Among my playgroup, improved initiative is a popular choice for a 1st or 3rd level feat, but why?
The most obvious reason for taking improved initiative is for a better chance of going first in combat. However, this is really pointless for most characters. Let's look at an example:
A party of four characters (fighter, rogue, cleric, and wizard) vs four opponents appropriate to their level.
Scenario 1, the fighter goes first: You've rolled initiative, and the fighter gets to go first. Good, right? Well, it depends. If the enemies are in a hallway and the fighter can block the path to the rest of the party, then yes, otherwise, what is the fighter going to do? Charge the nearest opponent? If the fighter rushes into melee with an opponent, he attacks, maybe he drops an opponent, but most likely not if you're level 3 or higher. This leaves the fighter in a position to get ganged on by four opponents. It also means that if the rogue wants to get into melee in order to sneak attack, the rogue now has to go to the enemy. If the cleric or wizard wants to buff the fighter, they also need to expose themselves to the enemy. If the wizard wants to use an area spell, the fighter is now in the way.
Good: You've drawn aggro away from the team
Bad: You've put yourself in a position that makes it harder for the team to support you
Scenario 2, the cleric or wizard goes first: So, what happens when a caster goes first? Lots, actually. If the enemy is in a hallway, the wizard could use a wall spell to block off the enemies, enabling the party to fight them one at a time, or engage them with ranged attacks while they're trapped behind a spell. If the enemies aren't in a hallway, the wizard or cleric can pass out helpful buffs to the team before the enemy gets to act, thereby making it harder for the enemy to hurt the team.
Good: The team is still together to support each other, plus a buff before enemy attacks can often reduce the number of hits the enemy scores on the party or reduce the damage dealt
Bad: Nobody has drawn aggro away from the casters, but if the enemy rushes the casters, they're now up close to the fighter and rogue, still a win
Scenario 3, the rogue goes first: Sneak attack. If the rogue goes before the enemy, the enemy is flat-footed, so the rogue's attack is a sneak attack without needing to set up flanking positions.
Good: Automatic sneak attack
Bad: Not much, because the rogue can use a ranged sneak attack and doesn't have to expose himself to the enemy
In the above scenarios, the party is in a better position if the cleric, rogue, or wizard acts before the enemy, but when the fighter acts before the enemy, it doesn't really matter except when the fighter can block the enemy's access to the party, and honestly, the right spell from the wizard could accomplish that.
But, when the fighter goes first, he deals damage before the enemy! So? In D&D 3.5, dealing damage that doesn't drop an enemy to 0 HP doesn't make them any less effective in combat. Plus, after the first round, the initiative order isn't very important anymore, because you're just alternating turns at that point.
Now, the best scenario is that the entire party acts before the enemy, however, the GM isn't required to tell the players what the enemy's initiative is. So, in scenario 1 above, should the fighter delay, not knowing if the rest of the party acts before the enemy or not? I would say the best option is to take a readied action. The fighter should either position himself in front of the party, or near the weakest character (probably the wizard, maybe rogue, depending on positions) and declare a readied action to attack the first opponent to get within reach. The benefit of this is that he stays close to the party for support, he doesn't risk getting caught in the casters' area spells if they end up acting before the enemy, plus melee-based enemies have to either attack him and get hit by a readied attack, or try to get past him and take the readied attack plus an attack of opportunity.
Should a fighter take improved initiative? Eh, probably not. A fighter should spend more time worrying about his combat feats. That's not to say he should never take improved initiative, but there are plenty of other feats that are more important for a fighter.
Should the cleric or wizard take improved initiative? Definitely. Casting the right spell before the enemy even acts can make a huge difference in the upcoming fight.
Should the rogue take improved initiative? Probably. Getting in a sneak attack just because the target hasn't acted yet is nice, but other than that, the rogue doesn't benefit any more from improved initiative than the fighter.
What about the classes I haven't mentioned? Well, if your primary role is to cast spells, and you have either area effects, buffs, debuffs, or a way to alter the battlefield, then you'll want improved initiative. If your primary role is to swing a big stick at the enemy, you could care less in the long run.
Friday, January 31, 2014
Thursday, January 23, 2014
How to be a Better Gamemaster Part 2
In this post I'll continue my tips on improving your gamemastering skills.
3. Calling an Audible
No matter how much prep work you do, no matter what you plan, sometimes your players are going to do something to screw it up. When that happens, you've got to start changing the plan. Here are a couple of examples.
In a game I played in, the player characters came upon a murder scene. The victim was a non-player character we had never met or even heard of before. We were then sent a message saying to meet someone for information on the murder. From our point of view, we had no reason to want to investigate. We had no connection to the victim, so investigating the murder wasn't our top priority, so when we voiced that to our GM, he decided that if we weren't going to follow the plot, he'd drop in some "encouragement" in the form of a lot of really tough enemies.
In a game I just recently GMed, I needed the player characters to follow an investigation and eventually find the villain. The PCs were having a bit of trouble figuring out how to find the clues they needed. One of the players suggested that having a supernatural background, he might know someone who also dabbled in the supernatural. So, to put the PCs back on track, I decided to make the villain his contact, and soon the PCs started sniffing around the only guy in town who knew about the supernatural when they discovered the crime they were investigating was done with magic.
In the first example, the players feel like they're being punished for not following the plot. However, you can use the technique of using "encouragement" to get the players on track, but you have to do it carefully. First, the players have to have at least some clue about where you want them to go. Second, you have to make it feel like your "encouragement" isn't a punishment, but is a logical follow-up. If, for example, your "encouragement" is also investigating the same thing the PCs are, or if they were the cause and are tying up loose ends, then it feels more like it's part of the plot and not just a random encounter to force the PCs back on track. In the second example, the players were going nowhere, but one came up with a logical idea and was rewarded for it. Both examples got the PCs on track. The first, however, was a negative experience for the players, the second was positive.
When your players aren't going where you want, and you need them to find something important, often, the easiest thing to do is to move whatever you need them to find to wherever they're going.
4. Making things up/Making things Interesting
When you play with a group who has been playing the game long enough, eventually they memorize the monsters. When you play with veteran players, sometimes making up some new threats can freshen up a stale game. In one of my recent games, I took a red dragon, mixed in some black dragon stats, and gave it two extra heads. Suddenly, the PCs were too afraid to even try to fight this monster. They no longer knew what to expect, and it led to a great chase scene and a spectacular death.
If you're feeling ambitious, you could try creating your own campaign world. Creating your own world takes time and effort. I would know. I've created dozens of them. The great thing, though, is that you don't have to do all the work right away. You can start small, creating the area your game will begin in and then spread out as the campaign progresses. In a later post, I'll cover things such as writing your own adventures, campaigns, and even creating your own world.
5. Acting
Every good GM wants their players to get involved with their characters and the story. In my post on being a better player, I talked about the Actor. The Actor plays a role, which is what rpgs are about. The Actor doesn't just throw together a set of numbers and call it a character. The Actor creates a character, then comes up with a set of numbers that fits the character. If you want your players to play their characters, then you have to play yours as well, and when you consider that GMs have control of every NPC, that's a lot of roles to play. Fortunately, most NPCs are only going to interact with the players for a few minutes, then will probably never come up again. You really only need to worry about NPCs that are important to the plot. For these NPCs, give them a little personality, even if it's just as simple as a peculiar way of speaking, or an unusual mannerism. Players are more likely to remember the nervous, stuttering contact they met in the bar moreso than just another NPC they met in the bar, even if the NPC gave them important information.
This concludes my basic tips on improving yourself as a gamemaster. In future posts, I will expand upon some of these. My next post will will return to the "Playing You Best" lessons.
3. Calling an Audible
No matter how much prep work you do, no matter what you plan, sometimes your players are going to do something to screw it up. When that happens, you've got to start changing the plan. Here are a couple of examples.
In a game I played in, the player characters came upon a murder scene. The victim was a non-player character we had never met or even heard of before. We were then sent a message saying to meet someone for information on the murder. From our point of view, we had no reason to want to investigate. We had no connection to the victim, so investigating the murder wasn't our top priority, so when we voiced that to our GM, he decided that if we weren't going to follow the plot, he'd drop in some "encouragement" in the form of a lot of really tough enemies.
In a game I just recently GMed, I needed the player characters to follow an investigation and eventually find the villain. The PCs were having a bit of trouble figuring out how to find the clues they needed. One of the players suggested that having a supernatural background, he might know someone who also dabbled in the supernatural. So, to put the PCs back on track, I decided to make the villain his contact, and soon the PCs started sniffing around the only guy in town who knew about the supernatural when they discovered the crime they were investigating was done with magic.
In the first example, the players feel like they're being punished for not following the plot. However, you can use the technique of using "encouragement" to get the players on track, but you have to do it carefully. First, the players have to have at least some clue about where you want them to go. Second, you have to make it feel like your "encouragement" isn't a punishment, but is a logical follow-up. If, for example, your "encouragement" is also investigating the same thing the PCs are, or if they were the cause and are tying up loose ends, then it feels more like it's part of the plot and not just a random encounter to force the PCs back on track. In the second example, the players were going nowhere, but one came up with a logical idea and was rewarded for it. Both examples got the PCs on track. The first, however, was a negative experience for the players, the second was positive.
When your players aren't going where you want, and you need them to find something important, often, the easiest thing to do is to move whatever you need them to find to wherever they're going.
4. Making things up/Making things Interesting
When you play with a group who has been playing the game long enough, eventually they memorize the monsters. When you play with veteran players, sometimes making up some new threats can freshen up a stale game. In one of my recent games, I took a red dragon, mixed in some black dragon stats, and gave it two extra heads. Suddenly, the PCs were too afraid to even try to fight this monster. They no longer knew what to expect, and it led to a great chase scene and a spectacular death.
If you're feeling ambitious, you could try creating your own campaign world. Creating your own world takes time and effort. I would know. I've created dozens of them. The great thing, though, is that you don't have to do all the work right away. You can start small, creating the area your game will begin in and then spread out as the campaign progresses. In a later post, I'll cover things such as writing your own adventures, campaigns, and even creating your own world.
5. Acting
Every good GM wants their players to get involved with their characters and the story. In my post on being a better player, I talked about the Actor. The Actor plays a role, which is what rpgs are about. The Actor doesn't just throw together a set of numbers and call it a character. The Actor creates a character, then comes up with a set of numbers that fits the character. If you want your players to play their characters, then you have to play yours as well, and when you consider that GMs have control of every NPC, that's a lot of roles to play. Fortunately, most NPCs are only going to interact with the players for a few minutes, then will probably never come up again. You really only need to worry about NPCs that are important to the plot. For these NPCs, give them a little personality, even if it's just as simple as a peculiar way of speaking, or an unusual mannerism. Players are more likely to remember the nervous, stuttering contact they met in the bar moreso than just another NPC they met in the bar, even if the NPC gave them important information.
This concludes my basic tips on improving yourself as a gamemaster. In future posts, I will expand upon some of these. My next post will will return to the "Playing You Best" lessons.
Sunday, January 5, 2014
How to be a Better Gamemaster
In my last post, I talked about what a gamemaster is, and what it takes to be a gamemaster. In my next few posts, I'll talk about how to be a better gamemaster.
1. Know the Rules
If you've never played a single game in a system you want to run as a gamemaster, then read the system's rule book. Read the entire thing, front to back. When you're done, read the section on creating characters again, then read the section on combat again (most game systems involve some sort of combat). Some game systems have some complicated rules for situations that don't happen in every game. You don't need to have these memorized for your first game. For example, if you're about to play D&D 3.5, or just about any game system based on that version of the d20 rules, you probably won't have to know the grapple, sunder, and disarm rules off the top of your head. You should, however, know how to begin a combat encounter, a general idea of what a character can do on their turn, when movement provokes attacks of opportunity, and the critical hit rules. The rest of the combat rules you can look up as needed.
Now, that's what you need to be a gamemaster. What about being a better gamemaster? Well, nothing kills the pace of the game like having to stop and look up an obscure rule. Whenever I want to use an opponent that specializes in something obscure, say I want him to try to destroy the players' weapons, for example, I read the rules on sundering before I decide if I want to include the opponent at all, to be sure this tactic isn't going to be so overly complicated that it slows down the game too much. Once I'm confident that I want to use that tactic, I create the opponent and write it into my notes. During the week leading up to game day, I review the rules that opponent will be using. On game day, about an hour before the players arrive, I read the rules again. Usually, by this point, I have the rule memorized and no longer have to look it up at the table, thus avoiding putting the game on pause while I look through a rule book. The biggest advantage of this is that you don't try to memorize an entire rule book in one sitting, and slowly memorize one new rule each time you want to throw something new at your players. This keeps your encounters from becoming stale with every opponent just trying to attack for damage.
2. Preparation
Depending on your preferences, and whether you are writing your own adventures or running published modules, your prep time could be as little as an hour or two per game or as much as ten or more per game. Because the amount of preparation needed changes depending on your play style and whether you're running custom adventures or not, I'll give you some notes for a couple of scenarios.
Running published modules requires the least amount of preparation, and is recommended if you work long hours, or are new to gamemastering, or if you're just not confident in your writing skills. The beauty of a module is that you have a written adventure, usually spanning multiple game days, and usually have some maps included. You pretty much have nothing do before the game. However, if you want to be a better gamemaster, you should read through the entire adventure at least once before you begin the first game. This way, you at least have an idea of how events in one part of the adventure lead to other parts. Before each game, you should read the portion of the adventure you plan to run that day, and if there are any obvious choices or detours the players might be able to make that would take the game in a different direction and read that as well. There are modules that offer players more than one goal that could be completed in any order they choose, so you should be ready for whichever choice your players want to take. If you want to make it easy on yourself, you could gather your players together ahead of time and introduce the adventure to them, present the choices, and have them decide on a course of action before your game session. This way, you can familiarize yourself with the player's choice and when the game begins, you won't have to take up time with a group discussion on which course of action to take, because they've already chosen. When running a module, one thing you should always do is review the stats for the enemies the players will face during the upcoming game session. If any enemies use an ability you aren't familiar with, you should spend a few minutes in the rule book getting to know this new ability. Total prep time per session when using a module should be around an hour. You could get by with less if you're pressed for time, but I highly advise against it. I would recommend up to two hours if you can spare it.
Writing your own adventures can be fun before you even get to the game table. Trying to anticipate how the players will react to your devious plans and diabolical villains, and visualizing them falling victim to your heinous traps are all fun moments you can get caught up in while writing. Well, don't. Unless you've been playing with this group for years, you can never be sure how your players will react. That's okay, though. You can't possibly take the time to try to come up with every eventuality while writing your adventures. So don't. I will likely write a post sometime in the near future focusing just on writing good adventures for your games, but for now, let's just focus on some general guidelines. I started gamemastering by writing my own adventurers. I've never run a module, and didn't even read one for my first few years of gamemastering. When I finally did, I saw that modules went into much more detail than my own adventures. When writing your own adventures, you know how much detail you need. If you need only a few pages, then write a few pages. If you need every meticulous detail written down, go for it. I ran a game for Halloween a few months ago, with only one night to prepare. I wrote only a page and a half of notes. The game lasted for ten hours, and my players claimed it was one of the best games they ever played and had them scared stiff. Sometimes all you need is some ideas floating around in your head and a few notes to help you keep track of them. It's hard for me to nail down just how much prep time you need with custom games. It's really up to you. Obviously, it's going to take some more work than just reading a module. I'd suggest around two to four hours per game. You could get by with less, and you could certainly use more, but try not to get bogged down in details. If it isn't important to the plot, you can always make it up at the table.
1. Know the Rules
If you've never played a single game in a system you want to run as a gamemaster, then read the system's rule book. Read the entire thing, front to back. When you're done, read the section on creating characters again, then read the section on combat again (most game systems involve some sort of combat). Some game systems have some complicated rules for situations that don't happen in every game. You don't need to have these memorized for your first game. For example, if you're about to play D&D 3.5, or just about any game system based on that version of the d20 rules, you probably won't have to know the grapple, sunder, and disarm rules off the top of your head. You should, however, know how to begin a combat encounter, a general idea of what a character can do on their turn, when movement provokes attacks of opportunity, and the critical hit rules. The rest of the combat rules you can look up as needed.
Now, that's what you need to be a gamemaster. What about being a better gamemaster? Well, nothing kills the pace of the game like having to stop and look up an obscure rule. Whenever I want to use an opponent that specializes in something obscure, say I want him to try to destroy the players' weapons, for example, I read the rules on sundering before I decide if I want to include the opponent at all, to be sure this tactic isn't going to be so overly complicated that it slows down the game too much. Once I'm confident that I want to use that tactic, I create the opponent and write it into my notes. During the week leading up to game day, I review the rules that opponent will be using. On game day, about an hour before the players arrive, I read the rules again. Usually, by this point, I have the rule memorized and no longer have to look it up at the table, thus avoiding putting the game on pause while I look through a rule book. The biggest advantage of this is that you don't try to memorize an entire rule book in one sitting, and slowly memorize one new rule each time you want to throw something new at your players. This keeps your encounters from becoming stale with every opponent just trying to attack for damage.
2. Preparation
Depending on your preferences, and whether you are writing your own adventures or running published modules, your prep time could be as little as an hour or two per game or as much as ten or more per game. Because the amount of preparation needed changes depending on your play style and whether you're running custom adventures or not, I'll give you some notes for a couple of scenarios.
Running published modules requires the least amount of preparation, and is recommended if you work long hours, or are new to gamemastering, or if you're just not confident in your writing skills. The beauty of a module is that you have a written adventure, usually spanning multiple game days, and usually have some maps included. You pretty much have nothing do before the game. However, if you want to be a better gamemaster, you should read through the entire adventure at least once before you begin the first game. This way, you at least have an idea of how events in one part of the adventure lead to other parts. Before each game, you should read the portion of the adventure you plan to run that day, and if there are any obvious choices or detours the players might be able to make that would take the game in a different direction and read that as well. There are modules that offer players more than one goal that could be completed in any order they choose, so you should be ready for whichever choice your players want to take. If you want to make it easy on yourself, you could gather your players together ahead of time and introduce the adventure to them, present the choices, and have them decide on a course of action before your game session. This way, you can familiarize yourself with the player's choice and when the game begins, you won't have to take up time with a group discussion on which course of action to take, because they've already chosen. When running a module, one thing you should always do is review the stats for the enemies the players will face during the upcoming game session. If any enemies use an ability you aren't familiar with, you should spend a few minutes in the rule book getting to know this new ability. Total prep time per session when using a module should be around an hour. You could get by with less if you're pressed for time, but I highly advise against it. I would recommend up to two hours if you can spare it.
Writing your own adventures can be fun before you even get to the game table. Trying to anticipate how the players will react to your devious plans and diabolical villains, and visualizing them falling victim to your heinous traps are all fun moments you can get caught up in while writing. Well, don't. Unless you've been playing with this group for years, you can never be sure how your players will react. That's okay, though. You can't possibly take the time to try to come up with every eventuality while writing your adventures. So don't. I will likely write a post sometime in the near future focusing just on writing good adventures for your games, but for now, let's just focus on some general guidelines. I started gamemastering by writing my own adventurers. I've never run a module, and didn't even read one for my first few years of gamemastering. When I finally did, I saw that modules went into much more detail than my own adventures. When writing your own adventures, you know how much detail you need. If you need only a few pages, then write a few pages. If you need every meticulous detail written down, go for it. I ran a game for Halloween a few months ago, with only one night to prepare. I wrote only a page and a half of notes. The game lasted for ten hours, and my players claimed it was one of the best games they ever played and had them scared stiff. Sometimes all you need is some ideas floating around in your head and a few notes to help you keep track of them. It's hard for me to nail down just how much prep time you need with custom games. It's really up to you. Obviously, it's going to take some more work than just reading a module. I'd suggest around two to four hours per game. You could get by with less, and you could certainly use more, but try not to get bogged down in details. If it isn't important to the plot, you can always make it up at the table.
Monday, December 16, 2013
Dyrian's Guide to Gamemastering for Non-Gamemasters
If you're reading this, then I assume you want to know more about being a gamemaster. Perhaps you are a player and want to try your hand at gamemastering one day.
First of all, we should define what a gamemaster is. A gamemaster is a player, but a different sort of player. We roleplayers don't often think of the gamemaster as a player, but in essence, a gamemaster is just as much a player as the other players at the table. The gamemaster doesn't portray a single character, like most players do. It is the gamemaster's job to tell a story that the other players will participate in.
So, what does it take to be a gamemaster? The gamemaster has a lot to do. First, the gamemaster is a teacher. When a new player joins a game, it is expected that the gamemaster be able to teach the player how to play, or at the very least, the gamemaster should ensure that each player has at least a basic understanding of the rules before the game begins. To do this, the gamemaster must know the rules and be able to effectively communicate these rules in a way that's easy to understand. Second, the gamemaster is a writer. It is the gamemaster's job to create a story for the other players. If you're new to gamemastering, or don't have the time to write, some game systems, such as D&D, have plenty of published stories you can use, with everything you need included in the package. Of course, this route requires you to purchase the materials (or take the less honest route of downloading a pdf). Third, the gamemaster is an arbiter. Whenever there's a contradiction in the game's rules, or if a rule hinders your fun, then the gamemaster has to know when to overturn a rule, and how to make rulings in the middle of the game that is fair to everyone, or at least keeps things fun for everyone. Fourth, the gamemaster is a storyteller. As the gamemaster, you are the only window the other players have to view your world. If you don't tell the players what they experience, how will they know how their characters should act? Finally, the gamemaster is an actor. Your world will need to be populated, both by enemies, allies to the players, and extras. As the gamemaster, you must portray all of these characters.
As you can see, being a gamemaster can take a lot of work, but it is a very rewarding experience. I've had players who wanted to leave their other gaming groups to play in my games, and have been told that I run some of the most fun games some of my players have ever played. This is what it comes down to for me. I'm not a gamemaster for the praise. I do it for my players' enjoyment. My goal is simply to try to provide the most fun experiences I can. In my next post, I'll talk about some tips for becoming a better gamemaster.
First of all, we should define what a gamemaster is. A gamemaster is a player, but a different sort of player. We roleplayers don't often think of the gamemaster as a player, but in essence, a gamemaster is just as much a player as the other players at the table. The gamemaster doesn't portray a single character, like most players do. It is the gamemaster's job to tell a story that the other players will participate in.
So, what does it take to be a gamemaster? The gamemaster has a lot to do. First, the gamemaster is a teacher. When a new player joins a game, it is expected that the gamemaster be able to teach the player how to play, or at the very least, the gamemaster should ensure that each player has at least a basic understanding of the rules before the game begins. To do this, the gamemaster must know the rules and be able to effectively communicate these rules in a way that's easy to understand. Second, the gamemaster is a writer. It is the gamemaster's job to create a story for the other players. If you're new to gamemastering, or don't have the time to write, some game systems, such as D&D, have plenty of published stories you can use, with everything you need included in the package. Of course, this route requires you to purchase the materials (or take the less honest route of downloading a pdf). Third, the gamemaster is an arbiter. Whenever there's a contradiction in the game's rules, or if a rule hinders your fun, then the gamemaster has to know when to overturn a rule, and how to make rulings in the middle of the game that is fair to everyone, or at least keeps things fun for everyone. Fourth, the gamemaster is a storyteller. As the gamemaster, you are the only window the other players have to view your world. If you don't tell the players what they experience, how will they know how their characters should act? Finally, the gamemaster is an actor. Your world will need to be populated, both by enemies, allies to the players, and extras. As the gamemaster, you must portray all of these characters.
As you can see, being a gamemaster can take a lot of work, but it is a very rewarding experience. I've had players who wanted to leave their other gaming groups to play in my games, and have been told that I run some of the most fun games some of my players have ever played. This is what it comes down to for me. I'm not a gamemaster for the praise. I do it for my players' enjoyment. My goal is simply to try to provide the most fun experiences I can. In my next post, I'll talk about some tips for becoming a better gamemaster.
Wednesday, October 16, 2013
Nolan's Batman is a Jerk
SPOILER ALERT: This post will be using material from all three of Nolan's "Dark Knight trilogy" movies.
Just to get this out of the way, I love the Dark Knight trilogy. Ledger's depiction of Joker is my favorite of all the actors who have played the part. I even find Bane's voice... tolerable. I'm not hating on the movies, I just want to point out a major flaw in The Dark Knight Rises.
In Batman Begins, Bruce realizes that his parents charitable foundations aren't helping the city as much as they should. So, he decides to clean up the streets himself. He spends all of the first movie fighting the mob, but in the second movie, the mob is still there, under new leadership. In The Dark Knight, the Joker brings down the mob... by killing its leaders and taking over. Batman doesn't kill Joker, like Jack Nicholson. He saves Joker from the fall, and Joker is arrested. However, at the end of the movie, he takes the fall for Harvey's crimes so that the "Dent Act" would still go through and keep all the mobsters off the streets. Now, in Dark Knight Rises, we find that Batman hasn't made an appearance in 12 years, but it's ok, because the police haven't really needed him. We find that the Wayne foundation stopped giving money to a children's home because Wayne Enterprises isn't making a profit. Why isn't it making profit? Because Bruce dumped a lot of time and money to develop a clean fusion reactor, which he shut down because he read somewhere that ONE SCIENTIST had discovered a way to make a bomb out of a fusion reactor... which didn't exist yet, because Wayne Enterprises was building the first one, but that's beside the point. So, Bruce effectively lets his company tank, and somehow we're expected to believe a hero whose nickname in the comics is "Detective" isn't aware of this? So, when Bane shows up, Bruce's plan is to put the costume back on and go one-on-one with him, after having not done this for 12 years. Bane kicks Bruce's butt, severely. So, after Bane traps the city's cops, and sets free all the prisoners of Blackgate prison, what does Bruce do? He gets his butt kicked by Bane again in a one-on-one fight, only to be saved by Selina. Now, with all these prisoners loose, the city's cops dying in the streets, Bruce decides to fake his own death while saving Gotham from the neutron bomb. So, Bruce's plan was to become a symbol that criminals would fear, but he ultimately failed to bring down the mob, that was done by the Joker. He failed to defeat Bane, that was ultimately done by Selina. He took the fall for Harvey so a bunch of criminals would stay locked up, and when those prisoners get loose due to Bane (which includes Scarecrow and Joker), he decides to fake his own death and go overseas with Selina and start a new life, leaving Gotham to fend for itself with most of Gotham's cops now dead from the street fight with Bane's army (which were using Bruce's extra Batmobiles, so they had superior firepower in that fight).
Also, how did Batman not find out Miranda Tate was really Talia Al Ghul? The real Batman would have done a background check, and when he couldn't go back any farther, he would have done what Batman does and find out anyway!
Thank you Nolan for giving us three awesome movies, but you made Batman look like an incompetent jerk.
Just to get this out of the way, I love the Dark Knight trilogy. Ledger's depiction of Joker is my favorite of all the actors who have played the part. I even find Bane's voice... tolerable. I'm not hating on the movies, I just want to point out a major flaw in The Dark Knight Rises.
In Batman Begins, Bruce realizes that his parents charitable foundations aren't helping the city as much as they should. So, he decides to clean up the streets himself. He spends all of the first movie fighting the mob, but in the second movie, the mob is still there, under new leadership. In The Dark Knight, the Joker brings down the mob... by killing its leaders and taking over. Batman doesn't kill Joker, like Jack Nicholson. He saves Joker from the fall, and Joker is arrested. However, at the end of the movie, he takes the fall for Harvey's crimes so that the "Dent Act" would still go through and keep all the mobsters off the streets. Now, in Dark Knight Rises, we find that Batman hasn't made an appearance in 12 years, but it's ok, because the police haven't really needed him. We find that the Wayne foundation stopped giving money to a children's home because Wayne Enterprises isn't making a profit. Why isn't it making profit? Because Bruce dumped a lot of time and money to develop a clean fusion reactor, which he shut down because he read somewhere that ONE SCIENTIST had discovered a way to make a bomb out of a fusion reactor... which didn't exist yet, because Wayne Enterprises was building the first one, but that's beside the point. So, Bruce effectively lets his company tank, and somehow we're expected to believe a hero whose nickname in the comics is "Detective" isn't aware of this? So, when Bane shows up, Bruce's plan is to put the costume back on and go one-on-one with him, after having not done this for 12 years. Bane kicks Bruce's butt, severely. So, after Bane traps the city's cops, and sets free all the prisoners of Blackgate prison, what does Bruce do? He gets his butt kicked by Bane again in a one-on-one fight, only to be saved by Selina. Now, with all these prisoners loose, the city's cops dying in the streets, Bruce decides to fake his own death while saving Gotham from the neutron bomb. So, Bruce's plan was to become a symbol that criminals would fear, but he ultimately failed to bring down the mob, that was done by the Joker. He failed to defeat Bane, that was ultimately done by Selina. He took the fall for Harvey so a bunch of criminals would stay locked up, and when those prisoners get loose due to Bane (which includes Scarecrow and Joker), he decides to fake his own death and go overseas with Selina and start a new life, leaving Gotham to fend for itself with most of Gotham's cops now dead from the street fight with Bane's army (which were using Bruce's extra Batmobiles, so they had superior firepower in that fight).
Also, how did Batman not find out Miranda Tate was really Talia Al Ghul? The real Batman would have done a background check, and when he couldn't go back any farther, he would have done what Batman does and find out anyway!
Thank you Nolan for giving us three awesome movies, but you made Batman look like an incompetent jerk.
Sunday, September 29, 2013
Something Different
James Bond is the world's oldest superspy.
Appearing in 23 movies in the past 51 years, you begin to wonder how one man manages to defeat evil masterminds so often, or how the world ends up in trouble so much.
A popular theory is that James Bond is a code name for whichever agent currently holds the 007 position, which also conveniently explains why one man is played by 6 different actors. However, this theory is wrong. First, in the early movies, M sometimes refers to Bond as Commander Bond, acknowledging his naval rank, because Bond first served in the navy before joining MI6. If James Bond was just a code name, his superior wouldn't attach a rank to it that he had earned outside of the Bond persona. Second, in On Her Majesty's Secret Service, Bond discovers his family crest and motto "The world is not enough." He also gets married in this movie, and his wife is gunned down in a drive-by. In License to Kill, Felix Liter tells his wife that Bond was once married, to explain Bond's negative reaction to catching the garter. In The World is Not Enough, Bond quotes his family motto and even states that it is his family motto. In all three of these movies, Bond is played by a different actor. If these three actors were portraying three different men with the same code name, why would the later two react to things that happened to the first? Third, in The World is Not Enough, when Q gives Bond his watch, Q comments "this is your 20th I believe." This statement would have had no meaning to a new agent who just assumed the code name of James Bond. Fourth, in Goldeneye, Bond makes a statement to M about her predecessor. How would he have known details about her predecessor if he had not interacted with the man? Goldeneye was the first movie to feature Brosnan as Bond and Judi Dench as M, so Brosnan's Bond was not seen in a movie with the previous M.
In conclusion, James Bond is a man, not a code name. Assuming Bond achieved the rank of commander and joined MI6 and became a 00 agent by the time he was 30, Daniel Craig looks good for playing an 80 year old man.
Appearing in 23 movies in the past 51 years, you begin to wonder how one man manages to defeat evil masterminds so often, or how the world ends up in trouble so much.
A popular theory is that James Bond is a code name for whichever agent currently holds the 007 position, which also conveniently explains why one man is played by 6 different actors. However, this theory is wrong. First, in the early movies, M sometimes refers to Bond as Commander Bond, acknowledging his naval rank, because Bond first served in the navy before joining MI6. If James Bond was just a code name, his superior wouldn't attach a rank to it that he had earned outside of the Bond persona. Second, in On Her Majesty's Secret Service, Bond discovers his family crest and motto "The world is not enough." He also gets married in this movie, and his wife is gunned down in a drive-by. In License to Kill, Felix Liter tells his wife that Bond was once married, to explain Bond's negative reaction to catching the garter. In The World is Not Enough, Bond quotes his family motto and even states that it is his family motto. In all three of these movies, Bond is played by a different actor. If these three actors were portraying three different men with the same code name, why would the later two react to things that happened to the first? Third, in The World is Not Enough, when Q gives Bond his watch, Q comments "this is your 20th I believe." This statement would have had no meaning to a new agent who just assumed the code name of James Bond. Fourth, in Goldeneye, Bond makes a statement to M about her predecessor. How would he have known details about her predecessor if he had not interacted with the man? Goldeneye was the first movie to feature Brosnan as Bond and Judi Dench as M, so Brosnan's Bond was not seen in a movie with the previous M.
In conclusion, James Bond is a man, not a code name. Assuming Bond achieved the rank of commander and joined MI6 and became a 00 agent by the time he was 30, Daniel Craig looks good for playing an 80 year old man.
Wednesday, January 2, 2013
Playing Your Best (D&D) Lesson 3: Best Buff Class
After posting lesson 2: Arcane Casters, I began to wonder, which base class is the best buff class. For today's lesson, I will be doing a comparison of the Bard, Cleric, and Wizard classes, using only the PHB. For this comparison, I'll be looking at only the class's buff abilities (how well they improve the team). Also, this comparison will be made at levels 1, 5, and 10 to provide a look at the class as a starter, low-level, and mid-level.
The bard in D&D 3.5 is an interesting class, and one that I often overlook, or dismiss jokingly as a useless class. Upon closer analysis, my opinion hasn't changed much. The bard is an arcane class, but only goes up to spell level 6, and is the only arcane class in the PHB that doesn't get 1st level spells at 1st level. Among the bard's buff abilities are bardic music and a handful of spells.
Bardic music is an interesting class feature. The bard can perform up to once per day per class level and can start a performance as a standard action and maintain a performance as a standard action. At level 1, the bard can use this performance for Inspire Courage. Inspire Courage grants a +1 bonus to attack and damage rolls, and saves against charm and fear. At level 5 the bard can use Inspire Competence. Inspire Competence grants a +2 bonus to any skill check (except for Hide and Move Silently, where a bard's performance would be counter-productive). At level 9, the bard gains Inspire Greatness, and this is where it gets interesting. Inspire Greatness grants a target temporary hit points equal to 2d10 + twice the target's constitution modifier, a +2 bonus to attack rolls and a +1 bonus to fortitude saves. The target also counts as being 2 levels higher for the purpose of determining how other spells affect them.
The downside of bardic music is that the benefits only last for as long as the bard maintains the performance, and in the case of Inspire Courage and Inspire Greatness, the benefit lasts for 5 rounds after the performance ends. So, if the bard wants to maintain an effect longer than 6 rounds, the bard has to give up the ability to take other actions.
The bard's spells are rather lackluster when it comes to buffing. The only buff spells on the list of 1st level bard spells are remove fear and summon monster. Remove fear is a situational spell, and summon monster I isn't going to do much more than provide you a weak combatant you can flank with for a couple of rounds. The bard does get a few decent buffs at higher levels, such as heroism, haste, and freedom of movement.
The 3.5 cleric has a decent selection of buff spells. At 1st level, bless tops the list as the best buff spell, granting a +1 attack bonus to the entire party, while protection pulls a close second, granting a single target a +2 bonus to AC and saves and preventing charm and domination effects. A level 5 cleric has the magic circle spell, granting the benefit of the protection spell, but to everyone within 10ft of him, but also has the spell prayer, which I have often overlooked, but as it turns out, it is a decent spell, hitting everything within 40ft of the cleric, granting a +1 bonus to attacks, weapon damage, skills, and saves to allies within range, and giving enemies in range a -1 penalty to those rolls. What makes this more awesome is that the spell allows spell resistance but no save, and it provides a luck bonus, a bonus type that isn't granted often so you won't have to worry about same type duplication. The only downside to this spell is that it lasts for 1 round per caster level, so it's short-term, but for what it does, it's not bad. In addition to these two 3rd level spells, the cleric has a good list of 2nd level spells to pick from such as aid, remove paralysis, resist energy, lesser restoration, shield other, and spiritual weapon, all of which are decent buffs. When a cleric gains access to 4th level spells, freedom of movement, restoration, and summon monster IV show up as effective buffs, and yes, I'm counting summon spells as buffs because they effectively give you another party member, although weaker than most of your current party, but a summoned creature can help set up flanking positions, granting +2 bonuses to your allies' attack rolls in addition to dishing out extra hits and possibly drawing fire. Unfortunately, the list of 5th level cleric spells include more debuff, utility, and offensive spells than buff spells, making true seeing the best buff from that list.
As for the wizard, the wizard is probably a better option for a debuffer or controller than a party buffer, but the wizard does have access to good buff spells, so let's see how it compares. 1st level buff spells include magic weapon and protection. Magic weapon is also available to the cleric, but was not included in the cleric's list, because it is trumped by bless, though it should be noted that magic weapon does grant +1 to damage, which bless doesn't, and does allow the weapon to bypass the DR of a monster with DR #/magic, which bless does not. However, most monsters with DR #/magic are of a CR that by the time the party fights them, there should already be at least one or two magic weapons in the party, so the spell is often redundant. A wizard's buff choices do get better at higher levels with blur and resist energy, then displacement, haste, heroism, and magic circle. Followed by greater invisibility and summon monster IV, and finally break enchantment.
So, which class is really the best buffer?
At level 1: The bard can grant a 6-round buff of +1 attack and damage to multiple allies, but only once per day. The cleric can bless, granting +1 to attack and saves against fear for 1 minute per level, twice per day, and can use their domain spell for a protection or magic weapon. The wizard could cast magic weapon or protection twice per day, both of which last for 1 minute per level. So, at level 1, the cleric wins with the most/longest buffs, followed by the wizard, then the bard, however the bard is the only class that can provide a damage bonus to multiple allies at 1st level, and the bard could extend the buff for additional rounds, but the bard would be unable to do anything during those rounds, while the cleric and wizard would still be free to act.
At level 5: The bard can grant a +2 bonus to a skill check, and can now use bardic music abilities up to 5 times per day, meaning 5 skill boosts or 5 instances of 6-round attack, damage, and fear buffs. Plus, at 5th level, the bard can now cast heroism twice per day. The cleric can now bless 4 times per day, plus use the domain spell for protection/magic weapon, as well as cast any of the awesome 2nd level buff spells 3 times per day, plus drop a domain for another aid or spiritual weapon, and could cast 2 magic circle or prayer spells per day and use the domain spell for magic circle. The wizard now has 4 magic weapon/protection spells, 3 blur/resist energy, and 1 displacement, haste, heroism, or magic circle. At 5th level, the cleric is still winning with more total buffs per day, plus a wider variety of buffs, while the wizard is the only class capable of casting haste at this level, and the bard is the only class that can provide a skill buff. In combat, the cleric wins again, with the wizard pulling a close second, while out of combat, the bard can provide a competence boost that nobody else can match.
At level 10: The bard now has 10 bardic music uses per day, and has access to inspire greatness, granting temporary hit points, +2 to attack rolls, and +1 to fortitude saves. The bard can also cast heroism 4 times, haste 3 times, and freedom of movement once. The cleric can cast freedom of movement, restoration, or summon monster IV 4 times, plus a domain spell, and true seeing twice, plus a domain spell. The wizard now has greater invisibility and summon monster IV 4 times, and break enchantment twice. It's a bit harder to pick a winner here, since the bard has 10 performances now, and the inspire courage bonus has improved to +2. At higher levels, the bard hedges out both the cleric and wizard in terms of providing more short-term bonuses per day. The wizard's greater invisibility makes the party rogue a non-stop sneak attacker, assuming enemies that rely on sight. However, the cleric still has access to the widest variety of buffs, and can cast more spells per day than the wizard. So in terms of total buffs per day, the bard now has 10 bardic music uses, plus 4 heroisms, 3 hastes, and one freedom of movement, for a total of 18 buffs, the cleric has a total of 25 spells per day (not counting 0-levels) any of which could be used for buffing, and the wizard has 20 spells per day. So, the cleric wins with most buffs per day. In terms of damage buffs, the bard wins with inspire courage. However, the wizard's redeeming factor is that he has access to a few buff spells that the cleric doesn't.
Summary
Bard: not a good low-level buffer, starts getting decent at levels 8 and 9 when inspire courage grants +2 bonus and inspire greatness becomes an option.
Cleric: a good buffer at any level, with the biggest variety of buff spells and most spells per day.
Wizard: a better buffer than the bard at lower levels, has access to some buff spells the cleric doesn't.
Notes: calculations of spells per day were made using an 18 attribute score for the character's primary casting attribute. Cleric domain spells assumed the good and war domains, most other domains were lacking in buff spells.
The bard in D&D 3.5 is an interesting class, and one that I often overlook, or dismiss jokingly as a useless class. Upon closer analysis, my opinion hasn't changed much. The bard is an arcane class, but only goes up to spell level 6, and is the only arcane class in the PHB that doesn't get 1st level spells at 1st level. Among the bard's buff abilities are bardic music and a handful of spells.
Bardic music is an interesting class feature. The bard can perform up to once per day per class level and can start a performance as a standard action and maintain a performance as a standard action. At level 1, the bard can use this performance for Inspire Courage. Inspire Courage grants a +1 bonus to attack and damage rolls, and saves against charm and fear. At level 5 the bard can use Inspire Competence. Inspire Competence grants a +2 bonus to any skill check (except for Hide and Move Silently, where a bard's performance would be counter-productive). At level 9, the bard gains Inspire Greatness, and this is where it gets interesting. Inspire Greatness grants a target temporary hit points equal to 2d10 + twice the target's constitution modifier, a +2 bonus to attack rolls and a +1 bonus to fortitude saves. The target also counts as being 2 levels higher for the purpose of determining how other spells affect them.
The downside of bardic music is that the benefits only last for as long as the bard maintains the performance, and in the case of Inspire Courage and Inspire Greatness, the benefit lasts for 5 rounds after the performance ends. So, if the bard wants to maintain an effect longer than 6 rounds, the bard has to give up the ability to take other actions.
The bard's spells are rather lackluster when it comes to buffing. The only buff spells on the list of 1st level bard spells are remove fear and summon monster. Remove fear is a situational spell, and summon monster I isn't going to do much more than provide you a weak combatant you can flank with for a couple of rounds. The bard does get a few decent buffs at higher levels, such as heroism, haste, and freedom of movement.
The 3.5 cleric has a decent selection of buff spells. At 1st level, bless tops the list as the best buff spell, granting a +1 attack bonus to the entire party, while protection pulls a close second, granting a single target a +2 bonus to AC and saves and preventing charm and domination effects. A level 5 cleric has the magic circle spell, granting the benefit of the protection spell, but to everyone within 10ft of him, but also has the spell prayer, which I have often overlooked, but as it turns out, it is a decent spell, hitting everything within 40ft of the cleric, granting a +1 bonus to attacks, weapon damage, skills, and saves to allies within range, and giving enemies in range a -1 penalty to those rolls. What makes this more awesome is that the spell allows spell resistance but no save, and it provides a luck bonus, a bonus type that isn't granted often so you won't have to worry about same type duplication. The only downside to this spell is that it lasts for 1 round per caster level, so it's short-term, but for what it does, it's not bad. In addition to these two 3rd level spells, the cleric has a good list of 2nd level spells to pick from such as aid, remove paralysis, resist energy, lesser restoration, shield other, and spiritual weapon, all of which are decent buffs. When a cleric gains access to 4th level spells, freedom of movement, restoration, and summon monster IV show up as effective buffs, and yes, I'm counting summon spells as buffs because they effectively give you another party member, although weaker than most of your current party, but a summoned creature can help set up flanking positions, granting +2 bonuses to your allies' attack rolls in addition to dishing out extra hits and possibly drawing fire. Unfortunately, the list of 5th level cleric spells include more debuff, utility, and offensive spells than buff spells, making true seeing the best buff from that list.
As for the wizard, the wizard is probably a better option for a debuffer or controller than a party buffer, but the wizard does have access to good buff spells, so let's see how it compares. 1st level buff spells include magic weapon and protection. Magic weapon is also available to the cleric, but was not included in the cleric's list, because it is trumped by bless, though it should be noted that magic weapon does grant +1 to damage, which bless doesn't, and does allow the weapon to bypass the DR of a monster with DR #/magic, which bless does not. However, most monsters with DR #/magic are of a CR that by the time the party fights them, there should already be at least one or two magic weapons in the party, so the spell is often redundant. A wizard's buff choices do get better at higher levels with blur and resist energy, then displacement, haste, heroism, and magic circle. Followed by greater invisibility and summon monster IV, and finally break enchantment.
So, which class is really the best buffer?
At level 1: The bard can grant a 6-round buff of +1 attack and damage to multiple allies, but only once per day. The cleric can bless, granting +1 to attack and saves against fear for 1 minute per level, twice per day, and can use their domain spell for a protection or magic weapon. The wizard could cast magic weapon or protection twice per day, both of which last for 1 minute per level. So, at level 1, the cleric wins with the most/longest buffs, followed by the wizard, then the bard, however the bard is the only class that can provide a damage bonus to multiple allies at 1st level, and the bard could extend the buff for additional rounds, but the bard would be unable to do anything during those rounds, while the cleric and wizard would still be free to act.
At level 5: The bard can grant a +2 bonus to a skill check, and can now use bardic music abilities up to 5 times per day, meaning 5 skill boosts or 5 instances of 6-round attack, damage, and fear buffs. Plus, at 5th level, the bard can now cast heroism twice per day. The cleric can now bless 4 times per day, plus use the domain spell for protection/magic weapon, as well as cast any of the awesome 2nd level buff spells 3 times per day, plus drop a domain for another aid or spiritual weapon, and could cast 2 magic circle or prayer spells per day and use the domain spell for magic circle. The wizard now has 4 magic weapon/protection spells, 3 blur/resist energy, and 1 displacement, haste, heroism, or magic circle. At 5th level, the cleric is still winning with more total buffs per day, plus a wider variety of buffs, while the wizard is the only class capable of casting haste at this level, and the bard is the only class that can provide a skill buff. In combat, the cleric wins again, with the wizard pulling a close second, while out of combat, the bard can provide a competence boost that nobody else can match.
At level 10: The bard now has 10 bardic music uses per day, and has access to inspire greatness, granting temporary hit points, +2 to attack rolls, and +1 to fortitude saves. The bard can also cast heroism 4 times, haste 3 times, and freedom of movement once. The cleric can cast freedom of movement, restoration, or summon monster IV 4 times, plus a domain spell, and true seeing twice, plus a domain spell. The wizard now has greater invisibility and summon monster IV 4 times, and break enchantment twice. It's a bit harder to pick a winner here, since the bard has 10 performances now, and the inspire courage bonus has improved to +2. At higher levels, the bard hedges out both the cleric and wizard in terms of providing more short-term bonuses per day. The wizard's greater invisibility makes the party rogue a non-stop sneak attacker, assuming enemies that rely on sight. However, the cleric still has access to the widest variety of buffs, and can cast more spells per day than the wizard. So in terms of total buffs per day, the bard now has 10 bardic music uses, plus 4 heroisms, 3 hastes, and one freedom of movement, for a total of 18 buffs, the cleric has a total of 25 spells per day (not counting 0-levels) any of which could be used for buffing, and the wizard has 20 spells per day. So, the cleric wins with most buffs per day. In terms of damage buffs, the bard wins with inspire courage. However, the wizard's redeeming factor is that he has access to a few buff spells that the cleric doesn't.
Summary
Bard: not a good low-level buffer, starts getting decent at levels 8 and 9 when inspire courage grants +2 bonus and inspire greatness becomes an option.
Cleric: a good buffer at any level, with the biggest variety of buff spells and most spells per day.
Wizard: a better buffer than the bard at lower levels, has access to some buff spells the cleric doesn't.
Notes: calculations of spells per day were made using an 18 attribute score for the character's primary casting attribute. Cleric domain spells assumed the good and war domains, most other domains were lacking in buff spells.
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