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Wednesday, September 30, 2020
Friday, September 25, 2020
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Tuesday, September 22, 2020
Gig At Magic Leap
This is an awesome gig at Magic Leap - Wellington (technically a JV with Weta Workshop)
https://www.magicleap.com/#/job-post/269841
They are looking for an amazing and experienced game artist to come join us on the team. Someone with great, efficient modeling skills and buckets of creativity. Unity experience very helpful.
This is a great opportunity. Put your best portfolio work forward...
Allan
Monday, September 21, 2020
Podcast Episode 34 - Demystifying AD&D - Pursuit And Evasion
Anchor Episode link: https://anchor.fm/thedungeonmastershandbook/episodes/Episode-34---Demystifying-ADD---Pursuit-and-Evasion-echs6l
Stream recording -
(YouTube video link: https://youtu.be/YrzWX6l2atI )
What do you think?!
Leave me a voice message and let me know what you think or ask questions if you have them! (312) 625-8281 (US/Canada)
You can also leave a message on Anchor: anchor.fm/thedungeonmastershandbook/message or email me at chgowiz@gmail.com.
Find episode posts and other D&D content on my blog: chgowiz-games.blogspot.com
I stream my podcast episodes here: http://twitch.tv/chgowiz
Credits
Intro music: Dragonaut by Bradley The Buyer (bit.ly/2ASpAlF)
Outro music: Dream by Wild Shores (bit.ly/2jbJehK)
All music used with permission.
Tuesday, September 15, 2020
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Saturday, September 12, 2020
Welcome To My Process (Part 5)
New here? This is where you begin.
Before I forget, the blog has a new heading. Jon Mollison did the last one based on The Outer Presence, and he created this one for Cha'alt. Let's give him a round of applause. Yes, slap those slimy tentacles together in appreciation. Huzzah!
Ok, everything is taking shape and we're close to the "finished" stage. Once the writing's done, I'll start handing things off to professionals who can take the rather rough material and make it look awesome.
Specifically, I'll need to find one or more artists. The cover image is key, but this could do with a couple additional pieces of interior art, as well.
As I mentioned before, the map should be re-imagined by someone who draws maps every day and is head and shoulders beyond my passable skills. So, find a suitable cartographer.
What else? Oh yeah, layout. I don't do my own layout. That, too, gets farmed out to someone who'll do a great job. Obviously, if you're creating an adventure for home use, you don't have to do any of this. And if you're just starting out or really want it to be a DIY project, feel free to go it alone. That's up to you.
As I reach out to those individuals, I will refine what we already have, embellishing the good, pruning the bad, and turning what's ugly into beauty. Basically, it only needs a bit of TLC from this point until we're ready for the tedious but necessary writing-it-all-out phase.
Let's work on that random table for those touching the green slime dripping down the curving crimson-brown walls.
- It stings a bit, but nothing serious.
- You get a nasty chemical burn (take 1d3 points of damage).
- Whatever touched the slime and the surrounding flesh pulses with an eldritch green glow (save or die in the next 10 minutes).
- You're mutated into a screeching, hot-to-the-touch, green and hairy primordial man-wolf [props if you get that reference].
- You get a psionic ability.
- The flesh that touched the slime is forever stained with Old One ichor - the next time you're knocked unconscious, a ghastly visitation of horrors beyond time and space take you on a little tour of your own past, present, and future. Each stop contains gratuitous and unwanted groping by one or more tentacles.
I might change things later, but that's a good start. Want my generic advice on creating a random table with various effects? Here we go...
- One result where nothing much happens.
- One result where something bad (minor) happens.
- One result where something bad (major) happens.
- One result where something weird happens that could be either beneficial or detrimental.
- One result that's clearly a benefit.
- One result that's just plain weird.
Ok, what now... the dimensional toxic waste?
I'm thinking a pile of sludge on the floor that's a melange of strange, constantly changing colors. Touching it won't do anything, but lengthy handling of the waste will transport one to another dimension... maybe through time, as well.
Now, onto Queen Tresillda's personal magic item!
What about an anklet of youth? Wearing it makes one look and feel like they're 25 years old. I may decide to give her another one, something with offensive power... or possibly her sorcerer Xa'algex.
Last but not least, there should be some kind of twist or revelation at the end. Something to make the adventure pop, taking it to the next level...
What if the PCs eventually (either before the Queen is killed or just after) learn that Queen Tresillda was right all along? The priesthood disavowed and banished her because of their idiotic hypocrisy and cowardice, and the Queen's revenge was not only justified but thoroughly righteous. Perhaps the PCs would even be willing to help her, or finish her task if they killed her off before realizing the truth?
Now, that we have a strong foundation, we write it out, revising little details as we go, making improvements. That's how adventures get finished. Before too long, you just have to get in there and get to it. Remember to feel the flow, ride the snake, and make it awesome!
Good luck,
VS
Tuesday, September 8, 2020
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Friday, September 4, 2020
The Case Of Turner Prize: Are Too Many Ties Devaluing The Concept Of Competition?
CNN reports on the winners of this year's Turner Prize, an annual prize presented to a British visual artist. All of the finalists asked to be given the prize jointly, as a group, and so all of the contenders "won" in a competition in which no one lost.
This, combined with what some people see as a pattern in recent years, has irked some people. These people see this "tie" and equate it with the concept of spoiled Millennials who get "participation trophies" or prizes for trying. What has happened to cutthroat competition and actual winning.
The Arguments For and Against
The arguments against the Turner prize tie, in this case, are that the refusal to announce a single winner is indicative of snowflakes, who can't handle being losers. That too many winners devalues the concept of winning, and of competition in general. And that it lacks drama.
The arguments in favor are rather specific to this event. The artists decided that their works were complementary, rather than competitive, and did not feel that a competition was the right way to judge them. That felt that they had already "won" by having reached the shortlist for the prize. Alex Farquharson, the director of the Tate Britain gallery which organizes the prize, argues that times have changed and that competition may not be the right format to judge these kinds of works, anymore. Andrew Russeth, a writer for the Daily Mail, writes "This notion of having artists compete in public and one walk away the winner feels a little demeaning and unpleasant."
Some Points to Consider
As for the arguments against, it is important to divide up those activities in which competition really brings out the most effort and the best results versus those in which we have stuck absolute competitions because we were too boring or lazy to provide a better framework. The Olympics doesn't have a single winner, because we don't make the downhill skier compete against the figure skater; the disciplines and forms are too different to compare. So maybe, when it comes to art competitions with very loose frameworks, it is silly to compare different kinds of entries in different subjects, and with different intents. Maybe the Turner Prize is overdue for a restructure.
When it comes to "participation trophies", there are two hands here. On the one hand, participation trophies are not just a Millennial issue; that is lazy, biased journalism, and the usual "look down at the next generation" attitude of Boomers who have suddenly publicized a concept that has existed for generations. Everyone who joins the army (and doesn't screw up too badly) gets stripes and awards during and after service. Everyone who shows up for work gets paid, and often gets bonuses, even if they aren't the number one worker. Even the specific concept of participation trophies is a century old.
On the other hand, participation trophies are not "everyone gets a trophy". They are, unless severely mishandled, a reward for having put in effort. In the same event, different people, i.e. winners, get specific prizes, while everyone who at least put in effort gets the participation trophy. The recipients of these trophies are not morons, and they know that trophies for winning and trophies for participation have different values. But studies show that encouraging effort is better motivation than acknowledging talent. When you tell someone they have won, they stop trying; when you tell someone that they are smart, they often find a way to not be, act, or appear smart. When you tell someone that you see their hard work and you think it is worthwhile, they may end up trying harder, and, sometimes, they may eventually win or get smarter.
However, announcing the Turner Prize as a tie is lazy; if you set up a competition, you should not change the rules in the middle when you realize that the competition was the wrong format. They should have, originally, defined better categories that were more conductive to direct competition, or they should have defined goals for which prizes could be given to all, or a list, of people who met these goals. But, since they didn't, they should have awarded a winner and let the artists figure out how to deal with this.
Competition is not inherently evil. It brings out efforts and results that would not happen without it. When mishandled, it can bring out people too focused on the goal; they might even short circuit the permitted methods to get to that goal. Winning, when handled well, can be a goal or a stepping stone to more effort. Losing, when handled well, is not something to be afraid of. Competition against others should always be, in parallel, competition against ourselves. And for that, a job well done results in a self-award that does not require any external acknowledgement.
This, combined with what some people see as a pattern in recent years, has irked some people. These people see this "tie" and equate it with the concept of spoiled Millennials who get "participation trophies" or prizes for trying. What has happened to cutthroat competition and actual winning.
The Arguments For and Against
The arguments against the Turner prize tie, in this case, are that the refusal to announce a single winner is indicative of snowflakes, who can't handle being losers. That too many winners devalues the concept of winning, and of competition in general. And that it lacks drama.
The arguments in favor are rather specific to this event. The artists decided that their works were complementary, rather than competitive, and did not feel that a competition was the right way to judge them. That felt that they had already "won" by having reached the shortlist for the prize. Alex Farquharson, the director of the Tate Britain gallery which organizes the prize, argues that times have changed and that competition may not be the right format to judge these kinds of works, anymore. Andrew Russeth, a writer for the Daily Mail, writes "This notion of having artists compete in public and one walk away the winner feels a little demeaning and unpleasant."
Some Points to Consider
As for the arguments against, it is important to divide up those activities in which competition really brings out the most effort and the best results versus those in which we have stuck absolute competitions because we were too boring or lazy to provide a better framework. The Olympics doesn't have a single winner, because we don't make the downhill skier compete against the figure skater; the disciplines and forms are too different to compare. So maybe, when it comes to art competitions with very loose frameworks, it is silly to compare different kinds of entries in different subjects, and with different intents. Maybe the Turner Prize is overdue for a restructure.
When it comes to "participation trophies", there are two hands here. On the one hand, participation trophies are not just a Millennial issue; that is lazy, biased journalism, and the usual "look down at the next generation" attitude of Boomers who have suddenly publicized a concept that has existed for generations. Everyone who joins the army (and doesn't screw up too badly) gets stripes and awards during and after service. Everyone who shows up for work gets paid, and often gets bonuses, even if they aren't the number one worker. Even the specific concept of participation trophies is a century old.
On the other hand, participation trophies are not "everyone gets a trophy". They are, unless severely mishandled, a reward for having put in effort. In the same event, different people, i.e. winners, get specific prizes, while everyone who at least put in effort gets the participation trophy. The recipients of these trophies are not morons, and they know that trophies for winning and trophies for participation have different values. But studies show that encouraging effort is better motivation than acknowledging talent. When you tell someone they have won, they stop trying; when you tell someone that they are smart, they often find a way to not be, act, or appear smart. When you tell someone that you see their hard work and you think it is worthwhile, they may end up trying harder, and, sometimes, they may eventually win or get smarter.
However, announcing the Turner Prize as a tie is lazy; if you set up a competition, you should not change the rules in the middle when you realize that the competition was the wrong format. They should have, originally, defined better categories that were more conductive to direct competition, or they should have defined goals for which prizes could be given to all, or a list, of people who met these goals. But, since they didn't, they should have awarded a winner and let the artists figure out how to deal with this.
Competition is not inherently evil. It brings out efforts and results that would not happen without it. When mishandled, it can bring out people too focused on the goal; they might even short circuit the permitted methods to get to that goal. Winning, when handled well, can be a goal or a stepping stone to more effort. Losing, when handled well, is not something to be afraid of. Competition against others should always be, in parallel, competition against ourselves. And for that, a job well done results in a self-award that does not require any external acknowledgement.
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