Baldur’s Gate is part of a setting several decades older than the game franchise of the same name. It was an official setting of D&D a decade before the first game. In the sense of a ROLEPLAYING game, fidelity to the source material is paramount.

The original games were developed at the end of the life cycle of the edition they used for the mechanics. The ruleset got a major revision the same year BG2 was released. There have been several major editions since. Edition warring aside, no one can argue that the Forgotten Realms played in 5th edition isn’t the same Forgotten Realms played in AD&D 2E. The tone and continued narrative of the setting is the key feature in maintaining the soul of a property, not mechanical fidelity.

The game respects the official canon of the Forgotten Realms, including the canonical ending to BG2 where Gorion’s Ward rejected divinity and eventually led to Bhaal’s revival. Characters from the original series return as companions for BG3, with stories acknowledging the Bhaalspawn crisis. One of the origin playthroughs is the exact same story as the first Baldur’s Gate.

If your only complaint is lack of real time with pause then I reckon it’s you who isn’t the real Baldur’s Gate fan.

Yes because mechanical fidelity is the lowest priority in continuing the series. Continuation of the story and tonal fidelity matter a lot more. The Fallout series went from a turn based 2.5D isometric RPG to a real time action RPG, and one of the best instalments in the series follows the latter formula.

Same IP; returning characters from the original series; revisiting important locations from the original series; uses a D&D ruleset for resolution; expands upon the story of the Bhaalspawn crisis over a century after the incident, especially via the ::: spoiler spoiler Dark Urge storyline. :::

All of this is apparent through playing the game.

I definitely get the fever dream vibes. Especially early in his career, Lovecraft reported that some of his short stories were transcripts of his own dreams, written while not yet fully awake in order to keep the dream in his mind. I think perhaps this combined with his relative inexperience in writing contributed to his earlier stories being much shorter and often less coherent. I've often had amazing dreams that don't hold up against reflection in the cold light of day.

A common theme shared by this week's stories are vengeance; a cruel adversary who finds their comeuppance via disturbing and poetic means. I've looked up the background to these stories in preparation for this post and I notice that by 1919, Lovecraft had introduced himself to the works of Lord Dunsany. The text in these tales which have been referred to as Lovecraft's "dunsanian tales" is filled with references and nods to the fiction of Dunsany, who also wrote short stories based on the world of dreams.

In The Doom that Came to Sarnath we see another departure from a common trope of Lovecraft's stories, of disconnected gods mostly unaware or uncaring of the affairs of humans and other mere mortals. Though we are left with some questions unanswered, it is my interpretation that Bokrug, the patron god of the moon folk who dwelt in Ib, is the one who enacts vengeance on the people of Sarnath, on the 1000th anniversary of the razing of Ib.

At the time of the vengeance, the lore of the razing the city of Ib is long lost to all but the priesthood, and the annual celebration is little more than a ritual. Importantly, none of the noted deaths of the people of Sarnath are a consequence of violence; every single person was scared to death. This paints a picture of a patient and powerful entity, and an understanding of human psychology. Bokrug does not immediately stage a counter-assault and it does not use violence. Instead it secures the future of its followers by ensuring that the razing of Sarnath is never forgotten.

In The Cats of Ulthar we see plenty of ancient Egyptian imagery. The caravan paints humans with animal heads on the sides of their carts; the imagery of a disc in the space between horns is repeatedly used; and cats are referred to as the cousin of the Sphinx, "and he speaks her language, but he is more ancient that the Sphinx, and remembers that which she hath forgotten".

Upon his kitten being slaughtered, a little boy in the caravan utters a prayer and the caravan leaves. The following night, all of the cats of Ulthar have gone missing. There are dubious and contradicting reports that the caravaneers stole the cats, and that the cats were seen oddly encircling the house of the cat slayers, with one suggesting that the cat killers have somehow hypnotised the cats. In the morning the cats have miraculously returned, and all look fatter. Indeed, for many days the cats refuse food.

After a week with no news from the house of the cat killers, an investigating party wanders over only to find the clean picked bones of its two residents. The discovery is so chilling that the villagers pass a law that in Ulthar no man may kill a cat.

There is little ambiguity in what occurred here: the cats, bolstered by the power to which the boy prayed, are responsible for killing and consuming the two cat killers. Again this is evidence of the existence of patient patron deities who will enact brutal and unusual vengeance in order to ensure the survival of their favoured species. Considering also the reverent description of cats given in the first paragraph, this hints at mysteries in our world to which we as a whole remain clueless. This is actually a very common motif in Lovecraft's writing; that there are many secrets in our world to which mankind are ignorant. In other works he writes on how we are in fact blissfully ignorant, for the revelation of our position in reality will either cause us to go mad or regress to the ignorant safety of another dark age. Brilliant and chilling stuff.

With larger groups I tend to stick to less mechanically complex games.

Most OSR games can be run on the fly with any number of players. I had a fixed group of 9 run through Keep on the Borderlands, with 1 or two extras jumping in for a session here or there.

My absolute favourite is Savage Worlds. It'ss great as the maths isn't tight and "balancing" an encounter is just a matter of throwing in more mooks, throw in a wild card per 2 or 3 players. It can fit to any setting, though I strongly recommend Deadlands.

My close second favourite is Call of Cthulhu, which I've run with 8 players. There's not a combat focus so sessions are unlikely to get bogged down, and even then, most combat actions are a simple contested roll. Investigations tend to resolve as people splitting into pairs and following different leads; two go archiving at the library, two visit a sanitarium patient, two head over to the local paper to see if any stories have been published or even blocked by an editor, two stake out points of interest.

The Crew - Mission Deep Sea - card game with a simple trick taking mechanic. Difficulty is very modular as you decide a difficulty level before each game. Difficulty is decided by the numbers of missions taken and the relative complexity of those missions (this is all explained on the mission cards). Missions are based on which tricks you win, with simple rules like "I win no 1's" or "I win at least 3 9's".

Hanabi - Card playing game where you don't know your own hand. You describe aspects of each others hands (colours of cards, numbers on cards). Your goal is to place a pile of the cards 1,2,3,4,5 in each of 5 colours. Don't play with mathematicians.

Why would you vote for it to be unrestricted? They've only unprivated due to the threats. Stick to Lemmy.

Ah. Are you aware of Mage: the Ascension and Mage: the Awakening? Both World of Darkness books; mechanically crunchy with a strong focus on magic as a solution to all situations. Looking at established systems that have already done something similar can help with ideas.

For a slightly different spin, I just picked up the Black Sword Hack yesterday. In terms of combat items, there are actual listed combat items but it's all fluff really; every weapon is d6 damage. Maybe that would be another thing that interests you: weapons are abstracted to the point of players being able to buy/find "a weapon" which gives you a basic action.

Ubuntu 23.04 for my laptop. I experiment with other distros from time to time when I grow bored but getting back to Ubuntu is like putting on my favourite pair of jeans.

I wouldn't call this purely a production error, though it could be mitigated with a modicum of forethought by the production company. A nuisance of mine when listening to audiobooks is mispronunciation of terms or names, which is particularly common in fantasy books with fantasy names.

Two examples that readily come to mind are:

Roy Dotrice's reading of A Song of Ice and Fire, especially "Puh-Tyre" Baelish.

Red Dusk and the Morrow as read by Peter Owen. Generally a great narration, but there are a handful of German phrases and expressions which are pronounced in a very jaunty anglicised way, like "un-zeer dootshe Jenosen" instead of "unsere deutsche Genossen."

Some of my favourite systems are light on combat rules or feature combat as some kind of fail state. If you're leveling a shotgun at an ancient void-dweller that may or may not be immune to conventional weaponry, you've messed up somewhere. Maybe the better plan is to douse the floorboards in lamp oil, smash a lit lantern, and run.

Would I play a game with no combat items? Absolutely. I'd love a game that invests as much pagespace into intrigue or stealth systems as some D&D-like systems invest into combat.

I just go for completed series nowadays. It's just not worth the time ranting and actively waiting for the completion of certain series. I've made a conscious decision not to start on Rothfuss's trilogy until he finishes the final book.

I also find that recently I go for books with more mature themes; not gore- and sex-fests where everyone is morally grey for the sake of it, but stuff like Robin Hobb's books which explore feminism through a fantasy lens, or stories with characters who confront their flaws rather than being some ideal version of a character archetype.

In The White Ship we get our first glimpse of some of the geography of the Dreamlands. More interestingly we first see mention of godlike creatures other than the maddening Great Old Ones and Outer Gods. The eidolon Lathi rules over Thalarion, a city of Daemons and mad things which once were men.

The bearded man aboard the ship also mentions gods which are "greater than men, and they have conquered." The voyagers of the White Ship are guided to fantastical cities by a heavenly blue bird which seems to have suddenly appeared. It leads the voyagers to locations of increasing beauty and splendor, and each time the voyagers seek greater places. Ultimately, the bird leads the ship to its doom: a monstrous cataract where the waters of the world fall to abysmal nothingness. The watchman of this story closes his eyes and braces for the fall, only to wake at his old lighthouse.

Peering into the waters, he sees the remnant of a white ship, shattered on the rocks. Again this leads us to wonder: are Lovecraft's Dreamlands some mirror of our living world, or perhaps a physical space somehow connected to our world? Is there perhaps a more mundane explanation; are the dreamers simply dreaming of that which they may have perceived and then forgotten in the waking world? Could this inability to disassociate dream from reality merely be some form or madness?

The first two stories of the Dream Cycle offer a more personal horror than the mind-bending cosmic horror which we’ve come to expect from Lovecraft. Both short stories feature some manner of watchman who is forcefully drawn from his duty by some form of fainting or narcolepsy. The end result is the same: an avoidable disaster brought about by the watchman deserting his post, and some form of revelation leading the watchman to wonder whether they are still dreaming.

I decided to look further into this and the idea of dereliction of duty was a common worry of Lovecraft at this point in time. The first World War began in 1914; the US joined the war in 1917, a year before Lovecraft wrote Polaris. Before the US joined the war Lovecraft often expressed dissatisfaction at the lack of an American response. Lovecraft was an Anglophile to an obsessive degree and viewed the UK and particularly England as America’s ancestral fatherland which was currently under threat. In Polaris we see a similar struggle in the waking man believing he is the watchman of his dreams, and that he must wake from this “dream” in order to save his land from catastrophe.

Lovecraft attempted to join the war effort in various capacities but he was prone to fainting fits, similar to the watchman in Polaris. He also attempted to join the National Guard of Rhode Island, though this was thwarted by his mother. We see this mirrored in the two stories as both watchmen find themselves incapable of waking from their dreams in order to prevent disaster.

I'm currently listening to TItus Groan by Mervyn Peake, after struggling to find it in book shops.

I'm using XigXag as it's not Amazon owned and it doesn't require a subscription. Really great app, though it is mobile only and I'm not sure if it's available outside the UK.

There currently is no way - and in my opinion should be no way to prevent duplicate communities across instances. One community will eventually become popular enough to be considered the de facto community, though we shouldn’t force interaction with an instance simply because they have dibs on a community name.

Less discerning users can subscribe to both communities.

Thanks for the info. I also hadn't considered just messaging the owner.

Jack Vance (namesake of Vancian magic) introduced two interesting concepts in his Dying Earth series. In earlier books magic was essentially invented by the ancient masters who were expert logicians and scientists. Each spell was essentially a proof of concept that a sequence of actions compelled reality to act in a certain way.

By the time of the first short stories in the Dying Earth series, mankind has long since deteriorated due to an overreliance on what is essentially magic to the layperson. Even the wily magicians of the modern time are only capable of rote learning a few arguments at a time; hence the fire and forget Vancian magic system of old D&D.

In later books, magicians have returned to near godly power. They've somehow found a link between djinn-like creatures capable of controlling portions of reality, and the rote rituals of old. They've learned to essentially cut out the middle-man and directly enslave these djinni to do their bidding.

I'm looking for community engagement without the homogenised superculture. I'd like to be able to discuss books on a small book community without someone jumping in with "I also choose this guy's dead wife" or "not my proudest fap" because it's a low effort way of garnering meta-points. I also like the lack of an account-based point system.

So far Lemmy is delivering and so I'm engaging here a lot more actively than I ever did on Reddit.

I found this as well. The audiobooks in particular have a soporific effect on me. Love Roy Dotrice as a narrator but the content is extremely dry, and that is coming from someone who rereads the Silmariliion regularly.

The site defaults to sorting by active posts. There are options for hot, new, and top over the past day. I tend to sort by new.

At the university I run Halloween sessions for new players, and by far the best scenario I've run is the first one: House of the Midnight Violet. It's a 3 hour scenario for a party of 4th level. I've run it twice for a party of 3rd level with no adjustments. It's plays very well as is, though I'd personally suggest running the groups of dolls and cats as swarm creatures rather than individual creatures, for the sake of your own sanity.

Managed to play Arkham Horror twice in one week, though missed playing War of the Ring with my partner.

Wednesday was an 11 hour Arkham Horror marathon due to 2 friends moving away. Four of us took the day off. We attempted the two-party Dream Eaters campaign with two groups of 3. The awake team blitzed through their scenarios while the dreamers struggled through theirs (having already played the other way, the dream scenarios are more complex). This resulted in the awake team waiting 30 mins - 1 hour per scenario for the dreamers to finish. We finished at the end of scenario 3 as we were so exhausted.

Saturday was my Path to Carcosa group, which proved to be a lot more fun, probably because we weren't trying to cram a whole campaign into one day. Completed scenario 3 before the final agenda came up. Our seeker is ridiculous at hoovering clues.

Ah, you too run Call of Cthulhu?

I'm running an in-person Quest for the Frozen Flame campaign with Foundry for maps/bestiary. They're about to come to Rimecrag Pass tomorrow. I did have an oracle ready for Strength of Thousands but that fell through in the planning stage.

People have already mentioned my two suggestions: 4E DMG2 and The Lazy Dungeon Master.

This isn't a specific book recommendation, but I would recommend reading a diverse range of RPG books, across a breadth of topics which interest you. In particular, reading the storytelling sections and how those guidelines interact with the delivery mechanics of the specific game can offer a new perspective on how to run your games.

For example, I enjoy horror roleplaying in particular, so books I may read are Call of Cthulhu for Cosmic Horror or the World of Darkness/Chronicles of Darkness books for Personal Horror. While I run Call of Cthulhu a lot more than World of Darkness, the tips on storytelling personal conflict from WoD offer some interesting insight into running sanity conflicts in CoC.

I use Foundry on an Oracle Always Free server. I project that in our department's meeting room from the room's computer; I then run the GM side and music from my laptop.