My Love of Symbaroum



I first saw Symbaroum on Kickstarter in July of 2017, when the campaign for “The Witch Hammer” was underway. I was immediately hooked by the art and setting, eagerly backing the campaign at one of the higher levels so that I could get all of the books. When I got the PDFs I was in awe of the art, but felt overwhelmed by the presentation and had no idea what the game was really about. I searched online for actual plays, and I even joined a Twitch livestream of some group playing the game.

A lot of what was happening seemed familiar. At the time, I had been running a lot of Numenera so the player-side dice rolling didn’t bother me. While it was familiar, it was also just unique enough to be discouraging. I am the only GM in my group, and most of my players are still pretty content to play D&D 5th edition every week. As the GM, I have a lot of control over what to run for my players but ultimately need to respect player preference and run games that people are excited to play.

Symbaroum arrived at my house at a inopportune moment in my gaming life. My players were experiencing some acute fatigue from my Kickstarter driven system-of-the-week style of scheduling one-shots or month-long mini-campaigns. I was then (and still am) Kickstarter crazed, and my shelves were (and are) full of games that I hadn’t played or had barely skimmed.

Even so, Symbaroum has stuck out in my mind. Despite not having played the system, I backed the “Monster Codex” when it hit Kickstarter during November 2017. I kept going back to the books, and the setting continued to inspire. I would reference the art with other games that I ran, even using the Symbaroum GM screen to set the tone for other games. It was the game that I kept wanting to run, but the fates kept resisting me.


Lots of things can get in the way of running a new system, some of them are in the control of game developers but most exist outside of their influence. The presentation of game content in Symbaroum ultimately is not for me and provided a high amount of internal-resistance to being played, but I don’t want this to be a negative review and so I am not going to go into any of my specific criticisms that are a matter of personal preference.

I haven’t run a campaign for my players in the better part of a year, so when I recently started talking to them about the fact that I was interested in running a new campaign, we started discussing what to play. A few players said “anything,” others said  “anything that we already know, no new systems please,” and a few other players said “I really only want to play 5e.”

I came up with a list of the things that I wanted in my campaign, and I realized that I could achieve them all with 5e. I came up with a list of the things I liked from Symbaroum, and I realized that I could hack them into 5e. My players were excited, they too love the art of Symbaroum and the implied setting. Now I could finally take all these books that were full of setting and lore inspiration and make them usable in a way that they never were to me as a complete system.

My Symbaroum

In my mind, Symbaroum is focused on the forest Davokar. The politics are just a backdrop and the personalities hardly matter. The history is vague and contradictory, every noble and faction tells it differently anyways. The players are all Ambrians, they matter to themselves and they are situated in the landscape. They migrated, they remember the great war and terror. They want to create a better life for themselves, or at least want the power to defend themselves against the hostile world.

There is a lot of rich content in the Symbaroum books. I didn’t know what to do with all of that content over the last year. It felt like I couldn’t access it. There are so many personalities and details that it boggles my mind, “How am I ever going to get any amount of this content across to my players?”

Now, I have a way to engage with that content and bring it to my table. Albeit, on my own terms.

Hacking a Game is not an Insult

This post is largely a response to Paul Baldowski’s post on The Iron Pact:

“All games do not come from the same cookie cutter or jelly mould. Each has a heart set in mechanics and raw concepts, but in building a new game the designers imbue the basics with their own flavour, theme and focus. When we step into Ambria, we enter a world created by a small group of writers and that world has a slant of their own. Coming from any other game, we must cleanse our palette of preconceptions and try hard not to shoehorn Symbaroum into a form like those we have just left behind.

Symbaroum is not Dungeons & Dragons or Pathfinder, nor The One Ring, Genesys, RuneQuest or Warhammer. While you can read the Core Book and use the setting to run another game with another system, the best approach to actually play Symbaroum requires you set aside your hunger for spell ranges, feat trees, battle mats and point-based character balance and embrace the idiosyncrasies wide-eyed and open-minded.”

I have played in and/or run 32 different RPG systems since my first TTRPG session in 2015. I like things and have learned from each of them. On top of that, I have read, skimmed, or played hundreds of modules, splat books, adventures, monster manuals, blog posts, gaming zines, tweets and G+ posts.

When I land on a book that lodges in my imagination and consciousness for more than an initial skim through, I get excited. When I am excited about a book, the way I channel that excitement is by hacking the content into a form that will be usable by me at my table with my group.

It feels very unproductive to read anyone talk about the “best” way to play a system. Different groups want different things and different GM’s run games differently. At the moment, our hobby feels full of people drawing lines in the sand and planting flags. I believe that we should each be conscious of our actions and engagement within this space. I want my actions to make play culture more diverse, divergent, individual, and free-form. I want to make accessible tools that can be useful for GMs regardless of system.

I understand that game developers create a game with a certain experience in mind. I run and play lots of PbtA games that are clearly designed for a specific play experience. As a GM I am very intentional about player motivation and intent around the games. Symbaroum might have been created to encourage a specific type of play, but choosing to engage with it differently should not be viewed as an insult or as an act of resistance.

In my mind, hacking a game is a compliment. It is a love letter to the game to like it enough to make it your own when it would be easier to use a system neutral setting or something already written for 5e. I want to continue posting about how I am hacking Symbaroum, but I am not sure if there is even an audience of people interested in this type of engagement. I hope that I can make the setting more accessible to GMs by creating tools that I will use at my table and by sharing Actual Play reports of how we are engaging with the setting. I hope that my engagement is viewed not as an insult to the system, but as a contribution to the community.

5e Symbaroum – Session Zero AP

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A few players were running late, so I decided to open the session with a discussion on expectations/hopes about the campaign. Most of the players I had met with prior to session zero, to talk about my intentions for the campaign and hear if they had any concerns with my choice to limit the game to human characters and to introduce some game hacks. As a group, the four players present talked about what they were excited about:

  • The darker setting/tone and the idea that magic is somewhat taboo
  • Playing at a physical table & playing with a more serious tone – not adventure zone
  • Having a regular time to get out of the house to hang out with friends, hoping for a longer campaign
  • Exploring the setting and learning more about the mechanics that we will be hacking into 5e

I was grateful that the players were excited about many of the same things that I was hopeful to do with the campaign. I think that meeting with them ahead of time to discuss my aspirations about the campaign was helpful to get everyone on the same page during session zero.

After one player discussed mechanics, I told the group that I did not want to run a game where character optimization or balanced encounters were a core focus. I shared a bit about the fact that while I do know the rules and want the rules to guide 95% of what happens at the table, I believe that game tone is the most important element. That as long as we have a shared understanding about the tone of the setting, that we can each enjoy the game and have varied sessions that speak to the interests of each player. I want combat to be fun, but I will not usually prepare a series of “set-piece” encounters for any given session. Further, if there are times when we aren’t sure how the rules would work in a particular situation, I will want us to discuss it as a table and choose the option that best fits into the established tone and fiction.

I transitioned us into gameplay by passing out pregenerated “level 10” characters. I used a stripped down character sheet for each one that only had a handful of attributes, abilities, and values. I told my players that we would be playing with cinematic rules for the purposes of this session zero. I had prompted them by emailing that we would be playing out a historic vignette that would have occurred a generation prior to our campaign. I elaborated on this idea at the table, by giving some narration:

“You are elite troops who have spent your lives fighting a generational war against the Dark Lords. A few years ago the king died and the young queen, only 12, picked up his spear and has led the charge against the undead foes. Unfortunately, despite all the gains of late, the young queen was captured within the past month. This loss has galvanized the army, and now you are with a group of templars leading the charge against the Vampire’s Castle where the queen is being held.”

I asked the players to name their pre-gen characters, letting them know that north-east European names would be the norm. We ended up with: Peter Petchkoff, Piotr Metchnik, Akman, Gregor, and (after Gregor died) Irena.

bosma_skull (1)

Scene 1 – Undead Masses

“A trebuchet payload breaches the tower nearest your position, the four of you run through the opening before the stonework crumbles behind you. You are isolated from your battalion. Ahead of you in the dark tower you see one of The Undying. He speaks words of arcane power that awaken the many servitors along the two walls. These skeletal troops wear the armor of your nation, they are the animated corpses of your fallen comrades. The air reeks of carrion and decay. A blue circle fades into life and the Mage disappears, teleportation magic. The circle is still active, but fading. What do you do?”

I had miniatures set out on the table, the players were on one end of a hallway. Each side of the hall had 8 zombie/skeletons and one giant flesh golem. The teleportation circle was about 40 feet away from them. After initiative was rolled, only one player was able to act prior to the horde. The greataxe wielding fighter (Akman) took out two of the lesser undead, and then all the players were swarmed. The masses of foes didn’t do too much damage, but the golems began pounding away at the heroes. The wizard summoned a wall of fire, killing eight undead and wounding a flesh golem. The cleric healed one of the fighters who had been struck by the flesh golem, and then ran towards the portal. The others fought as they could, Akman realized that one of the zombies was the animated corpse of his brother, who had fallen in combat against the Dead Nation. The wizard ended up isolated on one side of the room, and both flesh golems charged him. They pounded poor Gregor into the ground as the other three characters stepped into the teleportation circle.

Scene 2 – War Room & Hallway

“You emerge from the teleportation circle into a round room, ringed with similar circles of power. They are all dull & inert, the one you stepped out from fades to grey. The center of the room holds a heavy wooden table, covered with maps, books and other objects. It appears to be a war room, a place of strategizing. The room is ringed with leaded glass windows. The sounds of the siege echo from far below. You realize you are near the top of the main keep. Some burning pitch flies past the window, exploding in a blaze against a nearby tower. There is one large door leading out from this room. A trail of fresh blood leads from a nearby teleportation circle through the ajar door. What do you do?”

The group took a moment to mourn for Gregor before heading towards the door to scout. They discovered a hallway leading to a large door about 50’ away at the opposite end. Another large door was midway down on the left wall, and a small reinforced door was set into the right wall near the far end. Voices could be heard down the hallway from the room at the end.

The group listened first at the door to the left. They heard numerous footsteps running away from the door. The blood trail led through this door.

The characters proceeded to the reinforced door, and heard a rattle of chains within. At this point, I turned to the player who had been playing as Gregor and told him that he was a woman in her late 20’s who had been captured along with the queen. I asked him what class he was, and he chose to be a rogue named Irena. I said that Irena has been plotting her escape these last few weeks, and has learned how to work her chains loose.

We had a good scene with Irena asking the party who they were with the opening question “Are you the Dead or the Living?” before freeing her from her captivity.

The cleric (Petchkoff) soon convinced Irena that they were allies, but the commotion of the conversation alerted the well-trained ears of the vampire steward in the next room. Filip the steward appeared in the doorway, receiving an arrow to the chest and an axe blow to boot. The party was dissuaded that their blows seemed to barely hinder the vampire, who then bit the fighter and regained his full health.

Petchkoff held forward his holy symbol and channeled his divinity, Prios the Lightbringer. Instead of a normal turning a miracle then occurred, waves of sun fire filled the hallway and reduced Filip to a pile of smoking ash. After the blinding brilliance faded, the cleric found that the holy symbol he held was now a sphere that appeared as a sun.


Scene 3 – The Dark Lord’s Chamber

“In the silence following the miracle of Prios, you each feel something vibrating the very air of this hallway. In tune with your own heartbeats, the very chamber before you seems to thrum with a heart of it’s own. Beyond the charred doorway you behold a large octagonal chamber with an enormous black iron chandelier hanging far above. The chandelier holds enormous red wax candles that burn crimson. Each candle seems to contain a skeletal corpse within the wax. Opposite you is an enormous bronze and iron sarcophagus set against the far wall. Nex to that chamber is a smaller door, where Irena believes the queen to be held. Laughter fills the chamber, as the Dark Lord whispers telepathic promises of death to each of you.”

Akman ran to investigate the crypt while Metchnik, Petchkoff, & Irena opened the door to the queen’s cell. They freed the queen, who was extremely weak and frail from torture and starvation. She reached out a hand to Metchnik, asking who it was that freed her and offering her blessing against the dark lord. Metchnik received her boon, standing up and applying a vial of blessed oil to both of his short swords.

The sarcophagus opened releasing a thin fog and ten ghasts. The cleric cast holy aura, giving advantage to his allies and disadvantage to the undead foes. After a round of fighting, the fog thickened such that all were effectively blinded. In this chaos, a few ghasts were slain. In the following round, the chandelier flames roared as a deep arcane voice boomed out from the crypt. The flames seemed to depart from the candles, each character saw in their peripheral vision the apparitions of many flaming skeletons flying through the room, but they could never see one clearly, only in their peripheral vision.

These flaming wraiths seared away some of the fog, reducing it from heavy to light. In the light fog, they witnessed a 10’ tall hulking vampire lord emerge from the crypt.

During each round of combat, I described sounds of an approaching force of templars. As the lord emerged, the templars were attempting the breach the iron portcullis that closed off the chamber after the players entered.

The players fought a last round of combat against the giant vampire. Metchniks’ blessed blades seemed particularly effective, and the dark lord’s skin blistered where the blades cut him. The lord spoke arcane words and suddenly appear as multiple identical images. The lord then pointed at Irena and spoke words of death and disease. Irena was reduced to 4hp after failing her con save.

At this point we faded to cutscene, narrating the resolution of the battle as the templars entered the chamber. I worked in the prep questions (below) to the players as they narrated the resolution of their characters.

We talked about these events being part of the lore of the world, and I told the players that they could narrate the fate of each of the characters and also describe whether there was any link between their campaign character and their pre-gen. We had some really good discussion around this topic, the players all really loved Gregor the Wizard who died in the first scene. Since Irena the Rogue was at 4 hp, the player decided that she was mortally wounded in the upcoming fight. He was somewhat gleeful and chuckled “I’ve never had two characters die in one session before!”

With the rest of the time, the players created their lvl 1 characters for our upcoming campaign. They each rolled for attributes and together chose to play two Fighters, a Paladin, a Rogue, and a Cleric.

The only prep I really did for this whole session was writing the following four questions, some of them I was able to get into a scene but the rest of them were answered during the end narration:

  1. You come face to face with your brother, now raised to serve as undead in the dark lord’s army.
    1. How does he appear to you?
    2. What family heirloom do you recover from his body?
  2. In the tower of the dark lord, in a moment of respite you notice an ancient tome of power.
    1. Is it in a script that you understand?
    2. Does anyone see you take it?
  3. Surrounded by skeletal foes, you surge with the holy fire of Prios. After the blaze recedes, a blessed object now rests in your hand.
    1. What form did the holy artifact take?
    2. Was it handed over to the church or kept secret?
  4. After rescuing the queen from her captors, the queen gave you a boon.
    1. What did you ask for?
    2. How did it go awry?

I used the Blood tables in Kabuki Kaiser’s Castle Gargantua to come up with descriptions of the rooms.

Art from Sam Bosma and Lord Baltimore

52 Card Deck of 5e Magic Items


I was running a one-shot where I wanted to give out magic items more readily than I normally would, so I prepared this list and slapped a deck of cards on the table. When players looted the corpses of each big bad, they would draw a card from the deck and I would tell them what they got from this table. It was fun.

Card Suite Object
J Hearts ARMOR, +1
J Spades WEAPON, +2
9-10 Hearts SHIELD, +1
A -10 Spades Weapon +1
10 Clubs Scroll (Arcane)
9 Clubs Scroll (Arcane)
8 Clubs Scroll (Arcane)
7 Clubs Scroll (Divine)
6 Clubs Scroll (Divine)
5 Clubs Scroll (Divine)

Chaotic Villains

This is a continuation of a conversation with Aaron that began over social media.

I have been thoroughly schooled in moral relativism, so it is often difficult for me to introduce one-dimensional “Big Bad” villains into my games. Generally, I think this is for the best as it positions players in a way that they have to make hard decisions between two opposing viewpoints. In that vein, I wanted to explore some of the common motivations that tend towards Chaos and then to imagine what a villain who embodies each motivation might look like.

A word of warning, some of this stuff might be X-Card material or otherwise triggering.



All know the allure of this force. It can whisper softly in the night, but can also shoot straight as an arrow. Many are willing to temper their otherwise lawful tendencies to indulge in this element of self-indulgent chaos. For example, the king no longer tends to the affairs of state now that he has a new concubine who keeps him away from his throne.

A villain could deplete the treasury to partake in his vice, allow his kingdom to fall into chaos through neglect. A villain could be unsatisfied with simple pleasure and resort to more and more sadistic acts. A villain could seek out specific targets that remind him of his first true love. An army might commit acts of rape upon a conquered populace. A group might be willing to commit other crimes to keep their unconventional practices a secret.

Movies: Dogville (by Lars Von Trier), Lust, Caution (by Ang Lee), Eyes Wide Shut (by Stanley Kubrick)

Stories: King David & Bathsheba, Lancelot & Guinevere, Helen & Paris


Some seek temporary relief by indulging in alchemical or pharmaceutical remedies. Often, this begins innocently enough or by using a substance as prescribed but quickly escalates into a dependency. Once addiction is established, all manner of actions become justified in order to secure another dose.

Villains will hurt innocents and the helpless in order to indulge. Other moralities become secondary to the addiction. The amount of substance required to achieve the same effect increases over time. The villain might act at the behest of another, who controls the supply.

Media: Drugstore Cowboys, Trainspotting, Requiem for a Dream



The allure of the battle is something very real, some people never feel more alive that when they are engaged in a stressful situation for which they have been prepared. Those who embrace this as a vice would seek out conflict without reason.

This villain might approach be prone to over-reaction, perhaps a lord resorting to violence over trivial matters. This villain might resort to other vices to stimulate the adrenal rush such as dog-fighting, hunting, martial tournaments, dueling, gladiatorial games, torture, etc.

Inspiration: Hurt Locker (film), Robert Baratheon (GoT), The Most Dangerous Game (film)

batten Lion


The natural world is cruel and uncaring. The strongest, fastest, and most resourceful are rewarded with the spoils of their victory. There is no moralizing in this jungle, the only logic is that of the hunt.  Strength is a moral absolute, victory is black and white. All disputes are resolved with contest. The victor carries neither guilt nor shame.

This villain believes that “law” has perverted the base nature of man. That society has grown away from its tribal animalistic roots. Wards of the state, the old, the ill are all viewed with disdain and the villain will deal with them as one would deal with a pest. This villain does not act with chivalry and tosses aside moral codes, he views morality as a tool of the system. His goal is his own liberation, to act with freedom and without conscience. He also believes that he is acting to rid the world of the cancer that is “lawfulness” with its false moralities.


Hell is other people. These are the people who cannot stand being told what to do, being beholden to another, or being forced to participate. Even if they see the reason for the requirement, they will do the opposite out of spite. They will lash out at any perceived authority, and take even casual offers of advice or suggestion as an unwanted imposition of will.

These villains will reject any compromise. They will use others, but will never willingly subjugate themselves to another. They might work with someone else if they believe that they have the upper hand, or if they believe themselves to be manipulating the other party. They might strive to lord over others, as in a gang or in an autonomous holding. They might seek isolation in wilderness or in an urban expanse such as an empty library or abandoned catacomb. They might have information that they are unwilling to share or responsibility (as by blood) that they are unwilling to fulfill.

I feel confidant that there are more motivations that would lead one towards chaos. It could be fruitful to see what you all think about Chaotic alignment. I skipped some motivations that felt like “low-hanging fruit” and I tried to steer away from echoing the seven deadly sin model. What do your chaotic villains look like? What other sources of media do you think could inspire a chaotic villain?

Running One Thousand Dead Babies w/ 5e

I statted up some 5e dudes to use w/ One Thousand Dead Babies by Zzarchov Kowolski

Brigand      HP 11, AC 12, Avg. Stats (10).
25xp         Shortsword (+3 d6+1), Light Crossbow (+3 d8+1)

Cultist      HP 9, AC 12, Avg. Stats (10).
25xp         Shortsword (+3 d6+1),
             Dark Devotion. Advantage on saves vs. charm or fright

Ruffian      HP 16, AC 14, Avg. Stats (12), Perception 11.
100xp.       Multi-Attack. Shortsword (+4 d6+2), Shortbow (+4 d6+2)

Elf Scout    HP 16, AC 13, Dex 16, Nature/Survival +4, Stealth/Perception +6.
100xp        Multi-Attack. Shortsword (+5 d6+3), Shortbow (+5 d6+3)

Wolf         HP 11, AC 13, Dex 15, Stealth +4, Perception 13. Speed 40ft.
50xp         Bite (+4 2d4+2)
             Keen Senses. Advantage on Perception Checks
             Pack Tactics. Advantage on attack rolls if an ally is within 5ft of target.

Beast        HP 26, AC 13, Str & Dex 15, Perception 13.
200xp        Multi-Attack. Bite and Claw (+4 d8+2)
             Pounce – If charge 20ft and hit with claw, DC 13 Str test or prone

Evil MU      HP 22, AC 12, Int 17, Str 8, Perception 11. Spells +5, DC 13.
300xp        Cantrips: Light, Shocking Grasp, Chill Touch
             1st Level (4 slots): Charm Person, Mage Armor, Magic Missile
             2nd Level (3 slots): Hold Person, Misty Step, Darkness

Witch        HP 28, AC 14, Wis 17, Str 8, Perception 14. Spells +5, DC 13.
300xp        Cantrips: Druidcraft, Thorn Whip, Poison Spray
             1st Level (4 slots): Charm Person, Faerie Fire, Fog Cloud
             2nd Level (3 slots): Heat Metal, Spike Growth, Flaming Sphere

Cleric        HP 30, AC 16, Wis 17, Dex 8, Perception 14. Spells +5, DC 13.
300xp         Cantrips: Thaumaturgy, Light, Sacred Flame
              1st Level (4 slots): Bless, Command, Inflict Wounds
              2nd Level (3 slots): Hold Person, Spiritual Weapon, Silence

Evil Knight  HP 52, AC 18, Str/Con 16, History/Religion/Intimidation +5
700xp        Multi-Attack. Greatsword (+5 2d6+3), Heavy Crossbow (+2 d10)
             Dark Devotion. Advantage on saves vs. charm or fright
             Leadership. All allies in LOS get d4 on attack rolls and saves for 1 min.
             Parry (reaction). Add 2 to AC against one melee attack that would hit.

Half-Goat    HP 76, AC 11, Str/Wis 18, Perception 17. Darkvision 60ft.
700xp        Multi-Attack. Spear (+6, d8+4) Gore (+6, d8+4)
             Reckless. Gain advantage on all attacks, all attacks against have Adv.

Symbaroum Names


Thanks Tore for linking me to a list on names for Symbaroum written in the mother tongue. Also find this as a Google Sheet.

Ambrier, män Ambrier, kvinnor Barbarer, män
Ader Abesina Adelar
Afadir Adso Alomar
Agani Agathara Arastor
Agramai Agathara Arbusal
Akman Agna Arok
Alamei Ala Aroun
Alavan Aledra Ashfaru
Aldamal Alevia Belun
Alesaro Ana Didramon
Alkantor Ana Dvarak
Almagast Anabela Embersind
Almegaster Anadea Erlaber
Aluin Aragina Gadramar
Ansel Aranitra Gadramon
Anselg Ardetta Galarman
Arelo Asmerda Goroun
Argalo Ava Goured
Argasto Belda Haldron
Argoi Belina Haloban
Argolai Berelin Helionor
Arkali Darda Herek
Arkel Deseba Hoska
Arkerio Desidera Karona
Arno Edria Kodamar
Aro Elindra Konarad
Balon Elionara Leonod
Bartho Elmea Lothar
Bartolo Elvea Ludo
Bartolom Esbetha Maiesticar
Baumelo Esmerelda Malkor
Belago Eufrynda Malrek
Belgo Fabia Manvar
Benefo Fekla Meomaar
Beniam Felega Monovar
Beremo Feona Nikanor
Bolgo Gamalga Odaban
Budol Garala Odalbagar
Cornelio Gerda Odar
Dario Gidia Orameo
Dastan Hurela Orondo
Davidos Hurelia Rábaiamon
Dekamedo Illeva Ranomar
Deledo Illoena Razameaman
Demetro Ireba Taran
Dodramos Isedra Tharaban
Dodrian Jela Vikomer
Dolani Jerea Vikomer
Eberon Kadra Yakobor
Edo Karenia Zoltar
Edogai Katia
Edrafin Katrandama Barbarer, kvinnor
Efram Keitara Adela
Efryn Klarana Agdala
Eglio Koldra Agniesha
Elfeno Korinthia Agshela
Emundi Kumuma Aloeta
Enio Kyhara Aroaleta
Eran Landela Barrvalg
Erdaro Lea Bayela
Ero Lesena Efereneya
Erok Lestra Elbla
Eskander Levia Elda
Eumenos Lida Elinara
Faraldo Lindra Elmea
Fenio Losadra Galoma
Flavus Lukresia Girind
Gadramei Lupina Horosa
Galamar Lysindra Karla
Galeno Marbela Karona
Garasto Marka Kora
Geleto Marla Magdala
Gerek Mehira Miesma
Gidjabolgo Melena Oryela
Golonas Melga Saadar
Goncai Merandra Tyrana
Gorakai Mireda Verama
Gormdan Mirela Vikona
Grafoldo Moria Yagaba
Grego Neferena Yahela
Grendol Nodla Yeleta
Haas Ofelya Yerola
Hadaro Ofera
Handelo Ordelia Bortbytingar, män
Harasto Perela Aka
Harulo Petrona Alahara
Hedero Purgida Ardri
Hen-Loan Ragama Eneáno
Herado Ranid Feon
Herakleo Redeira Galfenio
Herdol Reganna Ganderald
Hide Revina Goriol
Hurian Rilia Grimorio
Iakobo Roia Ibliglin
Iasogoi Salindra Kalfu
Idaros Sarli Klagander
Ilantro Sefira Radomaramei
Isokles Selima Sinue
Jakad Senia
Jeseebegai Serafia Bortbytingar, kvinnor
Joab Serela Ardeánmei
Jomilo Shanda Bekora
Junio Solora Danive
Kaglio Sunna Elorinda
Kalio Suria Hinéua
Karasto Tanfalls Kinlegelana
Kargoi Tariella Niha
Karlio Tealia Riamata
Karon Teira Roha
Karstak Tenid Seanua
Keler Tredella Segvilla
Keroldo Tya Sibela
Keros Vania Varaneia
Kerpano Vanoya Yeloéna
Kheltran Variol
Khenad Verola Troll, yngre
Klamando Vidina Abalog
Klamandro Vilga Aka
Klarag Voldara Aroha
Klavman Erula
Korian Svartalfer, män Hibne
Kranke Alfbolg Ogaloum
Kullinan Barra Ogmaka
Kvarek Ederlug Raham
Laguboi Gabba Riomata
Lasifor Garm Skadal
Lenn Godalg Verhar
Leogoi Goltas
Leohan Idelfons Troll, äldre
Malgai Illefons Aravarx
Mallianos Iold Etaxa
Malmedo Ler Gormyx
Manselm Lurks Noxar
Marvalom Mogga Ognyx
Marvello Olf Onrax
Mergai Prosk Rirbax
Milos Rosti Uhux
Morlam Shigg Vouax
Mullando Shuggludd
Myndol Tengel Alver, män
Nefer Tulga Alal-Roak
Nilos Ugtuls Dareol
Odako Ul Dorael-ri
Ogval Ulofin Eloan-eo
Onedar Urfons Elori
Orai Eneánor
Oreago Svartalfer, kvinnor Godrai
Orlan Aa Ka’eroan
Oromal Fenya Kil-Ano
Pegel Fosa Mearoel
Pellio Fura Renn
Peonios Guhula Saran-Ri
Pergalo Harbassas Tel-Keriel
Piromei Hugalea
Pirosander Nigra Alver, kvinnor
Plendel Njegg Adreanea
Radomei Njekka Ahara-vei
Ralgai Tulga Áleia
Ramigal Udelia Eleanea
Rogan Ufa Gaina-Anali
Sandros Ulehalfa Gealóna
Sarfas Wamba Keri-Las
Sarkomal Ydelia Léa-Kin
Sarogai Yla Leiána
Sarvola Yppa Mael-Melian
Seldonio Naelial
Semel Resar Tara-kel
Seralo Arme Teara-Téana
Seraon Bälga
Serex Barske Dvärgar
Sesario Bauta Artak
Sikander Berge Artek
Skanander Bjässe Bolkor
Talk Brute Brana
Tallios Fuling Dobril
Tamilo Grymkäft Dranek
Tamri Kallhamra Dusa
Tandrag Klagga Ella
Tarleo Kluds Fullangra
Taubio Knöle Jarok
Teoman Manaloum Kasimer
Terr Mangold Kertel
Tonsel Ofreden Lazek
Ulde Ogina Margor
Vallomei Omaka Mirek
Valtos Otymple Radmil
Vendal Proppmätt Stana
Venhal Särling Vesnek
Vernam Stalke Vlador
Ynedar Storkräket Yaruk
Alvtagna, män Sumpa
Arron Svarten
Awan Ukoul
Beo Urbota
Eral Uwulgas
Gaer Vrede
Kael Vyssja
Alvtagna, kvinnor

I’m Crawling, but am I in a Sandbox?


I see a lot of people use the term “sandbox” with very different tones. I see it used to describe games that are aimless journeys with no chance at meaningful character development. Alternatively, I see lots of content come out for sandbox adventures. I see sandbox prep as a solution to complaints about “railroad” stories or instances when the GM is strictly controlling the plot.

I have lots of books about Sandboxes, namely:

I am not sure if I know what a “sandbox” really is. It seems like people use it for a lot of different things. If it exists along a spectrum, what is on the other side?

I think that the core concept of a “sandbox” for me is the idea that the GM spends time prepping materials that can be used regardless of what players end up doing.

“Oh you want to go to the tiny settlement that I didn’t actually name instead of the major town that all my plot hooks are pointing you towards? Good thing I am running this sandbox.”

I think that sandbox prep involves writing random tables, npc names, rumors, random adventure hooks, npc’s to meet on the road, or whatever other events, characters, locations, etc. you want to have populating your world. But does sandbox prep have to be random? 

Is the opposite of sandbox prep, then, to read and run a module without considering these other things? How can a point-crawl also be a sandbox?

Aaron Griffin theorized that “all games are sandboxes,” in the sense that there is always an amount of the infinite that is possible. Instead, Aaron postulated that a more useful axis would have GM-driven plot at one end and player-driven plot at the other.

That spectrum makes sense to me, with module or scenario prep being GM-driven prep and sandbox prep allowing for the GM to have content regardless of whatever the players decide to do.

What does sandbox mean to you?


Shadow Scarring

eric-he-shadow24 cropI’ve been thinking about hacking Symbaroum’s Corruption into 5e by introducing the following mechanic to my game. Let me know if you can think of a more simple way to have a similar effect.

Shadow Scarring

All players begin with a Shadow Threshold of 5.

Shadow Damage

Shadow Damage occurs when an adventurer is exposed to corrupted forces, places, and powers. You may recover Shadow Damage by performing complex rituals, burning ceremonial herbs, resting in sanctified places, or visiting blessed healers. Actions that give Shadow Damage:

  • Using a tainted power or ritual: 1 Shadow Damage, or varies per power
  • Using tainted artifacts: 1 Shadow Damage, or varies per artifact
  • Damage from shadow-tainted foe: 1 Shadow Damage per blow, or varies per ability
  • Tainted areas: 1 Shadow Damage per day, hour, or per exposure to source

Shadow Scarring

Shadow Scarring occurs when the character’s soul has been indelibly marked by their experiences. Shadow damage cannot be reduced below the total number of Shadow Scars. Shadow Scarring is suffered when:

  • Binding an artifact to oneself to be able to use its powers: 1 Shadow Scar
  • Learning a tainted power or ritual: 1 Shadow Scar
  • A character’s Shadow Damage reaches the character’s Shadow Threshold: 1 Shadow Scar

Levels of Scarring

  • Shadow Blighted
    • At Least 1 Shadow Scar
    • The corruption can be detected with the Witchsight ability and rituals like Holy Smoke. Temporary Corruption can be resolved with a short or long rest.
  • Shadow Marked
    • Shadow Damage above Shadow Threshold
    • The adventurer develops a temporary shadow mark that is plainly visible without divination magic or ritual. If you have shadow scars equal to the shadow threshold, the mark becomes permanent.
  • Shadow Possession
    • Shadow Damage is 2x Shadow Threshold
    • The adventurer loses all control of themselves, the shadows have taken over. This often manifests as an immediate possession of the adventurer by a shadow beast.

Example: After spending 3 nights in the dark heart of the woods, each character has taken 3 shadow damage. During the morning of the 4th day, the party finally stumbles upon the source of corruption. The harmful radiation of the artifact penetrates their armor, making them feel as if they are freezing, they all take 1 shadow damage immediately bringing them each to 4. The wizard is prepared for this, and throws a specially crafted cloth over the artifact. As soon as it is covered, the adventurers all breathe more easily and the woods around them seem to brighten.

Later, the party takes a short rest and the wizard spends some time meditating with the artifact. His meditations are filled with visions of snow and ice. (The GM does not tell the wizard any specific mechanics about the special abilities of the artifact, only flavor) The wizard decides to attune with the artifact, this gives him one Shadow Scar but does not give him additional shadow damage. 

In the next scene, a rival party of explorers stumbles upon the group. They demand that the artifact be handed over. The wizard exposes the artifact, which is no longer harmful to the group as it has been attuned. He unleashes the power of the artifact on the rival adventurers, despite not knowing what it will do. The GM forces all party members except for the wizard to make constitution saves against the arctic chill, likewise rolling saves for each of the rivals. Those who fail freeze solid (5d10 cold damage), half taken on save. The wizard does not take cold damage, but does take 1d4 shadow damage taking him over his Shadow Threshold. He takes another scar as a result of his Shadow Damage exceeding his Shadow Threshold, and his veins blacken and grow pronounced through his skin as he is now temporarily Shadow Marked. The GM then explains the rules of the artifact ability (all other targets within 60 ft of wizard take 5d10 cold damage, constitution save vs. DC 18 for half.)

The cleric has survived, and rifles through the rival parties gear for the ceremonial herbs that they stole from the group earlier. When he finds them, the group takes a short rest as the cleric cleanses the souls of each surviving party member. The wizard’s black veins fade back to normal after the ritual, but now that he has 2 shadow scars he cannot fully heal. Every party member now has 0 shadow damage, except for the wizard who still has 2 shadow damage.

Shadow Damage


Art cropped from an Eric He image

Forest Crawling

frank hurley chateau-wood-1917

This is a response to:

I’ve been planning a game in the Symbaroum setting. I have been waffling about how to run the forest. I had thought about trying to break it into hexes, but the forest is very large and that seems tedious. The system seems to assume I will be playing it very “trad” and planning each session out ahead of time, but that is not how I prep my games.

I really like running point-crawl one-shots, but I have not thought through about how you might slowly evolve a point-crawl over the length of a campaign. I think that I will have a point crawl map with two main elements, nodes and paths. Both nodes and paths will have a variety of tags, that will have mechanical implications. I want to flesh out some of those implications over a series of blog posts.

To start, paths might simply have the following tags:

  • Rumored Path – Traverse in 1d4x the standard time. 2x Random Encounter chance.
  • Rough Path – Traverse in standard length. 1x Random Encounter chance.
  • Trodden Path – Traverse in half time. 1x Random Encounter chance.

Rumored Paths might be overheard in a tavern, hinted at in a notebook, or sketched on a rough map. Rough Paths would be described by an experienced adventurer, depicted on a detailed map, or shown to the party by a tracker. A trodden path is a commonly known and traveled upon.

Likewise, nodes might have a variety of tags to describe the likelihood of treasure, danger, competition, and corruption. I am still thinking about what number of tags is useful versus just being overkill crunch for something I would be better off not having written down.