending or plantbending, and at least one technique of that style

get a cool new item

learn a new Skill

increase the size of that element's die

...do something else?

Elements are rated from 0 to 5: 0 is the starting rating for each element, while 3 is the mark of a master. At level 4 you can reshape landscapes, and at level 5 you can do whatever you want.

Air is the element of freedom, enlightenment and sensitivity. Air-aspected XP beats include...

...reaching out to someone, and understanding their point of view

...looking at the world, and reacting to it

...thinking about an issue, and deciding to shelve it for later

...finally solving a problem, and feeling free

...listening to someone tell a story

...doing something fun, just because it's fun

...sympathizing with the outcast or wrong

...learning a secret about someone

...forgiving yourself for something

...having a profound spiritual experience

...ignoring a problem, or shrugging it off

...taking something less seriously than you should

Water is the element of flexibility, change and self-control. Water-aspected XP beats include...

...realizing there's a problem, and letting go of the thing that keeps you from fixing it

...guessing at something, and not reaching a conclusion

...surrendering to something, or someone

...getting thrown into a situation you didn't expect or can't handle, and doing your best, especially if your best isn't good enough (yet)

...figuring out how to live with a change that's happened in you

...learning something new about yourself, and grappling with it

...forgiving someone

...abandoning something precious

...breaking the rules, especially if they're ones you set for yourself

...looking at temptation, and not giving in

...encountering someone from your past, and showing how you've (both) changed

Fire is the element of power, will and passion. Fire-aspected XP beats include...

...obsessing over something, and refusing to let go

...fighting harder

...setting out on a quest

...doing something you can't take back

...realizing there are going to be consequences, and acting anyways

...showing off, especially if it gets you in trouble

...venting your emotions through violence or hard work

...monologuing passionately about something

...experiencing romantic entanglement

...freaking out or having an emotional breakdown

...dueling for your honor

...getting so intense everyone kinda goes whoa, especially about something that doesn't really warrant it

Earth is the element of strength, endurance and patience. Earth-aspected XP beats include...

...simple and honest work

...refusing to give up

...keeping a promise

...putting up a facade

...getting in trouble to help a friend

...deciding to wait and watch

...struggling on alone

...remembering someone or something absent, especially if it hurts a little

...getting attached to something of yours, like a favorite weapon or umbrella

...taking care of someone or something who can't take care of themselves

...saying 'this is gonna suck', or some variant

...exhibiting confidence in your self-image

...finding something you thought you'd lost

When you want to do something, describe the attitude you are taking towards it and roll an appropriate element. If you roll a 1, you can mark XP once per session, and describe it as an appropriate beat if you want (so choosing an appropriate element balances the likelihood of success against the possibility of progress). Otherwise, the GM narrates how well you did, and whether or not you overcome the obstacle. Bending is not necessarily rolled with its own element -- if you airbend stubbornly, you may have to roll Earth or Fire instead.

You have 10 Will and 10 Stamina. You also have up to 2 Skills, which let you roll a die one size higher when doing something. Each Skill is specific to an element: Seduction might be a skill of Fire, for example. If you want to seduce someone, you can then roll your Fire one die bigger than usual, but not if you're doing it in a more Earthy way. At any time, you can spend 1 Will to reroll a roll, but you can only do this once per roll. (You get XP even if you reroll a 1.)

When combat starts, the attacker acts first. Each round, you declare what stance you want to take: offensive, defensive, or strategic. Then you act against someone. For example, if you take a defensive stance against an archer, you may be intercepting their arrows with panes of ice; if you take a strategic maneuver against a waterbender, you may attempt to smother nearby water with dirt. You can only use techniques that match your stance: you can't defend while in an offensive stance, only attack and hope to outdo your attacker. Then you both roll your respective elements against each other. There is a cycle of stances: defensive stances can outlast an all-out attack, strategic stances can outmaneuver a solid defense, and offensive stances cut through clever tricks. When using defense against offense, offense against strategy, or strategy against defense, roll a die higher: this is called 'upgrading' your die, or using a stance's 'advantage'. Sometimes it may make sense for nothing to happen, such as if both defend, and in this case nothing happens.

When you win a combat roll, you roll a die according to your technique and take some damage, losing that much Stamina. Stamina represents the energy they have to keep fighting: it can be reduced by beating them up or by waiting for them to exhaust themselves. Attacks, defenses, and maneuvers all deal damage. Ties go to the fighter with the larger die -- not necessarily the higher element. Certain techniques may have a lasting effect; in this case, save the original roll and roll against it, but if you should be rolling a die larger, instead the other party rolls a die smaller. If they attempt to overcome multiple techniques at once, they must roll against and possibly take damage from all techniques.

If they are at less than half Stamina, you may instead use a strategic stance to try and inflict an Affliction on them. Afflictions may be injuries, tactical disadvantages, or emotional turmoil. An Affliction reduces the size of their die when using a certain stance: you can penalize all their offensive stances, all their defensive stances, or all their strategic stances. (d4 can't be reduced any further.) Alternately, you can afflict one of their elements. Afflictions last until the end of the fight. If reduced to 0 Stamina, they go down and you can do whatever you want to them, including making Afflictions permanent.

There are three ranges: close, mid, and far. Close is close enough to fistfight, mid is far enough to run to, and far is anything farther than that. Techniques can't be used beyond their range. You can move one range on your turn, in addition to your other actions.

As a bender, you are confined to one element -- usually that of your home nation, but sometimes blood from another element makes its way across the globe. At start, you know two bending techniques. Some techniques require your element to be at a certain level: flight requires expert airbending, for example. Alternately, some techniques require another element: bending smoke is an airbending technique that requires familiarity with fire. Finally, each element has a number of advanced bending disciplines: bloodbending and healing are advanced classes of waterbending. To learn an advanced bending discipline, you need to either find a teacher or already have that element at level 3.

Each technique is tagged with a Will cost, a stance, and an elemental prerequisite. Firebending trends to straight offense, while airbending is more strategic, earthbending is a mix and waterbending moves between offense and defense. Some techniques may not make sense in all situations: holding your breath is an effective defense against drowning but useless against fireballs. Benders can also work together to produce a technique neither could alone; a technique that requires Water 4 could be produced by two waterbenders with Water 2, if one of them knew the technique or they were copying a teacher.

If you are not a bender, you may instead learn techniques related to a particular weapon or martial arts style.

BASIC TECHNIQUES

Attack

Cost: -

Type: Attack

This is a basic attack: punches, kicks, sword chops, etc. The opponent takes d6 damage, but they must be in close range.

Ranged Attack

Cost: -

Type: Attack

This is an attack with a ranged weapon: a bow, a boomerang, etc. Range depends on what kind of weapon it is: thrown weapons usually reach mid range, arrows can reach farther. The opponent takes d4 damage.

Defend

Cost: -

Type: Defense

This is a basic defensive stance: getting ready to dodge, block or deflect blows and waiting for the enemy to tire. The opponent takes d4 damage.

Maneuver

Cost: -

Type: Strategic

This is finding some way to trick or penalize your enemy: throwing sand in their face, grabbing their sword arm, etc. Usually this is performed up close, but if you have a ranged weapon you can try and do a trick shot. The opponent takes an Affliction or d4 damage.

i only ever base tatterpigs off chuubos or pbtd anymore

sorry this is late i literally forgot i hadnt made a post yet

airbending and waterbending techniques tomorrow, earthbending and firebending after that

not totally happy with the speed of technique progression

this one im rewriting right after tatterpigsgiving i can already see how to improve it, incorporating jing and so forth

[xxxdragonfucker69xxx]

The Thrust of the Matter

A swordfight is very like a dance, and so is a kiss. Advance, retreat, feint, swipe, parry, thrust -- a delicate balance of give and take. And the metaphor advances furthermore in either direction: embrace, invasion, sex, death. In the end it is not a metaphor at all -- not an image imposed on the real, but rather the thing embodied in both sword and rose. It is folly to separate two things which, in the end, are one.

Bells toll. Birds take wing. A chorus wails, or explains the significance of the weather. Two people stand across from each other with swords in hand, each minutely aware of the other's posture, every inch of their body. Bells toll, and they clash.

The Thrust Of The Matter is a game for two or more players. Two players are the Duelists; everyone else is the Chorus. By the end of the game, the Duelists will either be married or one of them will be dead.

Before the duel begins, the Duelists each choose a sword and a demeanor. They should also decide on their prior relationship to each other, and at this time all players must discuss their comfort or discomfort with levels of physicality and dominance.

Each Duelist begins with three flowers. During the duel, each Duelist takes turns making advances towards the other. The other Duelist can choose to accept or refuse. If they accept then they narrate the physical and emotional consequences of acceptance, but if they refuse they must give up a flower to the other player and narrate how they avoided or rejected the advance. In between each Duelist's turn, the Chorus must make an observation about the surroundings such as the weather or the music, make an obtuse reference to the Duelists, or make entirely unrelated remarks; they may then give a flower to either Duelist if they choose. The Chorus is forbidden from remarking on the duel itself. (If there are multiple Chorus players, they take turns being the Chorus, or they may hold a short conversation.)

[If any player is uncomfortable with an advance or a remark, they may hold up a hand, and the advancing player must retract their statement and make another. No flowers are exchanged, and no comment can be made.]

If either Duelist runs out of flowers, the other Duelist narrates the final stroke, and the exhausted Duelist must choose once more to accept or refuse. If they accept, the sword pierces their heart and they are slain. If they refuse, the bells toll one last time as the Duelists are formally wed. Likewise, if either Duelist accumulates seven flowers, they may immediately propose to the other Duelist, who must accept or refuse. If they accept, seal the wedding with a kiss; if they refuse, cut their head off.

sample Duelist advances, arranged in order of ascending severity

We circle each other warily. Will you make the first attack?

Our swords barely touch before darting to the next position. Will you leave an opening?

I raise my arm to block your sword hand. Will you linger on the touch?

We lock eyes. Do you understand me?

My blade grazes your skin. Will it draw blood?

My blade feints unexpectedly. Does it set you off-guard?

Our swords cross, pressed between our bodies. Will you whisper to me?

I retreat two steps backwards. Will you let me go?

I overextend. Will you slip inside my reach?

We come unexpectedly close. Will you retreat?

We separate, panting. Do you charge back in?

I falter under your assault. Will you pull your blow?

Our swords clash furiously. Will you tire first?

I press against you furiously. Will you give ground?

Our swords lock and we wrestle for dominance. Will you submit?

My blade twirls around yours cleverly. Will you lose your grasp?

I shout across the ringing arena. Do you listen?

My blade draws blood across your body. Will the injury hamper you?

You take a harsh wound. Does the pain distract you?

My blade sinks into your flesh. Is the injury serious?

sample Chorus remarks, with optional continuations of a conversation

Stormclouds boil in the sky. -It's going to rain.

Swarms of ravens fill the air. -It's called a murder. -Isn't it unkindness?

A girl who fails to become a princess must become a witch.

A flash of lightning is really two bolts: one from heaven to earth, and a response from earth to heaven.

The moon orbits the earth, and the earth orbits the sun.

Who lives by the sword must die by the sword!

'I cannot help it,' the scorpion said, 'for it is in my nature.'

'Come into my parlor,' said the spider to the fly.

You betray the son of man with a kiss?

Children are made to be seen and not heard. -Isn't it the other way around?

The wind blows out the candle. -The stars are falling from the sky. -That which is eternal ends.

I am become Death, destroyer of worlds.

The sun beats down mercilessly upon us.

Haven't you heard? -Haven't you heard? -Haven't you heard?

When you go looking for revenge, dig two graves.

They will beat their swords into ploughshares. -They will neither harm nor destroy on my holy mountain. -For behold, I am making all things new.

Mint plants possess nothing except an urge to live. -And they do so fervently.

Do you recall how we came to that place?

A reckoning will not be postponed indefinitely.

Are those tears rolling down her face? -No, no, it's only raining.

The earth cannot hold all the blood that's shed upon it. -And so the stream flows below.

The days are gone down to darkness now. -The mountains alone remain.

A rose by any other name would smell as sweet.

Infirm of purpose!

The multitudinous seas incarnadine, making the green one red.

His left hand should be under my head, and his right hand should embrace me.

There's always an ending.

i was sort of aiming to combine utena with the narration of hwbm but i think its mostly just utena

the title of this doc is sexy swordfighting, and it will remain so

this could just be a chuubos ritual but most things could just be a chuubos ritual

i can probably never publish this or ill get hit by a dozen copyright attacks

[xxxdragonfucker69xxx]

Imaginary Cartography

Cities, like dreams, are made of desires and fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful, and everything conceals something else.

-Italo Calvino, Invisible Cities

'Is it not worthy of tears,' Alexander said, 'that when the number of worlds is infinite, we have yet to become masters of a single one?'

-Plutarch, Moralia

Close your eyes. There, in the landscape beyond the darkness, under strange stars, a caravan of travelers rests around a campfire in the desert. You have caught them just in the moment as they pass between cities, in the space which is meaningless without a name or a mayor. The mendicant has just finished speaking of Caducine, the city of her birth, and now the soldier will tell us how he wishes to find love in Radadesh.

Imaginary Cartography is a road trip between cities that do not yet exist. Each player plays a wanderer, a traveler in the same caravan as the others. Each traveler has their own goal, something they are looking for in a city. As they travel between cities, the travelers will talk about that city, telling the stories they have heard, constructing it in their minds; almost inevitably, they will leave the city disappointed, looking to the next city. The game of Imaginary Cartography is the act of telling those stories.

Before the game you should assemble a map with geography but no political boundaries, either of the real world or created in a mapmaker program, etc. You will map your journey onto this map. A game is split into several chapters, with each chapter separated by an interlude in that city. A chapter consists of several scenes over the course of several days. At the beginning of each scene, whichever traveler spoke last must request this of another: "Tell us about the city to come." Then that traveler will oblige and speak about the city they are fast approaching. This repeats until every traveler has had a chance to speak, and then they reach the city, marking it on the map. A city is never narrated; at most, the travelers express their delights and disappointments when they have left it, or reference it when they speak of other cities. Each city is dictated according to a theme from the list below:

Cities & Memory

Cities & Desire

Cities & Signs

Thin Cities

Trading Cities

Cities & Eyes

Cities & Names

Cities & the Dead

Cities & the Sky

Continuous Cities

Hidden Cities

There are several different types of traveler, and each class is qualified to speak about a different aspect of the city's life. They and they alone hold the final authority in that matter; another traveler may interject to ask whether such and such is true, but it is the speaker that may say 'It is not so,' or 'Yes, and furthermore...' If there is debate about whether a matter is within someone's sphere, authority defaults to the current speaker. For example:

The Noble is traveling for pleasure, or else for diplomacy; there is a deal they must strike or a hand they must kiss in some distant land. They know all about high culture and higher society.

The Workman is looking for work that will suit them, drawn onward by promises of prosperity. They know all about the common man, the tinker and tailor, and about the crafts they produce.

The Scholar is looking to verify a theory, or else to produce one; there is some idea they have, yet unformed, that they wish to solidify. They know all about the history of the city, its architecture and its academia. If ghost stories abound, they are also qualified to comment.

The Soldier was hired to protect the caravan, maybe, but really they're running from something. Why else would someone with such valuable skills be out here in the middle of nowhere? They are familiar with the arts of belligerence and violence, with all the unsavory things people do to each other.

The Pilgrim is seeking an article of faith, whether religious or otherwise: there is something they believe in, or wish to believe in, and they are looking to confirm it with their own eyes and their own heart. They are familiar with the virtues of a city, of what it holds highest or dearest to its heart.

The Lawman goes from city to city righting wrongs and dispensing justice; their duty is in fact to revolve their circuit endlessly, but their aim is to be promoted to a local judge by resolving some great crime. They are familiar with all matters of the law and governance.

The Scoundrel is up to no good: a drunkard, lecher, and probable thief. They want to indulge in mischief or vice; but what they are really looking for is something that will fulfill them. They are familiar with everything shocking: grisly murders, ribald tales, and ghost stories.

The Child is, well, a child; one of the other wanderers is their guardian, and their only wish is to remain close to that guardian. They alone may speak on whatever subject they want, but the other wanderers are advised that these are flights of innocent fancy, and may choose to accept or disregard them as they please.

No wanderer's goal is ever within their own sphere, of course, or they would have attained it long ago. With that said, once a city has been constructed and arrived at, each traveler may decide for themselves whether they have attained their goal. If they have, they remain in that city, and a new wanderer joins the group as they leave. Only once a city is constructed to fulfill every heart's desire can the game truly end; nevertheless, once every traveler in the original caravan has left for a city, it is considered a new game, and you may choose to postpone its beginning indefinitely.

Perhaps I am afraid of losing Venice all at once, if I speak of it, or perhaps, speaking of other cities, I have already lost it, little by little.

continuing my grand tradition of ridiculous intros

i dont know if it was homestuck or what that put the love of significant initials into me

i could go on forever about wanderers but (also i misspelled it as wonderers a couple times and that was something)

you ever read the canterbury tales? some fuck shit in the canterbury tales

[xxxdragonfucker69xxx]

a fantasy zodiac

Verrer is a city of time: clockwork is built into the infrastructure of the city, powered by unfathomable magical engines deep beneath. The whole city runs on a tight schedule, and furthermore its citizens have their fates ordained from the moment of their birth: each is assigned a complicated horoscope, and from this it is possible to chart their entire life. Foreigners who come to the city are indulged, a little, but are advised to move on before they act in a manner befitting a Captain instead of a Shepherd.

The LIGHTNING BOLT is the first sign of the year, signifying unforeseen circumstances and extreme luck, good or bad. Either way, the year starts with a bang, obliterating the old and energizing the new. Those born under the Lightning Bolt are expected to live easily or recklessly; everything depends on luck, so you might as well not worry about it. At their best the Lightning Bolt is a vital force, a breath of fresh air, and a blessing to their community; at the worst they are rebellious, reckless, and dangerous. Verrer mostly shuns Lightning Bolts, but sends them to be explorers and sailors, to sate their wanderlust. Romantically compatible with the Clock, the Shackles, the Shield, and the Sparrow; they should avoid the Shepherd, Bear and Hand.

The SHACKLES are the sign of February, signifying that the chaos of the previous month has ended and that it is a time for commitments. Despite the name, the Shackles are not a negative sign; those born under the Shackles make enduring, unbreakable relationships. If you have entered into business or marriage with a Shackles you can expect them to keep their word no matter what, and in fact February is an auspicious time for weddings and contracts. At their best Shackles are loyal, caring, and reliable; at their worst they are manipulative, obsessed, and see everything as a battle for dominance. Verrer assigns Shackles to civil service. Romantically Compatible with the Clock, the Lightning Bolt, the Knives, and the Bear; they should avoid the Captain, the Lovers and the Shield.

The FLOWER is the sign of March, signifying the start of spring. The Flower is the sign of births and of children, of innocence, of new beginnings. Flowers are expected to act naively and happily, without a care in the world. At their best Flowers are kind, innocent and happy; at their worst they are naive, thoughtless or ignorant. Verrer allows Flowers to go wherever they like but prefers them as farmers, where the worst they can do is lose a harvest or two. Romantically compatible with the Sparrow, the Bear, the Lovers, and the Clock; they should avoid the Shepherd, the Hand and the Knives.

The SPARROW is the sign of April, the sign of providence. April brings gentle rain, and berries for the sparrow to eat; earth provides, and we provide for each other. Sparrows are expected to ask thoughtlessly and give carelessly. As far as they're concerned, everything belongs to everyone. At their best the Sparrow is generous, welcoming, and comforting; at their worst they ask too much, borrow foolishly, and get in over their heads. Verrer prefers Sparrows to live just outside the walls, as hunters and fishers. Romantically compatible with the Flower, the Bear, the Lightning Bolt and the Shepherd; they should avoid the Shield, the Captain and the Clock.

The BEAR is the sign of May. It is a sign of passion, which shades into frustration into anger. The Bear is uncontrolled and uncontrollable, hibernating and hunting alternately. Bears are easily provoked, and their wrath is to be feared; but they expend themselves quickly, and are good friends otherwise. At their best the Bear is passionate, bold, and courageous; at their worst they are temperamental, unpredictable, and prone to rashness. Verrer places Bears in military service, where they are drilled relentlessly (it is often said to 'beat the Bear out of them). Bears are stereotypically either good-for-nothing louts or valiant battlefield heroes. Romantically compatible with the Flower, the Sparrow, the Captain and the Shackles; they should avoid the Hand, Knives and Lightning Bolt.

The LOVERS is the sign of June. It brings us into lazy summer, resplendent and glorious. The Lovers is the sign of pleasure, physical and otherwise: wine, women (or men, or otherwise) and song. Those born under the Lovers, then, are stereotypical hedonists and philanderers. It is not the sign of the drunkard, necessarily; addiction is more often attributed to the Shackles or the Bear. Nevertheless, Verrer expects Lovers to partake deeply and often; they usually go into the entertainment industry, or else into hospitality. At their best those born under the Lovers are fun, exciting, and unquenchable; at their worst they are layabouts or jaded hedonists or debauched bohemians. Romantically compatible with the Shepherd, the Captain, the Flower and the Hand; they should avoid the Clock, Shield and Shackles.

The SHEPHERD is the sign of July. It is a pastoral sign in every sense; the Shepherd is associated with long summer days spent drowsing and daydreaming alongside white flocks. The Shepherd is expected to live an easy life, save when the wolf threatens the fold. Then they will lay down their life for their charges. At best the Shepherd is kindly, caring, and composed. At their worst they are aimless, narrow-sighted, and prone to martyrdom. Verrer places Shepherds in charge of education, which leads to best results when contrasted with teachers from the Hand. Other Shepherds go into business, opening their own stores and businesses. Romantically compatible with the Lovers, the Captain, the Sparrow and the Shield; they should avoid the Lightning Bolt, Knives and Flower.

The CAPTAIN is the sign of August. It is the descent of summer into autumn, the descent of the fist into the hand and the descent of the sword onto the neck. The Captain governs law, justice and authority, whether aboard a ship or among soldiers. At its best the Captain is a solid leader, stern but caring and inscrutable but wise. At its worst it is tyrannical, arrogant and unheeding of advice. Verrer sends some Captains to menial labor but most to the military, expecting them to rise to officer rank but glad of their stoicism even when they don't; some naval Captains do indeed become captains of their own ship. Military stories contrasting Bear and Captain are subjects of comedy, epic and romance. Romantically compatible with the Shepherd, the Lovers, the Knives and the Bear; they should avoid the Shackles, Clock and Sparrow.

The HAND is the sign of September, the beginning of fall. It is empty, that it may be filled; the Hand waits, that it may act. Hands are expected to listen rather than speak, and advise rather than act; but woe to those who confuse caution with incapacity. At its best the Hand is patient, wise and conservative; at its worst, the Hand is hidebound, cagey and fearful. Verrer sends Hands into education, to contrast with Shepherds; where Shepherds teach kindness and idealism, Hands teach austerity and practicality. Other Hands pledge themselves to service in a temple. Romantically compatible with the Lovers, the Clock, the Shield and the Knives; they should avoid the Flower, the Bear and the Lightning Bolt.

The SHIELD is the sign of October, the sign of drawing close. It is said that those born in this month are a shield to their community, and many Shields embrace this. When their friends are hurt, they are the first on the scene, and afterwards feel the worst about allowing it to happen. At their best Shields are careful, protective, and reliable; at their worst they are clingy, or become domineering when they know better than you do. Verrer pushes Shields towards law enforcement, particularly peacekeeper militia. Romantically compatible with the Shepherd (the most famous lovers of Verrer were a Shield and a Shepherd), the Hand, the Knives, and the Lightning Bolt; they should avoid the Sparrow, Lovers and Shackles.

The KNIVES are the sign of November, a sign of shortening days and lengthening shadows. Knives are tools useful for many things, and so are the people born under their sign. The Knives are willing to do what it takes to get things done, sometimes beyond the reach of common sense. At their best they are cunning, ambitious and determined; at their worst they are underhanded, treacherous and deceitful. Verrer makes Knives into investigators and spies, but the stereotypical Knife is a thief or assassin. Romantically compatible with the Hand, the Shield, the Shackles and the Captain; they should avoid the Flower, Shepherd and Bear.

The CLOCK is the sign of December, of winding up the year. The clock is a closed circle, and the end of the year is a time for finishing up old business. Those born under the Clock are expected to be at least moderately intelligent; they become engineers or wizards, or the strange combination that services the clockwork of Verrer. At its best the Clock is meticulous, detail-oriented and analytical; at its worst it is obsessive, impractical and prone to distraction or derailment. Romantically compatible with the Hand, the Flower, the Lightning Bolt and the Shackles; they should avoid the Lovers, Sparrow and Captain.

The LEVIATHAN is the final sign. Verrer (and many other cultures) reckon the last five days of the calendar as Nemontemi, a time when the laws of god and man are weakened and monsters roam freely. The Leviathan is the sign of this time, named after the greatest of these monsters. All children born at this time are considered horrifically unlucky (of all the black market birth certificates sold in Verrer, an estimated 70% are for Leviathans). Leviathans are free to do as they like, but no matter what they will face ostracization and probably end up leaving the city. They are not romantically compatible with anyone, but whoever they do end up with is in for a wild ride.

consider this a tatterpigsgiving i guess

this is monthly rather than yearly cause i need symbolism regarding the clock and the leviathan for Plot, actually i was going to do it hourly but the same applies

i just used regular months cause my players cant take too much lore at once

tag yourself im shield or maybe shackles

see if you can guess which class is which, and what leviathan is

[xxxdragonfucker69xxx]

Shihab el-Hiri Throne

(with apologies to Jason Morningstar)

Centuries ago, a star from the heavens landed in the empty desert. A nomad named Salim al-Hiri found it, and when he laid hands upon it, was overcome by a vision: an immense empire, arrayed with banners and spears, with armies stretching from one side of the desert to the other. He carved it then, and became the first person to sit on the throne of the el-Hiri Empire. He would not leave it until his death.

The el-Hiri Empire is protected, they say, by either vile sorceries or the will of Heaven -- true divine right, as evidenced by the starmetal throne. It has united the tribes of the desert, and even those little nations that thought to exist on riverbanks or around oases. It drinks blood and spouts flame. Its courtiers are robed in gold and drink fine wine. Their consorts sprawl by clear fountains, adorned in peacock feathers and silk. And at the center of it all sits the king, hands clenched on the armrests of the throne, milky eyes glaring blindly into the future.

To sit on the Shihab-el-Hiri Throne is to be the mind and soul of an empire; how great an honor, how terrible a curse!

The succession of the Shihab-el-Hiri Throne is governed by an arcane system of rules that no living person can truly understand, dictated by the inscrutable will of the king, interpreted and reinterpreted over the centuries. The closer one comes to the throne, the more luxuries and glory one reaps; yet one must always, always be wary of coming too close. The empire makes great demands of the Heirs to the Shihab-el-Hiri Throne; they cannot marry as they choose or go where they please, but instead act in accordance with the will of the el-Hiri Empire. To do otherwise is exile or death.

THE NOBLES

Choose a name and background. You are a noble in the Court of the Starmetal Throne, but there are a number of ways to gain such a position: to be born into it, to eat the heart of a former noble, to marry a noble and inherit their position when they die, to be given a title in exchange for service for the empire, so on and so forth.

You may decide whether or not you are from one of the 19 dynastic lines that descended from Salim al-Hiri's caravan, which intermarry and intrigue endlessly and absorb all other nobles eventually. If you are from one of these, you are considered Old Blood (even if you spent most of your life outside the court); if you are not, then you are considered New Blood (even if you spent most of your life living in the palace itself).

You may have up to four titles, which must be absolutely meaningless even if they sound grandiose. Each title grants a point of Birthright. Titles may not be repeated across characters.

You may have two to four Bonds, which are things you care about or principles you cling to. At least two of these should be Bonds to other player characters.

THE COURT

The nobles of the Shihab-el-Hiri Throne aim to gain as much Birthright as they can without being placed on the Throne. Play consists of a series of celebrations: one for the birthday of each noble, and one for each equinox or solstice. Before each event, whoever is in charge of the event draws a card from a standard deck of playing cards with jokers removed (any of the Heirs may draw a card at the solstice or equinox). That card grants them a bonus, unless it is a King.

At each event, whoever drew the card is the Guest of Honor and should frame the scene: what festival is it? Who was invited? What are the celebrations, what is the tradition? Each event must end in a conflict between two or more nobles. This conflict may be of any form: a duel, a race, a poetry competition, a gossiping smear campaign. Each noble in a conflict takes a side and wagers one of their titles, and the point of Birthright with it. Then, each noble in the conflict rolls some dice. New Blood roll a six-sided die for things related to power, prestige, privilege, and (if the rumors are true) magic; for anything else, they roll two dice and take the higher. Old Blood roll one die on anything New Blood would roll two dice for, and vice versa. You may roll an additional die if one of your Bonds is appropriate, or if you judge that one of your titles is pertinent (the Guest of Honor decides if you are correct), or if you are an Heir. The most you can roll is three dice. Finally, the Guest of Honor adds a bonus equal to the number of the card they drew (suit is irrelevant, face cards grant no bonus) to their highest die.

A player character who is injured, exiled, killed or otherwise inconvenienced always recovers before the next event.

THE HEIRS

A character who has at least 5 points of Birthright is an Heir: one of the potential candidates for the Shihab-el-Hiri Throne. To be Heir is to be both master and slave: master over the individual nobles of the court, yet slave to their collective will and to the centuries of nobles before them. Usually, the Heirs have achieved their position by hook or by crook; it takes great ambition and bloody-minded will to make yourself Heir.

Yet, sometimes, the meek inherit the earth; papers are discovered, or an unpredictable decree from the King, that declare someone to have been Heir all along. Anyone who draws a face card (besides the King) immediately becomes Heir, gaining 5 titles and attendant Birthright.

Abdicating as Heir is more difficult. Any Heir must roll an additional die, making it hard for them to lose Birthright and escape the position. But they have the option, if they draw a face card while already Heir, to give up some of their Bonds. Each of these Bonds allows you to shed a title, and its associated Birthright. For example, you may lose your title as Suzerain of Endless Flame by deliberately allowing the coals to burn you in the ritual firewalking ceremony. Doing so is always painful, if not physically then emotionally.

Those who are close to the Starmetal Throne are bound to its will; less closely than the King, but bound nevertheless. The Throne has its own set of five Laws; the players should collaborate beforehand to decide on these (don't hold back, since you want to make life as difficult as possible for your fellow players). When an Heir's wishes conflict with the Laws of the Throne, they have two choices. They can submit, and reap the rewards of their Birthright by adding it to their roll if they are defending the Laws. (This is subjective enough that two Heirs can be on opposing sides of a conflict and both feel they are defending the Throne). Or they can resist, take refuge in a Bond, and revel in their personhood. But the Throne does not suffer disobedience lightly, and before the next event, that Bond will be broken.

THE THRONE

When the king of any suit is drawn, the King dies.

If it is too early in the game, what drama! A new heir has revealed themselves and killed the old King, taking their place. Play continues as normal.

If there are one or more Heirs among the players, one of them must become King. Each Heir rolls 1d10 for each point of Birthright they have, and the highest total result among them becomes King of the Starmetal Throne. They lose the game. Any nobles who have less than five Birthright also lose the game. The remaining Heirs rank themselves according to their Birthright: highest is the winner, second highest is second place, etc.

You may choose to continue the game if you wish, starting the cycle anew but with the same characters and the same values of Birthright. The player of the King must make a new character, of course. Such is the endless game of the Shihab-el-Hiri Throne!

SAMPLE TITLES IN THE COURT OF THE STARMETAL THRONE

Minister of the Wakeful Eye

Suzerain of Endless Flame

Keeper of Walled Gardens

Most Honorable Courtier of Laws

Vizier of Lesser Lights

Sword-Prince of the Under-Throne

Key and Gate

Whose Name is Not Known

Sunderer of Companies

All-Munificent

Mother of Monsters

Prince Among the Powers

Holy of Holies

SAMPLE LAWS OF THE STARMETAL THRONE

Blood must be shed for honor.

New Blood may not marry Old Blood.

Heirs may not accept suitors.

The punishment for lying is removal of the tongue.

The punishment for theft is removal of a hand.

Heirs must forsake all family ties.

Nobles may not leave the palace.

Nobles may not speak to commoners.

Nobles may not use magic.

Duels must be to the death.

sorry old content again

updated dice, fixed some loopholes, added sample rules and titles

i still cant make a better system for courtly intrigue, ive tried a couple but i think this reputation-accumulation system works out best. not the thing with polarized two-sided conflicts though thats specific to this