I am still making a tabletop rpg

I’ve never made a non-axe thread for this game but i was starting to feel like i needed some kind of devlog. Welcome back to the Sixth Era:

I am still making this.

In the last twelve hours I wrote fifteen more pages of spells, which is probably some kind of personal record for me? I’m still a very long way from being done with the spell list; I always manage to underestimate how long everything takes. Some random spells I just wrote for the Water school:

Summon Water Beast, Level 7.

You pull an elemental from The Aether and trap it within an appropriately sized vessel of water, creating a water beast. A water beast has no special loyalty to its summoner, but they’re likely to be the only one with any hope of communicating with it, as a water beast will only understand those who speak the ancient tongue of sea creatures.

Water beasts are not evil, but they are incapable of seeing non-aquatic life as sentient. A human that can speak to a water beast will probably be interpreted as a fish or another water beast trapped within a strange meat prison. If the water beast is feeling compassionate it may try to “free” them.

Some water mages have managed to make pets or servants out of water beasts, either by binding their will with magic, or by being very, very persuasive.

Water beasts can only manipulate the physical world with elemental magic. They have 3 Arcana (plus one for each additional level this spell is cast at) and know all spells in the water magic school up to that point. They naturally regenerate 1 AP/turn (plus 1 for each additional caster level) but cannot make a casting roll with a target number higher than 7. They are immune to almost all physical weapons, and can attempt to “drown” other creatures (if the concept can be successfully explained to them).

A water beast that is bound by magic and then freed will be very, very unhappy with its former “master.”

A few water mages over the Eras have attempted to create “ice beasts” to serve them. This has never ended well.

Simulacrum, Level 8.

You create the perfect snowman, a facsimile of yourself sculpted from snow. With an extra two levels, the simulacrum can be of someone other than yourself, as long as they’re present throughout the process.

The simulacrum has half the stats (rounded towards zero) of the original subject, as well as half the memories. It can cast any spell imbued from the original subject, but the subject loses access to the spells for the duration, and the spells must be recovered before too much of the body melts away (a process that accelerates rapidly after death); otherwise the spells are lost forever.

The simulacrum cannot speak, but others must make a Perception check of DC 20 to recognize it as fake (less if the simulacrum has deteriorated, more if it is imbued with any kind of illusion magic).

The process of creating a simulacrum is extremely involved and requires seven days of work (twice as long for simulacra of other people), minus your Engineering stat. The simulacrum melts at the rate of a normal snowman. Its max HP starts at two-thirds of the original subject, and decreases as the physical body deteriorates.

There are stories, probably apocryphal, of entire cities built by populations of identical simulacra, over thousands of years, deep in the Lost North. They wait, undying, without dreams or desires, in a cold sleep, horrendous photocopies of the long-forgotten mage who made and abandoned them.

Ice Titan, Level 10 [Concentration spell].

It takes 20-X turns for you to complete your ascension to demigodhood. The process is extremely unpleasant for you and anyone else watching. You are useless during this time. When you consider all the screaming, you’re not very stealthy either.

You become a titanic elemental of cold, drawing your power from the future heat death of the universe, bringing about a new Ice Age… very, very briefly. Ice Titans were never meant to exist in this era, and, perhaps as a kind of divine punishment, your body rapidly collapses over the next X-9 turns. As a mortal you take 1d6 damage for every turn you managed to keep your godhood going.

As a titan you have inhuman strength and are nigh-immune to physical damage. The only hope anyone has against you is to end the spell by breaking your concentration.

They say the Ice Titans were once an actual race, and that they melted away over millennia to flood primeval deserts and create the oceans. Now fish swim in their blood and mortals crawl across their skin like insects; the sky above their slumbering bodies roils with the storms of their wordless nightmares. One day, perhaps a thousand eras from now, they will rise again and rule over a world-spanning kingdom of ice and silence. They allow life to exist, and yet they are the masters of decay and inevitability; the earth is theirs to inherit.

does anyone want to help me edit this monstrosity when i’m closer to being done with it

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This is fucking dope. Can a mod move this to King of Development, please.

My personal interest is how you develop stuff. E.g. did you make that map image yourself? Because that’s amazing. Also, history and lore is dope. I just wrote up a small thing about the origin story for the people in my world. Please, tell us more and link us to the wiki you are developing when you are ready. You have a wiki, right?

thanks man, i’m glad this is useful to somebody c:

the map took roughly twenty hours of work and i’m still reasonably happy with it. maybe some day my writing will be that good.

i’m going to cross-post some relevant text from the old thread. basically the world is heavily influenced by the fall of the roman empire (esp. w/r/t regional/power politics, religious schism, culture, etc), plus some colonialism and cold war panic

right so map tutorial here we go. abandon hope all who enter here

this is the border i used (minus the mermaid at the bottom-center, which i added later). it survived being stretched from 4:3 to 16:9 surprisingly well.

i used this psd i found online as a base (let me know if i need to fix that link). if you don’t have photoshop (not even pirated?) then i’m sorry, this post is already worthless to you.

use the eraser tool in pencil mode(!) at a large size (around ~50px) and 100% opacity to cut out large swathes of the land layer, roughly outlining continents. have your major landmarks in mind to start with so you can leave room to add them in later. gradually decrease the size of the eraser to define lakes and the coastline. don’t be surprised if it takes over an hour to be satisfied with this. use a 5px eraser to carve out rivers. create rivers splitting off some of the jagged edges of the coastline to create islets along the coast.

when you’re completely satisfied with the outline of your map, it’s time to create the illusion of depth. use a ~4px eraser in pencil mode at around 15-25% opacity and trace along the coast. do this multiple times, increasing the eraser size and decreasing the opacity each time. because of how the Stroke effect works, this will make the land you “erase” darker instead of transparent. you may want to skip or half-ass this process for smaller islands, and that’s fine.

now it’s time to start adding markers to your map. most of mine came from VX Ace tiles but you can use whatever you want as long as it has a 3/4 perspective. your most important consideration is that it be readable when sized down. getting your markers to look like a convincing part of the map will be the most important and frustrating part of this whole process. first copy-paste your marker on to the map and correct its size. make sure it’s still recognizable and pleasant-looking after you do this. erase any shadows it casts, if applicable (this is necessary to make sure the perspective doesn’t clash). desaturate it completely (shortcut: Ctrl-Shift-U). next go to Image->Adjustments->Variations, move the slider one notch left, then click More Yellow and More Red twice each. run over the whole marker with a 15% opacity eraser once or twice or until it stops helping. try using Image->Adjustments->Brightness/Contrast and Hue/Saturation until you find settings you’re reasonably happy with. finally, right click on the “land” layer and Copy Layer Style, paste it onto your marker, and disable the Stroke effect; the Overlay effect will give it some of the same texture as the land beneath it.

finally, you’ll want to add roads to connect everything together, using a 2px eraser in brush(!) mode.

wow! you did it!

YouTube

here’s an old lore dump i wrote that’s far from being comprehensive, but is still useful enough:

On the left and right of the map: artist’s depictions of Bellatrix and Aurora, respectively.

REGNUM DEI. Regnum Dei, or the Holy Kingdom, is a theocratic empire that ruled most of the continent throughout the Fifth Era. Conquest and food collection from vassal states allowed the capital city to reach a previously unheard-of population density, and even after its near-collapse in the civil war at the end of the Fifth Era, it remains one of the cultural centers of the known world. There’s nothing it doesn’t have, assuming you know where to look.

Regnum Dei shares its rule between an unstable royal family and a probably-corrupt High Council. It is kind of a political mess. It also hosts a knighthood that, over the course of centuries, has split from the church (the Monastery of Aurora); its main focus now is regaining territory lost after the civil war.

HAERESIS. Haerisis used to be the eastern half of Regnum Dei. In the year 967 of the Fifth Era, for unknown reasons, the prophet Eleanora declared a man named Mortzopholus the rightful ruler of the entire continent. Eleanora was killed in an ensuing fight for succession in Regnum Dei that grew into a decade-long civil war. The war ended with one of the greatest feats in the history of magic, when a hundred powerful wind and earth mages worked together to tear the eastern half of the city out of the ground, creating the floating island of Haerisis and what is now Impostor’s Bay, and marking the collapse of the kingdom and the end of the Fifth Era. The year is now 148 in the Sixth Era.

Haerisis is ruled by the descendants of Mortzopholus as a militant isolationist theocracy. It rarely interacts with the outside world aside from trading for food with Barbaros and attempting to gain influence over the Monastery of Aurora. For these reasons, among others, academics who want exposure to new ideas need to study abroad. Those that leave the island need to be careful when mentioning where they came from.

Each city refers to itself as the holy kingdom (Regnum Dei) and the other as heresy (Haeresis), and they refuse to agree on any politically neutral terms, which can make things very confusing.

MONASTERIUM AURORA. The monastery is massive and ancient, and is the closest thing followers of Aurora have to a centralized church. Both Regnum Dei and Haerisis claim dominion over it. Regnum Dei in particular has historically derived its legitimacy from the monastery, and has increasingly tried to bring it under state control. The monastery is split between traditionalists and supporters of the prophet Eleanora.

BARBAROS. Once a collection of territories belonging to Regnum Dei, after the end of the Fifth Era the region has been claimed by both Regnum Dei and Haerisis but is now largely independent. The region is humid, swampy, and populated mainly by small farming and fishing villages in the east, and nomadic, indigenous tribes farther south and west.

MORTUUM ARCHIPELAGUS. This large volcanic archipelago is sparsely populated and widely regarded as cursed, for long-forgotten reasons.

EREMUS. Even in Haeresis, where the prophet Eleanora is considered a saint, the spirit of her teachings tends to be ignored whenever it’s inconvenient. During the civil war, she said that it was wrong to spill another man’s blood, and all that happened was that her supporters switched from swords to warhammers and maces.

Something similar happened with the treatment of mutants (sometimes called the Changed, or even Bellatrix’s Children). They are physically deformed and infertile and often kill mothers in childbirth, and are thought of as devilspawn. When Eleanora said that mutant infanticide was wrong, her followers switched from killing them at birth to shipping them off to the inhospitable and previously uninhabited islands of Eremus, where they were left to die.

Over the course of a century and a half, Bellatrix’s Children managed to gain a foothold in Eremus and survive in small colonies through subsistence farming and creative usage of their unique, unnatural abilities.

A mutant tends to have one or two exceptional abilities which are offset by other severe weaknesses. They are still seen as subhuman by most followers of Aurora, and those that manage to leave Eremus (usually on their own, in secret) are widely ostracized and persecuted on the mainland, and are forced to live in hiding.

METALLUM SPECUS. For centuries, Regnum Dei has traded precious metals from these mines for silk and spices from the Golden Cities in the east. Their trade route has seen less use in the hundred and forty-odd years since the Sixth Era began but is still one of Regnum Dei’s major sources of income.

AMARA MARE. The Bitter Sea, mainly known as a leg in the trade route between Regnum Dei and the Golden Cities. It has a name that sounds much nicer than its meaning.

DIVES PORTUM. New Port, or sometimes New Haven, was built centuries ago around trade across the Bitter Sea and has become one of the most culturally diverse cities in the known world.

AUREA CIVITATES. Westerners know very little about the land beyond the Golden Cities, which is largely desert and populated mainly by small nomadic tribes. The Golden Cities grew out of centuries of trade and western influence. It is the home of traders, sailors and transients. Its wealth distribution is grotesque.

a thing i wrote about aether mages:

Non-elemental spells are living things. They are conscious, often-sentient metaphysical beings. A dark mage captures them with rituals. An aether mage studies them, and shares their consciousness with them (spells literally occupy space in their heads, and eventually leave an imprint on the skull). A light mage often invokes their help even when they don’t necessarily “have” them–this can lead to problems if their pleas are misunderstood, or taken advantage of.

Spells can exist in our plane of reality through organic matter or in precious metals (though gemstones are especially good). Not coincidentally, these are also the materials that are difficult to near-impossible for mages to create; they can’t generate gold and crash the world economy, or create life like a god. These are also the same materials that a soul can be contained in, because spells are souls, more or less. The logic behind this is all very academic and complicated and asking an aether mage about how all this shit works is like asking a math major to explain their thesis project to you when all you know is algebra. Your puny brain probably couldn’t comprehend it. Really, mages fit most definitions of schizophrenia, break open human skulls to study the dark secrets contained within, and are always carrying around weird talismans and trinkets and jewelry and body parts because they have “magic” inside them, so you don’t need me to tell you that most people see them as wackos and don’t really want to hang out with them. Better just to hit things with big swords.

elemental magic:

Elemental magic is weird. While Aether magic is seen as coming from the life force that Aurora and Bellatrix used to shaped the world (and which still underlies it today), and light and dark magic are seen as coming from the goddesses themselves, there’s no widely accepted theological explanation behind the existence of elemental magic, its exact nature, or its purpose. Sometimes it runs in a family, and sometimes it appears in a person with no history of it. Some people discover an affinity for it later in life, while others are naturals.

Elemental magic was a prominent element in most of the pagan religions and philosophies that were heavily repressed throughout the Fifth Era, and are now rarely seen outside of Barbaros or the nomadic tribes east of the Golden Cities. Abeundius probably knows all about this, though maybe he wouldn’t tell you if you asked.

Aether magic is open to anyone with enough patience and discipline to study it, and choosing between “light” and “dark” magic is usually a religious thing, but elemental magic requires a special calling. Acolytes of light magic go to monasteries, and students of Aether magic go to a mage academy, but elemental magic doesn’t have strong ties to any one institution; learning elemental magic is a personal journey. It evolves out of an attunement with an aspect of nature that grows stronger as the mage becomes more experienced, to the point that it alters body chemistry. The most obvious example is earth mages, who grow slower and physically heavier, but are well-built and nearly impossible to knock off balance. Earth mages can bless the soil, speak with mountains (very, very slowly) and bring statues to life… but the one thing they’re known for, the Earth Mage’s Curse, is that they’re very good at tunneling. Earth mages discovered by Regnum Dei are typically conscripted (enslaved, really) to work in the metal mines, fueling the kingdom’s main export. The earth mage usually dies in the process. Earth mages who stay out of the mines must either hide their powers or find friends in high places.

Wind mages aren’t known for raw physical strength, but they’re fast on their feet and naturally dexterous. They are physically lighter than normal and can jump and fall long distances without getting hurt. Zephyrus, one of the greatest swordsmen in history, was a wind mage. Wind magic took on some negative associations in Regnum Dei after Haerisis was split from the earth, but it’s still romanticized throughout the kingdom, representing charisma and a free spirit. Advanced and well-paid wind mages work with water mages to double the speed of ships across the Bitter Sea. Wind mages are naturally good dancers. And they say if you haven’t seen a mage play four wind instruments at once, you haven’t lived.

Water magic is a diverse discipline. For some, it represents a duality between poison and purity. For others, it represents change and death. It has been used effectively by both healers and warriors. Water mages are naturally good swimmers, like you’d expect. They can get as much information from looking at the surface of water as we get from looking at land. They are natural navigators at sea, and rarely get turned around in the wilderness. More powerful water mages gain a partial resistance to poison, and can breathe underwater naturally.

Fire magic is impressive… to fire mages. In this world, eating fire is about as impressive as riding a bike with no hands. For everyone else, fire magic is a serious problem. Woe to the parents whose toddler learns fire magic too early. Becoming a good fire mage is less about becoming strong and more about learning self-control, because those who don’t learn it die young. Powerful fire mages can see in the dark and have a natural resistance to extreme temperatures.

ok that’s enough for now

the wiki is me, man.

i am the wiki.

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MONASTERIUM AURORA NOTES

loosely analogous to the vatican politically, regnum dei and haeresis are both technically beholden to its decrees but its influence has gradually waned since the civil war

traditionally every auroran was expected to make a pilgrimage to the monastery during their lifetime, though now theologians debate whether or not this is really necessary. it’s a harsh journey (a very harsh journey) and those that do go generally don’t go to the true temple. they go to the touristy shell built to accomodate demand

if people aren’t going for spiritual guidance (or for prophecies; there are oracles here, false and true) they’re going for miracle cures. and it’s true that the monastery hosts some of the most powerful light mages in the known world. but the journey is arduous, often enough to kill the sick before they reach the temple. the monks gifted in light magic are sometimes accused of ignoring a moral obligation to help others, and there’s an argument to be made there

the monastery rejects all weapons, as well as aether mages; elemental magic is distrusted, dark magic is punishable by death

the temple city sits at the top of a snowy peak and its walls stretch above the clouds



the temple city has a giant statue that no one can remember building. it’s like this big:



except it’s in a snowy peak and the statue depicts aurora. it is considered a sacred monument

the temple city itself is layered. at the bottom there is the very old temple, built deep into the mountain itself, usually sealed off. resting on top of it is the temple city proper, built by the manual labor of earth mages and stone golems over hundreds of years. many people died to build the temple city. the stone golems live on and maintain the walls to this day, silently making their rounds along the outside of the walls at all hours, barely visible from the ground, they are like ghosts. there are perhaps a few hundred monks total living in the city and yet it is impenetrable, it has stood for perhaps a thousand years and it should stand for a thousand more. the whole place looks like a cross between a gigantic sprawling spired cathedral and a kris kulski sculpture:




imagine the kulski-stuff baked into the cathedral-stuff and you’ve pretty much got it. the whole thing inspires a mix of reverence and fear. the place is ancient. the stones seem to whisper in the dark. the line between godly temple and cthulu temple is blurry

the major theme of the monasterium aurora is religion attempting to remain neutral in a political quagmire. regnum dei and haeresis both want control of the monastery, but neither is willing to outright slaughter the clergy there. instead they’ve been engaged in a decades-long campaign of political posturing and subterfuge. they make threats, then retract. they try to sway the clergy to make one declaration or another. they send spies and bribes and poisoners, assassinations are not uncommon, men kneeling in prayer stabbed in the back, many monks have secret allegiances, there are politically motivated witch trials accusing monks of bellatrix worship, and maybe there really are bellatrix-worshippers here, hiding in plain sight, everyone lives in distrust and fear of each other

all the clergy are men because this world sucks

it is temple doctrine that the sealed necropolis under the temple is the tomb of aurora, no one speaks of it, it’s bad luck and blasphemous to do so. attempting to break the seal or explore the undercity is anathema, punishable by death, perhaps the worst heresy a person could commit

quæ cubat in templo
haec foribusque manet
lacrimae eius in maxillis eius devolvunt
lumen in tenebris et flori decidenti
dimitte nobis debita nostra,
revertatur ad nos

praise aurora. her temple will survive the apocalypse.

this is the theme of the monasterium aurora

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i feel bad that i’m too scatter-brained to hammer anything i write into proper paragraphs, but at least i’m staying relatively productive

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Claims were made that during Templar admissions ceremonies, recruits were forced to spit on the Cross, deny Christ, and engage in indecent kissing; brethren were also accused of worshiping idols, and the order was said to have encouraged homosexual practices.[33] The Templars were charged with numerous other offences such as financial corruption, fraud, and secrecy…The Templars were accused of idolatry and were suspected of worshipping either a figure known as Baphomet or a mummified severed head…

i continue to learn that the campiest shit i write pales in comparison to actual medieval history, and also that i know jack shit about all of it. the last sentence in that quote sounds like it could have come out of a fucking d&d rollable table, and if it did i probably would’ve rejected it for being too ridiculous

just checked and by my count there are now 155 perks

remember when this game was “rules light”

i too had dreams once

I want a real wiki :frowning:

The real design mission will be to make it rules light again after designing in this direction

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mercifully there were some rules i set for myself from the outset to help gate complexity:

  • no one picks a perk at first level. no one sees the perk list until second level, and in playtesting it took a group playing 6-8 hours a week about a month to level up. by this point players should know their characters and the game mechanics well enough to make informed decisions (if they still don’t, i blame the gm).

  • hiding the perk list to start also helps with the problem of players treating everything like a videogame (same with not introducing stats until players had their characters’ personalities/backgrounds sketched out; we ended up accidentally A/B testing this as new players were introduced and ended up with some pretty strong anecdotal evidence that this was a good idea)

  • players only take one perk per level. each perk is tied to a stat, and characters can only have a number of perks equal to the number of points they have in that stat. because every character is going to have stats that are zero or negative, this cuts the list in half at least

  • only around ten of the perks actually need more than a couple of sentences of explanation, and each player is probably only going to be interested in a few of them

it is the only thing differentiating characters, mechanics-wise, beyond their stats (which still fit very comfortably on a notecard). pretty much every rpg archetype is possible and viable, along with stuff well outside of that like drug dealers, lawyers, archaeologists, artificers, etc, pretty much every idea players have thrown at it. i like it way more than any class system i’ve seen, at least. hopefully it encourages customization (rather than fighting it, like 5e does) without moving into munchkin territory (in the last five months, it has not).

then again, half of my group is comp sci majors, so i guess i still have to take everything with a boulder of salt. no one’s expressed concern with the system yet, at least

why spend a hundred hours compiling a wiki when instead i can split all my notes across three google docs (totaling 130 pages), a google sheet, a google+ community, a mailing list with a couple hundred emails in it that crashes my browser half the time, a couple poorly formatted text documents on an unstable hard drive, google chat logs, notes made in other players’ books, and stuff i explained but never wrote down anywhere?

everything is fiiiine

I have some pretty big objections to this that I probably havent fully expressed to you yet but I am on my phone so the spiel will have to wait

“hiding” was probably too strong a word, i would’ve shown it to them if they asked but they never did. i didn’t bring it up until it became relevant, basically. sort of how like with a good manual or tutorial or difficulty curve, you try to organize everything so it’s introduced in the order that is most natural/conducive to understanding. but i could be BSing a justification right now

that said i know you know a lot more about this stuff than i do, and i always look forward to reading your feedback, even if i sometimes do a bad job of expressing it

BELLATRIX’S FIVE PILLARS OF VIRTUE

The Plasmic Key - Cunning and Ambition
The Cross - Unquestioning Devotion
The Eye of Providence - Divine Justice and Deliverance
The Seal of Solomon - Law and Leadership
The Moon - Tireless Pursuit of Knowledge

SIDE NOTE: THE ORIGIN OF THE REVERSED HAMSA

the hamsa was originally an ancient auroran symbol or talisman of protection, but became a casualty of The Scare (accipiens purgationis) following the civil war at the end of the Fifth Era. The symbol was labeled as Haerisian witchcraft by the Regnum Dei High Council, which meant no more hamsa-necklaces, door knockers, etc.

The Auroran Knighthood began wearing the “hamsa stigmata” on their armor as a challenge to Haeresis, one which made basically no sense, as the hamsa had nothing to do with Haeresis in the first place.

Worshippers of Bellatrix adopted the upside-down hamsa as a kind of snide commentary on the circus that is post-purge Regnum Dei. the orientation of the hamsa originally didn’t matter, though, so this also doesn’t make much sense

saw titansgrave at my local games shop. four of the pages are a pretty good high-concept city module. the rest is an adventure path so i don’t care about it.

good candid photo someone in our group took.

there are a few posts i want to write here when i have more free time

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#THE TRUE NATURE OF THE WORLD

all of the information in this post would be considered a pretty big spoiler, in the sense that it’s never readily accessible to players or easily revealed by prodding. in campaigns, i want to mirror the general structure of Greek myths like Heracles. campaigns begin as low fantasy, with the true nature of the world the characters inhabit remaining, at best, a distant cultural memory. as players discover more of the world (and their characters become more experienced, graduating from just-scraping-by to carving out names for themselves, getting ensnared in political quagmires, playing vital roles in national conflicts, etc.), it’s natural for them to begin to poke and prod at the edges of the world. eventually, the world gives way, bit by bit, and players gradually become mythic figures, discovering the edges of their reality, traversing the underworld, embroiling themselves not just in the conflicts of humans but of gods.

some of this information may never make its way to players, for the sake of preserving a sense of wonder, but i’ve written it out so i can make sure to keep it internally consistent in the future.

#INTRODUCTION: AN INCOMPLETE EPISTOLARY ON THE ALTAR OF THE ABYSS

"Reviewing what fragments of the historical record I have access to, there is little evidence that the Altar of the Abyss exists. The only details that are consistent across accounts are 1) that there is an altar lost to time, but not destroyed, and 2) that this altar is enchanted with dark magic so powerful that it can completely revive the dead. Anything beyond that (the Altar’s origin, its location, its appearance, its necessary rituals) all conflict and lack credibility. Some claim it was created by a powerful cult in the Second Era; others claim it was created by Bellatrix herself in the First. The only evidence I have ever seen provided for any of this is astrology, numerology, and church dogma. When people want something to exist badly enough, they’ll twist whatever information they have to prop it up.

Please stop sending me inquiries about the altar. I am a historian. I do not chase after ghosts." -Zenithal

…But the gods’ children still were weak, like the beasts of the Earth
They died in labor, and from Disease, and from Old Age;
The people wept over their dead parents and children
And Bellatrix said unto them:
I will bestow a Gift, a way to bring back what ye have lost
A gate between worlds and an Altar to the Abyss
A door to the House of Dust, dirt, and ash
Land of Eternal Dusk where souls lay forgotten
And using my Gift wisely
You may open the gates and bring your people home…

When AURORA saw that Man had conquered Death
She walked among the people in secret
And asked how they had done this
And they said:
'It is BELLATRIX who spoke to us
And bestowed upon us the keys to the House of Dust;
PRAISE BELLATRIX’…

When AURORA gazed upon the Altar she grew afraid,
That one day Man would grow to surpass Her
She asked the Stars, and they whispered back
'ONE DAY YOUR CHILDREN SHALL REBEL
AND MEN WILL GROW TO KILL GODS’…

In her fear AURORA hid the Altar, and smote the reborn dead
And hid the Gates to the House of Dust…

AURORA and BELLATRIX fought, and their Holy War
Scarred the Earth, tore the Sky apart into DAY and NIGHTE
Drew impossible beasts from the Land of Dreams to the Earth
To rend each other’s flesh;
And the Earth shook and cracked, and the land burst into a Sea of Fire…

Hearing their children’s screams
AURORA and BELLATRIX began to weep
And they said:
'We will settle our fight where no man can reach us
And where our fight can reach no man.’
Saying this, they withdrew from the world.

Thus ended the First Era.

-Excerpts from the Book of Bellatrix, translation circa early Fourth Era, saved from a fire in Regnum Dei by Ashkott and sent for safekeeping to friends in Barbaros

#THE DOUBLE TRINITY

Aurora and Bellatrix exist, though more as collectives than as discrete entities.

their spirits battle in the Astral Plane, where they fight a battle outside of time for control of the stars that decide the Fate of the world.

their will is acted out on our plane through their respective schools of magic, particularly in generational magical adepts, Avatars of their will.

their physical bodies lay dormant, tucked within the roots of the World Tree, awaiting the day of their Reawakening.


this would be very bad for everyone involved, the most likely outcome being the end of the world.

#THE PLANE OF STARS AND FATE

here, at the highest plane of reality, just beyond the flow of time, the Stars hold an open congress where they decide the course of all events, future and past. the Stars, while holding absolute power over the lower planes, are powerless in their own, and are under constant threat by Aurora and Bellatrix, who have been waging a millenia-long political battle for a majority in the Astral Senate.

Aurora and Bellatrix are unique in that, unlike the Elder Gods they usurped (and who now wander throughout the vastness of space, constantly vying against each other and building untenable political alliances), they care about the affairs of mortals.

Aurora believes in absolute good, a world without hardship, and therefore, ultimately inert and without meaning, only technically alive.

Bellatrix believes in absolute free will, and was the goddess who bestowed the gift (and curse) of sentience upon Man.

both wish to initiate the Awakening so that they may end their battle directly. neither acknowledges all the reasons this is a bad idea, despite the fact that they nearly destroyed humanity the last time this happened (see: the Altar of the Abyss in the First Era).

by reading the positions of the stars, light mages can make insights about the past and future. for all but the most gifted, though, these insights tend to be vague, cryptic, or, most likely, completely irrelevant to whatever they wanted to find out.


beware shooting stars. they are exiles or refugees from the Astral Senate, and one manages to land in our plane they will become an Eclipse Lich, living red dwarves seeking to use their hazy memory of future history to build a new dominion over mortal men, and sabotage the plans of their brighter brethren. these attempts are always futile, but take a serious toll in human lives.

#THE PLANE OF SKY AND DREAMS

this is the world the soul floats up to while the body is asleep, the folded and creased edge of linear time. its clouds reflect the starlight of the Astral Senate above, and souls drifting through them experience dispersed and diffracted visions of the past and future, from pleasant but nondescript cirrus dreams to roiling cumulonimbus nightmares.

it is the home of the Summerlings and Dreamons:

These bright beings visit a rare few in dreams, and trade in certain objects for great acts.

They come first when you are asleep, and in need. You find yourself surrounded by a summer sky. Vast angle-spanning pillars and revetments of cloud. Like the piled layers of storms, but more peaceful, higher and deeper than any storm could ever be with no ceiling to their reach and no ground below. Lit in the low long light of a fading summer, the rich red sun that draws long shadows on the ground at the end of the day. And the many colours, vermillion and crimson, cornflower and petal-pink, more like the shades of flowers than of clouds.

The Dreamons are there. They are tall, and bright, like that place. There are several all around you but they speak as one. Their arms are sleeved in feathers, their heads wear iridescent helms and the rest of them is shifting scales that shine like beetle shells. The feathers on their arms are strong, thick and stiff like the flight feathers of eagles, but bright. The plates of its body seem like armour, perhaps they are. But there are hundreds, thin, and delicate, like china-ware, none identical, all neatly shaped to fit and slide. What armourer would build like this? and in such colours? The rippling pigments of the feathers and plates are precisely counterpoised.

The head is hidden in a kind of mask or helm. Each holds its own identity. It looks like metal plates have been bent around the head and joined together with a seam down the centre of the front. There are lenses in the mask and these can also vary in their shade. The metal of the helm is like that of the armour plates, iridescent, shifting like spilt oil under the light, with weaves and snakes of metal running through. Behind their heads, the Dreamons have a spray of feathers, radiating like a peacock’s tail.

When they come to you in dreams, they do not yet have the black spikes that can lodge them in this world.
-Patrick Stuart, Fire on the Velvet Horizon

the summerlings were molded by the Astral Senate as gatekeepers between the Astral Plane and our own, with the hope of preventing interference in both directions.

they herd butterflies of pure artistic inspiration, preventing them from slipping into our world and driving everyone mad (occasionally one slips away and becomes someone’s muse).


they man the Sky Temples, their bastions of defense against invasion by rogue elder gods, and the portals to guide lost souls and VIPs of the Astral Senate to the Plane of Stars.

summerlings are obliged by the Astral Senate not to involve themselves in the affairs of humans unless absolutely necessary, an ordinance loosely analogous to the Prime Directive. when interference is necessary, they tend to seek out light mages, who are the most lucid dreamers and the most in tune with the Astral Plane, and therefore the most aware of this plane’s existence.

but many summerlings resent the task they were made for, or grow envious of the world below. they rebel against their masters in secret and become dreamons.

all of the abilities they were granted to be good watchmen and custodians also make them excellent and dangerous schemers. some seek out sleeping dark mages, with the hopes of teaching them the ritual that would bind them to the physical world. others attempt (fruitless) munity against the Astral Senate. if you’ve ever experienced sleep paralysis, a dreamon was probably sitting on your chest.

here in the Plane of Dreams, Aurora and Bellatrix are the Sun and Moon, chasing each other fruitlessly around the sky, and always trying to bargain with the dreamons. even after all this time, they are not particularly good at it.

#THE WORLD TREE

dig too greedily, and too deep, and discover an Underworld that wasn’t what you expected it to be.

follow the branches down far enough, past where the Fruit of Wisdom grow, past the territorial ents and the bound and vengeful jötnar, past the black pools that the aboleth, the forgotten bastard children of the Elder Gods and the Deep Ones of the Abyssal Sea, call home, and you will arrive the Hollow, where the spider Anansi spins a web of memories as old as the Tree itself, and will happily trade stories for favors.

follow his directions to the roots of the World Tree, where the corpses of Aurora and Bellatrix wait to be reborn, the Altar of the Abyss still clutched in their jaws. meet the Primeval Men and learn the true nature of the world.

before the world began, primordial life stargazed from the Abyssal Sea, without consciousness or souls, only infinitely slow and instinctual drives.

The Earth grew an island from the infinite ocean.

The Wind carried a seed to land there.

The Water let it grow.

The Fire kept it warm.

The tree grew and bore fruit. Two of the mindless primordial things ate from the fruit and became aware of their own existence. Then they ate from the fruit again and became gods.

#THE PLANE OF MAN

They envisioned a race that could combine the sentience and abstract purpose of the Stars with the physicality and agency of primordial life. They made a nest for their children in the tree and tried to create new life.

Most of their attempts were failures.

The final product was always meant to be a prototype. It was the result of a long chain of unhappy compromises. But before Man could be finished the gods were at each others’ throats, and their bickering nearly tore the world apart. now they wait, their bodies overgrown and waiting to be born again.

that might have been the fastest writing i’ve ever done (2k words in 2 hours), and immediately after an all-nighter at that. i may need to go back and edit for clarity and style later when i’m a little less out of it. wish i had more time and discipline to polish stuff in general.

I’m quoting this here and adding a bit more to make this advice actually somehwat actionable instead of just vague. You can, and probably want to, embed setting information right into character creation, and there are a number of ways to do this.

Dungeons and Dragons tacitly does this, and the best approaches to DnD are the ones that acknowledge that there’s an implied setting that arises from minor things like choosing your alignment, picking what class you will play as (and the list of classes available to play as). This gets a bit more interesting not too long after DnD first came out, when Traveller made character creation a little mini-game of rolling dice through your career path until your character died or mustered out. Runequest was a classless, skill-based system that had way too many innovations to list, but some of the ones applicable here include its very pragmatic approach to spell-casting, and the way magic was tied in to membership in mystery cults. It was even the source for modern D&D’s prestige classes, wherein once your character passed a certain threshold and did certain things in game, they could become a ‘rune lord’.

So, there’s a brief overview of where this approach to mechanics is coming from. Now on to some modern and semi-modern examples.

Talislanta was basically a 90s D&D wannabe, but it ended up being pretty influential on quite a few indie game designers. Character creation was ludicrously simple: pick an archetype you liked, move a few numbers around, and you now have a character. Feng Shui also had the same idea, also in the 90s. The key way this differs from class-based systems was in the quantity and diversity of archetypes. Feng Shui had every single action movie stereotype you can imagine, and succeeded at the goal of emulating its milieu. Talislanta, though, traded on the depth and cultural diversity of its setting, so it had hundreds of archetypes, many of them culturally coded. By looking through the choices available, a player can already piece together an idea of what each of those cultures was like. And you don’t have to do a half hour spiel about the setting or require players to do anything they wouldn’t already do.

Dogs in the Vineyard is a western rpg about wandering quasi-mormons solving problems and dealing with the fallout of their choices. It has the usual ‘explanation of setting’ section of the rulebook, but it does something clever in character creation. The last step of character creation is the initiation of the characters into the holy order all characters are members of. Unlike most games, this is actually role-played out and serves as a prologue for your character. It teaches the setting, teaches the mechanics (because you do your first dice rolls within this initiation) and ties your character more fully into the setting.

Burning Wheel is a complex and heavy game that feels like generic fantasy if you glance through it, but implies much about the setting beyond what you would first expect. It does this in a few ways, but the main two are its lifepath system, and its natures. The lifepath system is more abstracted than the one from Traveller, but it still encourages thinking of one’s character as a collection of past experiences. Each lifepath is made up of perhaps some stat adjustments, a collection of skills you can spend points on (the first one listed getting a free boost), and a collection of ‘traits’, little descriptors that give you a bonus if you roleplay them, some of them having tiny mechanics attached in addition to their generic use. Finally, there are the Natures. I’m not sure if they work this way in BW, since I mainly played mouse guard and torchbearer, but the nature is a sort of amalgamation of all the qualities that makes a dwarf dwarflike, or an elf, elflike, or a human like a human. These things are described in the book and very quickly explain what makes those fantasy races unique in the implied setting. This nature has a numerical rating and it can be added to your roll if you are engaging in an action that fits your nature, or it can be added to your roll if you do an action that goes against your nature but the rating is reduced after the roll. This obviously encourages players to roleplay their characters without forcing them to stick to the broad archetype.

Finally, there’s Beyond the Wall, an OSR D&D clone with a frankly amazing character creation and setting creation system. To make a character, you fill out a questionnaire attached to the character archetype you want to play, this questionnaire asks backstory questions (and this is where a lot of setting gets embedded), questions about your relationships to other characters, etc. These both build the character and define the character’s place in the setting. It’s less bookwork than the lifepath/careerpath systems but with significantly more diversity of characters than the archetype/class systems.

Ok, I have to head out the door but I wanted to provide some food for thought on ways to actually tie setting and mechanics together.

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