Thinking about +Joseph Manola's post on time and distance, I'm going to give my PCs 1-3 months downtime between every adventure. A few loose rules for downtime actions.
1. Level up, if you have enough experience
2. Collect rent or income. For income; declare a job, Referee determines relevant attribute, and roll a test under attribute. Difference between roll and attribute multiplied by level is income per month.
3. Pay lifestyle expenses: base 30 gp a month (assuming 1 gp a day as average spending), going up or down by factors of 2 (so for living richer, 60, 120, etc, and living poorer 15, 7, etc.)
4. Manage estate: Pay rent or upkeep costs, pay wages, etc.
5. Any other downtime actions (usually 1-3 per month, though things like crafting and ritual magic should have time determined manually), including
Commission a building or a stronghold/tower/castle etc; must own land
Invest in property or business
Hire retainers: CHA test if they accept the job, modified by wages, living quarters, etc. Morale is CHA/2
Get involved in local politics; must own significant share of land
Ritual Magic (based on this and this). Attempt powerful magic effects. Requires base spell(s) or miracles, and any of the following: material components (treasures, jewels, statues, ancient artefacts, blood pledges, etc.), sacrifices, additional casters, energy from non-casters, summoning or invoking a demon, patron, or deity etc.
Carrion is the endless city. Time began in Carrion, and in Carrion shall it end. When the world was new, the Hornèd Mother's child, the demiurge Cannibal God, bit her in half. She fell into the hole he had created, for her body itself was the world. There she crawled across the bottom of a still and silent sea, till she beheld foggy lights ahead. Crawling onto the oil-soaked shale shore, she beheld a great city. Alas, this city was Carrion. The people of the town emerged, pale and mute, illuminated by torch and lamplight. They carried with them scalpels and saws. Bit by bit they cut her to pieces. Little by little they tore her apart. As her wails pierced the air, none of the people made a sound. They each carried a small piece of the Hornèd Mother home, and left her body there on the beach to be picked clean by the crows, and scoured by the surf and shale. By the Still Sea, beneath the Iron Moon, one can still hear her weep.
This blog is only posted to fitfully because I'm still dealing with working and going to school full time, and the neurotic soup of my brain sometimes makes it hard for me to keep up with OSR stuff, but I have a backlog of adventures I'm hoping to write up here, and am running a new campaign again.
The premise is that it's more or less a standard crapsack Gaslamp fantasy Victorian London knock-off like we've seen in Bloodborne or Sunless Sea, except it's literally endless. Apart from the sea, everything else is just urban sprawl. So wilderness is just derelict, condemned ghost towns, villages and towns are more like isolated suburbs, things that were mountains now become towers, and there's a whole lot of mansion-dungeons.
Some quick notes about ways to make 5e a bit more dangerous, while not falling into OSR level lethality.
Of course, all this applies to both monsters AND PCs.
Critical Fails on Saves
This is very risky. I love it.
A nat 1 on a saving throw = double damage or double effect the same a way a regular critical is.
Critical Hit & Fail effects
Critical Hit & Fail tables are really fun. I hate them. They're too fiddly and slow down play. Most also do rob players of tactical agency in sometimes unfun ways. Decks are fun but we play online and I don't really like roll20's deck feature; I might come around to it, we'll see. 5e went a long way to making criticals simple and effective: no more confirm critical bullshit.
But I do want them to add more uncertainty and an element of reaction and adaptability to criticals. Particularly fails, as I want them to be much more "oshit" then just "you auto-fail".
"For a long time I've been playing a house rule that a 1 on a d20 'to hit' was a dropped weapon...An ordinary, crummy weapon, I reasoned, would break 1 in 6 upon dropping. A 'hard-forged' weapon would break on a 1 in 8. A 'blessed' weapon, one that had been hard-forged and both lucky and loved in its construction, would break on a 1 in 12. And a 'mastercrafted' weapon would be the kind made by an artist ... and it would break on a 1 in 20."
I like it, but there's too many numbers, let's simplify it. Cheap/shoddy: 1 in d4. Normal: 1 in d8. Masterwork: 1 in d12.
This should apply to spellcasting foci and components as well.
It's interesting that this rule "reflect[s] the value of cheap weapons vs. really valuable weapons, those which didn't happen to be magic" which gives more impetus to Gold as XP.
So the inversion of this on critical hits, is armour.
A critical hit removes AC down 1 till we reach natural AC (10+dex mod). After which a critical hit forces a roll on lingering injuries. If using a shield, deduct AC from shields first.
Cheap/shoddy armour/shields: remove twice as much AC. Masterwork: takes two critical hits to remove a point of AC.
Prices for this follow the same formula: half-price for cheap, double price for masterwork.
My playlist today ran through Wolves in the Throne Room, Have a Nice Life, Fetty Wap, and the new Kanye. And a thought occurred to me.
Metal and its (many, many) subgenres is the only genre that consistently does fantasy. And consequently, people like Zak S. and James Raggi, who define and produce a lot of the "weird fiction" content for D&D, are extremely influenced by metal. Vornheim is a Teutonic Gonzo-Norse wet-dream.
I love metal, but it largely draws on European myth and folklore (as does D&D in general). Now I love me Vikings and shit and I have the complete Northlanders and about 3 translations of Beowulf within arms reach (and a giant fucking anthology of Old English, Norse, and Icelandic literature) but, as a delicious chocolate man (or POC if you're boring) I gotta wonder about the alternatives.
What does hip-hop fantasy look/feel/sound like? Hip-hop D&D? Or acid jazz or j-rap or reggaeton or whatever. Or, what does non-white metal look/feel/sound like?
p.s junot diaz write an actual fucking fantasy novel already jesus christ
If you have a bard in your party and want to get more mileage out of the Performance skill, I present to you my rules for busking in 5e (though it could pretty easily be adapted to any other system).
Players can choose to busk as a downtime activity if they are in a civilized area. If the players are busking in game time, wing it with the time they spend busking.
Roll Performance (if performing as a group, roll with advantage in 5e). Multiply the roll by # of days spent busking. The busker receives that number in
Coppers or equivalent if busking in a village (street), or a disreputable part of town.
Silvers or equivalent if busking in a city (street)
Electrum or equivalent if busking in the cultural sector of a city or a city renowned for the arts, or the inn of a city, or a public amphitheatre in a city.
This could also be adapted to the gratuities received if playing in an inn of some kind, even though that's technically not busking (and you're more likely to be paid in drinks, but you could cut a deal with the bar). Increase the denomination by one step for playing in an inn (so silvers in a village inn, electrum in a city inn, gold in an artistic city inn).
Now the fun part. Roll on the Random Busking Encounters table below. I suggest directly RPing this whether you're busking in downtime or game time.
The Performance check determines how to roll on the table:
A Nat 1, roll with disadvantage.
A roll between 1-9, roll a d6
A roll between 10-15 roll a d12
A roll of 15+ roll a d20
A Nat 20 or any roll in excess of 25, roll with advantage.
RANDOM BUSKING ENCOUNTERS
1. Scandal: You said, did, or performed something offensive to the local populace during your set. Receive no gold and you are no longer able to find employment as a performer in this city until such time as public favour returns your way.
2. Play Wonderwall: You've attracted an unfortunate hanger-on, a heckler, an obsessive fan, or
someone else equally unpleasant who drives the crowd away. Halve money earned.
3. Trespassing: You've inadvertently begun performing in an already staked area. Maybe a bard's alliance lays claim and requires a membership fee, the city bylaws require a busking permit, or a thieves' guild wants a tax for being on their turf. Whatever the group is, they will ask for d% of all busking profits in that area. The PCs can refuse but must deal with the repercussions.
4. Murphy's Law: Something unpleasant and unexpected happened. Roll on your Random Urban Encounters table, or if you're feeling gonzo, a Wandering Monsters table. Strange rumours circulate about you in response to this incident.
5. Technical difficulties: Something you use in your performance (instrument, costume, script, etc.) is stolen, destroyed, or damaged. You'll need to find a way to get it repaired or fixed, or develop a new act.
6. Harsh words: Someone has it out for you. Your performance was poorly received by a local critic, a patron of the arts, a nobleman, etc. They disparage you openly and publicly. Roll with disadvantage when busking in this area unless you manage to rehabilitate your reputation.
8. Dark materials: You made no money. Where was the crowd? It seems unseasonably overcast. And what was the deal with that one guy who left you: 1-3 something entirely useless, a shoestring, a cork, a frayed playing card, 4 a trinket, 5 a strange idol, 6 a random magical item (would suggest something consumable), probably cursed or, if a consumable, likely to have unintended effects (see here, here, or here)
9-12. Business as usual: Nothing particularly interesting happens.
13. Damn fine performance: You're in the zone. d% extra currency earned.
14. All abuzz: Something was especially remarkable about the performance, or someone important has taken to you. Word of mouth spreads quickly. People will be talking about you. Roll with advantage the next time you busk in this area.
15. Imitation is the sincerest form of flattery: You're a trendsetter. Your style is taking off locally: being codified into a genre, trend, etc. Imitators abound. You're even more well known than before, but consequently, you're at the risk of becoming passe if you don't change up something in your act or dissuade your imitators.
16. New friends: Your performance attracts: 1-3 a new hireling, contact, or friend, 4-5, a random animal companion (dog, goat, badger, snake, bear, psuedodragon, etc.) who joins your act, 6 a familiar
17. Interested eyes: Someone important has noticed you. You have: 1-2 been invited to play at the manor of a wealthy patron of the arts, 3-4 been invited to play a large show(s), 5-6 been offered a publishing deal (or equivalent based on genre & time period).
18. An instant classic: That'll go down in history. New-found fame attracts attention, both wanted and unwanted.
19. Keep it secret, keep it safe: While sorting through your tips, you find something you hadn't noticed: 1, a magic rope, 2 a magic candle, 3 a potion (as normal, or here and here), 4 a spell scroll, 5,something from someone you haven't seen in a long time, 6, a random magic item.
20. Lightning in a bottle: You'll never have a performance like that again. Roll twice on the table. Double currency earned after all encounters are resolved (in order of low to high).
This'll keep your bards from becoming complacent and safely getting rich through bardi-ness. Remember, the best bard is a dead bard!
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