House Rule - Skills by Character, Skill Feats, and Skill Synergies

Skills by Character
Which skills are class skills, and which skills are cross class skills are not determined by character class. Instead, they are determined by the player during character creation. Each character has a pool of twenty class skill slots that they may use to define the class skills for their character. For most skills, choosing them as a class skill costs one slot. Specific Craft, Knowledge, Perform, and Profession skills can be purchased for one skill slot each. To purchase Craft: Any, Knowledge: Any, Perform: Any, or Profession: Any costs four skill slots. Players must define the skill list for their character during character creation, and once set, this is the list of "class skills" for the character for the remainder of his adventuring career.

Note: Using four skill slots does not grant the skill Craft: Any, Knowledge: Any, Perform: Any, or Profession: Any. Those skills do not exist. Using four skill slots places all of the individual skills on the character's class skill list, but each skill must be taken individually. For example, a character who spent four skill slots during character creation to add "Craft: Any" to their class skill list could then spend skill points on Craft: Blacksmithing, Craft: Weaponsmithing, and Craft: Goldsmithing as skills, purchasing each of these skills separately.

Skill Feats
The various “+2 to two skills” feats such as Athletic, Diligent, Negotiator, and Self Sufficient are not used. Instead, the following feat replaces them all:

Skill Augmentation [General]
   You display an aptitude for certain skills.
   Benefit: Choose two related skills (subject to approval). You gain a +2 bonus on all checks involving those two skills.
   Special: You can gain this feat multiple times. Its effects do not stack. Each time you take the feat, it applies to a new pair of skills.

Synergy Bonuses
The following synergy bonuses are used. To gain a synergy bonus from a feat, one must simply have the feat. To gain a synergy bonus from a skill, one must have a certain number of ranks in that skill. Feats provide a flat +2 synergy bonus to the specified skill. Skills provide a bonus depending upon how many ranks in the skill a character has. If a character has 5 ranks in a skill that grants a synergy bonus, the character gets a +1 synergy bonus on checks involving the affected skill. When the character reaches 10 ranks in a skill, the applicable synergy bonus increases to +2, when the character reaches 15 ranks, the synergy bonus increases to +3, and finally when the character reaches 20 ranks, the bonus increases to +4.

Note that a character has to have at least one rank in a trained only skill in order to benefit from the synergy bonuses provided to that skill by other feats and skills.

The feats and skills in the left hand column provide synergy bonuses to the skills in the column on the right.

Feats

Brew Potion	Craft: Alchemy
Run	Evasion and Pursuit
Scribe Scroll	Profession: Scribe

Skills

Bluff	Diplomacy
Bluff	Disguise (to stay in character)
Bluff	Intimidate
Bluff	Sleight of Hand
Concentration	Ritual Casting
Craft	Appraise (related to the subject of the Craft skill)
Craft: Alchemy	Profession: Cook
Craft: Alchemy	Spellcraft (when identifying magical oils and potions)
Craft: Locksmith	Open Lock
Craft: Trapmaking	Disable Device
Decipher Script	Use Magic Device (involving scrolls)
Disable Device	Craft: Trapmaking
Escape Artist	Use Rope (when binding someone)
Gather Information	Profession: Guide (in urban areas)
Handle Animal	Profession: Farmer
Handle Animal	Profession: Teamster
Handle Animal	Ride
Handle Animal	Wild Empathy (class feature)
Jump	Tumble
Knowledge: Arcana	Spellcraft
Knowledge: Architecture and Engineering	Search (involving secret doors and compartments)
Knowledge: Astronomy	Profession: Astrologer
Knowledge: Dungeoneering	Survival (when underground)
Knowledge: Geography	Profession: Cartography
Knowledge: Geography	Survival (to keep from getting lost)
Knowledge: History	Bardic Knowledge (class feature)
Knowledge: Law	Profession: Barrister
Knowledge: Local	Gather Information (in local area)
Knowledge: Nature	Profession: Sailor
Knowledge: Nature	Survival (in aboveground natural environments)
Knowledge: Nobility and Royalty	Diplomacy
Knowledge: Religion	Turn or Rebuke Undead (class feature)
Knowledge: the Planes	Knowledge: Astronomy
Knowledge: the Planes	Profession: Astrologer
Knowledge: the Planes	Survival (when on other planes)
Knowledge: War	Profession: Siege Engineer
Open Lock	Craft: Locksmith
Perform	Profession: Actor
Profession: Actor	Bluff
Profession: Actor	Disguise
Profession: Apothecary	Craft: Alchemy
Profession: Apothecary	Knowledge: Nature (natural properties of animals or plants only)
Profession: Barrister	Knowledge: Law
Profession: Barrister	Diplomacy (when used to persuade or convince)
Profession: Cartographer	Forgery
Profession: Cook	Knowledge: Nature (for plants and animals commonly eaten)
Profession: Farmer	Knowledge: Nature
Profession: Fisherman	Knowledge: Nature (for fish, fish life, and coastal areas)
Profession: Groom	Handle Animal
Profession: Guide	Survival (to keep from getting lost)
Profession: Herbalist	Heal
Profession: Innkeeper	Gather Information
Profession: Prostitute	Bluff (when used to seduce or deceive)
Profession: Prostitute	Diplomacy (when used to seduce or deceive)
Profession: Sailor	Balance
Profession: Sailor	Use Rope
Profession: Scribe	Forgery
Profession: Scribe	Decipher Script
Profession: Soldier	Knowledge: War
Profession: Teacher	Knowledge (applies to one specific Knowledge skill)
Profession: Teamster	Handle Animal
Profession: Woodcutter	Knowledge: Nature (in relation to plants)
Search	Survival (when following tracks)
Sense Motive	Diplomacy
Sense Motive	Profession: Innkeeper
Spellcraft	Use Magic Device (when using scrolls)
Survival	Knowledge: Nature
Survival	Profession: Farmer
Survival	Profession: Fisherman
Survival	Profession: Guide (in wilderness areas)
Survival	Profession: Woodcutter
Tumble	Balance
Tumble	Jump
Use Magic Device	Spellcraft (to decipher spells on scrolls)
Use Rope	Climb (involving climbing ropes)
Use Rope	Escape Artist (to escape rope bindings)

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Game Mechanics - Changing How Class Skills Are Allocated

I usually use the d20 system for my role-playing gaming. I sometimes dip into GURPS, and I have a couple editions of Traveller, and earlier editions of Dungeons & Dragons, but once the 3rd edition rule set for  Dungeons & Dragons was released, that became my go to game of choice. Although I like the system, I am a rules tinkerer by nature, and I can't just leave it alone if I think something else will work even just a slight bit better. So I began tinkering with the d20 skill system.

House Rule: Skills by Character
Instead of the standard d20 trope of having a character's range of available skills be determined by a list taken from their character class, the "class skills" for a character are determined by the player, at character creation and remain fixed for that character through their adventuring career. Instead of looking at the class skill list for, say, the fighter class when taking a level of fighter, the character will look to their own individually defined array of "class skills" no matter what class they choose to level up in. The number of skill points a character has to spend at any particular level is still determined by their class: the fact that a rogue gets 8 skill points per level while a fighter or a cleric only gets 2 skill points per level is a balancing factor that preserves the parity of the various classes.

If we treat the Craft, Knowledge, Perform, and Profession skills as a single skill, there are thirty-six discrete skills in the d20 system (at least there are thirty-six discrete skills in the 3.5e Player's Handbook). The most diverse class skill list in the standard D&D rule set is the rogue, with twenty-five listed skills, which includes the skills Craft, Perform, and Profession, which are really a number of skills masquerading as one skill. The shortest skill list is the fighter's, with seven skills, although once again one of them is the multifaceted skill Craft. So these would be the parameters for determining how many skills a character should be allowed to select as "class skills".

Craft, Knowledge, Perform, and Profession raise an interesting question when considering how to construct class skill lists. Each of these skills is actually a collection of related skills - Craft: Armorsmith and Craft: Weaponsmith are different skills, but a class that has the skill "Craft" with no further specification would be able to select either of them as class skills. Some classes, such as the rogue and fighter, list these skills in their generic form. A rogue could expend skill points on any Perform subskill and treat them all as class skills. Some classes, such as the monk, which has Knowledge: Arcana and Knowledge: Religion on its class skill list, list specific subskills as class skills. While a monk could spend skill points on those skills at the reduced class skill cost, if he wanted ranks in another Knowledge skill, such as Knowledge: Nobility and Royalty, he would need to purchase those ranks at the double cost for out of class skills. In general, most classes that have specific skills drawn from these general skills, they have one or two, and once in a great while three specified skills. Based upon this observation, it seems reasonable to set the cost of individual subskills in these four generic skills at one skill slot, while choosing to purchase the general skill (i.e. Craft: Any or Profession: Any) costs four skill slots.

Using this revised cost, the rogue would have thirty-one total skill slots, and the fighter would have nine. Setting the total range of class skills available for characters at the midpoint between these two points would give a figure of twenty skills. Using this system, that would mean that during character creation, every starting character would designate twenty skills as "class skills", and that list would remain the same throughout their character's adventuring career no matter what classes they chose to take levels in.

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Campaign Design Diary - Days and Nights, Maybe

Continuing on with designing my floating islands campaign setting, now that I have decided what the terrain will be like, I have to figure out some of the elements that surround that terrain, starting with the very basic elements that are taken for granted in many game worlds: day and night.

In most campaign settings, these sorts of elements are simply taken for granted as being more or less identical to the standard in our world. The sun rises in the morning, shines all day, and then sets at night, when the moon and stars come out. The moon has regular phases, just like Earth, which take about a month to complete. After twenty-four hours elapse, the sun rises again, and the cycle starts up again. This is probably the easiest way to set things up, and because it is what players expect, it is simple to get them to go along with it. A setting that accepts these default parameters will be familiar for most players, or at least most players so this is a factor that must be considered.

Player expectations are a powerful force that a DM must account for when designing a setting. The first lesson that a DM must learn is that players will frequently ignore what you tell them and assume the world works the way they assume it should work. If you tell players that each day is 45 hours long, or come up with some complicated pattern involving five moons that takes 126 days to complete, or some other quirky arrangement, then the players will nod along . . . and probably completely ignore you. This is especially true if you put this sort of information into a written handout that you pass along to the players. In my experience, players almost never read background setting material that a DM creates, and unless you repeat something to them verbally a dozen times, they will almost never remember it. If you are lucky enough to have a player who reads your material and pays attention to the background, treasure that player, they will be your best ally in your campaign sessions, because they will actually know what is going on. But the side effect of the typical player's expectations is that you, as the DM, are fighting the current. Even if players nod along with you when you describe your odd world elements, they will frequently forget and revert back to assuming that their characters inhabit a world with a 24 hour day, a month long moon cycle, and four seasons every standard year. Creating a world in which these sorts of elements are different that sticks in the players' heads will require persistent effort.

One critical question that must be answered is the exact parameters of the day and night cycle in the game world. Does the relative length of the day and night vary during the year, as ours does?  Is there even a day and night cycle in the world to begin with? I've already established that lands that float higher up get more sun, while those below are shaded by those above them, and the world ocean that lies underneath it all is shrouded in almost perpetual darkness, so one might suggest that there is no need to have a day and night cycle in the game world. I disagree, for a couple of reasons. First, if the game world has no nighttime, then the areas that are always in daylight become decidedly less potentially hazardous for the inhabitants. Creatures that suffer a penalty in daylight (such as goblins) would probably tend to be disinterested in moving into those areas, and creatures for whom sunlight is dangerous (such as vampires) would be effectively barred from those areas. Put simply, nighttime is where most of our nightmares reside, and removing a day/night cycle from being a feature of a campaign world will remove that (or make it pervasive if you eliminate "day" and have perpetual night).

Another reason to have night as a regular feature of a campaign setting is that without night, you don't have visible stars, and although you can still have a visible moon, it will only show up as a pale daylight imitation of the nighttime moon we are familiar with. And without visible stars, you can't have astronomy and its magical cousin astrology. Astronomy is useful for a lot of reasons, one of them being that observing the regular transit the stars make across the sky is one of the ways that we how we figured how long a year is. But in a fantasy world, unlike our own, astrology is also an important consideration - possibly more important than astronomy. The patterns of the stars and planets can be used to provide signs, portents, and prophecies that serve as adventure fodder. The regular cycles of the moon, the planets, and the constellations can affect magic in the game world, making certain schools of magic, alignments, classical elements, or other aspects of the world stronger or weaker at different times.

While none of these considerations make it absolutely necessary to have a day and night cycle in the campaign setting, they do highlight some of the implications of getting rid of the night. But even if there is a day and a night, there are still other decisions to be made. Even if there is a day and night, there does not necessarily have to be a moon, or even a sun. Because this is a fantasy world, there are any number of possibilities that could be considered for providing light, and a sun and a moon are only one of them. For example, in the Silmarillion the world is first lit by enormous lamps atop giant pillars, and then later by the glowing fruit of the two silma trees. It is only after Melkor destroys both of these light sources that a single fruit from each of the silma trees is coaxed forth and set in the sky as the sun and moon. In a fantasy world, any number of explanations for how the world is lit could be true, and even if there is a sun, it could actually be a hot ball of brass carried across the sky in a chariot. There doesn't even have to be a specific source of light: the sky could simply brighten during the day and darken at night. Or one could choose a science fiction kind of solution, as in Ringworld, where everyone lives on a star-girdling ring and "night" is the result of massive shades that orbit closer to the sun than the ring. Note that the arrangement described in Ringworld would result in a "night", but it would still have the drawback of preventing star gazing. This sort of arrangement would also require a world that is substantially different in shape from our spherical Earth.

As noted before, no matter what daylight arrangement a DM decides upon, they also have to answer questions about the moon. Or, because this is a fantasy world, whether there is one moon, many moons, or no moon at all. The answers to these questions also have implications for the game world, both "realistic" ones and magical ones. The most obvious consequence of having or not having a moon is the tides. Our moon is mostly responsible for the ocean tides that rise and fall on our beaches (the sun has a smaller effect). If the game world has no moon, or if it has multiple moons, but the tides work in exactly the same way they do on Earth, you will inevitably have some player asking how this is possible. Because we are dealing with fantasy, the DM could easily hand-wave the problem away citing magical causes, but that is a fairly unsatisfying answer, and the more answers that are hand-waved away in this manner, the less engaging the world is likely to be. If all the answers are "just because" or "its magic", then there is less in the game world for the players to figure out, and less to hold their attention. You don't need to give the players the explanation for why things work the way they do unless they go to the effort of trying to figure it out, but the DM should have at least thought about it so they have some idea of what the answers might be. Another mundane effect of having a moon is that it helped define our month. If you have a moon with a lunar cycle that is substantially different than ours, or multiple moons that each have their own orbital periods but still have a thirty day month, it will seem odd to anyone who notices.

But in a fantasy world mundane effects like tides and calendars are not the only considerations. The supernatural influences of the moon must also be taken into account. One of the most obvious questions involves lycanthropes. In mythology (and in most fantasy role-playing games) the moon has a strong influence on lycanthropes, so if you eliminate the moon or add in multiple moons, a DM needs to figure out how this will affect such creatures if he wants to include them in his campaign. There are also religious considerations, and in a fantasy game world, this can have significant consequences. In our history there have been multiple religions that associate a divine figure with the sun and another with the moon. If the game world has no sun or moon, this will obviously not be the case. If the game world has multiple suns or multiple moons, that will have a different implication. And so on. Even if you only have a standard single moon, the phases of that moon can be fodder for campaign material: I recall that in the module Return to the Keep on the Borderlands one of the non-player characters was a priestess of a moon deity and her personality (and alignment) changed throughout the month as the moon went through its cycle.

So how am I going to answer these questions for my floating islands campaign setting? I don't want to make things too odd because the game world is already a little quirky due to the layers of floating islands and the fact that they hover above an apparently endless ocean. I'm going to say that there is a fairly standard day and night, with a single sun that rises to give light during the day, and sets to reveal stars and, because I want things to be at least a little different here, two moons at night. I'll say that one moon is giant, appearing about twice the size of Earth's moon in the night sky, while the other is tiny, maybe half the size of ours. The smaller moon is unusual in a different way - it glows a reddish color, while the larger moon shines more or less white like ours. Both moons have phases. The larger takes exactly thirty days to complete its full cycle, while the smaller takes only ten. Every now and then, the smaller red moon will pass in front of the larger moon, creating an "eyeball" effect when this happens and they are both full. Having two moons should create complicated tides, but since the world ocean has no known shore, this isn't something I need to work out right now. I'm going to rule that none of the bodies of water that sit on the floating islands are large enough for tidal effects to make more than a minor difference. An interesting question arises when one considers that the islands are free-floating, and thus might be affected by tidal forces themselves, causing them to sway back and forth in a daily pattern. I'm going to rule that the same magic that holds them up also keeps them from being pulled about by the gravity of the moons, just because it is simpler.

Next time, I'll tackle the seasons.

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Campaign Design Theory - Top Down, or Bottom Up?

When setting out to design a campaign setting, a prospective DM is confronted with the question of where to start. Although most DMs that I have met mix and match to some degree, there are two broad ways to design a campaign which can be described simply as "Top Down" and "Bottom Up". I believe that no campaign setting is ever designed by a writer who strictly adheres to one of these two structures, but in broad strokes, I think these ideas are widely applicable. Neither method is "better", each style has its uses and what may work for one DM may not work for another. Although I generally adhere to a "Top Down" approach, there are clear advantages and disadvantages to both methods of campaign design.

Bottom-Up

"Bottom Up" campaign design is probably the original form of campaign design used in role-playing games. The classic method of building a campaign setting was to lay out a dungeon and some sort of nearby "safe haven" and let the characters delve deeper and deeper underground fighting progressively deadlier foes while taking brief breaks to rest, recover, and reequip in the nearby village conveniently equipped with a tavern to find rumors and mercenaries in, a blacksmith to make weapons and armor, and a priest to dispense healing. The original Greyhawk campaign appears to have started in exactly this way: a giant dungeon that player characters would explore and a nearby city for the weary adventurers to spend their non-adventuring time in. Eventually the characters left the dungeon and began to explore the world around the city and new towns, rivers, forests, countries, and so on were progressively added. For many DMs who began playing in the olden days when dinosaurs roamed the Earth like I did, this was how their first campaign (and in some cases, first several campaigns) was developed. In my case, my first campaign setting began with the Caves of Chaos and the Keep found in the classic module B2: Keep on the Borderlands, and then expanded from there.

Advantages: The primary advantage of this style of campaign design is that the DM can immediately focus on campaign elements that the players will interact with directly. By starting small and focusing on material that is going to be directly useful to the players the DM can avoid potentially wasted effort and concentrate on writing down stuff that is directly relevant to the adventures that take place during the game sessions. This form of design style usually works well for campaign settings that are developed "on the fly" while the actual campaign is being played, which points to another advantage of this type of design method: you can jump in right away and begin putting people around the table to roll dice and slay villains without needing too much lead time.

Disadvantages: The obvious disadvantage to this sort of campaign design method is that because you are developing your campaign as you go, it is easy for continuity errors to crop up as later designed material contradicts earlier designed material. In that case, you would need to either discard your cool new idea because it contradicts material you already wrote or go back and fix the earlier details that are now contradicted. This can be an especially thorny issue if you are designing the campaign setting while also running actual game sessions in the setting, in which case the players have probably already seen the now potentially invalid material. In some cases this accidental contradiction could provide a potential adventure hooks as the mystery of why (for example) halflings now all have lavender hair could be a topic that fuels investigation by the players. Another disadvantage of this style of campaign design is that long term planning is difficult. Trying to plan a long term campaign plot for the players to follow, or including an archenemy is difficult when you don't have the campaign parameters worked out in advance. This dovetails with yet another disadvantage of this type of campaign design - new elements can seem forced and artificial when they are introduced to the setting. If the first time the characters hear of the nation of Goblivania is when it is revealed that the Duke's trusted adviser is a spy for that nation, then the revelation will probably have little impact on the players. It takes time to build up some ire, and when a DM starts introducing elements on an ad hoc basis they run the risk of having the players react with indifference.

Top Down

"Top-Down" setting design is more or less the exact opposite of "Bottom-Up". When designing his game world with the Top-Down method a DM starts with the "big picture" elements and then works his way down to the more local details. The DM will first paint the broad strokes of the campaign setting - the cosmology, religions, geography, nations, governments, and so on - and then starts filling in the smaller details of the world down to the environment the characters will actually interact with at the outset of the game.

Advantages: The central advantage of this style of setting design is that it provides a comprehensive framework for the game world. A world designed from a "Top-Down" perspective will likely have better cohesion with specific elements "fitting" better into the whole. Because the campaign world has a ore or less fleshed out framework, the DM is better able to create large scale plots and find lots of potential adventure hooks. Because much of the groundwork has been laid down in the setting development process, if the players decide to go off on a tangent, the DM won't be caught flat-footed and stuck trying to fill in the gaps in a hurry. Yet another advantage is that creating campaign setting material is fun. At least I find it fun. And building an entire game world in toto gives lots of opportunities to do just that.

Disadvantages: Even though creating an architectural framework to hang your campaign sessions on is quite useful, there are a number of disadvantages. The first is that when confronted with a blank page and the need to build an entire world, a DM can feel overwhelmed by the volume of work needed to prepare the setting. Knowing when to leave things vague at the edges and avoid getting bogged down in unnecessary detail is an acquired skill. Once a DM starts building an entire world, it is easy to get into the weeds developing material that the players will never see, will never affect them, and which if they did, they probably would not care about. The players probably don't need to know about the price of broccoli in a country a hundred miles away from them, and probably would find it to be tediously boring if you told them. The real danger of this sort of far ranging design is that after a DM has put a lot of effort into defining the number of dresses owned by every one of the Queen's ladies in waiting there is a great temptation to try to wedge this information into the game session in order to show all the work off to the players. A second problem is that this style of campaign design may curtail spontaneity and provide a setting that isn't as able to bend to accommodate the flow of the actual campaign. Because so much is predefined, if the DM has an interesting idea after the setting has been developed and details relayed to the players, there may be no good way to incorporate the idea into this particular setting. Another disadvantage is that this style of setting design requires a fair amount of preparation. Because you are starting the design process at such a large scale, it takes some time to work down to the level where you are actually ready to sit down with a group of players and engage in gaming sessions.

As I said before, there is no right way or wrong way to design a campaign setting, it all comes down to personal preference. I like designing top-down, but I often mix and match, jumping back and forth between large scale elements and tiny details on a regular basis. As I go through the process of designing my new fantasy campaign setting, I'm sure I will do this several times.

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Campaign Design Diary - Mountains of the Sky

I'm putting together a new campaign setting. Its been a couple years since I was able to game regularly, but I miss it. There's something satisfying about gathering around a table with four or five friends and playing a role-playing game.However, I probably won't be able to actually play with any regularity for several months, which means I can satisfy my gaming itch by taking the time now and hammering out a new imaginary world for characters to adventure in. And I'm going to document this process here, as I go. At the outset, I've decided I'm going to create a fantasy campaign setting. This dictates the system I'm going to use, because for fantasy my preferred gaming system is 3.5e D&D with some rules drawn from 3.0e D&D and Pathfinder. If I was designing a science fiction or espionage campaign setting I'd use GURPS, or maybe reach back and pull out one of the iterations of the Traveller system. But because I'm designing a fantasy setting here, I'm sticking with 3.5e D&D as my base and working from there.

The trigger for the particular campaign I am planning on designing right now was the line "I climb the mountains of the sky" in the Kansas song Icarus: Borne on Wings of Steel. That's all I had to start with, and almost all I have at this point in the design process. I don't even have a pithy name for the campaign setting like Forgotten Realms, Mystara, Dawnforge, Oathbound, or Scarred Lands. Right now, the only thing that the campaign is is an embryonic idea. Maybe it was recently playing Skyward Sword, maybe it was watching The Empire Strikes Back or maybe it was reading Ringworld, The Integral Trees, or Gulliver's Travels, or maybe it was something else, but the basic idea for the campaign is this: everything is floating in the sky. Sure, it is a fantasy cliche, but cliches exist for a reason. And I think I can throw enough twists and turns on the idea to make it seem more interesting than just "floating castles and sky cities".

The first thing I'm going to define about the campaign world is that all of the land is floating in the sky, but that underneath it all is an endless ocean. The second is that not all of the land floats at or near the same altitude - some of the floating landmasses drift at low altitude very close to the world ocean, others float dozens of miles above them, with still more meandering in the regions in between. In our world, near space begins about 100,000 feet above the Earth (the world record for a sky dive is 102,800 feet), but at that altitude the air is decidedly thin and the temperature is extremely cold. If I want an Earth-like atmosphere above the world ocean, then I've reasonably got about twenty miles of vertical distance to work with. I'm going to cheat a little bit and make the atmosphere of my fantasy world a bit thicker - about three times as thick, but the upper twenty miles will be a fairly cold and hostile place, the lower twenty will have a heavy thick atmosphere, and the middle twenty will be the "sweet spot" where the climate is mostly temperate with things colder at the upper end of this range and warmer towards the bottom end.

One major factor in the world setting will be sunlight. The higher chunks of land get more sun, while the lower chunks are often shaded by the lands above them, and the lowest masses of land get so little sunlight from above that they are shrouded in an almost perpetual night. While the masses of floating land come in all shapes and sizes ranging from the size of a country to the size of a single cottage, the larger pieces tend to float lower to the world ocean, and the average size piece gets smaller as you rise. This is not a hard and fast rule: there will be large pieces of land floating thirty miles above the ocean, and tiny pieces that float at only a couple hundred feet, but it will be a general trend. One interesting implication of this is that the higher a piece of land is, the more sunlight it will get, but the colder it will be. The upper reaches of the sky will be washed in bright sunlight, but will also be extremely cold. As one goes lower into the "temperate" zone, there will be occasional shadows cast by the small landmasses above, but there will still be plenty of sunlight and the temperatures will be warmer. As one gets lower and lower, the shadows will increase and the air will get heavier and heavier.

The interesting question is whether the lower region gets colder, because of the lack of sunlight, or if it continues to get warmer due to the thicker air and other factors. I think I'd like it to get warmer so as to allow for large scale evaporation from the world ocean (resulting in lots of clouds and rain rising to the temperate zone), and in a fantasy campaign I can hand-wave a little bit and say something like underwater volcanic activity in the depths of the world ocean or rifts that lead to the Elemental Plane of Fire help heat the lower reaches. This also has the side effect of giving me a reason to have updrafts of rising air that help flyers traveling in between the floating landmasses. It is always nice when a design element has helpful consequences like that. Another consequence of this is that the higher one is, the drier the climate is, from the steamy and warm lower lands, through the cooler and drier but still hospitable middle realms, and then higher to the cold, dry upper reaches.

At this stage there are already a number of elements shaped by this. Several are obvious: the "civilized" regions are likely to mostly sit in the temperate middle zone, which is also where most of the trade and commerce will take place. Some standard staples of fantasy campaigns are likely to have much less importance here - the value of horses is likely to be much reduced, sailing ships are likely to be quite rare. Air travel, on the other hand, is obviously going to be of critical importance. The lower landmasses are likely to be mostly populated by dark loving creatures like undead, goblins, and others. Not only that, there's a reason to have dark-loving races running about the game world, which is also a nice side effect. The lower reaches will probably have to have a fungus based agriculture as well (and probably lots of myconids), or something else even more alien. The ocean that sits beneath everything is an inhospitable place wracked by frequently violent storms and populated by dark-loving aquatic monsters hunted by only the bravest and most foolhardy souls. The title "fisherman" in this world is likely to have connotations of insanity.

However, before we get to those sorts of issues, there are several other questions that have to be answered first, questions that I will take up in my next post.

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Why?

The obvious question one might ask is "Hey Aaron you idiot, why are you starting a new blog?" After all, I'm already committed to Dreaming About Other Worlds, and an occasional contributor to The Arcane Hour, as well as holding down a full time day job, going to school in the evenings, taking Tae Kwon Do classes, and making time for my two wonderful kids. Don't I have enough on my plate already? Why launch a sister blog for Dreaming About Other Worlds with all the work and headache that entails? Isn't that crazy? Well, sure. But I'm also a gamer, and I have to scratch that itch somehow. And blog posts about gaming don't really belong on Dreaming About Other Worlds, and certainly don't belong on The Arcane Hour. So Playing in Other Worlds was born.

By "gamer", I mean a role-playing gamer. And by "role-playing gamer", I mean a table-top pencil and paper role playing gamer. Now before someone runs off and gets the idea that I'm some sort of role-playing gaming purist, I'm not. I have played some CRPGs¹, although I gave up on Oblivion after about an hour, and never finished Baldur's Gate (it kept crashing on me). I did love the Temple of Elemental Evil CRPG adaptation, which should become apparent as this blog goes on. I have played one MMORPG² on a semi-regular basis (Lord of the Rings Online for anyone who cares), and I like it. I also have a shelf full of table top wargames, and a pile of Babylon 5 and Illuminati: The New World Order CCG³ cards. All of these endeavors are fun, and I have spent many enjoyable hours engaged in each and every one of them. But for me, nothing can compare to sitting around a table with a group of friends, pulling out the polyhedral dice, and pretending to go somewhere else for several hours.

I have been hooked on role-playing games since that summer between my 4^th and 5^th grade years when I visited my best friend Sean Norton for an overnight stay and he pulled out a Player's Handbook and said "Do you want to go on an adventure?" I was primed. I had read The Hobbit and The Lord of the Rings earlier that summer, and I jumped at the chance. I made an elven fighter/magic-user and set out into the dungeon accompanied by four men-at-arms. We played all night, until my first character was killed just before dawn by a troll. Thirty plus years later, and I still love to metaphorically strap on a sword, fire up my spell book, and walk into danger in a dark maze of underground tunnels.

Or, as has happened, create the stage for others to do that while I play all of the villains in the piece. Because I love to create, and tinker, and design. Which means that I usually end up on the opposite side of the game mastering screen with a pile of books, a handful of notes, and a gallery of horrible villains to throw at the people in front of me. And I love every minute of it. This may be why none of the other kinds of gaming hold me rapt the way table top gaming does - with a CRPG, or an MMORPG, or even a wargame, you are a player in someone else's universe. Though you design your own decks to play with when playing a CCG, you are still stuck using the tools the game designer hands you. But with a table top RPG, as the game master, you have fairly free reign. if you decide that something should be added to your game world, then you just add it in. (Yes, I know you can make changes to a MUD⁴, or in some cases modify a CRPG, but you have to have programming skills that I don't have to accomplish that, and even then you are constrained in what you can do). So even when I'm not sitting at the table throwing dice, I'm noodling through ideas, writing down game modifications, campaign setting details, or just putting together adventures and scenes.

So what am I going to do for this blog? well, basically this is the opportunity for me to throw out all my thoughts on gaming, garnered over three decades of playing and game mastering. I'll point out at the outset that all of my ideas on how to be a game master, how to run a game, and how to design a campaign or a campaign setting are only what has worked for me. I think these are good ideas, but others may differ in their opinions. Also, I'll be putting together and refining a campaign setting or two, and putting up all the background information to use them on here. And I'll be explaining why I made the choices I did when designing these settings and the campaigns that I intend to run within them. And I'll be writing about just about anything else game-related that I think of along the way. So if you think this sounds interesting, get out your dice, your paper, and your game books, and join me Playing in Other Worlds.

¹Computer Role-Playing Games, for anyone who doesn't know.

²Massive Multiplayer Online Role-Playing Game, a hideously addictive and time-consuming form of gaming. I play LOTRO, but the most popular MMORPG is World of Warcraft,and there are numerous others, such as Champions Online.

³Collectible Card Games, colloquially known as cardboard crack for their addictive nature. The most popular CCG is Magic: The Gathering.

⁴Multi-User Dungeon, a text based multi-user game. For anyone who remembers Zork, a MUD is basically similar to Zork, except usually includes a much bigger play environment and is capable of supporting numerous players.

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Campaign Design - Sorcerer Heritages: Marid

Marid

You were born with the power of water genies, and the magic of the marids is strong in you.

Heritage Arcana: Whenever you cast a spell that deals energy damage, you can change the type of damage to cold. This also changes the spell’s descriptors to match this energy type.

Heritage Powers: Like a marid, you have both natural power over water and several other genie-based abilities.

• Frost Ray (Sp): Starting at 1^st level, you can unleash an elemental ray as a standard action, targeting any foe within 30 feet as a ranged touch attack. This ray deals 1d6 points of cold damage + 1 for every two sorcerer levels you possess.


• Elemental Resistance (Ex): At 3^rd level, you gain cold resistance 10. At 9^th level, your cold resistance increases to 20.


• Water’s Fury (Su): At 9^th level, you gain the ability to summon a rushing jet of water from the elemental plane of water and direct it against your foes. As a standard action, you can create a jet of water in a 60-foot line that deals 1d6 points of damage per two sorcerer levels you possess, and blinds the target that was struck for 1d6 rounds. A Reflex save (DC 10 + ½ your sorcerer level + your Charisma bonus) reduces the damage by half and negates the blinding effect.


• Elemental Movement (Su): At 15^th level, you gain a swim speed of 60 feet.


• Power of the Marid (Su): At 20^th level, you gain the power of genies to grant wishes. Once per day, you can cast limited wish as a spell-like ability. Such wishes must begin with the words “I wish,” and cannot duplicate a wish you have granted within the past 24 hours. If you use this ability to duplicate a spell with a costly material component, you must provide that component. You become immune to cold damage, and can use plane shift once per day to travel to or from the Plane of Water.

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