D&D Out of the Abyss - Part 1 Sloobludop

*Yes, part 1 means we're still in part 1 of the campaign, though Sloobludop can be visited later too but it will be in ruins or in the process of being rebuilt following the final scenarios presented in this chapter of the book. These final scenarios are important for establishing the stakes of the campaign.

What is Sloobludop (Sloo blu dop)?

• Appearance: Rickety towers connected haphazardly by bridges of planks which stand out among seaweed with phosphorescent spots.
• Society / culture: Village of 500 or so kuo-toa (fish-folk). Madness is common to their people.
• Politics: Sloobludop has a theocratic government to Blibdoolpoolp the Sea Mother.
• Economy: Trade (fishing and diving) and ferrying services.
• PCs can resupply here or hire a guide for Darklake.
• Religion: Blibdoolpoolp the Sea Mother is the established religion.
• Leemooggoogoon the Deep Father is the new controversial religion causing the conflict.
• Military: Militia formed of all able-body members of the village.
• Conflict: Currently, there is a lot of religious tension over a new religious faction that has formed to Leemooggoogoon, the Deep Father.
• The Drow will not pursue the players here. Reduce pursuit by 1 for every day spent here.

Major Locations

• Gates: Walls on the north and south, each have a gate guarded by 4 kuo-toa whips. The walls are actually nets with sharp fishhooks fixed into them like barbed wire.
• Docks: On the west side. There are several docs with keelboats moored at all times. It is patrolled by five groups of three kuo-toa monitors lead by one kuo-toa whip.
• Shrine of the Sea Mother: In the center of town is the shrine to the Sea Mother, and is a central feature of the town. Visitors are expected to make offerings or regurgitate. 4 Kuo-toa monitors stand guard. 2d4 Kuo-toa worshippers are present at any time.
• Ploopploopeen's Hovel (home) is adjacent to the shrine and contains as treasure the various offerings made to the shrine. It is attended by 4 kuo-toa.
• Altar of the Deep Father (Leemooggoogoon): The altar is located near the docks. 6 Kuo-toa work here to arrange offerings which are usually living creatures sacrificed on the altar, or ones own blood. Non-kuo-toa humanoids are captured immediately and delivered to the archpriest.
• Bloppblippod's Hovel (home) where a duergar prisoner is kept as an offering.

The Two Factions and Notable Characters

1. Established faction of Blibdoolpoolp the Sea Mother.

• Leader: Ploopploopeen (male), archpriest. Leader of the village.
• Lieutenant: Glooglugogg, kuo-toa whip and son of Ploopploopeen

2. New, controversial faction of Leemooggoogoon the Deep Father

• Leader: Bloppblippod (Blop blip pod), archpreist and daughter of Ploopploopeen. 
• She is mad, sadistic, and bloodthirsty. She believes her new god will rise and bring glory and lead her people.
• She has recently professed to having powerful visions of Leemooggoogoon and declared him the new god of her people. She has been granted powerful magic and new followers have flocked to her.
• Lieutenant: Klibdoloogut, kuo-toa whip and keeper of the Alter of the Deep Father
• Prisoner: Duergar weapon smuggler named Hemeth. His intent was to cut a deal to sell weapons to both factions and profit off both sides of their conflict. He is now a bound and beaten sacrificial offering. If the PCs for save him, he is willing to return the favor if the PCs are captured in Gracklstugh.
• Note that it's important for the GM to understand that Leemooggoogooon is actually Demogorgon, chaotic evil demon prince. This is not a nice religion at all.

Scenarios

There are several scenes or scenarios presented in the book. I have listed them in chronological order with minimal summaries.

1. When the party arrives within one hour of travel of the village, they are ambushed by Kuo-toa worshippers to Leemooggoogoon and captured.
2. Following the previous encounter, the characters meet Kuo-toa worshippers to Blibdoolpoolp led by archpriest Ploopploopeen who will rescue the PCs if they were captured. Ploopploopeen has a proposal for the PCs.
3. Ploopploopeen, archpriest of the Sea Mother, proposes to use the PCs as bait and infiltrate the rival faction under the guise of a peace offering. If PCs refuse, Ploopploopeen will use them anyway. The goal is to disrupt the other factions' rituals to create an opportunity for the worshippers of the Sea Mother to behead the leader(s) of the rival faction and return order to the village. 
4. Ploopploopeen with escorts (optionally, and the PCs) visit the shrine of the Deep Father. 
5. Members of the two factions fight on the shores and docks of Darklake while a ritual is performed to sacrifice several offerings with the intent of calling forth the Deep Father.
6. Demogorgon rises from Darklake. All witnesses make a check / save against madness. Demogorgon reaches the shores in 4 rounds and begins attacking Sloobludop.
7. Escape Demogorgon. If escaping by land, mad kuo-toa may attack the PCs. If by water, ixitxachitl attack.

D&D Out of the Abyss - Part 1 Darklake

*Yes, with Darklake we're still in part 1 of the campaign book, although Darklake can be visited in part 2 of the campaign.

What is Darklake?

• The name Darklake is a misnomer. It's not a lake, it's a network of waterways and canals that spans 100 miles. Some of them are connected by falls and locks. The locks were built by duergar engineers.
• Darklake is dark. The only light is what the PCs bring.
• The water of Darklake is unsafe to drink. It is not recommended to swim in Darklake.
• Darklake is impossible to navigate unless you've spent years learning to navigate it. The Kuo-toa (fish-folk) offer ferrying services, but they only speak Undercommon.
• One the west shore is Gracklstugh. On the east shore is Sloobludop (sloo-blu-dop). On the north shore is Mantol Derith; however, Mantol Derith's precise location a secret and so we'll avoid mentioning this settlement at all until part 2.

Traversing Darklake

Anyone traversing Darklake by keelboat or raft can do so at a rate of 1 mile per hour or 8 miles per day.  This requires rowing. Any more than 8 hours of rowing a day for an adventuring party is considered a forced march. This means that a navigator who is knowledgeable of Darklake can traverse Darklake in about 2 weeks which is faster than walking around it.

Player Characters should be advised not to cross Darklake on their own. If players dare to travel Darklake, they should stick to the shoreline. Should they leave the shoreline, navigation checks should only be allowed with a map.

Note the Drow will not pursue PCs on Darklake. Reduce the pursuit level by 1 for every day that the players travel across Darklake.

Encounters

If on a watercraft, the book recommends rolling for encounters every 4 hours on Darklake (2x per day) where a 1 to 13 on a d20 (65%) means no encounter. If swimming, roll for an encounter once per hour. Consult the book for the table of encounters. For the interest of expediency of play, I would suggest one or two encounters per week of travel.

Terrain

The encounter table asks the GM to roll on the terrain table to randomly generate the terrain (like finding rapids or an island). Details for some terrain results call for situations requiring ability or skill checks to safely avoid some harm. Assume that a navigator who is knowledgeable about Darklake will not put the party into one of these dangerous scenarios and overrule these results. Consult the book for the table.

Crafting a Raft

Characters who want to create a raft must spend the crafting time or downtime. Materials must be at hand, or else they must be foraged, like Zurkhwood fungus for its wood stocks and Trillimac for its leather caps that can be made into strips to lash wood together. The raft has half the HP (or durability) of a Keelboat.

D&D Out of the Abyss - Exploration

There is one table in the book that will be very valuable for the whole game, but is too literal and precise for my taste, so I have modified it. My modified table shows you the distance from one location (settlement) to any other in weeks of travel. It replaces the need for a map of the Underdark.

Location	Velkynvelve	Sloobludop	Gracklstugh	Neverlight Grove	Blingden-stone	Menzober-ranzan
Velkynvelve	-	1 week	4 weeks	5 weeks	4 weeks	4 weeks
Sloobludop	1 week	-	3 weeks	4 weeks	3 weeks	3 weeks
Gracklstugh	4 weeks	3 weeks	-	2 weeks	3 weeks	4 weeks
Neverlight Grove	5 weeks	4 weeks	2 weeks	-	3 weeks	3.5 weeks
Blingden-stone	4 weeks	4 weeks	3 weeks	3 weeks	-	1 week
Menzober-ranzan	4 weeks	3 weeks	4 weeks	3.5 weeks	1 week	-

Traveling to any location takes at least one week, and frequently three or more weeks. Therefore, I recommend simplifying travel by treating one turn of travel as one week rather than one day unless your players are really into daily exploration. Treat fractions of a week as negligible, except see travel pace and failed navigation.

Travel Pace: For simplicity, players can travel slowly to extend the travel time by 1 week or fast to reduce it by 1 week (minimum 0.5 weeks treated roughly the same for purposes of running the game). Keep in mind the advantages and disadvantages to fast, normal, and slow paces.

Lighting: most of the Underdark is dark imposing penalties (i.e. disadvantage) on ALL actions or checks that require sight for those who rely on darkvision. Nightlight is a type of phosphorescent fungus present in some places which sheds light half as well as a torch. Also see faerzress below. In any given area, roll a 1d6. The area is lit on a roll of a 1 to 3, and dark on a roll of a 4 to 6.

Guides: Any NPC could conceivably act as a guide, depending on the NPC, and so navigation is automatically successful if they guide you. This can encourage PCs to be friendly or offer money.

Wandering Encounters: Roll three per week if you're generous, though in the Underdark their chances of occurring are one roll per day and one per night of travel. Wandering encounters are important for making travel in the Underdark feel risky. For each encounter:

1. Roll for terrain as the terrain varies greatly. See the book or make your own.
2. Choose or roll the encounter. See the book or make your own.
3. Roll or determine NPC reaction (attitude) to the PCs, including hostile, indifferent, neutral, or friendly.
4. Roll starting distance, direction of travel. Determine marching order.
5. Roll for surprise, or rather Stealth and Perception.

• Allow the players every chance to avoid combat by hiding, using speech or trade, or some other tricky, creative thing they can think of that could reasonably succeed.

Fixed Encounters: I'm not a fan of the idea of fixed encounters in the Underdark, and ones in the book might have a family-friendly-ier tone than I like. I would add it to the random encounters or make it a reward that the characters can discover with effort, say by learning rumors and following them.

Actions. Below is a list of actions that the player characters can make while traveling. Player characters are limited to one action per travel turn (or 1 action per week).

Navigating: Call for one check per week of travel. For game purposes, navigation is not about successful navigation, rather, it's about effective navigation. On a failed navigation check, the player characters add a few extra days to their trip (treat as narrative only for the purposes of running the game) though several failed navigation checks (say 3) can add up to an additional week. Additionally, a failed navigation check can be interpreted as the player characters finding more challenging or hazardous paths that make resource collecting harder and make encounters more likely and/or less fortuitous.

Foraging: DC 15 to find edible food; 20 in some places. Success means wild edibles (mushrooms) are foraged for a single person for the week. Alternatively, permit the players to make several foraging checks per week, one for every day. Edible fungi and one inedible, exotic fungus are listed. Other exotic fungi are omitted. Needless to say, Underdark fungi are fantastic. You can get creative.

• Barrelstalk: can be tapped like a barrel and drained of water.
• Bluecap: it's spores are like flour and can make sporebread.
• Fire Lichen: can be ground into a spicy paste. Can also be fermented into liquor.
• Ripplebark: resembles rotting flesh. Can be eaten raw or roasted.
• Trillimac: the cap is like leather for crafting, the stalk can be soaked in water and become like bread.
• Waterorb: sponge-like, squeeze out water
• Zurkhwood: spores are edible, stalks are like wood for crafting.
• Nightlight: lights up half as well as a torch. If uprooted, goes out in 1 round.

Tracking and Hunting: Players who track game (usually monsters) spend a day. May be better off relying on wandering monster encounters. Creatures slain can yield an amount of food based on size. Tiny: 1 day of food for one person; small 4; medium 16; large 32. Meat not properly preserved spoils the next morning. Alternatively, player characters can employ Counter-tracking to cover their tracks.

Crafting: Most crafting efforts produce makeshift or improv-quality goods. Zurkhwood is a type of mushroom that resembles wood and can be foraged. Assume crafting can only be done while stationary (at camp). Making anything complex distracts a player from effectively keeping watch. Trillimac has a cap that resembles leather and can be used as parchment or paper. Giant Spider silk can be used as rope.

Mapping: If characters have the tools, mapping is possible. By relying on a map of a route between two locations that they have previously made, they can travel that route without having to navigate.

End of standardized actions. What else can your players think to do?

Faerzress (pronounced fae-er-zer-ess probably): a magical ethereal substance like a mist or lingering radiation that glows and permeates some chambers and tunnels of the Underdark. If spells are cast in the presence of faerzress, on a d20 roll of a 1, something goes wrong with the casting.

Madness: There are horrors in the Underdark that stress the mind and challenge spirit. Madness is tracked on a scale of 0 to 3. Characters begin at 0 and add 1 for any time they witness something weird, have prolonged exposure to faerzress, or receive psychic damage. At 1, they suffer madness for ten minutes; At 2, one week; At 3, until treated, usually magically. When mad, the character expresses strange behaviors or speech, and actions are generally penalized (disadvantage).

Death: What happens if someone dies? Suggestions for resurrection are a scroll of raise dead can be found as treasure, the faerzress can mysteriously revive someone but add 1 to their madness, and any dead left behind can be collected and raised by pursuing Drow who want to capture them. Replace characters by introducing new PCs in a random encounter, convert an NPC into a PC, or new characters might be meet and recruited in a location (settlement) of the Underdark.

Drow Pursuers: The Drow captors from Velkynvelve are actively pursuing the PCs during part 1 of the campaign. The lead priestess has taken their escape personally and wants to capture them. The pursuit is tracked as a number on a scale of 0 to 5. On a 0, the pursuers have been evaded. On a 5, the Drow forward scouts have encountered the PCs, and the main Villains are 1d6+4 rounds behind. Players begin at 4. Add 1 for every day the players travel at a slow rate, engage in combat, certain random encounters. Subtract 1 for every day the players travel at a fast pace, employs counter tracking to cover their tracks, cross terrain that obscures their tracks, or if the part split up. Adjust the pursuit by + 1 or - 1 if the players do anything that would reasonably affect the pursuit, including meeting any Drow in s settlement or publicly discussing their escape and pursuers. If captured, the PCs will be taken either to Menzoberranzan or Velkynvelve, whichever is closer. The Drow Pursuers conveniently meet the PCs at the exit of the Underdark for a climactic confrontation at the end md of Part 1 of the campaign.

Dungeons: There are three small dungeons in the Underdark: the Hook Horror Lair, the Oozing Temple, and the Lost Tomb. They have no fixed location in the Underdark; they can be placed anywhere by the GM, or discovered by luck or effort, say by learning about rumors and then following them. You can create and add your own too to break up the monotony of the game.

Warnings about Running Exploration: Exploring the Underdark in some ways must resemble the backrooms, if you're familiar with that concept. It sounds boring because exploring a nebulous and empty space for weeks at a time is lacking interesting dramatic conflict and it doesn't offer any sense of instant gratification or a feeling of progression that that is offered by other games or aspects of other games. I feel like it must have a very, very delayed sense of gratification, like boredom-torture or sensory-deprivation torture might have.

Further it lacks that sense of internal reward system where you do something and your brain rewards you with a hit of dopamine to encourage you to do it again. Effective gameplay loops take advantage of this. The Underdark by comparison is a game about earning things slowly. It is mechanically monotonous albeit flavorfully varied. It's conceivably a gauntlet of random encounters that have no value beyond novelty and material reward.

Therefore, I can only recommend that you speed-run or speedrun the exploration, or that you turn every encounter into an interesting and fun set-piece encounter where you establish a dramatic goal, an obstacle, and some stakes (stakes means consequences for failure) that the PCs presumably care about because their survival may be dependent on it. Give it a timer, a threat, and a treat.  Consider that there needs to be a good reward with an encounter or else the players may simply stop caring about encounters after a while. If an encounter isn't fun and doesn't offer valuable material rewards, it's probably worth skipping else the players will surely grow exhausted of the game.

D&D Out of the Abyss - Part 1 Velkynvelve

The player characters wake up with nothing but their shirts, manacled, in a shared prison cell noted as the Slave Pen in a Drow outpost by the name Velkynvele, an elvish word for hidden knife. The outpost is built 100 feet up in a large chamber of a cavern. The outpost is long and narrow. It is made up of some hollows in the cavern walls and in some very large rocky outcroppings resembling stalactites that are all connected by zurkhwood bridges and platforms and rock paths. There is a net of spiderwebs just below. Its exterior is dimly lit by prosenescent fungus called nightlight which grows out of the walls. Do you really need a map of Velyknvelve? It's pretty small. Just use theater of the mind. Here's a list of the key locations.

• Priestess Quarters (lead priestess only). The room is decorated nicely with things of monetary value. The player characters equipment was taken when they were captured and is stored here.
• Shrine of Lolth. Has a giant statue of a spider and is littered with silk pillows. The other priestess quarters here.
• Soldier Barracks (x2). The soldiers work in shifts, and so there are always some resting soldiers here. All soldiers and elite soldiers have a chest for storing their personal possessions with some minor value by their bunks, and for storing their equipment when they're off duty.
• Elite Soldier Barracks (x2). The elite soldiers work in shifts, and so there are always one or two resting soldiers here.
• Quaggoth Den. The Quaggoth are worked in shifts, and so there are always some resting Quaggoth here.
• Slave Pen. Closed by a heavy iron gate. The prisoners are kept here. There are no comforts other than chamber pots. Has an anti-magic field in place.
• South Watch Post. Manned by two soldiers.
• Northern Watch Post. Manned by two soldiers.
• Guard Tower positioned to look straight into the Slave Pen. Six extra sets of weapons and armor are stored here.
• Main Hall (an all at once meeting hall, mess hall, kitchen, and food storage)
• 100 ft Waterfall and a pool below. An acidic grey ooze (monster) lives in the pool and eats the waste created by the outpost.
• Lift (or an elevator for readers in the USA) with room for four or 800 lbs. The lift, made of zurkhwood, is suspended by a rope (spider silk) by a zurkhwood arm. The rope coils in a winch that is manually operated and requires a lot of strength to crank by two operators, usually Quaggoth. It takes four rounds for the lift to be raised or lowered.

Undercommon

One of the challenges of playing in an Underdark campaign is the language barrier in the Underdark. While in fantasy, the common language is referred to as Common, the Underdark has another language called Undercommon. Common is rarely spoken or understood down here! That means your player characters will have to rely on their other known languages such as dwarvish, elvish, gnomish, etc.

Fellow Prisoners

The book prescribes ten other non-player characters as prisoners. Their inclusion suits the efficiency of the Drow, but it's a lot for a GM to manage, so give yourself permission to consider them optional. Let them serve as movie extras. Create your own NPC prisoners if you prefer.

What's important about fellow NPC prisoners is that the player characters are not assumed to be knowledgeable about the Underdark, but the NPC prisoners are. Therefore, NPC prisoners can provide foundational knowledge of major Underdark locations which the PCs will need. In other words, the PCs don't know where to navigate to after they break out, but the NPCs do. The NPCS can also foreshadow some of the challenges to come, such as madness and the appearance of the demon lords.

Prisoners Knowledge

• Velkynvelve: Who's in charge here, what to watch out for, the goings-on and Velkynvelve drama, that the delivery of supplies from Menzoberranzan is days overdue, and that a contingent of soldiers from Menzoberranzan is due any day to collect the prisoners and take them back to make them into slaves.
• Miscellaneous about Major Locations of the Underdark: Sloobudop and Darklake, Gracklstugh, Neverlight Grove, Blingdenstone, Menzoberranzan
• Dangers in the Underdark: madness, other hazards, monster species and demons, the difficulties of survival and exploration in the Underdark, things to forage
• Other rumors, news, gossip

Velkynvelve Captors

There are nineteen Drow (pronounced row as in row your boat with a D in front) in all. A Drow is an evil variety of elf. Four of them are named. The rest are generic soldiers. Here's what's significant about the named Drow.

• Two Priestesses: The leader of this outpost is a priestess of Lolth, the spider queen. She is cruel and ambitious as is typical of priestesses of Lolth. She's basically a psychopath, and she's armed with a scourge or whip which is a magic item. There is a lesser ranking priestess of Lolth who can be promoted in place if anything should happen to the first. When the PCs escape, this lead priestess will take it personally and will put everything else down to recapture them.
• Two Elite Soldiers: Of the five elite soldiers present at the outpost, two of them are favorited by the lead priestess. One of them was recently maimed and has fallen out of favor, and he's primed to sabotage the outpost or help the PCs to spite her. The other one is armed with a magic wand that shoots sticky globs of goo that can restrain and immobilize a single character per use.

Who else is at the Drow Outpost?

• Six Trained Giant Spiders guard the perimeter of the outpost which is surrounded with sticky their webs. Prisoners are occasionally thrown to them for food when the Drow want to make them an example to the rest of the prisoners.
• Twelve Quaggoths slaves: What is a quaggoth? They look like beast from Beauty and the Beast, but they're blue or blue-green, they're hostile towards those who don't man the outpost, and they have massive strength. One or two of them could be in any room or scene at any time.

Schedules

There are opportunities for players to take action. Feeding time, when bowls of thin mushroom broth are delivered, and labor, when players are taken out and forced to do manual labor and busy work for hours at a time. They can pick a pocket, palm or scavenge goods, or overhear conversations in elvish that might have valuable information about shifts and patterns, or weaknesses of the people here.

Prison Break

The PCs must break themselves out of prison. If your player characters have never done this, they might not have a clue how. NPC Prisoners can also give them hints or suggestions. Just outside the slave pen is the 100 ft waterfall to the pool below, and is the fastest way out. The campaign book offers two interesting scenarios that the GM can provide to assist the players.

• Scenario 1: Drow Saboteur. One of the disfigured elite Drow soldiers gives the players the keys. Then he distracts the guards with conversation for a few minutes while the PCs escape by jumping into the waterfalls.
• Scenario 2: Demon Intervention. Some flying demons are fighting, and their fight places them in the Drow outpost. They are completely indifferent to the Drow outpost, but the Drow raise a call to battle to defend the outpost and are distracted. The demons can conveniently slaughter a few guards and smash the cell door.

The Drow guards let prisoners of their cells in pairs to do hard labor. This gives them opportunities to scavenge and conceal objects that can serve as improvised tools (like bits of metal to bend into lock picks) to help them break out. This includes objects that can act as improvised weapons.

Where to?

At the floor of the cavern, the player characters can see some passages. Pick one and go. All passages will lead to at least one of the major locations, and so none of them will lead the characters to perpetually nowhere or to a dead end.

D&D Out of the Abyss - Introduction

TL;DR, I'm creating a blog post series about this book with the intention of making it approachable. This intro is going to be longwinded though. Every so often, my thoughts come back to Out of the Abyss (or OotA) published 2015 for D&D 5e. It was the first D&D adventure (or campaign) book that I owned. I read the whole thing, it's 200 pages and some change, but I never successfully ran it. It's left me with a feeling like I've left something unfinished, and I need to finish it. The reasons why I never successfully ran it are well, have you seen the damned thing?

OotA is not a campaign. It's just not. It's a campaign setting presented as a campaign. There are cool ideas here, but there's a lot of empty stuff in between. It's a massive sandbox with a focus on exploration and roleplay more so than combat. It's got an alien horror element to. It doesn't feature anything that is traditionally D&D or fantasy, and that means you can't rely on familiar tropes and generic fantasy. It's got no castles or treasure or goblins or damsels in distress. Instead, it leans into survival mechanics, and it introduces madness mechanics, and there's everywhere is dark. The setting is the Underdark which does not resemble any biome on planet Earth, and it's just not the type of setting that offers what most people expect in D&D which I assume to be either Critical Role style play, old-school style play, or something in between. This is a ten-year old book that simple doesn't get discussed on the internet. Not only that, but this is also not a book for beginner GMs!

I want to sell you on running this campaign book.

I plan to break this ten-year old book down chapter by chapter and simplify it for you, and present it in such a way that would make it appealing. Who else but me? Like I said, I read the damned thing! And it was an absolute chore, too. This book is dense and presents a lot of unique D&D material in a very dry way. It was an actual challenge for my AD&D-ass brain. Also, I might be one of ten people on planet earth who did read it. I'm serious. This is not a joke. Only ten people ever read it. No, this isn't a joke. Anyway.

What is the Underdark?

It's a subterranean network of caves and chambers that go as far and wide as the Sword Coast, maybe further, but the Underdark has layers meaning that it's got a third axis, so it's actually a lot larger than the Sword Coast. That said, it's also full of a lot of nothing, so it's a lot more empty than the surface world above. There are strange things down here. Strange and weird things like Ilithids AKA mind Flayers, Umber Hulks, giant worms, devil manta rays, crazy cultish fish men, fungus people, and demons. They also have inverted evil mirror-universe versions of familiar fantasy races. They have spider worshiping evil matriarchal elves called Drow, evil work-obsessed dwarves called Duergar, and a suspicious and serious variety of gnomes called Deep Gnomes or Svirfneblin (try saying that three times fast). All of these creatures are adapted to living in the dark and underground. They all have complex societies, and their societies have complex relationships with each other. Also note that everything is like thirty (30) days away from everything else in the Underdark. That's a lot of exploration and your player characters are assumed to know nothing about it!

We will take it one step at a time! So, don't be overwhelmed. You can trust me because I'm one of ten people on planet earth who read this book! When our powers combine, we can make this a kick-ass adventure module.

First, you have to ask if this is even something you want to run or play. It's not Dark Sun, but it's definitely different. It's not for everyone. Everything traditional about D&D is absent, or at the very least is not a main feature. It even plays differently by emphasizing exploration and survival. If you play D&D for fun heroic combat that makes you feel like a badass, that is not the Underdark. That kind of play is completely antithetical to at least the first half of this game. It's going to require people to actually be interested in something very different. If people aren't into that, then they aren't into that. It's niche.

Second, the only things iconic about the Underdark are all controversial because California and Seattle said we must talk about certain things with -ist and -ism and -phobe (or as I say ist-ism-phobe). I am not going there. You're welcome. I trust that you're an adult and you understand that what we do in play is not... You know what, you're an adult (probably). You don't need to be lectured.

Index Card RPG (ICRPG)

This is not required reading, but if you haven't read the Game Master material in ICRPG, I genuinely believe you are a less good Game Master than you could be. ICRPG began as a mod or hack of 5e, and it's great. I can't prove this but I genuinely believe that the author of ICRPG has ADHD and I think his book shows it. His design philosophy says to me that he wants to reduce cognitive load by abstracting and simplifying the game and cutting unnecessary things. He has a minimalistic presentation for his settings and adventures that give you a structure to build on rather than give you everything there is to know, and everything is written with an engaging active voice. He's even got a mechanic called a timer die which he invented to make players hurry the hell up because he's impatient and he wants to get to the good stuff fast (that is ADHD 100%).

Like I said, ICRPG is not required reading. I reference ICRPG to let you know that I will be presenting OotA in a manner that might suit the design philosophy of ICRPG, though this is not indented to be a strict ICRPG adaptation of OotA, and I won't be converting anything. In fact, I'm going to treat this without consideration for the game system you're using (such as D&D). Like the author of ICRPG, I can draw, but I won't be putting in cool drawings. Shame I know. Well, maybe. No promises. Sometimes a picture is worth a thousand words, after all.

OotA is a Two-Part Campaign

Out of the Abyss is divided into two parts.

Part one is a lot like Alice in Wonderland, except you replace Alice with D&D adventurers and you replace Wonderland with the Underdark. Basically, these adventurers begin in a prison, and they must escape. Then, they go from unusual place to unusual place that defies logic and reasoning, and meet unfriendly people who might just be crazy but you can't tell because you're not from here. Your player characters, like Alice, are searching for a way out! The Underdark is so complex however that they can't just navigate out like a maze (unless you choose to let them). Instead, they must visit the major locations, and they must ask around for someone who knows how to get out. It's up to the GM to decide where the exit is, who knows about it, and what the players have to do in order to receive that information. While the player characters are searching for an exit, they are being actively pursued by their former captors which adds tension and conflict.

Part two is different. In fact, the book recommends that once the players get out, give them another adventure or two as a palate cleanser and to fatten them up with resources. After some months, the dwarven kingdom of Gauntlgrym will contact the player characters. Gauntlgrym has heard of their adventures in and escape from the Underdark, and Gauntlgrym has an urgent task with epic stakes for them. Go back in and kill the demon lords. What are the demon lords? Well, in the D&D setting of Faerun, there's a hell. It's called hell. There's another place like hell called the Abyss. It's like hell, but shittier. The most powerful badasses of the Abyss are called demon lords. They have escaped form the Abyss and they're a dangerous, unstoppable threat. If they escape the Underdark and onto the surface, the Sword Coast is in danger. Go back in there. You're the most knowledgeable about the Underdark, it must be you! Gauntlgrym will give the players resources and send them back in. The players must now search for a way to defeat the demon lords, and fair combat is a death sentence. For completing this, they will probably be offered anything they want and then they can retire from adventuring.

The campaign can therefore be structured into two arcs, and each arc has one main goal. Main Goal 1 is to escape. Main Goal 2 is to defeat the demon lords and save the Underdark and by extension the Sword Coast. Knowing that these are your players characters main goals should also give you much needed perspective for planning and prep.

Interestingly enough, you could play the first part of the campaign and never come back to it, and just pursue some other adventures indefinitely. Or, you could have any mid-tier adventurers be recruited by Gauntlgrym to go into the Underdark and stop the Demon Lords without ever touching the first part of the campaign. You could also do the campaign from the perspective of people from the Underdark using exclusively Underdark races (or subraces as they may be). That's an interesting twist.

Gameplay Loop

So, in case you missed it while reading the last section, this game has a sort of gameplay loop. It goes like this. First, the player characters are in location A. They must explore and survive the Underdark to reach Location B. Then, they must use social interaction to find information. You give them a weird quest to complete or conflict to resolve. Upon completing it, they either get what they're looking for, or they get told how to find it, and the loop repeats. NPCs can also lie to the player characters, or they NPCs might be too mad to know they're not being honest.

Themes and Player Character Backstories

You'll also notice that this isn't really the sort of campaign that suits your typical farm boy who leaves his quaint village to become a hero type of story. It's not, and that's another obstacle to this game. The Underdark is rather alien. If your players are into backstories with unresolved conflict and proving themselves and becoming famous, that's not compatible with this setting and its tone and themes, or at least it will probably be very difficult to realize. The Underdark is weird fantasy, horror, and maybe even a little sci-fi. It's Alice in Wonderland. It's isekai. It's the Super Mario Bros. movie from the 1990s! It is a fish out of water story. Your character's stories are probably going to be more introspective, existential, and themed on sacrifice and answering a higher calling and completing hard but thankless tasks. Your player characters will be fighting hopelessness and dread. There are demons down here, and cultures that are predominantly evil. That's kind of heavy.

Conclusion

I think it's very weird that a company like Wizards of the Coast for 5e D&D came up with this campaign. We'll probably never see anything quite like it again unless they do Dark Sun. I mean it. Let me reiterate some things I discussed. No familiar tropes. Exploration is dominant, combat is not. All locations are really far apart. The tone and themes are heavy.

How can we spice this up? How can we make this fun and interesting? Honestly, that's up to you. I can give you some ideas, but you need to take a creative interest and you need to take some creative liberties. You don't need to use all the material in the book, and you don't need to stick to it strictly. Remember the two goals? You only need as much material from the book as you need to reach your two goals. That might mean that not all content gets used. Oh well. You might even want to fill it up with your own stuff instead. Maybe it can be post-game content if people aren't sick of the Underdark, and I expect that's a possibility.

Mid Fantasy

I would like to coin some new words. Hyper is a prefix meaning over, beyond, above. Hypo is a prefix meaning below, under, or slight. They describe more / less than normal or average.

Hyperfantasy means a style of fantasy where the fantastic is present is a high amount, or a high abundance. It is not the same as high fantasy. High fantasy describes a full fantastic, fiction world or setting. Hyperfantastic describes a style of story or setting where there would appear to be more fantastic stuff than real stuff. The frequency of the fantastic is so common that the fantastic is ordinary and mundane. It might not even be exotic anymore. Consider the show Aventure Time.

Hypofantasy is the opposite. It describes a style of fantasy where the fantastic is very rare to the point that it might not be recognized as a fantasy at a glance. There might be one fantastic object or character in the whole story that appears mostly grounded, like the first three Indiana Jones films. It might seem redundant when you consider low fantasy can describe the same thing, but the distinction is that low fantasy describes the setting, and hypofantasy describes the quantity of famtastic elements. You could have a high fantasy setting where the fantastic seems to have been lost.

What's the point? Mostly, I want these concepts in the vernacular because when I say fantasy, no one knows what I kind if fantasy mean. They assume hyperfantasy more than not.

You know what, sod it. I think mid fantasy will suit me. I'm copy/pasting the definition from AI below:

Mid-fantasy, or middle fantasy, is an informal genre term describing settings that fall between high fantasy and low fantasy, often featuring a secondary world with fantastical elements that are more grounded and less pervasive than in high fantasy, and magic that is uncommon but present, along with common elements like political intrigue, realistic or semi-realistic characters, and less epic stakes.

👍

Who is the Main Artist for Avatar the Last Airbender?

I got compared to the Dai Li on the internet because I said Avatar the Legend of Korra (ALOK) was not canon. Thank you but no. That's an oversimplification and an inaccurate analogy. The Dai Li tried to usurp their own leader, the earth king. They undermined whatever legitimacy their king might have had to rule and turned him into a puppet. They did this because they were trying to preserve their earth kingdom culture. It required being sneaky and violent, and using intimidation and coercion. Not even remotely close to what I'm doing or how I think.

Avatar is art, not a family or rulers or a county of people. Avatar the Last Airbender (ATLA) had as a head writer a man named Aaron Ehasz. Aaron did not conceive the show idea, the Avatar setting and characters and plot, but as the head writer, that series is his interpretation of those ideas and his labor. When you swap a major creative out of a major role, you get a different product. ALOK is a show written without Aaron, and so it a different piece of art. It would be as Rembrandt took an idea and painted a masterpiece, then some lesser artist came in after him and painted the sequel. You get that meme of the horse drawing that starts out really good and gets poorer and poorer. The lesser artists have ruined the art, and I reject their product.

Literary Critique of Final Fantasy VII

This post is in response to a youtube video titled The Symbolic Purpose of Ultimecia in FF8 by @ScribbleRetrospective. For reference, his video is found here but is not required reading: https://www.youtube.com/watch?v=LK1DHlaQ4Ng&t=1834s. I think his interpretation of the Squall character is fundamentally flawed.

In storytelling, the hero often has an internal conflict. For Squall, it's abandonment issues resulting with self-isolation. During the flashback to the light house, we learn he was separated from his big sis and in his own words he says, "I didn't turn out very well." The exact dialogue that the game shows us is young Squall standing in the rain and saying something like "Big Sis, I'm doing my best without you." There's another moment where the other characters said he was particularly fond of Ellone with regards to his days as a child in the orphanage, so we can assume the separation might have hit hard. Abandonment issues mean someone who felt the loss of being abandoned and who spends their life afraid of going through that again and taking measures to ensure it doesn't happen again. In Squall's case, he values his independence and keeps everyone at a distance. I forget where precisely in the script of FF8, but Squall either says or thinks that he doesn't believe in relying on others. He's also described by school faculty as being a student who has difficulty expressing himself.

All this said, protagonists must also have a goal in the story. In the beginning of the story, Squall does not have a stated goal in the script. He's either satisfied with being a SeeD or he's an adolescent and he's not thinking about what to do with his life as it's probably overwhelming to think about. Squall's goal is therefore whatever SeeD's goal is as long as he doesn't express otherwise. By the halfway point of the story, Rinoa becomes comatose, and his new short-term goal becomes helping her. When he learns that she is now a sorceress and that she's in danger of being a victim of this or that government or by Sorceress Ultimicia, then his goal of pursuing SeeD's ultimate goal of slaying the (bad) sorceress simply becomes personal for him.

To resolve the internal conflict of abandonment, Squall must allow himself to be vulnerable and open up to people and let them in, and to risk abandonment again, specifically with Rinoa. This is difficult for him. The internal conflict of abandonment and the external conflict of defeating Ultimecia are now connected. The theme of the story is usually found in the internal conflict. Squall has to risk being vulnerable in order to find love. He is fighting Ultimecia to protect loved ones now. He's no longer a SeeD without a purpose. He's no longer following orders because it's his job. He's fighting for love. Ultimecia does not symbolically represent anything, she's just an existential threat.

That's it. Now for geekiness.

Some early moments in the script that stand out to me as defining who Squall is comes during the Dollet SeeD exam when Seifer issues an order to abandon their post and Squall is agreeable because he wants to put his training to the test. This is the closest thing we get to Squall expressing a value or belief in the early portion of the game. He also tells Seifer something like "I feel like I can take on anybody, even if they do fight dirty like you." We can also take this example of Squall expressing that he thinks poorly of people who don't fight fair. This hints at some nobility in the character, or that the character has a sense of fairness.

One moment that I think you got wrong is in the scene in Galbadia Garden where the characters are discussing Seifer's death. In Squall's internal monologue, he's reiterating the words that the other characters said of Seifer, he is not expressing his own views on Seifer. He's not taking issue with the literal meaning of what their words, he's taking issue with the fact that they're saying it. I can speculate why. As a character who values his independence, he probably also values his privacy or he doesn't want his reputation to be subject to popular opinion after he dies, and therefore he probably does not want people talking liberally about him after he dies. Or perhaps as a person with abandonment issues, he's sensitive to the idea that other people might have true thoughts that they conceal till you're not around. In other words, Squall does not want people talking shit about him when he's not around. This might be a pain point for him, hence the outburst.

You bring up Seifer as a foil, but I think it's a shame that you overlooked the symbolism of the white knight and the dark knight theme that the game has. Seifer is the white clad knight of Sorceress Edea and later Ultimecia. Squall is therefore black clad knight of Sorceress Rinoa. They have symbols of crosses (Seifer's vest) and lions (Squall's necklace), like knights. They both have swords and mirrored scars that they gave each other (they have marked each other). Here's a nice touch. In the cutscene, where they scar each other, Seifer cuts high to low, like Squall does in battle, and Squall cuts low to high like Seifer does in battle. A for effort there. The symbolism is also in the colors of their outfits where Squall wears a black exterior, but inside he's white, and Seifer is the reverse. Seifer has a white exterior, but on the inside he's dark. In visual storytelling, color is a way of communicating things to the audience. Star Wars and cowboy movies famously used this (white cowboy hats and black cowboy hats).

Another criticism I have with your video essay is the scene where Seifer becomes Edea's servant. Here's the scenario. Imagine you just murdered people and took a government leader hostage with a deadly weapon live on tv. You retreat, but you're cornered and have no way out. Then a sorceress offers you a get out of jail free card and a position of political and military power. What do you do? Obviously, you take the job, right? By coincidence, being the sorceress' knight happens to be Seifer's romantic dream, so he's obviously happy about it in spite of some initial hesitation. I mean, it does seem too good to be true, right? And what if it's a trick? You're a SeeD, and Galbadia is involved with the Sorceress, whom your dutybound to oppose. It's a dangerous situation. What does Edea say? The immature part of you wants to run and hide, but the adult in you wants to accept. What kind of job proposal sounds like this? A proposal from a good employer or a bad employer? If you can take anything away from this, it's that Edea was not offering Seifer the job, she was manipulating him into accepting the job. Now that he's committed to it, can he really quit? Do you think this sounds like an employer who will let you quit? He's stuck. If anything, Squall saves Seifer from his fate by defeating Ultimecia. By the end of the story, Seifer is just fishing with his friends and getting mad at the fish, an earned end for the guy who made all the wrong choices and was a dick the whole way.

At some point in your video you said Squall is genuinely mean and you say this is one way that he is like Seifer. I don't know what you mean by genuinely mean, but I assume you mean to say that he is mean to others, and he sincerely intends meanness and to cause others harm or discomfort. I don't think this. I think Squall is just blunt and refuses to be sensitive or take on emotional labor. I don't think he takes pleasure in it, and I don't think he wants to cause harm. This is different from Seifer. Seifer is shown as a bully. He takes pleasure in picking fights and throwing his weight around. Quistis comments that Seifer was always trying to get attention with this behavior, and that's why he focused on Squall because Squall never gave Seifer the attention he seeked. Quistis called Seifer troubled. People understood Seifer was kind of a dick. There's another scene someone tells Squall that students in the Garden admire him or they look up to him. This was around the time that he was given his position as commander.  From other character's perspectives, Squall demonstrates competency and composure in most situations, and this is probably because he values being self-dependent. In the scenes where people tease Squall for tying to be nice, like when you have the option to cheer Selphie up because the stage was wrecked, those characters are just teasing him, and they clearly know they can get away with it.

What's Wrong with the 5e Ranger?

First concept: playstyle. There are only three pure playstyles: martial, magic, skill. The quintessential classes are fighter, magic-user (or wizard), and thief (or rogue). Every other class is a hybrid or variation. Paladins, barbarians, and rangers were once variations or subclasses of fighter.

Second concept: specialties. What makes you special is that you can do something that no one else can do. When you take something special about one class and make it available to others, it is no longer a specialty and is trivial. For example, fighters were once the only class who could regularly hit for consistent damage. Now everyone has a way of doing consistent damage such as cantrips. Wilderness survival skills such as tracking were once unique to rangers.

Third concept: niche or identity. What is a ranger? A ranger is a character who defends civilization by fighting the evils that threaten it on the boarders of the wilderness. They are in essence a fighter who has traded heavy armor for wilderness survival skills. This is easily stolen from them by the Survival skill becoming available to other classes and by a lack of emphasis on the exploration phase of the game. A Rogue can put expertise into survival and out survival the ranger.

To summarize, Rangers were once a fighter subclass that is no longer special and they're part of a class roster in a game that underemphasizes exploration which is their brand.

What has modern WotC done for the ranger? Made the ranger a combination martial, magic, skill character, which we have plenty of, with features most players won't use such as nullifying difficult terrain when hexcrawling, or features that aren't as valuable as another feature from another class, like how favored enemy is not as good as sneak attack. Animal companion is not a worthwhile feature imo because why couldn't anyone have an animal companion when bloodhounds and game hawks ought to be a commodity you can buy from a trainer? Hunters mark? Why not just give the ranger bonus damage die on all attacks since they'll be using it constantly, and so it will simplify the Ranger player's turn? Call it a built-in hunter's mark damage die.

To fix the problem, you need to take the ranger's things away from the other classes and give them back to the ranger. It's like giving anyone else unarmored defense, battle rage or an inspiring voice that gives bonuses orcsneak attack. And they have to put in some really good exploration rules and instructions so people understand hexcrawling or point crawling and want to use these rules. I've had 5 GMs now, and none of them understand hexcrawling. They all handwave it. Even Matthew Mercer, celebrity GM, doesn't do hex crawling. Maybe hexcrawling just isn't that fun? Alternatively, make ranger a subclass of fighter or rogue.

Open Lite RPG

This game is free for non-commercial use and was created with the intent to be used for Draconia '95.

RULE ZERO
The rules provide structure for the game, but the fiction we create is based on realism; therefore, the logic of a scene beats the rules.

RULES LITE
A rules lite game allows the Game Master (GM) to interpret the rules to serve their style. DIY and design are expected. GMs can change, add, or subtract rules, but new rules should not add unnecessary complexity that doesn't improve the game.  For example, you don't need a rule for playing a musical instrument when we can believe that a character can do so because the player included it in their character concept or history. This game can be adapted for any setting and any genre.

PLAYER CHARACTERS (PCs)
Discuss character concepts with the Game Master (GM). PCs must suit the tone and setting, and must be able to work with a team. PCs need a goal to pursue in play. Create an ordinary person who becomes an adventurer.

ABILITIES
Roll three six-sided dice (3d6) for each ability to generate an ordinary person. Abilities describe your character, but do not limit player agency (example, a low intelligence character does not mean you have to play your character unwisely).

Strength: hand-to-hand, Load
Agility: Defense, saves
Vitality: Max HP, saves 
Knowledge: tools, crafts, lore
Perception: Missiles, surprise
Willpower: Magic, saves
Luck (optional): critical range, random table rolls

Score Modifier Description
3 to 6 -1 modifier below average
7 to 14 no modifier average
15 to 18 +1 modifier above average

HIT POINTS (HP)
Your maximum HP is 10 + your vitality modifier. HP represents your physical condition, and so HP loss abstractly represents wounds or injuries. Recover 1 lost HP per day representing natural healing. At 0 HP, make one Save; Success means unconscious for one hour, failure means death.

DEFENSE (DEF)
Your Defense is 10 + your agility modifier + bonuses from armor and shields. Defense represents your ability to defend yourself when you are willing and able. Your touch defense is 10 + agility modifier and is applicable for attacks that do not need to penetrate or bypass armor such as wrestling. Defense cannot exceed 19.

CLASS
Class is a game term for the sake of game terminology. It suggests rather than describes your characters' background, skills, and knowledge. PCs are limited to one class. These class options are left vaguely defined for you to flavor as you like. Assume all classes are fit for adventure, can use improvised weapons and peasant weapons, and can do basic things like light fires and climb ropes.

Fighter
Fighter describes an athletic person who can use all weapons, armor, and shields. Fighters get a +2 to saves vs fatigue.
Lv Hit Save
1 +1 14
2 +2 13
3 +2 12
4 +3 11
5 +3 10
6 +3 9
7 +4 8
8 +4 7
9 +4 6
10 +5 5

Mage
Mage describes someone who can cast spells (or use supernatural powers in other genres). Mages add a +2 to saves vs Magic.
Lv Hit Save MP
1 +0 15 2
2 +1 14 4
3 +1 13 6
4 +1 12 7
5 +2 11 8
6 +2 10 9
7 +2 9 10
8 +3 8 11
9 +3 7 12
10 +3 6 13

Rogue
Rogue describes someone who is trained or self-taught in specialized and unconventional skills (suited to the setting, genre, etc. of the game). Rogues can use light armor, one-handed swords, and crossbows or longbows. Rogues add a +2 to saves vs traps.
Lv Hit Save Skill
1 +1 15 1-2 in 1d6
2 +1 14 1-2 in 1d6
3 +1 13 1-2 in 1d6
4 +2 12 1-3 in 1d6
5 +2 11 1-3 in 1d6
6 +2 10 1-3 in 1d6
7 +3 9 1-4 in 1d6
8 +3 8 1-4 in 1d6
9 +3 7 1-4 in 1d6
10 +4 6 1-5 in 1d6

LEVEL
Level describes how experienced you are in your class. Lower levels mean amateur, higher levels means seasoned.

EXPERIENCE POINTS (EXP)

Characters need 20 * their level in exp to increase their level (example a level 3 character needs 60 exp to reach level 4). Encounters are worth 1 to 4 exp, where a 2 exp encounter is an ordinary difficulty encounter. No exp for absenteeism. Players may not level up mid-game session.

TO-HIT BONUS (HIT)
Your hit is how well you can hit with barehanded attacks and weapons you can use or to grapple an opponent. Add to your d20 roll when you attack along with any other appropriate modifiers. An attack hits when the roll is greater than or equal to the opponent's Defense.

SAVING THROWS (SAVE)
A save is rolled in response to something that acts on you and does not ordinarily require a turn. Roll a d20, add any modifiers, try to roll equal to or greater than your own Save. Escaping a grapple or hold must be attempted on your turn and requires a successful save.

MAGIC POINTS (MP)
MP is another game term for terminology's sake. It represents magical stamina (or stamina with supernatural powers). All spells cost 1 to 3 MP to cast and require one turn to cast.

SKILL
Skill describes your ability to succeed at very specific actions described below. Roll a 1d6, and roll less than or equal to your skill. A GM may assume that only a Rogue can attempt these, or that other classes may attempt them with only a 1 in 1d6 chance of success.
Move silently without being heard
Hide in shadows without being seen
Pick pocket (or plant) without being observed, although the pick is noticed
Pick locks with lock picks
Disarm traps successfully and safely
Listen for and discern noises at doors

Climb 50 ft increments without fatigue
Additionally, a Rogue can backstab an opponent who is unaware of their presence. The attack roll is made with a +4 situational modifier, and on a hit the maximum damage is done (example, 6 damage if rolling a d6 without modifiers).

(optional) Track foes, wild game, etc. and identify such signs in the wilderness. Additionally, navigate unfamiliar regions, forage, nature lore and natural remedies, Foe expertise (specify Foe).

LOAD
Load is your carrying capacity. You can carry a maximum of 10 + Strength modifier items. When you are at your maximum load, you are encumbered and move at slow speed (15 ft per turn). Some items are heavy or bulky and count as two items, like metal armor or two-handed weapons. Some items are petty and count as 0 items. Some items stack up to a fixed quantity, like a container of ammunition. Record fatigue and similar conditions using item slots representing the effects that these conditions have on your character. There is no catalog of equipment. DIY.

EQUIPMENT
There is no catalog. DIY. Barehanded strikes do 1d3 damage. Assume weapons do 1d6 damage. Small and improvised weapons do 1d6-1 (minimum 1 point of damage). Large weapons do 1d6+1 damage. Metal armor is always considered heavy and may be restrictive and noisy.

LEVEL UP BONUSES
The class options available can be distinguished with bonuses. Players may choose one when they level up, though the availability of these options is subject to the GM.

• +1 Max HP (cap 20 + vitality modifier)
• +1 to an ability score (cap 18)
• +1 to Load (cap 20 + strength modifier)
• +1 to base Defense (limit once)
• -1 to Save (limit once)
• Light Armor use
• Heavy Armor use (requires light armor use)
• Shield use
• Weapon use (choose)
• Weapon specialization (choose one weapon, cap +1)
• Critical hit range +1 (cap 18 to 20; restriction cannot take at consecutive levels)
• Other, including special actions or movement, specialized skill or talent, extraordinary trait, etc. DIY (discuss with GM).

HOW TO PLAY
The game is played through conversation and can be freeform or structured into turns like a board game. In all contexts, players can do one dedicated thing on their turn. First, the Game Master (GM) describes the scene, setting, or situation (almost like a narrator). Second, the players describe what their characters do and/or say. Third, the GM describes the results. Repeat until a scene is resolved, then establish a new scene.

In general, if an action or speech can reasonably succeed, it does. Pass or fail die rolls are necessary only to simulate things we cannot do at the game table, like fighting. Saving throws can be called for by the GM to determine if characters can avoid harm for their actions. If something is sincerely impossible, no statistic or die roll will allow it to succeed.

COMBAT
Combat is structured into a GM turn and a Player turn, though all actions are assumed to happen simultaneously. A combat turn represents seconds. The player turn is structured into two phases. Phase 1, all players declare their intended action. Once declared, you can't change it. Phase 2, all players roll dice, and the GM narrates the results. Turn order may be apparent based on the logic of the scene, otherwise, the GM determines who goes first with a single d6 roll where the player turn is first on a roll of a 4-6. Note that there is no move action or double move; Players can simply move up to their movement (30 ft) as part of their action.

EXPLORATION
Exploration is structured into turns. Each player can do one dedicated thing per turn. There are no die rolls to find hidden things (example perception). Information is revealed by the GM as the characters interact with the room or scene (information for action). An exploration turn represents 10 minutes in a small scale location like a dungeon and assumes characters are taking their time, or 1 day in a large scale location like the wilderness. If actions can be resolved in less than a full turn, count the turn for tracking purposes, but treat the time as negligible and fold it into the next turn.

SOCIAL INTERACTION
There are no die rolls to resolve conversations or to interpret meaning in non-player characters (NPCs) face, voice, or body language. Players should treat NPCs like real people and rely on their curiosity and creativity. They will remember you. NPCs can be a resource. Try to make NPCs happy by finding out what they want and offering it to them.

FAST TURNS
Long turns are boring and slow the game down. Excessively long turns can be skipped or cut short by the GM. To keep your turn concise, turn off your gamer brain and stay in character as much as possible. Rather than ask the GM for a explanation about a room, describe how your character explores and ask what your character sees. Never discuss rules during the game. Do not have out-of-character discussions about what you can do or should do. Pay attention when it's not your turn so you never need a recap. Consider the length of time that your turn represents in-game (example a combat turn is seconds). Avoid using game terminology. Describe what your character does or says fluidly like writing a line in a book and tell us what we see. No do-overs or retcons.

SITUATIONAL MODIFIERS
There are times when situations offer a character an advantage or disadvantage to an action. The GM should use their judgment and apply a conservative modifier not to exceed +/- 4. Some examples of situations that may permit a situational modifier are: obscured line of sight or reduced visibility, partial concealment or cover, a magical effect, a physical condition or restriction.

MONSTERS AND OTHER OPPONENTS
Human opponents should be designed with similar logic to PCs, but monsters should not. Stats like Strength and Agility are excessive for NPCs. Below are recommendations. Please change them to suit your game.

Hit Avg To- Average
Die HP Hit Save Def Damage Size Example
1 3 +1 14 10 1d3 half goblin, hobbit
2 7 +2 13 11 1d6 base human, elf, orc
3 10 +3 12 12 1d6+... double lion, bear, ogre
4 13 +4 11 13 2d6 triple        giant, *dragon
5 17 +5 10 14 *dragon breath can do 3d6
6 20 +6 9 15
7 23 +7 8 16
8 27 +8 7 17
9 30 +9 6 18
10 33 +10 5 19

The Importance of Staying In-Character

Metagaming is a common concept in RPGs, and it means making decisions in-character using knowledge which the PLAYER has but which the CHARACTER does not have. To an extent, this is unavoidable. This game defines out-of-character discussions as metagaming. As much as possible, you should be speaking in-character, and you should avoid speaking out-of-character.

For example, a PLAYER might understand that they have a 90% chance to succeed at tracking, but a CHARACTER doesn't have a concept of a success chance. A CHARACTER would instead understand that they are really good at tracking. Here's what the metagame approach vs roleplaying approach look like at the table:

Metagaming has out-of-character discussions that look like this:

Player 1: "Hey player 2, you have a 90% chance to track, you should track."

Roleplaying has in-character conversations that look like this:

Character 1: "Hey Character 2, you are really good at tracking. Why don't you try tracking this monster for us?"

The roleplaying approach is preferred when immersion is desired. The metagaming approach is preferred when you want to speedily resolve a short, simple scene or obstacle, but it is less immersive, and it can slow the game down if it leads to prolonged out-of-character discussions that distract from the game; And before you know it, the participants at the table have resolved an entire scene out-of-character and they've wasted a really good opportunity to roleplay, then another, then another. If you can, you should have the conversation in character, not out of character. Instead of asking "what is in the room?" say "my character looks around," and ask "what does my character see?" Instead of asking "what sounds are in the cave?" say "my character listens for sounds in the cave," and this will prompt the GM to provide you with a description of the noises that are present if any.