Sunday, July 31, 2016

Smiths and Artisans are the Real Enchanters Pt. 1

If one looks at the legends surrounding the crafting of magical items and artifacts, a person will most often find that the power/magic comes from the skill of the smith who made the item and the substance the item is made from. Legends most often include a smith of great skill or renown, indicating that both the substance and a skilled smith are required for the creation of these items. A number of anthropologists have commented on the perfusion of certain magical item archetypes occurring across cultures. One theory as to this common thread found among various cultures and their legends, is that metal working was held as a form or practical magic, since the skill to produce metal items was a rarity among the populations of these cultures. In an attempt to get back to basics, and to add an option for low magic settings, I have comprised a list of various materials, both mythical and theoretical, and the possible powers that would be granted when the material is crafted into certain forms. Each material includes background information and the powers granted when the material is formed into: a Sword/Weapon, a Ring, a Talisman or Amulet, and Wand or Virge. Each archetypal item possesses a number of similarities across cultures and legends as far as function within the stories.

This is the first of two posts, concerning the creation of items out of various materials. The first post will focus one theoretical substances/materials, while the second will focus on mythical materials.

10th Century Viking Sword

The Sword/Weapon: While their purposes and abilities would seem obvious, both from common knowledge and experience playing fantasy RPG's, the sword/weapon has a set purview in legends that is occasionally crossed in games like Dungeons and Dragons. The purpose, or ability, most often found in magical swords is the capability to kill something or someone powerful. Other legends have included a number of other powers to protect or enhance the wielder, but the main thread of killing remains the same across all of the legends. Legends of broken sword/weapons of great power are most often symbols of a loss of status or honor which can be reclaimed through a great deed or hard work, much as the reforging of a sword can be time consuming and difficult.
Examples: Excalibur, Durandal, Tyrfing, and Curtana.
Broken Examples:Anduril and Gram.

Gold and Garnet Ring, Greek 4th Century BC

The Ring: A magical ring most often, in legends, grants the wearer an ability they would not normally possess or focuses a certain capability of the wearer. While in Dungeons and Dragons a ring can provide protection, protection within legends and myths was almost strictly provided by talismans or amulets.
Examples: Ring of Gyges, Ring/Seal of Solomon, Ring of Al-Shamardal, and Sir Gareth's Ring. 

Tibetan Guan Yin Amulet.
 
The Talisman/Amulet: These items provided protection from supernatural and physical harm, as well as granting the wearer luck. Talismans/Amulets are the only item in this list that could be crafted by priests/wizards as well as smiths. While they could be crafted by those in touch with the supernatural, these items still required that they be crafted from certain materials and be inscribed with certain writings or symbols. They are also the most common form of magical item found throughout cultures and histories with numerous examples still being used and made today.
Examples: Omamori, Hand of Miriam, Crucifix, and Hamsa.

Portion of a 9,000 year old wand found in Syria

The Wand/Virge: The rest of this post will refer to these items as virges, since the terms wand and rod already have very specific uses and capabilities within standard Dungeons and Dragons rules. These items were most often signs of a person's authority or power to change the world around them. More mystical/occult interpretations, like those found in the Wicca, have the virge as a tool to focus a users will or energy. Some virges can have very specific uses or require criteria to be present before being used, while other virges allowed the user to focus their abilities for a number of tasks. The primary aspect of the virge is to focus a preexisting ability or power, if one did not possess the requisite skill or ability, the virge was useless.
Examples: Caduceus, Barsom, Ruyi, and Gurz.

A visualization of Dark Matter.

Dark Matter/ Materia Obscura: Dark Matter accounts for roughly 84.5% of the mass of the universe, however it is non-reactive to all other forces an matter, such as elctromagnetic forces, which means it is completely invisible to sight or any other currently known form of detection. The only reason it is proposed to exist is due to the fact that it does gravitationally interact with normal matter, though not with itself since it would form into disk shapes around galaxies rather than completely encompassing them.
Fantasy/Game Explanation: Materia Obscura can only be captured by Astromancers as well as priests devoted to the stars as well as the things that live between them. In order to capture the Materia Obscura, it must be magically bound to coal and silver dust, two items that are the most aligned with the night sky. Materia Obscura alone cannot be forged into items and weapons, rather it is beaten into the metal being forged or made into a solution that the items components would soak in for a period of time. Due to the incredible difficulty in capturing and binding this material, it is the rarest of materials that can be used in the crafting of items.

Sword/Weapon: These weapons outright ignore the physical armor of enemies and the hardness of physical objects. The material of the weapon pushes aside the physical makeup of the thing or person being struck, creating perfectly clean cuts and smooth dents. Weapons made of Materia Obscura still interact with the physicality of objects and creatures, but the resiliency of steel is the same to such a weapon as the resiliency of flesh or paper.
Game Mechanics: When determining if a to-hit roll is successful, the bonus to AC provided by armor is completely ignored, though bonuses from magic and stats still apply. In the case of monsters, where the bonuses to their AC are not given, the GM is encouraged to give a penalty to AC based on the information given by the monster's write up. A dragon may have their AC reduced to 10 or lower (depending on the system) due to the fact that their high AC is almost completely from their tough scales, however, an elder air elemental may keep their entire AC due to the fact that their high AC comes from their ability to move quickly.

Ring: These grant the wearer an incredible level of stealth and concealment when worn. This ability is similar to invisibility, but with a number of added benefits. While the wearer cannot be seen, they also do not leave any tracks, they cannot have dust or liquid thrown on them to reveal their presence, they make no noise, and are not impeded in any way by terrain including the slowing effects of moving through sand or water. The drawback to using this ring is that the user cannot breathe while wearing it, since the air itself will avoid all parts of the wearer, including their mouth and nose.
Game Mechanics: These rings act as rings of invisibility, trackless step, and freedom of movement. However, the user must hold their breath while using the ring, if they need to breath, meaning they can only wear the item for a limited time. Each system has its own rules for suffocation and breath holding, it is recommended that the GM rigorously apply these rules in order to stem the incredible level of power this ring grants.

Talisman/Amulet: These items grant the wearer protection from supernatural or physical harm. The level of protection provided by the item depends upon the amount of Materia Obscura used in its creation. Accordingly, the objects come with the categories of lesser, intermediate, and greater, with the level of protection increasing with the category. While it is unknown as to why this phenomena occurs, talismans and amulets that protect against supernatural harm will not function if they are worn at the same time as ones that protect against physical harm.
Game Mechanics: Talismans/Amulets that protect against supernatural harm grant a level magic resistance based on the category of the amulet. Lesser: gain magic resistance equal to character level/hit-dice plus 25%. Intermediate: gain magic resistance equal to character level plus 50%. Greater: gain magic resistance equal to character level plus 75%. Talismans/Amulets that protect against physical harm grant a level damage reduction based on the category of the amulet. Lesser: damage reduction of 2. Intermediate: damage reduction of 4. Greater: damage reduction of 8.

Virge: These items grant the user the ability to break or undo enchantments or spells that are encountered. A wizard or priest is the only individuals who can use this item, to all others the wand is simply a mundane length of material.
Game Mechanics: This item grants the priest or wizard using it the ability to cast Dispel Magic at will. Additionally, the user may sacrifice a spell memorized for that day of equal or greater level of the magical effect to automatically dispel it.

Visualization of Negative Mass

Negative Mass / Contra Ponda: Negative Mass is a theoretical form of mass that would function very strangely when viewed against the normal functions of positive mass, the values for such mass would be listed as normal mass would be with a negative symbol before it. This type of mass should not be confused with anti-matter which is theorized to have positive mass, due to the fact that only individual atoms are created by CERN it is difficult to determine for sure if those atoms are exhibiting aspects of negative or positive mass. The model used for this post is the General Relativity model, which holds that negative mass is repulsed by other negative mass, and attracted as well as repulsed by positive mass. The result of this attraction and repulsion to normal mass is that when negative and positive masses are paired with equal values, it can cause runaway/self acceleration. This means that given no other impediments, an object consisting of equal amounts of negative and positive mass would eventually accelerate to near the speed of light (or possibly beyond, depending on the model of physics used). Due to the amount of higher level of mathematics needed to completely prove the next concept, I am unsure as to its validity. The write-ups for this material will assume that unequal amounts of mass will not spontaneous accelerate, but items used and worn with unequal amounts will assist acceleration.
Fantasy/Game Explanation: Contra Ponda is not a material in of itself, rather, it is a state that can be imbued on a piece of material by Kinetomancer or another form of miracle worker who can manipulate the powers of the universe. The creation of such materials requires a great expenditures of time moving the material in various ways to remove its mass to create a deficit within the material.

Sword/Weapon: Such weapons allow the user to strike with greater amount of force than they would normally be capable of. The drawback to such weapons is that they are difficult to redirect when put into motion, due to their propensity to accelerate into the direction they are first pushed.
Game Mechanics: Weapons are always made with an imbalance of masses to avoid the weapons flying off on their own accord. Arrows can be especially dangerous, since even unbalanced ones can fly for incredible distances if they are not impeded by an obstacle. Weapons made using various amounts of negative mass grant a bonus to damage, but a negative to-hit after a certain point. For every +3 points of bonus damage the weapon provides, it also gives a -1 penalty to hit. The penalty comes from the weapon becoming difficult to redirect after it is put into motion.

Ring: Creating a ring in the normal sense provides no real benefit to the user, however, forming the negative mass material into bands for the legs or ankles does. These bands allow the user to run faster and jump higher than they normally would.
Game Mechanics: These bands grant the user a 50% increase to their base movement, and doubles their jumping distance. They also grant a +1 bonus to AC and their Breath save from being able to move faster to avoid dangers. The unfortunate side effect of the bands, is that they must be completely crafted of a material that has negative mass. When not worn, the bands must be kept in a container since they will accelerate away from normal matter, making it appear as if the items are jumping around on their own.

Talisman/Amulet: These items made of substances, which include those with negative mass, protect the individual from physical harm that stem from being struck by objects. Negative mass talismans/amulets create a weak field of negation and repulsion around the wearer, reducing the amount of force being used against them.
Game Mechanics: Whenever the wearer is damaged by a kinetic force (e.g. being hit by a weapon or falling) that damage is reduced by 1D3 – 1. When not worn the talisman/amulet must be kept in a container with restraints, otherwise it will accelerate away from user (slowly at first) until it reaches near light speed or encounters an obstacle. It is very easy to lose these items, since they do move away from where they are set on their own.

Virge: A virge made using negative mass materials allows a user to create a shield or field of protection by focusing their minds. Those who are within the field are granted a level of protection from weapon strikes as well as objects fired at them.
Game Mechanics: The user of this virge cannot do anything during the rounds it is active, outside of defending themselves. Instead they must concentrate their entire mind on creating a field of protection around themselves. The character must roll under one of their mental stats (Int, Wis, or Cha), using 1D20, the choice of which stat is up to the character. If the user succeeds, everyone within a 15 ft diameter sphere centered on the user gets a damage reduction equal to 3 + the stat modifier used to activate the virge. A failed roll means that they are unable to focus their mind enough to activate the ability. The user only needs to roll once to activate the ability, but the ability ends the moment the user does anything but concentrate or defends themselves.

Wednesday, July 27, 2016

Ana-Kata Relics / Using 4D geometry for fun and profit.

This item is based off of extra-dimensional spatial geometry, the focus of the item being the use of the 4th dimension to circumnavigate the laws of our normal 3. The 4th dimension involved in this item is not the concept of time commonly associated with the term, rather it is a plane that exists 90 degrees from the other 3 planes. Being able to access 4 dimensional space grants a person a number of abilities that would appear miraculous from the perspective of someone residing in the standard 3, however, these abilities would be based on purely physical phenomena. After the back story for the item, there will be an explanation of the some of the math and concepts behind the item, and how it allows for the crazy things someone can do with it. 

A later example of an Ana-Kata Relic

Ana-Kata Relics / Keys of Pythagoras / Alexander's Gate Key – OSR
Sidestep: The primary, and most easily used, ability of the item is to allow an individual to circumnavigate objects/individuals/obstacles in 3 dimensional space through the simple act of walking. When the character wishes to circumnavigate the 3rd dimension, they may side step into the 4th dimension (moving ana), move in a straight line to their intended destination, then move back into the 3rd dimension (moving kata). This allows the character to avoid everything that would normally be in their way.

Optional Rules: Depending on the game, this Sidestep could be too powerful without drawbacks. These drawbacks are intended to balance out the ability, choose the drawback(s) that best suit your game, or go without them entirely.

A very mild example of the sights that can be seen.

Some things cannot be unseen: While in this space, it is a very unhealthy to keep one's eyes open, there are vistas and beings in this 4th dimension that can break the mind if seen. The character must run with their eyes closed in order not to go insane, to simulate this 'running blind' the character must roll beneath their Wisdom score on 1D20. If they fail their roll, they pop out in one of the squares adjacent to their intended target, use 1D8 and count the sides and corners of the square starting with whichever side faces north. If the square is occupied by a living being, both the character and the being take 5D6 damage, if the character encounters a square occupied by a solid object, both the object and the character take 10D6 damage. A character that moves with their eyes open does not need to make a roll, to reach their intended destination, but they must roll beneath their Wisdom with a -5 penalty or lose their mind in some way. There are a number of mental illnesses in various gaming products to torture the character with. Alternatively, the character may drug themselves, preferably with something that makes the mind more flexible and less prone to 'freak-outs', while under the effects of the drug they need not worry about closing their eyes or going insane.

The shortest distance between two points: Moving in this way would be less efficient than moving in the 3rd dimension because the character needs to expend extra movement to step into the 4th dimension and then back out again. Using the 5 ft. range increment system, the character would have to take a 5 foot step into and back out again of the 4th dimension, reducing the space they can travel by 10 feet. The GM may require more than just 5 foot steps, maybe the barrier between the 3rd and 4th dimension slows movement, or movement in this 4th dimension requires extra effort due to different laws of motion. In any case, feel free to adjust the movement penalties/expenditures as fits the game or the situation.

Hyper Perspective: The character is able to perfectly see beyond the boundaries of 3 dimensional space. This ability grants the character a kind of x-ray vision, being able to see beyond obstacles, however this vision is just a natural consequence of the added perspective that seeing in 4 dimensions allows. The character is still able to see obstacles, however, they see around the obstacles as far as the character is normally able to see taking into account lighting conditions.

Optional Rules: Depending on the game, this Hyper Perspective could be too powerful without drawbacks. These drawbacks are intended to balance out the ability, choose the drawback(s) that best suit your game, or go without them entirely.

Some things still can't be unseen: The world of the 4th dimension is full of things and sights that can drive an individual insane. When a character peers through the 4th dimensional perspective, they must roll beneath their Wisdom with a -5 penalty or lose their mind in some way. There are a number of mental illnesses in various gaming products to torture the character with. Alternatively, the character may drug themselves, preferably with something that makes the mind more flexible and less prone to 'freak-outs', while under the effects of the drug they need not worry about going insane.

So many distractions: Seeing the world through a 4th dimensional perspective can be dizzying as well as confusing. When a character attempts to see beyond the boundaries of the normal world, they must make a Search check or roll beneath their Wisdom on 1D20. If a character fails their roll, they are unable to find the spot the place beyond the boundary they wish to see. A character must wait a period of time (up to the GM) to reorient themselves before attempting another roll.

Reaching Beyond the Boundaries: This ability allows the character to reach past an obstacle without interacting with the obstruction or moving around it. The character can remove things from locked containers, or remove pieces from within a machine as well as a person. Removing an object from a container is as simple using 4th dimensional movement as it is with 3rd dimensional movement. Removing a piece of a mechanism or machine would require either a Strength check or a successful Bend Bars/Life Gates check. Removing a piece from a living being, or causing internal damage, would still require a to-hit roll, though ignoring any bonuses from armor. The damage done from this form of attack can vary depending on the game and the GM. Here are three possible options for a DM to choose from:

- Automatic critical damage, if a natural 20 is rolled then the damage is quadrupled.
- Maximum damage is caused without needing to roll, double the damage in the instance of a roll of 20.
- Provide a multiplier to damage depending on the area struck (2x for Chest Cavity or 3x for Head). If the character is a Rogue/Specialist, increase their backstab multiplier by +1x.

Optional Rules: Reaching Beyond the Boundaries is a very powerful ability and it is recommended that some form of drawback is put in place. Due to the power of this ability, it can be completely excluded from the set of abilities the item grants without reducing the overall 'feel' of the item. The same drawbacks with Hyper Perspective can be applied to this ability as well as one other:

Wrenching Force: When pulling something out of a container into a 4th dimensional space, and back into 'normal' space, can cause the object to be warped or twisted reducing their utility or value. When attacking a piece of an object or an internal part of a creature can cause broken bones (1D4 Damage) if attacking unarmed, or causing the weapon to become seriously warped causing a to-hit and damage penalty of -4. 

A medieval portrait of a Pythagoras monk.
 
The Order of Pythagoras
Obsessed with discovering divinity found within the fields of mathematics and geometry, these monks devoted themselves to the teachings of an ancient mathematician named Pythagoras. Many, but not all, of the works of Pythagoras were preserved for modern eras through the painstaking reproductions the monks made of the disintegrating texts by Pythagoras they acquired. What few texts that were reproduced sparingly formed the heart of their strange theology about their god. According to these secret texts transcendent beings exist between the spaces of the world, in a direction that cannot be reached without certain rituals or tools of enlightenment. At the height of their craft the monks learned to create relics or keys to access these hidden spaces using certain formulas and rituals to bend space around the object and create 'soft spots' in the world that a person might slip through. The most powerful of these relics could open portals to allow multiple people to enter and exit the extra-dimensional realm. A prime example of these high powered relics belonged to a king named Alexander who banished the giants Gog and Magog into a space where they posed no threat to the world. Texts written about these relics made by the monks warn against using these items in certain localities of the world lest they let out things that have been imprisoned in the hidden parts of those spaces. For nearly three centuries the work of these monks remained secret, or was ignored, by their mother church. Once their strange beliefs and practices were discovered an inquisitor was sent to determine the level of heresy the order had committed. Upon his arrival the inquisitor found the monk's abbey abandoned without sign of its inhabitants save for bits of teeth, hair, and blood near tiny non-euclidean shaped holes found throughout the abbey. The heretical texts the monks had produced, along with many of their relics, were put to the flame, though many of the objects escaped destruction. These objects can rarely be found in the tombs of kings and the reliquaries of forgotten churches. 

Early examples of the monks' work.
 
The objects created by the monks would commonly be called 'impossible' due to the objects violating physics and perspective due to their shapes. Normally, shapes such as these could not normally created without tricks of perspective, however, these objects achieve impossible shapes without such trickery which can cause vertigo in some who stare at the objects too long. These relics generally are can fit in the palm of an adult, and weight but a few pounds.

The Real Math Stuff
Understanding 4 dimensional geometry can be incredibly difficult without a strong background in higher level mathematics. The best way to understand the 4th dimension is to use our understanding of the relative differences between the 2nd and 3rd dimension and apply those concepts to the 4th dimension. In the case of the item, we need only be concerned with the relative capabilities brought with being able to act 4 dimensionally.

 


Take the figure of a dot in a circle.
Movement: If a 2D being wished to enter into the circle, they would need some kind of break in the circle. Without the ability to move 'up' and over the line of the circle, the 2D being is completely cut off from the dot. This would be similar to a 3D being encountering an infinitely tall wall surrounding an object, there is no way for that being to circumvent the barrier. However, a 3D being would be able to easily solve the problem encountered by the 2D being by simply stepping 'up' and 'over' the line into the circle. A 4D being would easily be able to enter a completely enclosed 3D space without having to interact with the barrier, much like a 3D person stepping up and over a 2D barrier.

Sight:The 2D being would not be able to see the dot within the circle due to the line of circle interrupting the 2D viewer's line of sight. This inability to see the dot could be likened to a 3D viewer being blocked by the infinitely tall circular wall from the first example. Without the 3rd dimension to use to travel 'up', the 2D viewer is completely incapable of ever seeing the dot. Since we are gifted with the ability to perceive 'up' or 'out', we can easily see the dot. This ability would be similar to a 4D viewer looking at a 3D object. The 4D viewer would be able to see the contents of any 3D object as well as the exterior all at once just by looking.

Interaction: The 2D being also would not be able to ever interact with, or grab, the dot at the center of the circle. A line of a circle would be completely impassible to a 2D being, making the contents of the circle off limits to the 2D being. However, for a 3D being it is a simple matter of reaching down and grabbing or moving the dot, the only effort expended being the act of reaching down to touch the dot. A 4D being would find it just as easy to reach past the boundaries of a 3D object to reach inside. This allows for the unsettling possibility of a 4D being reaching out and removing the organs of a person without breaching the skin.

While this is a simplified version of four dimensionality, it should give you an idea of how the mechanics of four dimensional physical interaction should work. As with my previous posts, if my math or reasoning is off, please let me know.

Tuesday, July 26, 2016

Sicarii Jaih Scarf - Into the Odd Edition

Sicarii Jaih Scarf
So, I made this weapon based upon the principle of Brownian movement. Brownian movement models can be used to predict the concentration of particles in a confined spaces, or the possible behavior of large groups of data points. If you are a math nerd (not me), or someone who wishes they were a math nerd (me), I have included an explanation of how I came up with the stuff for the Scarves/Eneedru at the bottom of the page. If math doesn't interest you, no worries, the explanation has no real impact on the use of the item in your games!

A male member of the Sicarii resting.
 
Our scarves (Eneedru) are the breath of Jaih, scalding without heat, cutting without edge. - Line 374 of the Sicarii Fragments.

Murderers and artists, dancers and bloodletters, the Sicarii Jaih brought grace and art to the death they gave. Each was trained to weave their weapons, called Eneedru, into a dance that surrounded them with gray bands of cloud. Steps were unique to each dancer, though if possessed of the knowledge, one could identify which house trained them. Dancers would wear bells as they wove their weapon into art, the rhythmic movements creating a sort of song that was as unique to the dancer as the dance itself. Their lethal dance was called the Tandallum, the dance of culling that the universe continuously moves to. While no mere singular being, be they god or mortal, could reproduce the Tandallum perfectly, each unique dance of every dancer sought to, in some way, ape the universal culling movement. 

A Sicarii wearing a bejeweled pair of Eneedru gloves.

The Eneedru that the Sicarii Jaih wielded were things of gray smoke contained within rings and bracelets connected by chains. When loosed from the gloves, the gray smoke dances between the hands of the wielder, swirling and flowing like a scarf. Eneedru are capable of creating wounds that can range from minor to lethal, depending on the thickness of the smoke that 'struck' the target. Much like their arrows, the gloves of the Sicarii Jaih have outlived the memory of their makers. Within the Sicarii Fragments is a guide to the basics of the Tandallum, though true mastery has been lost with much of the history of the Sicarii.

A blade like smoke.

Sicarii Scarf / Eneedru – Into the Odd
Depending on the concentration of the smoke that strikes the target, different levels of damage can occur. To translate this concept into game mechanics, the smoke has the ability to do minor damage (1D4) to lethal damage (1D12). The probability spread is based upon one dimensional Brownian movement.

Damage:
1-6: 1D4
7-31: 1D6
32-68: 1D8
69-93: 1D10
94-100: 1D12
Damage Type: Slashing
Notes: This weapon is complicated, but it can be fun. So, each time the character successfully strikes an opponent, roll 1D100 and consult the info above, that's the damage die used. The 'smoke' is actually a moveable field filled with gray particles that rasp away anything in their path like a sandblaster.

An example of 3 Dimensional Brownian Motion.

Notes for Math Nerds: Recently, I learned about Brownian Movement from a Math-Magician friend. I did some research, and Brownian Movement can be used to describe the movement of smoke or other particles and how they can conglomerate together given a limited area in which to move. To come up with the percentile spread I used for 5 die types I used a Brownian Movement model along a single dimension with whole number unit types, like a number line. With 5 possible points, at the lowest and highest extremes there is a 1/16 chance of reaching such a distance. The second largest distances in either direction have a 4/16 chance of reach said distances. The middle point, or 0 on the number line, has a 6/16 chance of staying put. I put 1D8 at the start, or 0 point, then figured the percentages as an expansion from there. There is a guy named Toth who did a lot of work with the most visited sites along a line with set units. Along with proving that there is a maximum of 3 most visited site from each side of the start point of line with units, he also worked out the basic probabilities for each point. Common sites along the number line like to be symmetrical, since the there is no greater likelihood for any particular direction. With 5 possible points, the 0 point/start point is given the highest likelihood, though presently I am not sure why. I don't understand this stuff completely, but I am learning. Here is one of the websites I have been using to learn about 1-Dimensional Brownian Movement: 

http://mathworld.wolfram.com/RandomWalk1-Dimensional.html

With the Scarf/Endeeru, the gray particles that make up the 'smoke' are 330 picometers that are thrown about with incredible force. The weapon is a sand-blaster that is sharper than a razor, which has a width of 101 Million picometers wide. The particles conglomerate in masses like smoke, with each particle moving around randomly (Brownian Movement) with a speed of 400 m/s. The force of each particle is enough to easily rasp away skin and bone.

Sunday, July 24, 2016

The Tandallum / The Uncertain Dance of Electrons.

The concept and the mechanics of the Tandallum are based on the probability mechanics of electron clouds surrounding the nucleus of an atom. While probability densities can be incredibly complex, the probability density of a single electron orbiting the nucleus of a hydrogen atom is within my limited capabilities. As with my previous post, I will put the fun math and science explanations at the bottom of the post.

The Sicarii's ranks are filled with people of all genders and ethnicities.
The Tandallum is the dance of dispersion, a dance that unmakes the stagnant into chaos, allowing order to grow. - Sicarii Fragments line 1403

Jaih taught their Sicarii to dance the steps of the Tandallum, the steps to summon chaos and the entropy it brings. With the death of the Sicarii came the near, though not complete, extinction of the knowledge of the steps to summon and, for a time, become a part of the cleansing chaos. Until the Sicarii Fragments were uncovered, the dance was thought to be myth born of exaggeration. Within the Sicarii Fragments is a guide to the basics of the Tandallum, though true mastery has been lost with much of the history of the Sicarii. Steps of the dance were unique to each dancer, though if one possessed the knowledge, they could identify which house trained them. Dancers would wear bells as they wove their weapon into art, the rhythmic movements creating a sort of song that was as unique to the dancer as the dance itself. As the dancer moved they would become more and more indistinct allowing them to strike those not near them, and avoid attacks by suddenly disappearing and reappearing in a new place. Those who gain access to the Sicarii Fragments can learn the basics of the Tandallum, giving them access to abilities that would be physically impossible otherwise.

Tandallum Dance – AD&D/OSR/LotFP
When the character wishes to use the Tandallum dance, their player must make a successful roll in order to activate the ability (see the possible types of rolls after Advantages and Disadvantages). Whenever the character takes damage the player must make another successful roll, otherwise the advantages of the dance are lost until it is activated again.

Advantages -
General
Each full round the character dances, they gain a +1 that they may spend to augment a single roll. A character may spend up to +3 on a single roll. Once the bonus points are spent, they are gone. A character may only have a number of bonus points stored equal to their level. All bonus points are lost when the character stops dancing.

The dance has two 'modes' granting different abilities to the dancer depending on the mode chosen that round. At the start of a new round, on their turn, a character may choose a new mode or stay with the mode they are using. 

While under the effects of the Steps of Unmakeing, held weapons become hazy.

Steps of Unmaking
These steps allow the dancer to make melee attacks against multiple targets beyond their reach depending on the distance of the target from the dancer. While dancing the Steps of Unmaking the striking surface disappearing from the weapon's handle and randomly appearing in another place floating at the height it would normally appear at if it were still attached to its grip. When the character wishes to make an attack, Roll 1D100 and consult the chart below for the maximum range that the dancer may attack.

5 feet: 1 – 43%
10 feet: 44 – 75%
15 feet: 76 – 92%
20 feet: 93 – 97%
25 feet: 98 – 99%
30 feet: 100%

The dancer may make a single attack against every target within range, rolling to hit and damage for each target. For each target hit beyond the first, reduce the damage done after damage is figured by 1 to a minimum of 1 (e.g. If the dancer hits 4 targets: the first target takes full damage, the second target takes -1 damage, the third takes -2 damage, and the forth takes -3). The reduced damage is due to the dancer's weapon being less 'there' after each subsequent hit.

Someone about to disappear while dancing the Steps of Dispersal.

Steps of Dispersal
These steps allow the dancer to avoid being struck by allowing their position to become unstable. While dancing the Steps of Dispersal, the dancer becomes indistinct and will suddenly disappear and reappear in a different place only to flicker back to their original position a moment later. Whenever the character is attacked, roll 1D100 and consult the chart below.

Character hit: 1 – 43%
Character appears 5 feet away: 44 – 75%
Character appears 10 feet away: 76 – 92%
Character appears 15 feet away: 93 – 97%
Character appears 20 feet away: 98%
Character appears 25 feet away: 99%
Character appears 30 feet away: 100%

If a 44%+ is rolled, the character disappears and reappears the number of feet away indicated by the chart. To determine the direction of movement, roll 1D8 (1- Direction Character was facing, 2-8 determine direction by move clockwise around from the 1 position). If there is something occupying the space the character would appear in (e.g. a big rock, wall, monster, etc..), then the character appears back in their original spot, allowing the character to be hit as normal. The character may still make their normal number of attacks, but do not gain the multiple attacks as with the previous mode.

Disadvantages
- While the character is dancing the Tandallum, they are not able to move away from where they began their dance under their own power, though they may move due to the effects of Steps of Dispersal.
- The character may only wear light or no armor while dancing.
- The character may only wield a single one handed weapon, or two daggers while dancing, the only exception to this is the Sicarii Scarf/Eneedru.
- If the character takes damage while dancing, they must make a dance roll at a penalty. If the character fails the roll, they lose all stored bonus points (types of rolls and penalties discussed later in the article).

Options for adding the Tandallum to your game -
There are a number of options for adding this dance into your game. Since each game, and system, has its own unique qualities, I will present a number of options. Hopefully, one of these options will fit your game. A character may learn the Tandallum from another character or from a copy of the Sicarii Fragments.

Dexterity or Charisma Rolls: When the character begins to dance, they must roll under their Dexterity or Charisma (GM's choice, though it is recommended that one should be chosen for the entire game) using 1D20. As an option, someone playing a Bard (or Specialist for those games without Bards) their relevant stat is considered 2 higher when figuring success or failure. If the character succeeds at their roll, they receive the benefits of the dance. If the character fails their roll, they receive no benefits. If the character has taken damage while dancing, their relevant stat is considered 2 lower when figuring the results or success or failure.
Tandallum Skill: After the character receives training or reads the Sicarii Fragments, the character gains a Tandallum skill of 2 out of 6. The skill increases at a rate of 1 per level. If they take damage while dancing, they must make a skill roll at a -1 penalty to the skill rating. If they fail their roll, they lose all stored bonus points.

Non-Weapon Proficiency: The Tandallum is considered a non-weapon proficiency that requires 2 slots to gain. The relevant ability attached is either Dexterity or Charisma (GM's choice), and ability checks are made at a -5. Further proficiencies may be spent to reduce the penalty by 1 per proficiency slot spent, a character may spend as many slots as they have available. If the character takes damage during a round they are dancing, they must make a check with an additional -2 penalty or lose all of their unused bonus points.

Note on Ranges: The charts are set for 5 foot range increments, but any range increment may be used. To convert to another range increment, set the final range as the maximum a character may move and still act. Divide the maximum by 6, rounding where appropriate, then subtract the product from the maximum until you reach 0 for each range increment. 

The orbital probability of an electron orbiting a Hydrogen nucleus.
 
The Weird Science/Math stuff
The percentage probabilities listed for the dance are based on the probabilities of an electron being in one of the possible 'orbits' around a Hydrogen atom nucleus. The probabilities were figured using this handy gadget I found online: http://hyperphysics.phy-astr.gsu.edu/hbase/quantum/hydrng.html#c1. Since, electrons only exist as particles when interacted with/observed, they spend most of their time in a wave function 'cloud' around the nucleus of whatever atom they are attached to. Until you actually 'spot' or interact with an electron, it can only be said to have a likelihood of being in a particular area. The calculations for anything but a single electron get incredibly complicated, so I had to use the simplest set up in order for the percentages to be anywhere near being useful for a game. The idea behind the dance is that the dancer gains a general wave function that allows them to be possibly anywhere within a certain range. There is never a 0% probability that an electron might be further out than the listed orbits, however, the chance of finding an electron 'far' away from it's nucleus is so statistically insignificant as to be functionally impossible. Here is a rounded breakdown of the various percentage possibilities of finding an electron attached to a Hydrogen nucleus in one of the possible atomic orbits:

Near or Inside the Nucleus: 31%
1st Orbit: 43%
2nd Orbit: 16%
3rd Orbit: 4%
4th Orbit: 2%
5th Orbit: ~1%
6th Orbit and Beyond: ~3%

I am by no means a physics or math expert, so if one of my great readers happens to see a mistake in my math or reasoning, please let me know.

Thursday, July 21, 2016

Sicarii Jaih Scarf - Brownian Motion Weapon

So, I made this weapon based upon the principle of Brownian movement. Brownian movement models can be used to predict the concentration of particles in a confined spaces, or the possible behavior of large groups of data points. If you are a math nerd (not me), or someone who wishes they were a math nerd (me), I have included an explanation of how I came up with the stuff for the Scarves/Eneedru at the bottom of the page. If math doesn't interest you, no worries, the explanation has no real impact on the use of the item in your games!

A portrait of a Sicarii woman.

Our scarves (Eneedru) are the breath of Jaih, scalding without heat, cutting without edge. - Line 374 of the Sicarii Fragments.

Murderers and artists, dancers and bloodletters, the Sicarii Jaih brought grace and art to the death they gave. Each was trained to weave their weapons, called Eneedru, into a dance that surrounded them with gray bands of cloud. Steps were unique to each dancer, though if possessed of the knowledge, one could identify which house trained them. Dancers would wear bells as they wove their weapon into art, the rhythmic movements creating a sort of song that was as unique to the dancer as the dance itself. Their lethal dance was called the Tandallum, the dance of culling that the universe continuously moves to. While no mere singular being, be they god or mortal, could reproduce the Tandallum perfectly, each unique dance of every dancer sought to, in some way, ape the universal culling movement. 

A woman wearing a matched pair of Endeeru

The Eneedru that the Sicarii Jaih wielded were things of gray smoke contained within rings and bracelets connected by chains. When loosed from the gloves, the gray smoke dances between the hands of the wielder, swirling and flowing like a scarf. Eneedru are capable of creating wounds that can range from minor to lethal, depending on the thickness of the smoke that 'struck' the target. Much like their arrows, the gloves of the Sicarii Jaih have outlived the memory of their makers.

The released blade, or scarf, of an Endeeru

Sicarii Scarf / Eneedru – AD&D/OSR/LotFP
Depending on the concentration of the smoke that strikes the target, different levels of damage can occur. To translate this concept into game mechanics, the smoke has the ability to do minor damage (1D6) to lethal damage (1D20). The probability spread is based upon one dimensional Brownian movement.

Damage:
1-6: 1D6
7-31: 1D8
32-68: 1D10
69-93: 1D12
94-100: 1D20
Damage Type: Slashing
Weapon Type: 2 Handed
Speed Factor: 8 (If you use speed factors in your game)
Notes: This weapon is complicated, but it can be fun. So, each time the character successfully strikes an opponent, roll 1D100 and consult the info above, that's the damage die used. The 'smoke' is actually a moveable field filled with gray particles that rasp away anything in their path like a sandblaster. While the weapon is considered 'two-handed' it can still benefit from the previous item I made called 'Sicarii Jaih Arrow'.
Proficiency: So, if you are using Weapon Proficiency Slots, this weapon requires its own slot. If you are not using weapon proficiencies with all character's being able to use all weapons, then a character starts at -3 to all to hit rolls with it. When the character has successfully defeated an enemy with HD equal to the user while using the weapon, reduce the penalty by 1. It is also recommended that until a person become proficient, a roll of a natural 1 should come with some hard consequences, such as the character accidentally hitting themselves.

Three Dimensional Brownian Motion.

Notes for Math Nerds: Recently, I learned about Brownian Movement from a Math-Magician friend. I did some research, and Brownian Movement can be used to describe the movement of smoke or other particles and how they can conglomerate together given a limited area in which to move. To come up with the percentile spread I used for 5 die types I used a Brownian Movement model along a single dimension with whole number unit types, like a number line. With 5 possible points, at the lowest and highest extremes there is a 1/16 chance of reaching such a distance. The second largest distances in either direction have a 4/16 chance of reach said distances. The middle point, or 0 on the number line, has a 6/16 chance of staying put. I put 1D10 at the start, or 0 point, then figured the percentages as an expansion from there. There is a guy named Toth who did a lot of work with the most visited sites along a line with set units. Along with proving that there is a maximum of 3 most visited site from each side of the start point of line with units, he also worked out the basic probabilities for each point. Common sites along the number line like to be symmetrical, since the there is no greater likelihood for any particular direction. With 5 possible points, the 0 point/start point is given the highest likelihood, though presently I am not sure why. I don't understand this stuff completely, but I am learning. Here is one of the websites I have been using to learn about 1-Dimensional Brownian Movement. Let me know if my math is off:

http://mathworld.wolfram.com/RandomWalk1-Dimensional.html

With the Scarf/Endeeru, the gray particles that make up the 'smoke' are 330 picometers that are thrown about with incredible force. The weapon is a sand-blaster that is sharper than a razor, which has a width of 101 Million picometers wide. The particles conglomerate in masses like smoke, with each particle moving around randomly (Brownian Movement) with a speed of 400 m/s. The force of each particle is enough to easily rasp away skin and bone.