Someone on OYT described an almost 3-inch long wasp that he encountered in the middle of the night. He swung a broom at the thing, fell off balance when it charged his face, and cut a big gash in his hand on a vent cover.
Another poster kindly provided a picture of a 1.5-inch long wasp from Kansas that he found dead in his basement. He remarked that huge wasps do not scare him (because he always finds them dead) but house centipedes freak him out.
I had no idea what a house centipede was so I used mankind's latest, greatest inventions: Google and Wikipedia. While reading about centipedes, I came across the term parthenogenesis. Parthenogenesis is a form of asexual reproduction where an egg cell develops into a fully grown organism without fertilization. It comes from the Greek parthenos (virgin) and genesis (creation). Parthenogenesis does not (necessarily) create clones because it is an egg cell that matures and egg cells are products of meiosis, a process that includes crossing over between chromosomes. For species like humans, with an XY sex determination, all parthenogens are female (because the mother only has XX to give to the child).
Two relations of parthenogenesis are gynogenesis and hybridogenesis. Gynogenesis is akin to parthogenesis but requires the presence of sperm from a closely-related species for the oocyte to develop. The sperm does not contribute any genetic material to the oocyte and so all gynogens are also female.
Hybridogenesis is not asexual but hemiclonal. The female mates with a male in the usual fashion and father and mother each contribute one set of chromosomes to the child. However, in hybridogenesis, when a female child matures and produces her own oocytes, only her mother's chromosomes are passed on; the father's genetic material is excluded from her gametes. In this way, the female line continually passes down the same genetic material while each individual female possesses novel genetic material from a male donor. It produces a distinct and powerful hereditary factor with respect to the progenitor female's chromosomes while allowing for individual hybrid vigor from the male's contribution. No mention was made of the male hybridogen's gametes but one assumes, from the silence, that they reproduce as normal (their gametes are varied by crossing over during meiosis and randomly assigning either mother's or father's chromosome to each).
Parthogenesis, gynogenesis and hybridogenesis have some potential for a magical society of women who have lasted through the ages. Perhaps a goddess served as the founding matriarch of the family and all of her daughters through the ages share her genetic legacy. With an isolated society like Wonder Woman's Themescarra, parthenogenesis would allow them to reproduce without any contact with mankind.
With a gynogenetic society, women would have to enter the world to find appropriate mates (perhaps, due to magic, each woman's mate must be discovered in a sort of 'one true love' or 'Mr. Right' kind of way, though owing more to genetics and magical arbitration than romantic feelings (unless one wanted those too)). Or a sister society of normal men and women develops as servants to the goddess's descendants with suitable men being plucked from them to mate (perhaps a reward for heroics or exceptional service or maybe chosen like racehorses for genetic worth; this might lead to resentment on the part of the lesser, normal women who keep losing their best men and sons to the goddess's daughters). This latter idea would not be a fateful Mr. Right situation but a "closely related species" kind of mating, perhaps evoking a sense of Jack Kirby's New Gods.
A hybridogenetic society would be less fantastic and more subtle than the other two. It could play into a prophecy where the party has to find a descendant of the goddess to prevent some disaster (since each of her daughters would have her DNA unsullied by mortal man).
Monday, August 3, 2009
I Alone Love You, I Alone Tempt You
I should have posted this months ago when I first came up with it. Luckily, they were playing Live's I Alone on the way home from the doctor's office and I remembered.
Live's song, I Alone, has the following lyrics (in part):
I'll read to you here, save your eyes
You'll need them, your boat is at sea
Your anchor is up, you've been swept away
And the greatest of teachers won't hesitate
To leave you there, by yourself,
Chained to fate
I alone love you
I alone tempt you
I alone love you
Fear is not the end of this!
The beginning of the song conjures the image of a dark god talking to a goblin or other supposedly fell creature. The goblin wishes to better himself, to escape his station as a pawn of evil. However, as the dark god explains, "I alone love you" (only the dark god cares about the goblin; the heroes of good are constantly killing his people and the general populace is prejudiced towards and afraid of him), "I alone tempt you" (the love is not a one way street from dark god to goblin; both recognize the innate lure of evil and darkness in the goblin's soul; therefore, the power and words of the dark god are tempting to the goblin despite its lofty dreams and desire of good intentions). Finally, the dark god explains that fear is not the end of this (the goblin's myriad fears, of falling back into the darkness of his people, of prejudice and rejection by good people, of making a life-changing, nay, defining decision that is also a point of no return, closing off the other avenue forever).
The short scene that plays out in my mind sees the goblin leading the party to the dark god to defeat him. Throughout their adventures together, the goblin shows that he is actively fighting against his darker tendencies (whether in-born or cultural) and honestly striving towards good but he is still a ways off. When the party finally encounters the dark god, he explains to the goblin the words above, "I alone love you; I alone tempt you" and the goblin recognizes this as true and turns on his friends, though the pain of doing so is clear.
It is a definite, "but this is who I am; I'm sorry" kind of moment, where someone does something they really don't because they perceive it as their identity and feel they must remain true to who they are. Gang members who have to turn against non-gang friends are a good example of what I am trying to get across; a gang member must keep up appearances for the gang even when it hurts to do so. Likewise, for the goblin to fight against the dark god on the side of the party would require him to turn his back on his entire race and that is a difficult thing to do, even when your race is generally evilly inclined. Think of Red Cloak from Order of the Stick and his championing of the goblin race.
Live's song, I Alone, has the following lyrics (in part):
I'll read to you here, save your eyes
You'll need them, your boat is at sea
Your anchor is up, you've been swept away
And the greatest of teachers won't hesitate
To leave you there, by yourself,
Chained to fate
I alone love you
I alone tempt you
I alone love you
Fear is not the end of this!
The beginning of the song conjures the image of a dark god talking to a goblin or other supposedly fell creature. The goblin wishes to better himself, to escape his station as a pawn of evil. However, as the dark god explains, "I alone love you" (only the dark god cares about the goblin; the heroes of good are constantly killing his people and the general populace is prejudiced towards and afraid of him), "I alone tempt you" (the love is not a one way street from dark god to goblin; both recognize the innate lure of evil and darkness in the goblin's soul; therefore, the power and words of the dark god are tempting to the goblin despite its lofty dreams and desire of good intentions). Finally, the dark god explains that fear is not the end of this (the goblin's myriad fears, of falling back into the darkness of his people, of prejudice and rejection by good people, of making a life-changing, nay, defining decision that is also a point of no return, closing off the other avenue forever).
The short scene that plays out in my mind sees the goblin leading the party to the dark god to defeat him. Throughout their adventures together, the goblin shows that he is actively fighting against his darker tendencies (whether in-born or cultural) and honestly striving towards good but he is still a ways off. When the party finally encounters the dark god, he explains to the goblin the words above, "I alone love you; I alone tempt you" and the goblin recognizes this as true and turns on his friends, though the pain of doing so is clear.
It is a definite, "but this is who I am; I'm sorry" kind of moment, where someone does something they really don't because they perceive it as their identity and feel they must remain true to who they are. Gang members who have to turn against non-gang friends are a good example of what I am trying to get across; a gang member must keep up appearances for the gang even when it hurts to do so. Likewise, for the goblin to fight against the dark god on the side of the party would require him to turn his back on his entire race and that is a difficult thing to do, even when your race is generally evilly inclined. Think of Red Cloak from Order of the Stick and his championing of the goblin race.
Sunday, August 2, 2009
Strovil's Wizard Academy
I thought this idea up years ago on my way to undergrad for use on Venura. The point of Strovil's school is to teach the theories of magic and magery in addition to practical knowledge of spells and reagents and rituals.
The theory of wild magic is reserved for higher level students. The idea I had now and the idea I had then was a series of tests for beginning students to teach them the successful tactics and strategies of wizards.
The initial tests for cantrip-only students involve a series of challenges that can mostly be overcome through mundane means. Most students, excited to use their newly-learned spells, quickly exhaust themselves of their magical power. They then encounter the latter trials that can only be overcome by magic (unless one is very clever, very skilled, and very lucky). The point of these initial lessons is to teach the young wizards that magic should not be their first choice in overcoming challenges; instead, they should overcome as much as possible using their own minds and bodies, utilizing their magic only when necessary.
A further test involves using illusions to attack students in the middle of the night. The student is awakened by sounds of scuffling or mumbling in or near his room. An illusory enemy then accosts the student. Students who heeded their lessons and retained some spell power are in much better position to fend off the attack. Students who felt that their lessons for the day were done and used up their spells will be left overpowered (wizards being rather ineffectual at manual hand-to-hand combat).
Trials could include getting an object from a high shelf, finding one's way through a dark room, cutting an object down from a rope, etc. I need to look through the SRD at the cantrips to develop appropriate tests.
The theory of wild magic is reserved for higher level students. The idea I had now and the idea I had then was a series of tests for beginning students to teach them the successful tactics and strategies of wizards.
The initial tests for cantrip-only students involve a series of challenges that can mostly be overcome through mundane means. Most students, excited to use their newly-learned spells, quickly exhaust themselves of their magical power. They then encounter the latter trials that can only be overcome by magic (unless one is very clever, very skilled, and very lucky). The point of these initial lessons is to teach the young wizards that magic should not be their first choice in overcoming challenges; instead, they should overcome as much as possible using their own minds and bodies, utilizing their magic only when necessary.
A further test involves using illusions to attack students in the middle of the night. The student is awakened by sounds of scuffling or mumbling in or near his room. An illusory enemy then accosts the student. Students who heeded their lessons and retained some spell power are in much better position to fend off the attack. Students who felt that their lessons for the day were done and used up their spells will be left overpowered (wizards being rather ineffectual at manual hand-to-hand combat).
Trials could include getting an object from a high shelf, finding one's way through a dark room, cutting an object down from a rope, etc. I need to look through the SRD at the cantrips to develop appropriate tests.
Elemental Nemuranai
These small tokens contain their respective kami. Activating these single-use fetishes releases a ten foot diameter sphere of the contained element. The element can be directed to appear up to 20-30 feet away from the nemuranai (helpful when releasing a huge fireball) and can be altered from a perfect sphere into another shape of similar dimensions (but not intricately; the purpose of the nemuranai, and the will and ability of the kami, is to produce a mass of elemental material).
Fire, water, and air can be directed forth like a flamethrower, firehose, or airhose as appropriate. Earth can be summoned as several boulders and rocks instead of one large chunk.
In order to form one of these nemuranai, a sufficient volume of appropriate material must be stored within. This means a water fetish drains a pond, an earth fetish can leave a crater in the ground, and a fire fetish requires a bonfire or other large source of flame to extinguish. The fetishes do not create their element; they store it.
Fire, water, and air can be directed forth like a flamethrower, firehose, or airhose as appropriate. Earth can be summoned as several boulders and rocks instead of one large chunk.
In order to form one of these nemuranai, a sufficient volume of appropriate material must be stored within. This means a water fetish drains a pond, an earth fetish can leave a crater in the ground, and a fire fetish requires a bonfire or other large source of flame to extinguish. The fetishes do not create their element; they store it.
Eagoragion
I just played Isabelle, Poppy, and Bling, a flash game by Andy Master of Fish on Albinoblacksheep.com.
At the end of the game, a thing that looks like a gorilla crossed with a lion and a toucan shows up on screen. It gave me an idea for a chimera.
It has the hind legs and body of a lion, the arms and chest of a gorilla (it walks on all fours but the ape's long arms gives it a centaur-like chest). From there, you can add different heads and wings. The eagoragion has the head of an eagle and the wings of a dragon but the opposite is also quite possible. And the thought of a rhino- or boar-headed variety without wings also just sprang to mind.
At the end of the game, a thing that looks like a gorilla crossed with a lion and a toucan shows up on screen. It gave me an idea for a chimera.
It has the hind legs and body of a lion, the arms and chest of a gorilla (it walks on all fours but the ape's long arms gives it a centaur-like chest). From there, you can add different heads and wings. The eagoragion has the head of an eagle and the wings of a dragon but the opposite is also quite possible. And the thought of a rhino- or boar-headed variety without wings also just sprang to mind.
Wednesday, July 29, 2009
Principled
I had a thought at work today, hearkening back to a conversation we had the other day. The pharmacists usually complain that the pharmacy is too cold while the technicians complain about it being too hot. This discrepancy is easily attributed to the fact that pharmacists typically stand in place while technicians move around doing actual work.
This brought me to the comparison of a wage-worker's exertions compared to a salaried worker's exertions and the notion of a hard/honest day's work. This does not hold true across all professions but in the general scheme a wage worker is concerned with physical matters while a salaried worker is paid for the benefit of his mind.
My thought, and the reason for this post, was a simple exchange between a white collar and a blue collar when there was physical work to be done (perhaps a shelf had fallen and the mess needed picked up) and the white collar left it to the blue collar.
The blue collar asks, "How about you help me clean this mess up?"
The white collar responds, "It's a matter of principles."
The blue collar asks, "You're principled?"
"Yes."
"Huh, that's a mighty long word for lazy."
However, I was just reminded of a most delightful word: sesquipedalian. Sesquipedalian as an adjective refers to an overly long or multi-syllabic word or one who uses overly long words. So the exchange becomes a bit more subtle and impenetrable if the blue collar responds, "Huh, that's a rather sesquipedalian term for lazy."
This brought me to the comparison of a wage-worker's exertions compared to a salaried worker's exertions and the notion of a hard/honest day's work. This does not hold true across all professions but in the general scheme a wage worker is concerned with physical matters while a salaried worker is paid for the benefit of his mind.
My thought, and the reason for this post, was a simple exchange between a white collar and a blue collar when there was physical work to be done (perhaps a shelf had fallen and the mess needed picked up) and the white collar left it to the blue collar.
The blue collar asks, "How about you help me clean this mess up?"
The white collar responds, "It's a matter of principles."
The blue collar asks, "You're principled?"
"Yes."
"Huh, that's a mighty long word for lazy."
However, I was just reminded of a most delightful word: sesquipedalian. Sesquipedalian as an adjective refers to an overly long or multi-syllabic word or one who uses overly long words. So the exchange becomes a bit more subtle and impenetrable if the blue collar responds, "Huh, that's a rather sesquipedalian term for lazy."
Tuesday, July 21, 2009
Drums of War, Chimes of Defense
As I was walking out of my room, the video playing on my computer had a particularly deep note that sounded like a moment of deep thunder or the strike of a very large drum. It occurred to me that such deep, thunder-like rumblings are inherently frightening (humans and animals alike are frightened by huge claps of thunder, even when distant) and that might be the reason why drums of war are so evocative a means to demoralize an enemy.
I thought about the Owl Clan constructing a huge drum to sound the deepest, most primal notes possible. I remembered the huge speakers the team on Mythbusters built in an attempt to make the loudest car stereo system and wondered how a Rokugani people would make such a device. I imagined a drum 20+ feet across. Where would you get the material to make a skin? Does a drum work the same when the skin is patched together from multiple pieces? I assumed not because every real drum I have seen (made from natural materials) is one continuous piece. Perhaps if I used magic to seamlessly merge multiple skins. But where would I get so many skins?
My first thought turned to goblins from the Shadowlands. Now that would be a hell of a drum, constructed from the flesh of Rokugan's enemies. It would also creep the hell out of Rokugani. In fact, it would likely be considered a tainted object of great evil and I would be seen as an evil, insane artisan in the vein of Asahina Yajinden. So I immediately thought of the exact opposite idea: a bell.
Bells are strongly connected to good and right and religion. Temples sound a heavenly, clear peal of the blessed bell to start the day and mark special occasions. But no one uses bells in an advancing army because of the size and weight issues (and you want to sound a bell from high up to let the sound reach as far as possible). Bells are a defensive signal, raising the alarm to alert the defenders while drums are an offensive signal, keeping time for the march and instilling that primal fear of approaching thunder.
However, the thought of an army that sounds chimes and bells as it camps across from the enemy. Large bells have have an ominous, deep ring. Not quite the fearsome thunder but evoking the death knoll has its advantageous connotations.
I thought about the Owl Clan constructing a huge drum to sound the deepest, most primal notes possible. I remembered the huge speakers the team on Mythbusters built in an attempt to make the loudest car stereo system and wondered how a Rokugani people would make such a device. I imagined a drum 20+ feet across. Where would you get the material to make a skin? Does a drum work the same when the skin is patched together from multiple pieces? I assumed not because every real drum I have seen (made from natural materials) is one continuous piece. Perhaps if I used magic to seamlessly merge multiple skins. But where would I get so many skins?
My first thought turned to goblins from the Shadowlands. Now that would be a hell of a drum, constructed from the flesh of Rokugan's enemies. It would also creep the hell out of Rokugani. In fact, it would likely be considered a tainted object of great evil and I would be seen as an evil, insane artisan in the vein of Asahina Yajinden. So I immediately thought of the exact opposite idea: a bell.
Bells are strongly connected to good and right and religion. Temples sound a heavenly, clear peal of the blessed bell to start the day and mark special occasions. But no one uses bells in an advancing army because of the size and weight issues (and you want to sound a bell from high up to let the sound reach as far as possible). Bells are a defensive signal, raising the alarm to alert the defenders while drums are an offensive signal, keeping time for the march and instilling that primal fear of approaching thunder.
However, the thought of an army that sounds chimes and bells as it camps across from the enemy. Large bells have have an ominous, deep ring. Not quite the fearsome thunder but evoking the death knoll has its advantageous connotations.
Thursday, July 9, 2009
Quaeless's Adventure Log
We played through ADAP1-1 Barrow of the Ogre King, Core 1-1 Inheritence, Bald1-1 Flames of Initiation, and Corm1-1 Black Knight of Arabel.
Tuesday, July 7, 2009
Day of the Crab - Owl Clan Rice Festival
This past weekend was the 4th of July and the weekend edition of the Mesa Republic was, as expected, primarily concerned with the holiday. I read it today because I was busy all weekend.
The Owl Clan goes out of its way to support their neighbors and family, the Crab (the Owl are situated at the north end of Crab lands and the daimyo's wife is a Kaiu samurai-ko). The Owl understand and deeply appreciate the sacrifices the Crab make on behalf of the Empire and this festival is part of their effort to give back to the Crab.
The Day of the Crab is a combination of Memorial Day and Independence Day. It takes place in late spring or early summer after the rice harvest (going by a website that cites the rice growing season for southern Thailand, planting occurs September to November while harvesting occurs in March through May). All Owl, from the daimyo to the eta, refrain from regular work in honor of the holiday. In the morning, the Owl rise and pay their respects to the fallen Crab.
Incense is lit in their honor as lists of that year's dead as well as stories of Crab heroes who have died in battle are read aloud amongst each family (some Owl families adopt particular parts of the Kaiu Wall and focus on warriors who served there). The air of mourning and the gravity of heartbreak give way to the day's labors as the portion of Owl rice destined for Crab lands is gathered at Shiro Ryujoji along with other Owl gifts (raw materials like iron ore, linen, lumber, etc along with finished gifts like armor, clothing, and supplies).
Immediately following this gathering, the Owl adopt a spirit of joviality as they enjoy the afternoon and evening festival. The Owl eat, sing, dance, and compete to enjoy the day more than any of their brethren. Having paid their respects to the dead and having gathered their gifts for the coming year, the Owl celebrate, for only by enjoying the life of safety and freedom the Crab have given them can the Owl truly honor their sacrifices.
The Owl Clan goes out of its way to support their neighbors and family, the Crab (the Owl are situated at the north end of Crab lands and the daimyo's wife is a Kaiu samurai-ko). The Owl understand and deeply appreciate the sacrifices the Crab make on behalf of the Empire and this festival is part of their effort to give back to the Crab.
The Day of the Crab is a combination of Memorial Day and Independence Day. It takes place in late spring or early summer after the rice harvest (going by a website that cites the rice growing season for southern Thailand, planting occurs September to November while harvesting occurs in March through May). All Owl, from the daimyo to the eta, refrain from regular work in honor of the holiday. In the morning, the Owl rise and pay their respects to the fallen Crab.
Incense is lit in their honor as lists of that year's dead as well as stories of Crab heroes who have died in battle are read aloud amongst each family (some Owl families adopt particular parts of the Kaiu Wall and focus on warriors who served there). The air of mourning and the gravity of heartbreak give way to the day's labors as the portion of Owl rice destined for Crab lands is gathered at Shiro Ryujoji along with other Owl gifts (raw materials like iron ore, linen, lumber, etc along with finished gifts like armor, clothing, and supplies).
Immediately following this gathering, the Owl adopt a spirit of joviality as they enjoy the afternoon and evening festival. The Owl eat, sing, dance, and compete to enjoy the day more than any of their brethren. Having paid their respects to the dead and having gathered their gifts for the coming year, the Owl celebrate, for only by enjoying the life of safety and freedom the Crab have given them can the Owl truly honor their sacrifices.
Monday, July 6, 2009
Gluttony Spell
Had an idea for a spell while eating a hot dog.
The spell is a magical compulsion to consume one's body weight in food by the end of the day. According to a quick google search, humans only consume about 1/20 their body weight in food. As such, a 20-fold increase in diet would likely rupture the stomach.
I imagine Saren Kollmer would use this gluttonous curse on rich and poor alike. The rich have the means to actually kill themselves before day's end while the poor would die more slowly, having consumed the entirety of their pantry.
The subject of the curse is driven to eat continuously. Water and other libations will be taken as needed but a diet of just liquids would not be satiating to the curse. The cursed individual craves staple foods like bread, meat, and cheese along with fruits and vegetables. Given the choice between a bowl of apples and a bowl of mashed potatoes, he would choose the potatoes (more fat, more starch, more salt).
Deprived of food, the cursed individual would be driven to eat other edible substances (bark, leather, dirt), developing the condition pica. In extreme circumstances (or deprived of food while possessing a mirror), the cursed individual would begin to feast upon his own limbs to sate the hunger.
This last is Saren's personal favorite outcome. If she casts this spell on a kidnapped victim, she will allow him to gorge on rotten food, then non-food items, and finally place him in front of a mirror and watch him eat himself to death.
The spell is a magical compulsion to consume one's body weight in food by the end of the day. According to a quick google search, humans only consume about 1/20 their body weight in food. As such, a 20-fold increase in diet would likely rupture the stomach.
I imagine Saren Kollmer would use this gluttonous curse on rich and poor alike. The rich have the means to actually kill themselves before day's end while the poor would die more slowly, having consumed the entirety of their pantry.
The subject of the curse is driven to eat continuously. Water and other libations will be taken as needed but a diet of just liquids would not be satiating to the curse. The cursed individual craves staple foods like bread, meat, and cheese along with fruits and vegetables. Given the choice between a bowl of apples and a bowl of mashed potatoes, he would choose the potatoes (more fat, more starch, more salt).
Deprived of food, the cursed individual would be driven to eat other edible substances (bark, leather, dirt), developing the condition pica. In extreme circumstances (or deprived of food while possessing a mirror), the cursed individual would begin to feast upon his own limbs to sate the hunger.
This last is Saren's personal favorite outcome. If she casts this spell on a kidnapped victim, she will allow him to gorge on rotten food, then non-food items, and finally place him in front of a mirror and watch him eat himself to death.
Saturday, June 20, 2009
200th Let's Play Video
Edit together the first seconds of a bunch of videos since you seem to start every single video with "okay" or "alright".
Monday, June 15, 2009
The Tetsubo of Thunder & Fire
When Osano-Wo was killed, his Matsu-born son Kaimetsu-Uo hunted down the killer and exacted revenge. His Hida-born son Hida Kenzan was not able to join Kaimetsu-Uo because the duties of Crab Clan Champion fell to him and the Clan needed guidance in the wake of Osano-Wo's death.
After he ascended to as Fortune of Thunder & Fire, Osano-Wo gifted his son Kenzan with the Tetsubo of Thunder & Fire. It is a large weapon, even by Crab standards, studded with eternal jade (it will protect against the Shadowlands taint without corrupting) and carved with the image of the Thunder Dragon on all sides. Kenzan left the weapon in a shrine dedicated to his father on an island off the Crab coast. Centuries later it was discovered by Moshi Iongi, a Centipede shugenja who would later join the Bat Clan in the Islands of Silk and Spice. Yorimoto Komori, the former Mantis and founder of the Bat Clan, would proclaim it the ancestral weapon of the Bat Clan.
In Legend of the Five Rings, the weapon grants a +2k0 bonus to all attacks and a +0k1 bonus to damage against Shadowlands creatures. However, for each 1 the wielder rolls on an attack or damage roll with the weapon, he takes 1 wound of damage for failing to live up to Osano-Wo's expectations (the Fortune is very exacting).
In 4e, I imagine a brutal weapon that lets you reroll attack rolls on a 1 (but you lose a healing surge to do it).
After he ascended to as Fortune of Thunder & Fire, Osano-Wo gifted his son Kenzan with the Tetsubo of Thunder & Fire. It is a large weapon, even by Crab standards, studded with eternal jade (it will protect against the Shadowlands taint without corrupting) and carved with the image of the Thunder Dragon on all sides. Kenzan left the weapon in a shrine dedicated to his father on an island off the Crab coast. Centuries later it was discovered by Moshi Iongi, a Centipede shugenja who would later join the Bat Clan in the Islands of Silk and Spice. Yorimoto Komori, the former Mantis and founder of the Bat Clan, would proclaim it the ancestral weapon of the Bat Clan.
In Legend of the Five Rings, the weapon grants a +2k0 bonus to all attacks and a +0k1 bonus to damage against Shadowlands creatures. However, for each 1 the wielder rolls on an attack or damage roll with the weapon, he takes 1 wound of damage for failing to live up to Osano-Wo's expectations (the Fortune is very exacting).
In 4e, I imagine a brutal weapon that lets you reroll attack rolls on a 1 (but you lose a healing surge to do it).
Sunday, June 14, 2009
Anything Goes Martial Arts Adventuring Company
Some of the guys from my RPGA group want to start an adventuring group consisting entirely of characters based on Ranma 1/2.
Ryoga was taken so I decided to make either Mousse or Pantyhose Taro.
My first idea for Mousse was a ranger or tempest fighter with dual flails (or a double flail) since the iconic Mousse attack is a spray of chains and ropes and darts from each of his sleeves. Then I figured an avenger who oaths one enemy but attacks another since Mousse constantly confuses people due to his bad eyesight. Finally, I considered a druid because Mousse is the only main character who can still fight effectively in animal form and he has a number of area attacks that he can use at range (exploding duck eggs, water balloons, etc). I basically decided on a tempest fighter with a spiked chain used as a double weapon. The exact same character build would work equally well as a ranger.
Pantyhose Taro was much easier to decide. He was a barbarian or a warden who uses the rage or form daily powers to simulate his ox-crane-eel-yeti form.
Ryoga was taken so I decided to make either Mousse or Pantyhose Taro.
My first idea for Mousse was a ranger or tempest fighter with dual flails (or a double flail) since the iconic Mousse attack is a spray of chains and ropes and darts from each of his sleeves. Then I figured an avenger who oaths one enemy but attacks another since Mousse constantly confuses people due to his bad eyesight. Finally, I considered a druid because Mousse is the only main character who can still fight effectively in animal form and he has a number of area attacks that he can use at range (exploding duck eggs, water balloons, etc). I basically decided on a tempest fighter with a spiked chain used as a double weapon. The exact same character build would work equally well as a ranger.
Pantyhose Taro was much easier to decide. He was a barbarian or a warden who uses the rage or form daily powers to simulate his ox-crane-eel-yeti form.
Sunday, June 7, 2009
Paladin Power Reminder
I am watching Scrapped Princess and Shannon Casull just fought against the first Peacemaker. Peacemakers are like angels in service to Providence and they are trying to kill the Scrapped Princess. They have the ability to dominate the minds of humans. However, using the power of Zefiris (a dragon spirit that opposes the Peacemakers and Providence), Shannon is able to break free of the mind control and destroy the Peacemaker.
Q1. Would a paladin be susceptible to the Peacemaker's mind control?
A1. Since the Peacemakers are ultimately working against mankind, they are most analogous to demons and not angels. Thus the question becomes, are paladins susceptible to possession by demonic spirits? The answer is no. The specially preserved soul of the paladin is inhabited with the Spirit of God and no room remains for the overt influence of demonic spirits. Like all humans, paladins are vulnerable to temptation though their preserved spirit and dedication to God and His grace give them greater strength to resist.
Q2. The Peacemaker took the form of a gigantic winged angel during the fight with Shannon. If Shannon were a paladin, how would he have fought against a creature the size of a large skyscraper floating a hundred feet in the air?
A2. The purpose of the paladins is to oppose the demonic incursion of the flesh. Since the incarnation of our Lord Jesus Christ, demons have been offered a doorway into our world through the acceptance of flesh. Such incarnations are in opposition to the nature God gave them and thus the paladins are tasked with opposing incarnated demons. However, a skyscraped-sized, airborne creature far exceeds any expectations of actual flesh, even accounting for the demonic tendency to warp and alter physical norms. As such, the Peacemaker's angelic form would not be an instance of incarnation but, rather, an expression of its spiritual power. We must assume that the Peacemaker had crossed into flesh at one point in order to explain the presence and opposition of the paladin, so we are faced with a situation in which a demon casts off its mortal, incarnated form to once again wield the full power of its spiritual self. God has placed limits on even what the demons may accomplish in their natural, spiritual forms and thus we may also assume that this display is beyond God's law. Thus we arrive at the solution both used in the episode as well as the impetus for this post: the reminder that a paladin does not rely solely upon his own flesh and God's grace to perform his duties. All paladins are accompanied by angelic spirits that work in the spiritual plane to oppose demonic activity as the paladin works in the material plane. Thus, in the face of an overt display of spiritual power, the demon is immediately opposed by the angelic guardian of the paladin. In the Scrapped Princess, this takes the form of the humongous energy sword that Shannon wielded against the Peacemaker. As we have already assumed the Peacemaker had an incarnate form to draw the attention of the paladin, we can explain Shannon's actions against the angelic form as his contribution to destroying the physical form of the demon while the angel dispelled the spiritual form of the demon. Demons are themselves immortal, as God has made that part of their nature, so the demonic spirit was banished back to hell when its spiritual and physical forms were dismantled. And, as the demon had to become a soul as well as a spirit to properly take flesh for itself, it may be subject to God's laws governing the afterlife of humanity (facing an eternity of torment in hell without the relative freedom of other demons before the coming of the Kingdom).
Q1. Would a paladin be susceptible to the Peacemaker's mind control?
A1. Since the Peacemakers are ultimately working against mankind, they are most analogous to demons and not angels. Thus the question becomes, are paladins susceptible to possession by demonic spirits? The answer is no. The specially preserved soul of the paladin is inhabited with the Spirit of God and no room remains for the overt influence of demonic spirits. Like all humans, paladins are vulnerable to temptation though their preserved spirit and dedication to God and His grace give them greater strength to resist.
Q2. The Peacemaker took the form of a gigantic winged angel during the fight with Shannon. If Shannon were a paladin, how would he have fought against a creature the size of a large skyscraper floating a hundred feet in the air?
A2. The purpose of the paladins is to oppose the demonic incursion of the flesh. Since the incarnation of our Lord Jesus Christ, demons have been offered a doorway into our world through the acceptance of flesh. Such incarnations are in opposition to the nature God gave them and thus the paladins are tasked with opposing incarnated demons. However, a skyscraped-sized, airborne creature far exceeds any expectations of actual flesh, even accounting for the demonic tendency to warp and alter physical norms. As such, the Peacemaker's angelic form would not be an instance of incarnation but, rather, an expression of its spiritual power. We must assume that the Peacemaker had crossed into flesh at one point in order to explain the presence and opposition of the paladin, so we are faced with a situation in which a demon casts off its mortal, incarnated form to once again wield the full power of its spiritual self. God has placed limits on even what the demons may accomplish in their natural, spiritual forms and thus we may also assume that this display is beyond God's law. Thus we arrive at the solution both used in the episode as well as the impetus for this post: the reminder that a paladin does not rely solely upon his own flesh and God's grace to perform his duties. All paladins are accompanied by angelic spirits that work in the spiritual plane to oppose demonic activity as the paladin works in the material plane. Thus, in the face of an overt display of spiritual power, the demon is immediately opposed by the angelic guardian of the paladin. In the Scrapped Princess, this takes the form of the humongous energy sword that Shannon wielded against the Peacemaker. As we have already assumed the Peacemaker had an incarnate form to draw the attention of the paladin, we can explain Shannon's actions against the angelic form as his contribution to destroying the physical form of the demon while the angel dispelled the spiritual form of the demon. Demons are themselves immortal, as God has made that part of their nature, so the demonic spirit was banished back to hell when its spiritual and physical forms were dismantled. And, as the demon had to become a soul as well as a spirit to properly take flesh for itself, it may be subject to God's laws governing the afterlife of humanity (facing an eternity of torment in hell without the relative freedom of other demons before the coming of the Kingdom).
Wednesday, May 20, 2009
Black Dirge
This idea popped into my head yesterday after watching the Star Trek movie. It has nothing to do with the Star Trek movie; I think it came about from the combination of one of the preview trailers for another movie (cannot remember which), Final Fantasy Tactics Advance 2, Ah My Goddess (with Record of Lodoss War and Naruto thrown in), the song Just Dance by Lady Gaga, and other unidentifiable factors.
I want to go back and re-watch the episodes of Naruto with the flute-player demon ninja girl. I remember very little about her but she is definitely a bit of an inspiration for this.
Record of Lodoss War ties in because the idea has a semi-D&D fantasy feel to it but the techno dance mix of Just Dance wants a more modern setting.
Ah My Goddess plays into the cute, unassuming appearance of Black Dirge.
The set-up is that there is a heartless villain who leaves soulless, undead husks in his wake. He calls himself the Black Dirge and the magic of his music allows him to literally rip the soul from his victim's body. The soulless body then animates through the power of his music and wreaks havoc. If he is able to concentrate, Black Dirge can utilize the energy of the soul to empower himself or turn over the soul to the demon lord granting him power or forcefully morph the soul into an undead or demonic spirit alongside the animate, undead body. Whatever he does, it should be inhuman and diabolical. If he is distracted, the soul is left as a spirit to wander, unable to find rest (but able to be put to rest by the PCs or possibly even reunited to the body).
Black Dirge's power is great (ripping a soul from the body is hard work) but requires a lot of time and concentration. He operates like a serial killer, isolating victims, restraining them, and then working his magic. Horror should be the main point to get across; this man is inhuman, his acts demonic, and his next victim could be anyone, anywhere (he may or may not have a rhyme to his reason for choosing victims).
When the PCs finally encounter Black Dirge, he is tall, lithe, stark, sharp, and dresses like a death-obsessed freak. He dies his wild hair white and black, pales his face with cream, draws black streaks across his eyes with make-up, wears a cape with skull clasps, etc.
The secret here is that the real Black Dirge is a cute, sweet young woman with a sunny disposition who dresses in bright colors. The man is her apprentice and it was his choice to dress that way. She disapproves but allows him his eccentricities.
The real Black Dirge believes that her actions are beautiful and artistic. While he knows little about his victims and delights in the spread of death, she prefers to integrate herself into her victims' lives, truly delve into who they are, and finds a black, quiet beauty in their death. The thought is similar to the disgusting sense of "romance" one might find in a truly egregious snuff film - to be the first and last man to ever take a woman before her life is forfeit. The killer thus feels he "owns" that woman and her experience. No other man can share the experience he has had. Black Dirge enjoys knowing what and who a person was before she ensures that person no longer be. She absorbs the sense of loss and mourning.
Unfortunately, while Black Dirge prefers to spend lots of time with a single victim, her power far surpasses that of her apprentice. It took tremendous effort for him to rip the soul from a single victim. Black Dirge can kill a hundred people with a few notes. She prefers to take it slow but is capable of ending life in a flash.
I have yet to decide how closely Black Dirge will deal with demons. The cute face and sunny demeanor are meant to stand in stark contrast with her demonic actions. I want to avoid making her look psychotic or demonic like you would expect in anime once the jig is up (such as her iris shrinking down to a point or the blank all-eye iris usually indicative of mind control, sweat beaded on the forehead, a strained face with open mouth gasping in air or shouting, and a psycho laugh). Black Dirge has so separated from basic human decency that she can kill scores of human beings without it assailing her sanity.
I want to go back and re-watch the episodes of Naruto with the flute-player demon ninja girl. I remember very little about her but she is definitely a bit of an inspiration for this.
Record of Lodoss War ties in because the idea has a semi-D&D fantasy feel to it but the techno dance mix of Just Dance wants a more modern setting.
Ah My Goddess plays into the cute, unassuming appearance of Black Dirge.
The set-up is that there is a heartless villain who leaves soulless, undead husks in his wake. He calls himself the Black Dirge and the magic of his music allows him to literally rip the soul from his victim's body. The soulless body then animates through the power of his music and wreaks havoc. If he is able to concentrate, Black Dirge can utilize the energy of the soul to empower himself or turn over the soul to the demon lord granting him power or forcefully morph the soul into an undead or demonic spirit alongside the animate, undead body. Whatever he does, it should be inhuman and diabolical. If he is distracted, the soul is left as a spirit to wander, unable to find rest (but able to be put to rest by the PCs or possibly even reunited to the body).
Black Dirge's power is great (ripping a soul from the body is hard work) but requires a lot of time and concentration. He operates like a serial killer, isolating victims, restraining them, and then working his magic. Horror should be the main point to get across; this man is inhuman, his acts demonic, and his next victim could be anyone, anywhere (he may or may not have a rhyme to his reason for choosing victims).
When the PCs finally encounter Black Dirge, he is tall, lithe, stark, sharp, and dresses like a death-obsessed freak. He dies his wild hair white and black, pales his face with cream, draws black streaks across his eyes with make-up, wears a cape with skull clasps, etc.
The secret here is that the real Black Dirge is a cute, sweet young woman with a sunny disposition who dresses in bright colors. The man is her apprentice and it was his choice to dress that way. She disapproves but allows him his eccentricities.
The real Black Dirge believes that her actions are beautiful and artistic. While he knows little about his victims and delights in the spread of death, she prefers to integrate herself into her victims' lives, truly delve into who they are, and finds a black, quiet beauty in their death. The thought is similar to the disgusting sense of "romance" one might find in a truly egregious snuff film - to be the first and last man to ever take a woman before her life is forfeit. The killer thus feels he "owns" that woman and her experience. No other man can share the experience he has had. Black Dirge enjoys knowing what and who a person was before she ensures that person no longer be. She absorbs the sense of loss and mourning.
Unfortunately, while Black Dirge prefers to spend lots of time with a single victim, her power far surpasses that of her apprentice. It took tremendous effort for him to rip the soul from a single victim. Black Dirge can kill a hundred people with a few notes. She prefers to take it slow but is capable of ending life in a flash.
I have yet to decide how closely Black Dirge will deal with demons. The cute face and sunny demeanor are meant to stand in stark contrast with her demonic actions. I want to avoid making her look psychotic or demonic like you would expect in anime once the jig is up (such as her iris shrinking down to a point or the blank all-eye iris usually indicative of mind control, sweat beaded on the forehead, a strained face with open mouth gasping in air or shouting, and a psycho laugh). Black Dirge has so separated from basic human decency that she can kill scores of human beings without it assailing her sanity.
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