When you target multiple creatures with the Blindness/Deafness spell, can you give some deafness and others blindness? Or do you choose an effect once, and all targets of the spell get the same effect?
If you're working on a Forged in the Dark game, come over and start a discussion about it on the Blades forums.
https://community.bladesinthedark.com/c/forged-in-the-dark
The Workshop sub-category is for tinkering on hacks. The Library sub-category is a place to post about releases (including alpha/playtests).
Recently my friend and I were discussing this question.
He’s convinced the default universe of D&D is the Forgotten Realms, but I have my doubts about that. I did read that certain cosmic events changed the universe as D&D went from one edition to the next but I'm unsure whether this relates to...
SUCH an amazing year with my friends at @Wizards_DnD. As my contract comes to an end April 1st, a space for a new Community Manager opens up!! http://company.wizards.com/content/jobs?gh_jid=4235887002
I encourage you to apply! You: Seattle based heart full of compassion & passion to bring the community together.
From an article on disputes over the term "British Isles" including Ireland: "In documents drawn up jointly between the British and Irish governments, the archipelago is referred to simply as 'these islands'." What a delightful little bit of conflict-aversion.
@nitsua60 as I was growing up, the Northern Ireland troubles/conflict was a very alive and big deal, so I am waxing a bit nostalgic in seeing the Irish / British friction begin again as the Brexit bit (Northern Ireland) and the EU bit (the rest of Ireland) will need to address how that latest thing shapes their situation. I expect fireworks a plenty.
@KorvinStarmast I certainly didn't experience it in the way many did, but among the older members of my generation and certainly among my parents' generation it was the only political talk I heard in the 80s. I am heartened that almost everything I'm hearing out of Ireland and Northern Ireland seems to be along the lines of "we worked so hard to get here, and these last couple of decades have been so good, please don't jeopardize that."
Hearing both sides talk overwhelmingly of how good it is to be at peace is reassuring.
3
I had a chance to meet George Mitchell some years back and I told him how sincerely my gramma Margaret Dolan thanked him for saving so many young boys' lives... tears sprung into his eyes.
I was looking into getting the spell Plant Growth because we work with some agrarian societies in our campaign.
If you cast the 8-hour version that enriches plants in a 1 mile radius to double their next harvest over the same 1 mile every day, what stops it from increasing the harvest exponentia...
@ReaperOscuro no, sadly not my hand, I have not art ability. The Pitamat is from a concept artist named Talin, and I don't remember the artist on the tarrasquelichzebo mount.
It’s official. Hunters Entertainment is teaming up with @Skydance to produce tabletop role-playing games set within the stunning sci-fi universe of the hit @netflix series, @AltCarb. Coming 2020. #AlteredCarbon
It's been my experience that involving an original creator in an intersemiotic translation of their work usually only improves the translation if the creator already has experience making original content in the new medium.
@BESW Eh, probably depends on the role they take. If it's basically just as a story consultant or something, I can see it being useful. If they try to be the lead writer or something, I can see how it'd cause issues.
My introduction to EP was a strange one. Essentially, my Transhuman Space GM was apparently heavily influenced by exposure to EP, and as a result the THS campaign felt more like an EP campaign in tone. Somewhere along the way I found out about the influence and checked out the other setting.
I'll give the Netflix show a shot for background entertainment, but I can't get too excited about another transhumanist RPG that's drawing on the same material all the others have.
I'd like to see a transhumanist RPG inspired by futurists like Okorafor, please. That'd be new and fun and different.
Also I'm going to take a wild stab in the dark and guess that whatever the book was like, the show's gonna use cyberpunk aesthetics but completely miss the philosophical point underlying it.
@vicky_molokh It's not rooted in the "canon" of a handful of English-speaking white dudes, which leads to a narrow conversation about a narrow set of topics within a very specific world perspective. By deriving inspiration from envisioning the future through the lens of other peoples and cultures, movements like Africanfuturism see the human identity and its connection to both nature and technology in completely different ways, through different epistemologies and values.
Cyberpunk, in particular, is based in a vision of the future as a remixed and intensified present, specifically intensifying capitalist and individualist values. This is completely unlike the visions of augmented humanity we see in stories like Binti and On a Red Station, Drifting, where humanity's relationship to natural and technological innovation is framed in the context of collectivist cultures and family obligations.
(And not the anemic outsider's-perspective version of collectivism and obligation that culture tourist authors like to sprinkle into their scifi as an exotic alternative, but written with the compassion and cutting insight of people who have experienced the complexity of those realities and seen how technology and nature influence them.)
There's a sadly common notion that good scifi authors need to have read "the canon" of major influences or they'll repeat things which have come before or not be able to build on the old ideas to get to new places. This is nonsense, and people who believe it usually wind up doing the same things with very minor modifications and being praised for innovation by people who've also only read the same books.
Meanwhile authors like Okorafor who came to science fiction through their lived experiences are actually doing radically interesting things because they aren't stuck trying to spin off the same tiny handful of decades-old inspirations.
(To be clear, I don't actually value innovation for its own sake so much as the craft telling of a good story; but I am weary of the same stories in the same styles dominating a genre that supposedly prides itself on creatively imagining futures but keeps imagining the same future for the same people.)
@BESW Now I'm torn between wanting to read it for the innovation, and being put off because it's described as collectivist (long story short: I was born in a collectivist society, was glad to see it fall, and wouldn't want a collectivist future).
And I don't mean to imply judgement on anyone who enjoys those kinds of stories. I personally am weary of them, and jaded by how many of their writers and readers actively reduce the opportunities for other kinds of stories to take root in the genre.
With stories like the Imperial Radch series and The Tea Master and the Detective out there, I'm saddened that I could have predicted at least a half-dozen of the authors who dominate Eclipse Phase's inspiration list but couldn't tell you a significant difference between each author's works.
@vicky_molokh You may be confusing collectivism with communism; they sometimes overlap but are not at all the same.
Collectivism is a cultural value that is shared by many indigenous groups, including the one I live in, and rarely looks like the extremely specific and very nationalized collectivist-communist ideology of Marxism–Leninism.
@BESW Oh, then we are on the same page, I guess. I have my share of things I'm tired of even though I recognise they're fun for other people and that's OK. (Though your opening looked like it was prepared to be judgemental.)
I am rather judgemental about the people who act to perpetuate a monoculture by excluding people and perspectives, then pat each other on the back about the inclusiveness of their genre. I am not judgemental about people who simply like that one thing but still welcome other people into their shared spaces.
Nothing is perfect in this world, and so it's not only okay but necessary to like imperfect things. I just advocate liking them critically, which means staring their flaws in the face without flinching.
@BESW I'm about to leave soon, so won't dive too deep into such a deep topic, but I would say that the overlap is big enough that I stand by my statement. (I'd also like to note that communism-the-ideology never achieved communism-the-end-goal-society-type.) My dislike is not limited to the specific implementation as seen in USSR, but rather to some of the basic principles that have been necessary for the creation of this implementation.
I suggest that you look into indigenous implementations of collectivism, but caution that they require being open to unfamiliar epistemologies.
At any rate, my overarching point is that the most visible transhumanist futures (and most visible scifi futures in general) are written from a small handful of similar perspectives and we keep re-hashing those same themes, motifs, and assumptions finer and finer. I love finding stories about what the future looks like to other kinds of people, other kinds of cultures and ideas, other ways of knowing.
And not in the "othering" sense. In the sense that I've only been getting one perspective my whole life and I'm sick of it and I become a better person when I know how other people see the world--which means the stories can't be people like me guessing how other perspectives would see the world.
@Carcer It's... complicated. In this context it's about identity and power structures as much cooperation.
It's about how you know who you are.
(And it's not on the opposite end of a spectrum from individualism, though that's a tempting simplification to make. Collectivism is actually an imperfect academic term made to encompass a variety of unique cultural values which share some elements Western academia considers similar.)
A Pasifika epistemology is likely to say that present moment is the least important thing. It is created by the generations of past harvesters, and it is an obligation to the future harvesters. The focus is not on you and how the community depends on you, the focus is on the community stretching back and forward that you depend on.
Pasifika cultures "walk backward into the future." The present is the least important part of time, a moving blip defined by what came before and moving into what will be.
A good physical example is harvesting taro: you can't harvest taro now unless the last person who harvested it cut off the corm so it would grow back. While you're harvesting taro now, you have to be the person cutting off the corm so it will grow back, because that's what the future needs.
The act of harvesting now is created by the past and defined by the future.
...that got linked in the wrong order. Oh, well.
One thing I love about In a Red Station, Drifting is that de Bodard combines transhumanist technology with the cultural value of family continuity and ancestor veneration, to simultaneously allegorize the present values AND offer creative speculation about how those values would influence technology.
(NOT, notice, how technology would influence those values.)
A very popular thing for "classic" scifi to speculate about is how technology will change our values: will it drive us to commodify human experience or free us from material limitations on valuing all life; make us atheist and sow existential despair or uplift us and make us more optimistic and faithful?
And sure, sometimes you get awesome stuff out of that, like Leckie's Imperial Radch.
I'm just starting out with D&D, and while I haven't played yet, I'm in love with all the things in the PHB. But I am a sucker for self-torture/more content, and I was wondering what got left behind when 5e came out in terms of playable races.
What playable races were cut in the transition from 4...
But authors like de Bodard and Okorafor take their cultures' values and project them across the stars to see what their perspectives can do with the future.
> I met Nnedi a few years ago, and I'm a great admirer of her work. She's an exciting new talent in our field, with a unique voice. Even in this Golden Age of television drama, there's nothing like WHO FEARS DEATH on the small screen at present, and if I can play a part, however small, in helping to bring this project to fruition, I'll be thrilled. (source)
He pitches it as "an Africanfuturist novel about a young woman who becomes a great, powerful, and dangerous sorceress."
Her Lagoon is also aggressively transhumanist in very surprising ways, though it's set in contemporary Lagos.
I doubt she'd call it transhumanist though--or care except to roll her eyes. [grin] Okorafor is understandably weary of people trying to label her fiction, since it doesn't fit neatly into any established boxes except "excellent, you should read this."
I read transhumanist ideas into Lagoon and that's all I can accurately say.
@Carcer so, on the druid-gank questions, one of the things that came to mind for me was that while a character's levels give them a certain set of capabilities, it doesn't necessarily give them the psychological tools to use them effectively, or to quote Jeff Cooper, "It is the man, not the gun, that wins."
enough that I understand what he's talking about though
D&D has a weirdness here of course where being high-level necessarily implies that you have good combat experience, and because it's a turn-based game in practice everyone gets a lot of time to think tactically about what they're going to do
@Carcer I would say "not necessarily" -- the turn-based nature of the game does introduce something of a meta there that's not the same as real-time play, but that's more of an OOC thing
"The druid gets surprised and in his confusion isn't able to effectively fight his attackers" makes perfect sense but it is probably inconsistent with how things would've gone down if that druid had been any player character
it's not impossible but it's something that requires a bit of delicacy by the DM
(in order to make sure that it isn't considered as unfair)
think of what it's like to be introduced to something like "scry and die" tactics the hard way, because the DM just did that to your party with a high level wizard NPC
well, it's difficult to create genuine surprise in the same way as you might have in a real world situation. But time pressure could produce reactions which are closer to a realistic response
@Carcer This would be a case where some systems are better suited than others.
En Garde! is a turn-based game that gives you as long as you want to determine your actions... but in complete ignorance of the other characters' actions until the end of the scene when you all learn how it's resolved.
Fate would just give the ambusher a boost like Surprise! or let the ambusher create an advantage on the target like Caught flat-footed.
@Carcer Oh, for sure, the table has to IMO be well used to "combat as war" as the game mode. For a "beer and pretzels" kind of game it does not work.
A couple of the groups I played AD&D 1e and OD&D with were all members of a wargaming club. our combats did not drag on as I so often see in later styles ...
@KorvinStarmast This bloatedness contributes to longer combats, but it's nowhere near as bad as it was in epic-tier 4e. Epic tier monsters in 4e quite commonly have hit points in several hundreds, even over a thousand, but attack damages don't really follow.
@KorvinStarmast Luckily, the badness of it increased gradually. It was quite tolerable on lower levels (and in all fairness, I started playing in the Post-MM3 era when they had fixed the worst of it already)
I had to look it up --- it's actually 2d12+12 plus another 1d12 necrotic damage. He does have a special reaction attack of a similar caliber, a "save or zero your HP" attack and an area attack of similar damage as his normal attack, but the latter two are limited use (recharge with a 6 on a d6 each turn)
If it wasn't for the "Touch of Death", a level 5 character could actually survive 4e Orcus for long enough to recite the Major General's Song or something.
In a strange quirk of game design, the Wand of Orcus raises anyone slain fighting him as a Dread Wraith, but given how levels scale in 4e, it's not likely to be a significant additional obstacle to anyone capable of challenging Orcus in the first place.
@Shalvenay I'm sorry, but I'm gonna have to drop. I realize I'm pushing the limits of your schedule as it is, and basically it's either I go to board game club Saturday night or I do this Sunday morning.
@Glazius @Shalvenay It's okay - when games start to feel like a burden, something must give. If we can try again when your schedules are different, that'd be great :)
@d0pp3Lgr33n3r I can only say that your sense of humor, visually, was quite jarring when I logged on this morning. It evoked a "yuck" response. (Which I guess was the intent?)
Lucky is a feat that only targets either you or something that's attacking you. How would there be more than one creature that can manipulate the outcome of the roll?
Is this only referring to if you try to alter an attacker's roll, but they also have Lucky, and they try to change their own roll?
I just got to review an edit having to do with this post:
https://stackoverflow.com/questions/23677922/access-ios-and-android-calendars-from-delphi-xe
The edit did no change to the post apart from introducing code formatting like this to words that aren't code, such as iOS and Android (while cur...
The MM entry for a Lich mentions destroying a phylactery is a difficult endeavor but the only way to prevent a Lich from rising again and again.
Does destroying the phylactery destroy the soul within? If not, is there existing lore explaining what happens to a Lich's soul when its phylactery is...
In order to make the Snowcasting feat more useful in warmer areas, or during warmer seasons, I am looking for a source of snow or ice that never melts.
This can be a spell that enchants snow or ice in such a way (preferably permanent), or supernatural snow or ice that simply never melts for one r...
It's not even failing in interesting ways, which you know I'll watch gleefully. The best actors and most interesting concepts are sidelined and fail to fit into the larger narrative because the main qualities of the setting and plot are cookie-cutter predictable with a heavy ladling of mismatched aesthetic to cover it up.
There are some neat gems of thoughtful science fiction concepts, sprinkled here and there, but otherwise it was a blah recycling of well-established filmography and scifi noir tropes
Yes, precisely. Much like how jumpscares are overused in horror, the writers were relying too heavily on cheap tricks and shock value
Overall it wasn't bad (except the ending, which was.) but focused too much on a bland A-plot with bland characters, and all the potentially interesting ideas were tossed into this big messy pile on the side
The Mastermind rogue in my game was well hidden when he threw a flask of holy water at a shadow demon that attacked his ally. In the moment, it made the most sense to me to allow him to use Sneak Attack while hitting the fiendish creature with the flask.
The description of Holy Water says:
A...
I encountered a situation where I was Frightened of a large creature. By the words of the Frightened condition:
The creature can’t willingly move closer to the source of its fear.
Could you use the Misty Step spell (or some other means of teleportation) to get closer, since the rules only s...
I do try to get better at just about every game I play, but there's a certain ceiling, at a different place depending what kind of game it is, and no amount of telling someone to git gud is gonna make them better when they already like the game and play it a lot, especially if they have some problem you don't have that gets in the way
besides which, I personally think every game should have more difficulty options,.... a lot already have "impossible mode" or wtv they choose to call it from game to game
plus, heck, if I could have, for example, just skipped the quick time events in Resident Evil 4? I would have played probably even more disgusting amounts of that game
Like, yeah, there are some movies which are designed for the theater experience and the intended impact is reduced otherwise... but for me it's reduced impact or none at all.
@trogdor And so often making games harder honestly doesn't significantly impact the experience except to artificially boost my investment because of forced sunk costs. In terms of story increased difficulty is usually just pointless padding.
So I know that Wish is meant to be a really powerful spell, but some of my players from my group (I am the DM) seem to have spent some time into getting around the limitations of Wish. Now, I know that in order for no adverse (other than a mishap) you must replicate a spell of 8th level or lower,...
A basic principle of ethical consent in programming is that users should be empowered to turn unnecessary features ON rather than required to turn them OFF if unwanted.
It's the difference between "Stop if they say no" and "Get a yes before you start."
So far it only appeared when I was trying to answer a question. It was very disconcerting and I couldn't turn it off (the prompt appeared saying that I would lose my draft)
@Ben but there are good things I want to do on April 1st! Like learn how to make "eggs" out of flax so I can make vegan banana bread! (also a dentist appointment but that's less fun)
@BESW yes, but I don't have chickpeas (thought I did but they're other beans), but I do have miles and miles of flax from the short lived "here Ash learn to be skinny" meal plan days
It's hard because the mechanics require finesse and timing, with a level of realism that is frustrating (heavy attacks pretty much straight up kill you in one or two hits), which forces a level of repetition that borders on madness
With the completion a particular trial being its own reward.
Some people would compare it to the act of beating your head against a brick wall, where the goal is to break the brick wall down with your own head. Over time, you learn that just going to the middle of the wall and beginning to headbutt it relentlessly will eventually break the wall down, but at the same time, you can also learn to look for weaknesses in said wall, and using particular parts of your head will make it hurt less.
@BESW Speaking of Doctor Who, we had a discussion about which of the Angels episodes was more scary. The first one, or the multi-part episode where the angels were actually just starved formless husks that eventually grew in power to become an army of Angels.
@BESW And more on topic... was that the episode where he punched his way through that wall?
user15026
@Ben That's a pretty good explanation of it, from my understanding. (It's inaccessible to me, for reasons that I am sure are obvious)
@Ben The first one. For a lot of reasons, including a distinct lack of River Song, no silly "what contains an Angel" retcon that makes the whole concept stop making sense, and also that in "Blink" the audience also count for the quantum lock effect.
A big problem is Moffat's obsession with major season-finale events, because it means the other writers for the season can't do anything significant with the characters in case it messes up the dynamics for Moffat's plans.