This is the ‘Big Bad’ of the short story Undefiled, written by James M. Ward for the collection Tales of Ravenloft. From what I’ve inquired the creature in question was created by Ward specifically for the story. The monster in question (the author calls it a Coraltan) is a corporeal undead whose body is described as “desiccated and worm-infested”, however it is able to take on the appearance of a living humanoid (in this story it poses as a city’s spiritual leader) and while implied to feed on the energy of the living- in the story it seems to draw a little bit of energy from each person in a large crowd-, also appears to be capable of healing magic as well as mind-influencing magic (which it uses to keep people from its proverbial flock from discovering its true nature).
I’m not sure of the best way to simulate these qualities in 5E mechanics. At first I considered giving it the ability to cast Disguise Self at will (to appear as a living being rather than undead) except that spell has duration of an hour and is described as a wizard, sorcerer or bard spell and the monster’s healing abilities suggest divine magic- in 5E would an undead being like this be even capable of handling positive energy? Also what would be the best way to describe how it can feed on people without necessarily physically touching them?
awhile ago (last spring) I played a 5e AL adventure and received a story award, I believe it was called ‘home sweet home’, in which each adventurer recieved a home in the city the adventure took place in – but I don’t remember what the name of the city or adventure was.
Does anyone know, or know how to find out?
I know this question makes me sound like a pervert but especially with the epidemic me and my girlfriend ended up unable to have much contact.(Not even calls since her roommates are always in the house and it would be really awkward with them.) As a result we have been exploring new avenues and in the end as we are both TTRPG fans we decided to run text based solo games for eachother where we could at least feel a bit close and flirty.
Now the problem is I am not particularly familiar with the concept of running games with erotic features and as a result I am not sure how to balance the NPC’s flirting as a substitute for our actual contact and actual story. Neither of us want the game to essentially be a glorified erotic roleplay. Now my question is how can I keep myself from including too much relationship stuff without fully avoiding them altogether.
Imagine I start creating hundreds of Stack Overflow accounts. (I am not and I do not intent to do so in reality). I add a link to my site in the personal website space on the profile. I then make the developer story (CV) public. e.g. https://stackoverflow.com/story/kamilt
If such pages are searchable on Google and they contain links to my website, is it going to help with SEO for my website? Would it get me a better rank in Google because of it?
The crux of the problem is that to stick true to my character and the situation he is in I feel he wouldn’t bring the rest of the party along to something he needs to do. Me the player, however, is aware that this breaks up the flow of play and other players will have to sit around for a while waiting.
I’ve spoken to my DM and without giving anything away they said I should feel free to stick to my character. We’re all fairly new to DnD though so I don’t want to put too much strain on us at this point.
There are plenty of people here with more experience than us, how would you proceed? Split up? Keep together? What about at different levels of experience?
How do you know when its best to split up and stick to your character?
I’ve ran into a bit of a dilemma with a 5e campaign that’s soon coming to a close. It’s been running for about a year, and one of the primary goals that I had when I started the campaign was to focus as much as possible on the journey of each player character in my party. Unfortunately, as story arcs are completing, it’s become clear to me that this approach has only really worked for a single character out of four. Let’s call him Carl.
Why has this only worked out for Carl? The reasons are varied, but they basically boil down to this.
- Carl invested a significant amount of effort into developing a compelling backstory hook for his character. He is also by far the most talented performer and experienced D&D player out of the group.
- One of the players has strong roleplaying ideas and a highly developed character but struggles greatly with improvisation, leading to moments falling flat as he searches for words.
- Another player is highly engaged in roleplaying moments and reacts realistically and appropriately to his character, however he hasn’t established a compelling backstory or strong character motivations.
- The last player is simply is not interested in “immersive” roleplaying (i.e. he enjoys roleplaying from a humor and shenanigans standpoint but has never responded to or made attempts to delve into exploring emotions, motivations, etc.)
- Carl is the only player that takes an active approach to roleplaying his character. He’s constantly seeking to advance his storyline through his own actions, while the other players have only really shown a capacity to react to events.
Unfortunately, from a story-telling standpoint, this has resulted in a storyline that seems highly Carl-centric. I’ve frequently found myself writing long sequences purely focused on Carl’s story arc, and I’m beginning to worry that he’s become the “main character” in a campaign that was supposed to focus on the entire party.
Of course, I’ve made efforts all throughout trying to include the other characters and trying to solidify their storylines, however after seeing these attempts fall flat (for various reasons, like characters forgetting their own backstories, failing to respond in a way that feels logical or genuine) I found myself getting discouraged and sort of giving up on trying to create more character moments for them.
That said, I’m left with a bit of a troubling question in retrospect:
Is it unfair to lead a campaign that favors certain characters for story moments?
As we draw to the end of the campaign, I’ve been able to sense that some of the other players grow disinterested when we arrive yet-again at another crossroads in Carl’s story. These moments, in my opinion have been the most interesting and compelling moments from a story-telling perspective, but I’m worrying that they might feel like they’ve been neglected all this time.
Have any of you had experience with this kind of problem? Is there something that I could have done differently?
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Lately I have seen many books (e.g.) that work on the premise of a dungeon being a sentient creature. In those books dungeons are large crystals that are capable of creating monsters as well as traps through various methods. They are killed when their crystal is destroyed.
How can I have a similar setting element in my own story? Is there a race similiar to those dungeon crystals or is there a spell that can be used to create a living creature that will control a certain building, doing repairs to it and expanding it whilst protecting it from intruders? Homebrew races are also acceptable.
It is said that you can give a story a more satisfying and powerful ending by simultaneously closing multiple story arcs at the end of a story (per screenwriting coaches like Robert Mckee – the teacher who inspired Peter Jackson to rewrite Lord of the Rings into what we saw onscreen.) For example, it was recently reported that the writers for Star Wars: The Rise of Skywalker found 24 unclosed character arcs that they could close with the final movie. They closed those arcs to give the movie more narrative impact.
I have been brought in as a substitute DM to finish the last 2-3 episodes of an almost eight month campaign of Tomb of Annihilation spanning over 30 sessions. (I was chosen to help maintain continuity because I am a former player with knowledge of their campaign.)
It would be great to give the ending of TOA a great sense of closure and feel epic as if the PCs have accomplished something important and the world recognizes it.
But, reading ToA it is clear that there are a variety of unclosed story arcs. As written, the ending feels a little abrupt. There are a few comments about how if the PCs saved a particular character then they receive treasure as promised and a few words about future adventures, but that’s about it. It feels a bit unfinished – like Star Wars: A New Hope might feel without the throne scene or Return of the Jedi without the scenes of celebration across the many planets.
The ToA authors left a variety of open story arcs for the DM to close.
That said, there are hundreds of pages of adventure – and clearly the authors opened a variety of arcs, many of them closed, and some portion left open – but it can be a challenge to find and remember all those arcs even having been a player.
It would be great to have a list of those unclosed story arcs so we as DMs can create scenes to close those arcs to help give that more satisfying “Mckee-an” sense of completion.
So the question is, what are the story arcs that are opened in ToA’s story that were unclosed in the module?
We are looking for a bulleted list of opened arc story elements that the authors left unclosed or for which the authors didn’t outline the scenes for closing them.
During the evil campaign for the big heist mission, my partner-in-crime and I were forced to sign the magical contract to serve the individual npc and patron by no means.
“During my encounter with the noble, I picked off from the noble in order to steal some coins. I succeeded on sleight of hand roll with Nat20 + 12 sleights of hands due to my Bard class with high stats on my end until something bit me. It was the book that grabbed with the tassel and it was chewing on my arm. As soon as the noble left the building. My partner attempted to remove the book but, unfortunately, it also grabbed him as well. As result, we held hands and acted like a fool when we tried to escape from it’s grasp. The very same noble approached to us and laughed at us. He gave us an offer if only we become his slaves for life and serve the patron or else we die. “
We’re looking for ways to escape from the magical contract.