The problem is, you're left without a reasonable means of deployment, and it becomes much more a case of a Neutron bomb or WMD than a tactical nuke.
Considering that level of Necrotic damage would wipe out anything short of Orcus, it'd be hard to find/train a caster to activate it, and even as a ranged strike they run the risk of 'counterstrikes' from people outside the blast radius.
One way you could do it would be to have a NecNuke bestow vulnerability 50 to necrotic- which won't override resistances. All of a sudden, wearing the right armor makes you immune to the short term effects of such a blast, and most undead are, already. A lot more potential there.
I suppose you're right. A neutron bomb is probably a better analogy for the effect than a nuclear explosion, mushroom clouds aside. After all, ANY large explosion will result in a mushroom cloud.
And it's not as if the effect has to be all that powerful, just widespread. Most NPCs won't have terribly high HP to begin with. In the 3.5 game where this ritual went off (under different circumstances; Gerard still used it to destroy Abbeville, but only because the players failed to stop him in time) I just used a mass Inflict Serious Wounds effect to represent the ritual's damage, which, given most of the populace were first level commoners, experts, and warriors, did what I needed it to do.
I'll probably use the rules for Darklands and Umbral Taint to represent the wasteland around Abbeville when the party goes there.
1. Coming from a poor family of 12, it was of great relief to his parents that the very young Loric was selected by the Master Platinum Knight to be trained as a Squire of Bahamut. The high mortality from poverty & invaders ravaged his family. 2. Loric was more than trained as a Platinum Knight of Bahamut, he was also raised by the Master Platinum Knight as a de facto son. 3. He was a spiritually gifted student despite his lack of theological aptitude. As his Mentor had suspected, Loric could instinctively choose the right course of action. 4. His Knight Company was raised from sleep early one morning to carry out a quest of importance. The details were kept from all but the senior Knights, who were tight-lipped and had grim expressions. 5. Little more than a week into their quest, the Company encountered Goblins while making good time overland. A pitched battle erupted but a Hobgoblin force emerged from out of sight and the battle turned for the worse. Loric’s Mentor led a charge to break out of the trap and Loric barely managed to flee, while the remnants of his Company were killed.
1. His Company’s quest was to… (DM insert) 2. His Mentor comes to him in his dreams and challenges him with the specific lessons that were too difficult to answer back then.
1. Master Platinum Knight Reinolf was Loric’s Mentor, and the wisest (but not senior-most) of the senior Knights. 2. A PC is a close friend/family member he hasn’t seen in years. 3. Lady Melodria, the ancient & highly reclusive Eladrin Oracle of Bahamut whom the senior-most Knight would seek out & consult on matters of high importance.
1. The good years spent with the close friend/family member PC. 2. His mentors dying words: “Flee you fool! Your fate is to suffer life…” 3. His shame and guilt when he chose to save himself by fleeing the lost battle rather than sharing the fate of his fellows.
1) The life of a traveling merchant is hard. Bob got into the life because, long ago, he dreamed of setting out on the open road and seeing the land. The realities of being a traveling merchant, however, soon dulled the luster of his chosen trade.
2) For several years now, Bob's life has been increasingly difficult. The roads have gotten less well kept, the bandits more bite than bark, and the occasional monster wanders over to sniff his poor, nervous nag. He's had to keep a pair of rusty daggers by his side at all times lately.
3) Bob stays out on the road because his home life is not much better. His wife henpecks him when ever she gets the chance, his children whine about how hungry they are all the time, and the king's men have been making noise about repossessing the land he owns if he fails to make rent again.
4) His trouble only got worse. In the last town he was in, a riot trashed the marketplace, including his makeshift stall. All his wares were lost, save for a few poor crops he'd managed to salvage from the wreckage. Worse, when he left, he found himself stalked by some highwaymen who apparently didn't care that Bob didn't have two coins to rub together.
5) He fought them off, and, as luck would have it, he was aided by a traveler coming the other way. When the dust cleared, Bob found himself bloody, wheezing...and feeling exhilarated for the first time in years. The fellow who'd helped him suggested that he return to town and see if he could collect a bounty on the bandits. Not left with many other options, Bob has decided that this incident could be the beginning of something special. After all, clearing bandits from the road would make it safer for everyone, and the coin would be welcome...and there was that rush of excitement, too. And perhaps the fellow traveler would be interested in helping him look into a rumor about an abandoned mine, which still might have some ore that could be worth something...
Step 2: "Ha! Rob me? Really? Of what? My rotting radishes? My maggoty grain? I have nothing worth taking!"
1) Bob wants to avoid starvation, first and foremost. It's desperation that's impelled him to try his hand at the adventuring life...that and some wistful recollections of dreams he had in his youth. He doesn't plan on doing this long, just until he can get back on his feet.
2) I'm enjoying the exercise of making a heroic background for a character who DOESN'T have some magical curse, deep-seated psychological issue, or melodramatic backstory. Bob is nice and simple...at least, to start with. He is, in fact, a character I wouldn't mind playing at some point.
Step 3: "Thanks, stranger. That could have been very ugly...I'm much obliged. Oh, that old trick? I saw it in a play once, thought there was no harm giving it a try, and I'm just glad the guy didn't take my fool head off when I went for it."
1) Bob knows a few tricks, but he knows he's no great shakes at anything. He doesn't have a high self-image, and he's liable to start drowning his troubles in ale. in fat, one of the reasons he's in debt so badly is because of his fondness for the drink, and it's something he will have to face up to eventually.
2) Quil Giltterstaff, the Eladrin ranger who helped Bob fight off the bandits, is on the run from his tragic past and oppressive noble parents. By sticking with Bob, he will only draw the human into a web of complicated mystery and fantastic danger.
3) Reserved for any DM I play this character under.
Step 4: "Well, now that you mention it, I've heard about this old mine near here that they had to abandon for some reason or another. I wouldn't think of going there, not alone...but there might still be some ore left, and it might be worth checking out."
1) Quil Glitterstaff, an Eladrin ranger, helped Bob escape certain death at the hands of bandits, so Bob regards the man (fairy? elf? Don't want to offend him) as a true friend and companion, despite knowing him for less than a day.
2) Sarah O'Grady works at the tavern of the local town that Bob likes to pass through. She's a pretty lass, but she's spoken for (not that Bob would try anything...his wife would kill him!) But she keeps his drinks flowing, and she has helped him a time or two with a tip that got him the jump on other merchants, so he's sure that she can give him some advice on his new career path.
3) Ebenezer Flint is the lord's tax collector. Nobody likes him, especially because he always has a few bully boys with him to shake down honest sorts for a few extra coppers. Bob suspects he's skimming from the top, and that's why the rent on his land keeps increasing season after season. Bob dreams of plunking down a sack full of gold and telling Ebenezer where to stick his pointy nose.
Step 5: "Them bandits were worth HOW MUCH!? Well, then. Perhaps there's something to this..."
Bob is not a professional adventurer. He has some natural talent as a Tempest Fighter, but he has no equipment, no training, and, most importantly, no other adventurers to watch his back except Quil. But the town they're headed towards has a posting for jobs that need to be done, and Bob figures that once he's got a bit of gold under his belt his problems will resolve themselves.
This character was fun to think up just because. it was inspired by a thread elsewhere on the forums, and the idea of an adventurer from a humble, unremarkable background just stuck in my head and demanded an expression.
Update: I have actually started playing Robert in a low-level Keep On The Shadowfell game we started up over the new year. He wound up being a Warlord, rather than a fighter as I'd envisioned, and he's been a blast to play. Most character I've played have been angsty and melodramatic, and a few (like Robin) have been outright evil, so it's refreshing to play a good character...or at least, one who is good from the get-go--I actually like playing characters with dark pasts who overcome their backgrounds and become heroes later in their career. But Bob is an honest, non-pushy, and slightly greedy Lawful Good.
1) Jirin was born in the village of Hoonai, atop the Jolyen mountain spires.. Both of Jirin's parents were born with the windsoul at birth and have never developed any others. On the night of Jirin's birth there was an incredible storm, with winds howling through the valleys, blistering cold rain being blown horizontally, lightning cracking as it split apart the air, and thunder roaring as the air crashed back together. This was a storm the inhabitants of Hoonai have not seen in two decades. Some thought it ominous, others thought it prophetic, and few think it caused the unusual nature of Jirin. At birth Jirin showed signs of having the ability to incarnate the windsoul and the rare stormsoul. 2) Many thought that having the stormsoul meant that Jirin was destine for slavery, since the majority of enslaved Genasi only have the stormsoul. Though some thought him to be favored by the gods to be gifted with two elemental souls at birth. He wasn't treated any differently through his childhood because of this, except for the occasional jealous bully. 3) Jirin was taught the Genasi form of martial arts knows as Yurari Ktehnk and excelled at it. His instructor, Garel-Kai, believed that because of his dual souls at birth he was more tied to the elements than any other Genasi could learn to be. He feared that if Jirin did not learn to control his chaotic nature, he might be consumed by his power. 4) Though Jirin completed his basic training, it was more difficult for him to control his nature than it seemed. On the outside he seemed calm and rational, but on the inside the raging storm of blistering winds and freezing rains swayed him strongly. For this reason Jirin decided, for himself, that it was time for him to leave home, to have an adventure, to one day return home with great stories. For these reasons he left home and traveled west to the ocean. On his way he heard of the city underneath water, Genla. He decided to visit this city, though it was not as grand as he was expecting. While there he met his first Dragonborn finding out that they have much in common. Their ties to the elements, and their enslaved people by the hobgoblins. He also found out of an underwater passage that led close to the ocean, and of a caravan heading that way. After surfacing he headed alone to the the port city, Ocean Side. 5) While there he had a bit of a scrap with some Hobgoblins and sent them with their tail between their legs. Morgan Orland, captain of the Swallow, witnessed this. He offered Jirin a job on the high seas, with the wind in his face, the freedom to traverse the blue. The scent of adventure made Jirin ecstatic to join up. He spent two long years on the ship performing many odd jobs from smuggling, to piracy. After this time though he thought that it had been enough and that he should move on. 6) He landed in the port city of Coral Town where he found numerous amounts of half-elves and a land not plagued by war. While wandering around the city he heard mention of the city of Notradaum and its dragon attacks. He decided to travel that way for he had never seen an actual dragon before and was very curious. While in the city he met a merchant by the name of Robert Thomas. Bob had offered Jirin the chance to travel north into Kelsanon to bring supplies and merchandise to the town of Winterhaven, which was plagued by kobolds. Another chance for adventure. 7) This is where his story begins.
Step 2: "Hmm, that wasn't as hard as I thought it was gonna be."
1) As a player I would like to see him act more naturally, not fight his inner emotions to keep himself calm and collected, but actually act how he is really feeling. 2) In character Jirin would one day like to return home to his village and share with them his great adventures. Tell them of what is going on in the world below, and maybe even bring some exotic goods. ((As it is going now he may get Bob to open a trade route with them, since he likes the exotic places))
1) While on the High seas Jirin made some enemies. One of the many reasons that he left the Swallow was because they were being hunted by the Coralton navy for piracy. Being very noticable and the one that usually led the first assault Jirin is the one on most of the wanted posters. 2) He doesn't know that they are on his trail and have followed him into the Northlands of Kelsanon, and are currently looking for him to bring him to justice. 3) No third one for that is for a DM to decide.
1) Garel-Kai is Jirin's mentor and teacher. If Jirin is in his home town he may seek guidance from his former teacher, for he has great wisdom. 2) Captain Morgan Orland of the Swallow, a man that Jirin very much respected and revered. Many times did Captain Orland save Jirin's life, but many times did Jirin return him a great profit. The captain would love to see Jirin back on his ship, his ability to fly across from vessel to vessel or to breath underwater, were invaluable in ship to ship combat. The Captain would gladly give Jirin passage as long as he renders some of his unique services. 3) Robert “Bob” Thomas is a merchant that Jirin met in Notradaum, together they traveled north to Kelsanon. They help eachother in a symbiotic way, by getting eachother out of trouble.
As a reminder - if you find TMB useful, please feel free to buy a copy of Minimus. It's $3, you can try before you buy, and it's chock full of good GMing advice to go WITH the backgrounds that are made here.
Now, that aside. Let's look at some of the tools in the kit from Minimus and how they interact with the Ten Minute Background.
One way of looking at a dungeon module is that it's a flow-chart; the party moves down corridors, opens doors, and makes decisions based on the challenge rating of the encounter.
What Minimus does, and what may be useful to your games, is that all of those characters with their three contacts, get fed into a network of contacts. For example, I try to connect the contacts used by players on their character sheets to one of the contacts used by the antagonist in whatever story I'm running.
Instead of "You all meet in a bar, when a mysterious traveler comes and asks you to retrieve the Gobstopper of Partial Omnipotence", what you get is this:
"Your contact - the one who doesn't like you - has left a message for you. Someone is leaning heavily on his trading business, and as much as there's bad blood between the two of you, he is asking for your help. He's willing to offer a favor with the local Duke to see if your friend's charges can be reduced if you can help him out on this issue."
Linking all of those contacts (and the initial problems together) is part of a technique called 'relationship mapping'; it's not original to me - I first saw it in a book on how to write romance novels. In much the same way that your dungeon map is a flowchart, the relationship map is also one; any scene that doesn't alter a relationship on that map, or change how a relationship is perceived, tends to be less interesting to the players. (Well, aside from the players who want to kick in doors and kill things.)
I find that by linking all the contacts together (much like the example on the last page of the Minimus rules), I can make a plot driven by what the players choose to do, or what they choose not to do. It also gets them to invest more, because we're using their background to drive it. It makes it a bit easier to both have a world that's a rich tapestry, and one that's focused on the actions of the players; anyone who's ever ran a game with a detailed backstory that the players can never be bothered to remember the details of knows what happens when the backstory overwhelms player action.
I find that having each player start with an immediate problem for their character at the start of each multi-session run frees me up to play improvisational theater. It's no longer my job to come up with a specific 'hook' for each player, I look at the hooks they provide me, tie them into the relationship map, and everything else just sort of runs automatically.
A relationship map is one of those tools that I am never certain if my instructions for it are good enough. I've found them to be so amazingly useful that the utter lack of feedback on them has been disconcerting.
I think I've been unconsciously relationship-mapping for a while now. One of the main things I use the TMB for is to flesh out NPCs that have a life outside the party interaction, but allow for the party to interact with them, and Contacts are actually a great way to do this, because some NPCs turn out to have unexpected relationships. For instance, when I was coming up with the concept of Brother Maynard, I knew that he would have to be tied to Gerard LeVaine (something I'd already established in Gerard's case) and Victoria Montaire's piece (because they are both tied to Gerard), but I was sort of stuck for a third contact. Then I began to think outside of the little cabal he's in, and an answer struck me: The local Bishop of the Lawful Good church would be a perfect foil for Gerard, and would work as a patron for the players later.
Thus, I linked him to Bishop Antoine Montaire, a character who was in the previous version of the campaign and whom I was having trouble finding a hook for.
Sometimes, though, three isn't enough. Sheriff Bulrick, for instance, has 6 different contacts.
I've found that making one of the contacts out-right hostile provides a nice source of villains for the campaign, and either tying them to a BBEG or reskinning an already planned BBEG into one of these hostiles makes for a nice, emotional punch. If I plan to use a contact as a major antagonist, however, I need to make sure that the contact's hostility can be applied to more than one character (preferably the whole group).
One thing I've found is that, quite often, players will include one of the other PCs in their contacts, instead of making up NPCs from whole cloth. The benefit of this is that an already-established link makes for more interesting party meet-ups than "you all meet in an inn". Usually, this works best if the players have made characters together, instead of making characters separately. The downside of this is that leaves fewer contacts outside of the group.
I've never actually done a visual representation of the various connections each of the contacts have. I'm not much of a visual thinker, so such the chart tends to wind up looking like a pile of spaghetti to me.
I've found that making one of the contacts out-right hostile provides a nice source of villains for the campaign, and either tying them to a BBEG or reskinning an already planned BBEG into one of these hostiles makes for a nice, emotional punch. If I plan to use a contact as a major antagonist, however, I need to make sure that the contact's hostility can be applied to more than one character (preferably the whole group).
I differentiate between "outright hostile" and "wants to see them crucified" - the latter is more of a flaw in Minimus terms; the former lets them have access to critical favors or abilities, but at a cost.
One significant advantage to drawing out the relationship linkages - even on a solo PC (or NPC), is that you can then draw in how those characters feel about each other. You don't need to know WHY character X dislikes character Y, you have it drawn on the map, and something will pop up during the game 99.999% of the time.
One thing I've found is that, quite often, players will include one of the other PCs in their contacts, instead of making up NPCs from whole cloth. The benefit of this is that an already-established link makes for more interesting party meet-ups than "you all meet in an inn". Usually, this works best if the players have made characters together, instead of making characters separately. The downside of this is that leaves fewer contacts outside of the group.
At various points in time, I've considered requiring a defined relationship between characters, above and beyond the "three contacts" for Minimus; I've left it out as being mandatory; I find it's more useful to encourage players to share contacts amongst each other; that way something that involves the contact draws in two characters rather than one.
I've never actually done a visual representation of the various connections each of the contacts have. I'm not much of a visual thinker, so such the chart tends to wind up looking like a pile of spaghetti to me.
I found that the first two times I tried it, I ignored it - then I made a conscious effort to USE it during play. Once I saw the results, it stopped being an effort. It took my linear plots and made them run like Machiavellian intrigues, and I didn't have to try to be smarter than a table full of players, since I had a framework I could pull from as they were going through it.
This is one of the places where Minimus significantly differs from D&D; in a very real sense, your contacts network (and the people that your contacts know...) is a route to character power, often times far more so than their own special abilities or cool skills. This is less of a modality that's useful for D&D, though it's still a very useful 'mode' to fall back on.
Also, starting a relationship map is hard - I find that once I get a critical mass of relationship lines, more sprout by chain reaction.
