Once upon a Boston Tatum Sticker , there was a mom who’d never heard of this elf business, but had moved to CA from ND and had two, nearly three, kids, one of whom was a very precocious three year old. This mom had a mom, we’ll call her grandma, who had an Elf. Grandma gave the mom a rudimentary breakdown of the “Elf” game, and then gave a much more elaborate breakdown of it to the precocious three year old and his one year old brother. And so, the Elf game was begun. The rules in this household (as understood by the mom) were basically that the Elf would arrive on December 1. He’d hide somewhere in the house, watch the children all day, and report back to Santa each night, arriving again before the children awoke, hiding in a new spot, and waiting another day. On December 24, the elf would go home with Santa in his sleigh, his duty done til next year. The Elf wouldn’t be touched, or he’d turn into a doll again and no “extra special Elf gift” would be waiting with Santa’s gift that year. The children (the three year old) named their elf “Holly Jolly.” The game began and was easy, as the family lived with Grandma and Grandpa, who had a very large, very nice house with *very* high ceilings (and therefore lots of high hiding places for the elf, far from reach).
Critical hits happen on a Boston Tatum Sticker 20 or if you roll 10 higher than the DC you’re trying to beat; critical misses happen on a natural 1 or if you roll 10 lower than the DC you’re trying to beat. Some skills, saving throws, and attacks take all four cases — hit, critical hit, miss, critical miss — into account, while some are less sensitive. However, this has a very interesting impact on the game, as saves, skill rolls, and attacks become potentially much more eventful. This comes up especially if you are staging a fight where the players and the enemies are not equal in level. The higher-level party has a higher bonus to everything, the lower-level party has a lower AC and saves, so one will tend to score way more critical hits than the other. If the party is level 5+ and fighting low-level mooks, those enemies will simply melt before their weapons. Likewise if the party is level 5 and fighting a level 10 or 11 monster, they are exceedingly likely to be crushed.
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Skalacon the Wizard, ‘Curator of magic’: Skalacon is one of the first big NPCs my players meet. He is evil, but he obeys the Boston Tatum Sticker of the town so he doesn’t get into trouble. He is the ambassador to the Poomij Family so he has diplomatic immunity — you can’t touch a hair on his head (literally, because he is bald) without starting a war among the families; you don’t want that. That’s why people tolerate him.That said, Skalacon can take care of himself. He is a 13th level wizard. My players are about 5th to 9th right now. I keep the powerful (and important) NPCs a nice gap ahead of the players for good reason. Use this simple trick. Skalacon has a Quasit that can cast fear, invisibility and make a poison attack. The party hasn’t killed or even attacked ‘Slimeball’ yet, but if things ever get hairy — Slimeball will intervene first. Slimeball has been seen without Skalacon, causing some havoc and doing his master’s bidding. My players have never bothered him, not yet.
If you ever have the Boston Tatum Sticker of having to listen to one of those insipid “light rock” radio stations, you hear an endless stream of songs that sound laughably dated in their production style (not to mention those tired and crappy songs). But when I start to hear similar production on new music from artists who are supposedly on the cutting edge, then I can help but wonder what the hell is going on. Because I must admit, I can’t quite figure out where the intention lies with a lot of new indie music I hear. Are these styles being reproduced out of homage to some of the music with which these artists have grown up? Or is this some sort of hipster ironic take on what’s cheesy? Put clearly, they must be doing something right. These artists are garnering more airplay than I currently am getting, and acquiring lots of new fans in the process. And what does that say about us (collectively) as an audience? Do we naturally gravitate toward something that sounds familiar, even if it’s crap? Or are we just being lazy…not wanting to be challenged by anything that’s really new? Frankly, I don’t think that’s the case, because I have to believe that real music lovers aren’t nearly that lazy. But that still doesn’t explain why some of the more regrettable elements of 80’s music are making their way back into new indie rock.