From the Blog

Mar
04
Posted by Daniel at 1:27 pm

Here’s something I just wrote like three seconds ago. Miriam’s one of the Anointed. She’s a rival to the main character, Shiloh. So far, Miriam’s been growing more and more distant from her mom, who’s in this perpetual depression since her husband skedaddled. Things are about to get bad.

“WHO WOULD YOU WANT TO TAKE CARE OF YOU IF I DIED?”

Miriam’s mom was weary. She’d never been beautiful: her face was too round, and she didn’t have much in the way of chin. She’d always had her hair, though, this wavy onyx she’d had since she was squirted worldward. It’d always been long. On the wedding pictures that were still packed tight over all the walls, the stuff was down past her waist. And that’s how it was for as long as Miriam could remember, while things were still good, anyway.

The first time she remembered her mom getting her hair cut was the day after the divorce finalized. She overheard her dad say something creepy to Mom about how she was pretty good in bed and he wished they’d done it one more time. Turns out he’d been cheating on her most of the time they’d been married, mostly with one of Mom’s coworkers at the salon. The harlot still worked there.

The next day, Mom got said harlot to cut her hair since, Miriam figured, it was poetic. Mom still kept some of the clippings in an unmarked ziploc bag at the back of her jewelry drawer. Mom didn’t know Miriam knew about them, but she did. She saw Mom with them pulled out, pinching them between thumb and forefinger, examining them in the ringlight of the makeup mirror and bawling like she was going through it all over again.

Mom’s hair never got longer than that. She got it cut shorter every time. Dad got harlot pregnant, and she started working part time at the salon. Then Dad got a job in Cincinnati, and harlot didn’t really hear from him anymore. She confided this to Mom one day while she was cutting Mom’s hair even shorter. Mom kept the kid a lot. She felt responsible for it: the harlot had lined up the abortion at Dr. Bobobobo’s clinic, but Mom wasn’t having any of that; she talked her out of it with tears and promises. So now the harlot found Jesus, or so she said, and joined the pentecostals down the street and started speaking in tongues, or so she said. Mom always looked at her out of the corner of her eye.

And when, tonight, Mom asked Miriam who she wanted to take care of her in the unfortunate and unexpected event of her death, Miriam noticed her hair was even shorter yet again. She looked like a boy now, a boy with thin grey streaks and wrinkles around her eyes and mouth. She never wore makeup anymore. She sat at the mirror every morning surrounded by the stuff, but she never seemed to be able to bring herself to application.

“Did you get another hair cut?”

“Yeah,” Ms. Tolstoy says. “Bambi did it for me.” Bambi is the (ex-)harlot’s name. “Do you like it?”

“It’s short,” Miriam says.

Ms. Tolstoy shrugs. “It’s out of my way. And, besides, who do I have to impress?”

Miriam frowns. Ms. Tolstoy sees it. She can’t think of anything to say. She presses.

“So who do you want? I’m making a will.” She rattles the papers she’s got on the desk to prove the point.

“Aren’t you a little young for that?”

“You can’t be too careful,” Ms. Tolstoy says. She stares in the mirror like she’s going to find something out. The ringlight halos her pupils.

Miriam thinks a bit. “I guess I’d want Rockwell to take of me.”

“You mean Miss Rockwell.”

“Right.”

“You can’t forget to be polite,” Ms. Tolstoy says. She reaches for eyeliner but can’t wrap her fingers around it. “It’s good her husband died. I mean—”

“I know what you mean,” Miriam says.

“Sorry. I’m being morbid again.”

“It’s okay. I understand. How’ve you been sleeping?”

“Not so good.” Ms. Tolstoy sighs. “Dr. Wadlington prescribed me some new pills for it. Would you mind picking them up on your way home? The prescription’s on the table.”

“Sure. No problem.”

Miriam grabs the papers on the way out. She looks up at the wedding pictures, sees Mom grinning with that long hair like gushing crude, hears her scribbling down a signature on the will in the bedroom. Then things are quiet, and Miriam feels like Mom’s waiting for her to leave. She does. She closes the door quietly and doesn’t turn on the radio in the car. Miriam prays for her the whole way to school, but she gets the feeling it’s not going to work.

Feb
28
Posted by Daniel at 10:33 pm

This is the complete opening scene of the new stuff I’m writing for Christian kids.

“I’m finally going to do it,” Jesse said.

Jesse was tall and thirteen years old, barely heavier than the staff he walked with, and had a bunch of curly brown hair on his head that seemed to catch every grain of sand on the road to Beersheba.

Jesse was walking beside another thirteen year old boy with a staff. The other boy’s name was Ari. Ari only came up to Jesse’s shoulders. He was bald, and his eyes were all black. There was no white, no iris, no pupil. Or maybe there was only pupil. In any case, he was born that way, and it gave everyone a scare when he first popped out.

“Do what?” Ari asked.

“Talk to Lilith.”

Jesse looked ahead of them on the road. That’s where the girls were—Lilith and Hannah. They had staves too and were walking close together and talking, which is to say they were behaving in the manner of girls. Their conversation concerned mysterious subjects. Jesse imagined that they were talking about him now.

“Go for it, I guess,” Ari said.

“But Hannah’s in the way.”

“So?”

“So I don’t want to talk to Lilith while Hannah is around,” Jesse said.

He moved aside for a caravan of merchants coming up from behind. Their camels smelled bad. They stirred up even more sand for his hair. He leaned over and started beating it out like a rug. Ari stopped with him. The girls kept walking.

“If Lilith doesn’t want to talk to me,” Jesse said, “and Hannah’s around, it’ll be embarrassing.”

Ari crossed his arms. “I think it’ll be embarrassing anyway.”

“You’re not helping.”

“So what do you want me to do?”

“I don’t know,” Jesse said. “Pretend your stuff is too heavy?”

“What, all of a sudden?” Ari looked over his shoulder at his backpack. “I’ve been carrying this stuff around since Hebron. It’s not that bad.”

“Just say you’re feeling weak,” Jesse said. “Maybe you’re dehydrated.”

“Okay, I guess.” Ari kicked camel poop out of the way; the stuff is great for kicking: hard as a rock and flies forever. “When do you want to do it?”

“Now.”

“Fine with me,” Ari said. “Hey, Hannah! Can you come here for a minute?”

Jesse took off. He jetted by Hannah and sidled up to Lilith. She was just as skinny as Jesse and a couple inches taller. She wore a white robe that twisted around her more times than Jesse could count. She had the top of it pulled over her head to keep the sand and the wind out, but Jesse could see stray locks of her hair snap out every few seconds. Her hair was white, like leukocytes or leprosy. She was born that way too. It gave everyone a scare too.

Jesse cleared his throat and knuckled sand out of his eye. “Hi, Lilith.”

“Hello,” Lilith said.

Jesse suddenly didn’t know what to say. It occurred to him that he hadn’t thought this far ahead. He figured he’d get to “Hi, Lilith,” and everything would be gold. He took a big gulp of air and choked down a noseful of sand. He heard Ari protesting and turned to see what was up: Hannah had grabbed Ari, backpack and all, and was toting him on her shoulders like he was a half empty sack of barley.

“Really, you can put me down,” Ari said; he was practicing what they used to call longsuffering. “I’m feeling better already.”

“No, no, no, I know how you boys are,” Hannah said. “My brother Shimon is the same way. He won’t ever admit when he’s sick, and he won’t ever ask me for help with anything because I’m a girl, even though he knows . . .”

Hannah went on that way for a while. Ari longsuffered. When Jesse turned back to Lilith, she wasn’t looking at him anymore. She was just watching the road ahead, watching the swaying of the camel tails, watching the way the dust clouds they kicked up formed patterns in the air that expired the moment you looked at them. Jesse felt like he needed to kickstart the conversation. He wasn’t going to give up yet.

“So how’s the journey been?”

“Fine.”

Jesse nodded his head and tried to look thoughtful. She didn’t bother making eye contact with him. He started to get worried: his heart was beating in his ears, and he was sweating even more; he could feel it soaking through his clothes.

“How’s Hannah doing?” Jesse asked.

“Fine,” Lilith said.

“And what about your family? Did you hear from them while we were in Hebron?”

“Yeah,” Lilith said. “I got a letter.”

“And how were they doing?”

“Fine.”

“This is like getting water from a rock,” Jesse thought.

And that gave him another one.

“Just a second,” he said.

Jesse dashed off to the side of the road, ran back and forth a couple times, crouched low, picked something up, tossed it away. Lilith thought he looked like a bird on the worm-hunt. After a minute of this, Jesse came running back. There was a whole desert of sand in his hair, and he was coughing and rubbing it out of his eyes while he caught his breath.

“Check this out,” he said.

Jesse held out a big rock in his left hand. It was heavy, a couple pounds for sure. He was grinning at it like it was a lion he’d hunted down and killed with his bare hands.

“Hey, Lilith,” Jesse said.

“Hey, Jesse,” she said.

“Check this out.”

“Okay.”

“It’s a rock, right?”

Lilith nodded along.

“Watch this.”

Jesse held out the rock and struck it as hard as he could with his staff. Water started gushing out of it for no reason. It got stronger and stronger until it was a geyser. It soaked Jesse and Lilith and shot back out of Jesse’s hand and bounced out of control off into the Negev, where (who can say?) it might still be bouncing around, spewing water today. Jesse spat out a mouthful of rock-water and beamed at Lilith.

“Wasn’t that awesome?”

“I guess,” Lilith said.

“I guess!? What are you talking about, I guess!? Didn’t you see that?”

“Yeah.”

“So? Come on!”

Lily frowned. “You know we’re not supposed to use our gifts that way.”

“What are talking about?” Jesse said. “What way?”

“To show off. It’s prideful.”

Jesse smiled. “Maybe you’re just a little jealous?”

Lilith didn’t smile back. “Maybe,” she said.

She stepped up the pace to leave Jesse behind. He watched her grow smaller and smaller in the distance, then lost her in the dust. Eventually, Hannah and Ari caught up with him.

“You can set me down now,” Ari said.

“If you say so,” Hannah said. “I’m going to go talk to Lilith again. Glad to help! See you in Beersheba!”

Ari adjusted his backpack and matched pace with Jesse. “How’d it go with Lilith?”

Jesse’s mouth was a straight line. He folded his arms and kicked camel poop.

“Oh,” Ari said. “Like that, huh?”

“Yeah,” Jesse said. “Like that.”

“Told you it would be embarrassing anyway.”

“Don’t talk to me,” Jesse said. “Let’s just find this camel.”

And that’s when the scorpion-men attacked.

Dec
18
Posted by Daniel at 12:56 am
  • Until an actual fight against fit opposition breaks out, don’t use the combat system.
  • Instead, if you’re doing violence to someone, just make an appropriate attack roll against the appropriate defense, modified per circumstances as appropriate.
  • On a hit, things go your way.
  • On a miss, things get out of control. Like this:
    • You accidentally hurt/kill someone (e.g., I only meant to knock him out!)
    • They get away
    • They sound the alarm
    • They hit the deck/dig in/dive for cover
    • They attack you

RAW 4e (and #e as well) is pretty much are not going to let you do the “knock the guard out” thing. Unless all your guards are minions. That’s a possibility.

Because, lookit: if this were a movie, or any kind of media really, it would be possible to one shot snipe that big huge hobgoblin across the way. But, RAW, it’s not possible. (Unless maybe, maybe, you critted on two dailies, but why would you be doing that against a sentry?)

So above is how you fix it.

Dec
18
Posted by Daniel at 12:55 am
  • When a character suffers damage and (after the damage is applied) is not bloodied, say how that character (choose one most appropriate to the fiction):
    • Stumbles back
    • Gets shoved down
    • Drops his weapon
    • Drops his guard
    • Exposes a weakness in his armor
    • Screams out in pain
    • Backs off, breathing heavily
    • Has something he carries break/shatter/fall off
    • Loses track of something/someone
    • Gets grappled/trapped/cornered
  • When a character suffers damage and (after the damage is applied) is bloodied, say how that character (choose one most appropriate to the fiction):
    • Has something happen off the unbloodied list
    • Retreats post haste
    • Screams out in pain
    • Crumples to his knees
    • Clutches his wound
    • Eyes you like an animal (or, if an animal, a human)
    • Has blood:
      • Trickle down
      • Stain clothes
      • Get in eyes
      • Flow down hair
      • Spurt like a geyser
      • Seep like molasses
      • Spurt like water from a garden hose with your thumb stuck in the end
    • Has bits fall off
    • Cries for mercy
    • Cries for mommy
    • Crawls away from/toward source of pain
    • Thousand yard stare
    • Yammer/stammer/gibber
    • Suicidal rage mode: activate
  • When a character suffers damage and (after the damage is applied) is at or below 0 hp, say how that character (choose one most appropriate to the fiction):
    • Suffers a grievous wound
    • Gets knocked unconscious
    • Passes out from blood loss
    • Dies immediately and horrifically on the spot
    • Does whatever the player says he does
    • Surrenders and offers the PCs something he thinks will save him
    • Retreats post haste
    • Starts to die, not quickly
    • Confesses to you

(I have no idea why WordPress is making my bullet points not align correctly.)

Anyway, this is intended to tie the mechanics more securely to the fiction. Some but not necessarily all of these selections could be accompanied by a +2/-2 circumstantial penalty to make them stick. Like, “he staggers back; he can’t take an opportunity attack against you.” Or “you bang his shield so hard, he can’t hold it in place; he’s got -2 AC if anyone attacks him right now.”

These choices also cover morale. Many of the bloodied choices imply giving up or otherwise becoming a non-present threat.

These should apply to PCs and NPCs alike, although, to maintain a heroic feel, you should use the softer bloodied and 0 hp options.

Dec
17
Posted by Daniel at 11:29 pm
  • When you begin an encounter, do not roll initiative.
  • Instead, describe the scene: say what the characters see the monsters doing:
    • Charging
    • Cooking supper
    • Cooking humans for supper
    • Taking cover
    • Readying the big bad thing
    • Booking it
    • Displaying destruction-demanding depravity
    • Advancing in ranks
    • Setting up sniper fire to cover the dudes just rushing in
  • Ask the players what their characters do. Don’t worry about order. You will see a natural sequence emerge. If there is a question of order, roll off initiative between the relevant parties to settle it.
  • Resolve the actions. If they just want to move, okay. If they want to shoot, okay. If they want to wade into melee, okay. Handle each situation one at a time. It’s okay if it’s a little chaotic. Embrace interruptions: “Oh, before he does that, I want to do this.” Great.
  • When a PC succeeds at what he’s doing (hitting with an attack, moving, taking full defense, whatever), that’s it: move on to spotlight the next player.
  • When PC fails at what he’s doing (missing with an attack, generally), hold the spotlight on that character a while longer.
  • Something went wrong. Think what it was (losing footing, being overwhelmed by numbers, sipping on ichor, clanging into the chitin at the wrong angle). Whatever it was, it presents an opportunity for the monsters to nail him.
  • Say what went wrong, and let that leads you into saying how it let the monsters mess with him.
    • Think: earlier, before you asked the players what they were doing, when you said what the monsters were doing, were any of those monsters threatening the PC that just missed? (I mean threatening conceptually, not just being in melee range.)
    • If not, think: does it makes sense for a monster to now threaten that PC? If so, say how. If not, lucky for him.
    • If so, follow through on that threat: the arrow being aimed at him gets fired; the swords being raised at him give him a shave. Roll the relevant attacks versus him now. If he was surrounded by three minions, and the shaman was in back tossing lightning bolts to him like candy at a parade, make attack rolls for all four now.
  • Move on to the next player.
  • When you’ve spotlighted every player like this, the round ends. It’s now the next round.
  • Repeat.

This is intended to make misses feel less like whiffs and more like “Oh snap I’m done for now.”

It’s also intended to keep you from having to track initiative.

It’s also intended to keep the fictional action less predictable.

Dec
17
Posted by Daniel at 10:58 pm
  • When you miss with an attack, you still do damage: roll its damage expression.
  • When you hit with an attack, you do its full damage expression, no need to roll damage.
  • When you crit an unbloodied enemy, do your attack’s full damage expression. If this does not bloody him, bloody him now.
  • When you crit a bloodied enemy, do your attack’s full damage expression. If this does not take the enemy to 0 hp or below, immediately take him to 0 hp.

D&D combats (not just 4e) are possibly infinitely long. Say we have a PC fighter and a goblin. They both have, say, a 50% chance to hit. Every round, it’s possible that both miss. The sun could burn out before that goblin buys it.

In practice, it means that combats take longer than they should because, on likely a third of turns, nothing happens. Whiff. If you spent any time selecting powers, that time was wasted. That’s what these rules address. (And, if you want to be more severe, have crits mean insta-zero-hp period, skipping the bloodied step. Whether you apply this to the PCs or not depends on the aesthetic you’re wanting to evoke.)

And we should understand, in fiction, these changes don’t mean that the fighter cuts the goblin’s head off every time he hits. Hit points are abstract. One “attack” takes six seconds. Losing hp doesn’t even represent taking a hit. (I’d even have an informal understanding where “bloodied” means bloodied—for the first time. Before then, everybody’s dodging, blocking, getting flesh wounds and bruises. Then someone gets bloodied, and things get real.) It represents being pressured and wearied always and only sometimes suffering actual violence.

Revised: hp loss represents assault (usually with a deadly & magic weapon) and only sometimes battery.

All that to say: here, I think this will produce more engaging play.

Dec
15
Posted by Daniel at 12:36 am

It’s 4th period: philosophy class for those who can bear it. That’s not many. Twelve, exactly: a smattering of wild-eyed freshmen, shell-shocked sophomores, juniors who know they’re on to something, and seniors who know better. Jael loves it; Ishmael refuses to even hear her talk about it. Sterne’s got something chalked on the board. It’s today’s prompt:

The world is fire.
The world is water.
The world is an illusion.
The world is will and representation.
The world is empty space and sub-sub-sub particles of who knows what.
Brilliant and presumably sane people have believed and do believe all these things.

The kids are glassy-eyed. The freshmen are already reconsidering their elective.