I must create a system, or be enslaved by another man's. I will not reason and compare: my business is to create.

- William Blake

Thursday, February 26, 2026

Maximum Damage

We've been playing with a lot of ideas using D&D weapons and margins of success. Yesterday, a new one occurred to me: maximum damage.

Let's say weapon damage is determined by margin of success, but the maximum damage is unchanged from the original game. So a d4 becomes 4, a d8 becomes 8, etc.

This has several benefits before we get any deeper:

  • You don't need a damage roll.
  • Damage raises steadily with level, especially for fighters.
  • Armor becomes even more significant.
  • Armored duels
  •  feel a bit slower and more realistic, with lots of wounds.
  • Magic users could use swords etc. but it would usually not be worth the effort.
  • We'd get more granular weapons (e.g., maximum damage 5, 7, or 9).
  • Even a goblin can potentially survive a hit of a +3 sword, although this is very rare.

If we rule that a natural 20 doubles or triples maximum damage (or just raises it by 10 points or whatever), even a dagger can be deadly in the hands of a very skilled fighter against an unarmored foe.

Conversely, we can introduce laser guns with 15 or 20 maximum damage, and he stormtroopers would still have a hard time actually killing someone with it in a single shot.

I'm tempted to add your attack bonus to maximum damage too, so Conan can occasionally kill a sorcerer with a punch.

We'd have to consider how backstab works. Maybe a flat +4 bonus to attack and maximum damage.

Also, how do exact hits work? Maybe 0 damage, maybe 1, maybe some special effect, not sure.


One downside I can see is that average damage is a bit higher than usual even for low-HD creatures, although this is somewhat countered by the fact that in my games, PCs don't die at 0 HP. The fact that high-level warriors deal lots of damage is a plus for me, especially because I don't like having many magic weapons.

The fact that people get used to thinking about margins of success could also be useful if you use this for skills and other checks, which I like.

Another problem is that big foes such as giants and dragons could have their damage significantly diminished if we use this system exactly as written, never being able to actually reach their "maximum damage". Maybe that's a problem for another day, but I can imagine we could have a size multiplier of ×2 to ×4 (maybe "3x6" instead of "6d6"), which could create an interesting effect: a giant will not often hit the fighter, but when he does the damage is massive — one mistake might cost him dearly!

I think I originally had this idea years ago, when playing bell-curve systems, which might have different, but interesting, effects.

There are probably another issues I'm missing, but so far I really like this idea... let me know what you think in the comments!

Wednesday, February 25, 2026

A Knight of the Seven Kingdoms (TV series, 2026)

 A Knight of the Seven Kingdoms is the best current TV series in the fantasy genre, as far as I can tell, and one of the best I've ever seen.

If you like anything Game of Thrones related, you're very likely to love this one.

It has the right amount of humor, idealism, grittiness, and violence.

Unfortunately, it's not one for younger viewers without some caveats. About half the episodes contain one or two crude (and completely unnecessary) scenes, and there is plenty of realistic blood and violence throughout. So while I'd otherwise recommend it even for 12 year old boys, parents should be aware of both before letting teenagers watch.

About the violence, I have to say this is some of the best medieval combat I've seen in recent memory. In many movies, armored combat is full of quick maiming and even decapitations. Here, an armored knight can survive several sword and dagger blows for quite a long time before falling or dying. Well, there is one quick decapitation that feels somewhat out of place, and some people might bleed a bit more than would be believable and keep fighting, but overall the melee is very impressive.

Why is this so good? I'd guess it has many shades of gray, like most of GRRM's work - and good or bad people are not necessarily fighting on opposing sides - but at the same time the main characters are likeable and moral (although far from perfect, one having limite size and other limited smarts) so you're always cheering for them. It is fun in a way House of the Dragon doesn't always manage.

The realistic combat always plays a part. The most skilled fighters often win, using power, brutality, and skill, which is a breath of fresh air after watching so many fantasy battles of petite warriors doing useless backflips. People are self-serving but rarely amoral or straight up evil, with a few exceptions.

In short, a great balance between chivalry and realism. And that balance turns out to be more than just a stylistic choice - it goes to the heart of what the show is actually about.

Why is Dunk a knight, or a good knight? Because of his weapons and armor? Because he was knighted? Because of his size and courage in battle, yet to be fully tested? Or because he follows the code of chivalry?

Watch it, and form your own opinion.

(BTW, the book is very good too!)

Tuesday, February 24, 2026

Hiatus, Thoughts and Plans

This is a rant. You've been warned. ;)

Some of you might have noticed I'm writing a lot less these days. A few things have changed in my life, mostly for the better. I finished a long campaign — I definitely have to make a post about that. But I'm rethinking the usefulness of some of the stuff I do, and I think a bit less about RPGs these days (probably because I'm not playing as much either).

Many of the things I write are things I'd like to use myself, or have used. But I still want everything I write to be useful to someone else (or I wouldn't publish it).

I've been through a brief period of AI disillusionment, feeling that now AI can write faster, longer, and sometimes better than me. Well, from what I've seen, it is not quite there yet, but it might be in 2-3 years. So I was asking myself what is the point of taking the effort if AI will do it better in a couple of years.

And I'm still not 100% sure. But I'm seeing something. AI works with an ocean of trash. It can make a quick or detailed review of The Diamond Throne but it will not tell you it is terrible or why it is terrible (if you liked this book, I hope you don't mind my example).

AI is great at writing the easier, most obvious, most popular answer to your question. But it is not really trained to be contrarian, inquisitive, politically incorrect, etc. It can give you what you want but it is not really good at giving you what you didn't know you wanted.

So I guess I still have something to offer. It is a bit niche, but I've always been a bit niche (well, except for some 5e campaigns back in 2016 when everyone liked it).

BTW, the anti-AI sentiment has not been very helpful either. I got some flak for mentioning AI in my latest book, and I barely used it — it was more experimentation, dice-rolling and some brainstorming. But now that I know how to use it, I feel that NOT using it at all would be masochistic luddism at best. The time it saves when it corrects my typing errors is worth it by itself.

OTOH, I will NOT use AI art in my books. Not because of some moral high ground, but because I think it looks UGLY. The thing is, I'm a WRITER and not an ARTIST. So I feel that I can revise anything that AI gives me to ensure I'm not giving you AI slop. If I were an artist, I could maybe work with an AI somehow, but I'm not, so I prefer working with real artists that have real TASTE, even if I have to use stock art.

Which by itself is probably a contrarian view, as it is pro-AI and anti-AI at the same time.


Anyway, here are some future plans.

I'm going to continue working on Prismatic Planet and posting here. I might make the whole book available for free before I publish it. These posts do not get many views but that's probably the seed of my next campaign, and what I want to write.

I might write about a few books I've read: Norwegian Wood (weak and overhyped), The Stranger (not great), Amber (good but not great), etc. I was a bit discouraged for not having many nice things to say about them, but again, the contrarian view might be useful.

BTW, I have another blog called Inspiring Ideas. I haven't been using it but since I've been reading lots of self-help and self-improvement stuff, maybe it becomes more active this year.

Also, Knight of the Seven Kingdoms is some of the best fantasy TV ever, and I have to write about that — at very least to discuss the realistic medieval battles.

So, that's what I've got for now. As I mentioned, I write for myself first, and this has been my attempt to convince myself to continue writing. It brought me lots of joy over the years.

And, as always, I'm immensely grateful for everyone reading this.

Sunday, February 08, 2026

Dark Fantasy Favorites

I really love fantasy in general, and dark fantasy in particular; however, I have the impression that authors and readers often confuse dark fantasy with violence, gore, nihilism, or sexuality.

The definition of dark fantasy deserves its own post (here is one attempt), but for now it's enough to remember that dark fantasy is an intersection of fantasy with horror — capable of evoking tension and fear — and tragedy, which in turn frequently portrays the fall (moral, physical, social, etc.) or suffering of its protagonists and supporting characters. Nihilism and moral ambiguity appear frequently but are not in themselves defining features of the genre.

The books below are some of my favorites in dark fantasy, which I consider not only very well written, but also examples of a deeper understanding of the genre.



Stormbringer, by Michael Moorcock. This is my favorite book from the saga of the albino prince Elric, which in turn is one of the most important works of dark fantasy, influencing countless subsequent works, like The Witcher, A Song of Ice and Fire, The Chronicles of Amber and so on.

However, this book is (in a way) the conclusion of the saga. So, my recommendation would be to start with the first book (Elric of Melniboné) and, if you like it, continue reading the entire saga. If you don't like it, skip to this final cycle, which is essential.

Worms of the Earth. Robert E Howard, author of Conan, has a darker edge in several stories, although Conan himself is a heroic character. This tale, one of Howard's darkest ones, narrates the story of the tragic hero Bran Mak Morn, the last king of the Picts, in a desperate struggle to save his people from Roman hordes or at least guarantee his revenge.

It's a perfect choice if you want to start with a shorter story.

Black God's Kiss, by C.L. Moore, is a tale about Jirel of Joiry, a (seemingly) French warrior, who finds herself defeated in her own realm and imprisoned by an evil enemy eager to humiliate her. Consumed by hatred, she decides to descend into the hellish Abyss beneath the castle to find a useful weapon against her rival... The plot resembles Worms of the Earth, and the writing is also similar to Howard's in tone, mixing action with fantasy and cosmic horror.

Jirel is not exactly a "female Conan" (nor the stereotypical princess, damsel, or amazon); she is strong and fierce, but has distinct enough characteristics to be interesting. For example, she is Christian and painfully aware that she's not just risking her life, but also her soul, even if she succeeds in her mission. Additionally, she is apparently the first notable female protagonist in the sword & sorcery genre.

Another excellent short story.

The Shadow of the Torturer, by Gene Wolfe, is one of the best dark fantasy books (and fantasy in general) I've ever read. The reading is a bit difficult because of the elaborate vocabulary, but it's incredibly rewarding.


The Broken Sword, by Poul Anderson (seek out the original 1954 version) is one of the best books in the appendix N, and it's been a huge influence on Moorcock and others.


Darkness Weaves by Karl Edward Wagner is one of the darkest of the bunch - or at least it has one of the darkest protagonists I've read recently. If you want Conan with a darker vibe, Kane is your guy.


Other books and authors

I should mention Clark Ashton Smith here; some of my favorite stories are The Vaults of Yoh-Vombis, The Beast of Averoigne, The Tale of Satampra Zeiros, The Empire of the Necromancers, The Isle of the Torturers, The Abominations of Yondo.

There are other authors like Poe and Lovecraft that I think fit more comfortably in the horror genre than dark fantasy, although some stories would certainly fit. Borges and Kafka have their own thing going on, that is not the same kind of dark fantasy found here.

I haven't enjoyed The Blade ItselfThe Black Company is good but not great IMO; same for The Witcher. A Game of Thrones is great but has no ending so far.

On the more modern side (post 2010s), I enjoyed the Lost Gods by artist Brom and Between Two Fires by Christopher Buehlman.

I really like dark fantasy, so you'll probably see other reviews here in the future (and some I've already reviewed in the past and didn't mention here). I welcome suggestions!

Tuesday, February 03, 2026

Prismatic Planet - Introduction

About RPGs and How to Play Them

If you're reading this, it's likely you've played RPGs before. If not, there are plenty of good, free ways to learn. You can read my short tutorial, learn from someone who already plays, watch online videos, and so on.

This game assumes you're already familiar with RPGs—especially the world's most famous one—and particularly its "old school" versions. While I've tried to explain each mechanic as clearly as possible, you can consider my ideas as suggestions or house rules you can adapt to your own game.

We're not trying to reinvent the wheel here—just grease it so it runs more smoothly.

 

Overview

Primus, the Prismatic Planet, is a place of wonder and pain.

Its earth is scorched and dangerous. Alien creatures roam the land. People are fractured in many ways, divided into different tribes, cities and kingdoms, each with distinct customs and beliefs. Most have no sense of history and no real grasp of technology, being unable to understand where they come from and how to use the mysterious machines that litter the landscape.

Maniacs, mutants, and marauders, wielding obsidian and bone, ride saurian beasts through the Endless Sands. Psionic monks battle radioactive sorcerers, dinosaurs and warlords in the apocalyptic heat of this lost world.

For now, humanity seems unable to bond together over shared difficulties. Instead, they fight for dominion over scarce resources. Slavery, prejudice and violence are common everywhere.

 


Genre

This setting is inspired by books and other works in the "weird" genre—a blend of fantasy, science fiction, and horror. Its primary influence is sword and planet, a subgenre that typically features swashbuckling heroes, alien worlds, ancient technologies, and a mix of science and sorcery.

This book doesn’t feature orcs, halflings, or faeries. Instead, it offers human-like beings, bizarre alien species, psychic powers, and ray guns. If you’ve read A Princess of Mars or similar pulpy sword and planet adventures (see the list below), you’ll know what kind of world you’re stepping into. If you haven’t—go read them! Or check out the movies, comics, and adaptations. You’re in for a wild ride!

Some aspects of the setting have been directly taken from the public domain works of E. R. Burroughs, H. P. Lovecraft, H. G. Wells, R. E. Howard, and many others.

Many Martian tales have inspired the setting, but the exact placement of Primus in time and space is left to the GM’s discretion. It could be an alternate version of Mars, a distant planet thousands of years in the future, or a world in an entirely different universe.



 

Brief History

The history of the Prismatic Planet before the apocalypse is nearly lost to all living inhabitants.

Legends say humanity was once ruled by the Progenitors, mysterious figures who abused their subjects in various ways, including slavery and scientific experimentation. While some poor humans long for the safety of their brutal masters, most are relieved to be free from their cruel grasp – if they remember these days at all.

The reasons behind the great change are lost or misunderstood in history. It is widely believed that the planet endured a catastrophic event that disproportionately affected the Progenitors. For many days, the sun burned brighter and fiercer than ever before. This mythical calamity is known as The Scorching.

The Scorching decimated vast swaths of flora and fauna, seemingly drying out entire regions—leaving behind empty riverbeds and forgotten ruins, now stranded far from any surviving bodies of water. Entire civilizations may have been destroyed or driven underground into the lost shelters that most surface-dwellers fear to tread. The sun’s radiation remains dangerous even today, but the darkest days of widespread mutation, madness, and destruction appear to be behind us.

Unable to withstand the new, unforgiving conditions, the Progenitors disappeared and relinquished their hold onto the world. In their absence, creatures once kept in check by their dominion flourished in chaotic freedom. Now, the planet is inhabited by disoriented humans, unfathomable alien entities, and savage beasts that no longer fear mankind.

 

The people

We call the ruling species of the planet “humans” for short, though they are something slightly different than humans. In appearance, they resemble people of vivid colors—red, green, blue, yellow, chalk white, and deep ebony. Their physiology is largely human-like, with a few notable exceptions, such as heightened resistance to the planet’s atmosphere and environmental hazards. Whether these traits are the result of genetic engineering or natural selection remains uncertain.

There are many other intelligent species on the planet, such as insect people, robots with varying levels of artificial intelligence, and the mythical progenitors, for example. Humans consider these beings—and sometimes even groups with different mutations, cultures or skin colors—as something other than human.

 

The Planet

Primus is slightly smaller than Earth. In its current state, only about a third of its surface is covered by water. Large bodies of water often contain enormous monsters, and humans are cautious about sailing far from shore with their rudimentary boats and basic nautical tools.

Gravity may be slightly weaker than Earth’s, allowing for larger creatures and taller mountains. For most intents and purposes, however, the inhabitants of Primus refer to it as “Earth,” since they possess little knowledge or understanding of other planets.

Primus has one large moon and two smaller ones. Seasons and day/night cycles are similar to Earth’s. The climate varies greatly but is, on average, hotter and drier than Earth, with extreme cold found only at the poles. Vegetation is scarcer and deserts are more common.

The underground is teeming with caves, tunnels, and abandoned structures—some carved out by creatures like the burrowing prismatic worms, others constructed by Progenitors and other forgotten beings. The underground is often inhabited by creatures searching from protection from the scorching sun and harsh environmental conditions.

The “Prismatic Planet” moniker refers to the colorful nature of its inhabitants. Humans, animals, and plants display an astonishing variety of vivid colors. Even the sky often takes on effects resembling the aurora borealis, which the inhabitants frequently interpret as portents of impending doom.

 

Fauna and flora

The fauna and flora of Primus are markedly different from those of Earth. Mammals—especially domesticated ones—are rare. Dinosaur-like creatures are more common. Many native creatures exhibit a blend of reptilian, arthropod, humanoid, and even vegetal traits. Most species retain symmetrical body structures, although large organisms with six or eight limbs are nearly as common as four-limbed ones. Exceptions do exist and are typically referred to as aberrations.

Animals in Primus are often more aggressive than Earth’s beasts. Since humanity spent years in captivity, animals have not learned to fear them. In addition, the Scorching has made many of them more desperate for food and more willing to fight. Anything larger or more numerous than humans can be extremely dangerous.

The flora also diverges from Earth’s, though plants fulfill similar ecological roles. Their coloration is more diverse: green remains widespread but is not as dominant. Some plants possess limited mobility or exhibit rudimentary telepathic communication, either among themselves or with humans.

It is likely that many of the creatures, plants, fungi, bacteria, and viruses on Primus were genetically engineered by the Progenitors, though humans are unlikely to recognize the difference.

 

Society and culture

Humanity is currently in a savage, sorrowful state. Only a few generations removed from The Scorching, they have little knowledge of what came before—relying only on fragmented legends and half-remembered myths. Prejudiced and superstitious, they distrust outsiders and cling to tribal beliefs.

People are divided into many small tribes and villages, with great cities being exceedingly rare. Communication between settlements is rare and often erupts into violence. While most human groups have learned to survive within the planet’s harsh environment—at least in their small, isolated regions—they remain largely ignorant of its flora, fauna, and even its unpredictable weather.

One trait many people share is a strong sense of practicality. Empiricism reigns—most are more concerned with what they can see (or what can harm them) than with abstract philosophical ideas. Charity, compassion, and self-sacrifice are valued, but not to the same extent as they are by earthlings. Instead, traits like courage, decisiveness, and ruthlessness are prized—qualities that signal one is not to be trifled with.

Charity often serves as a display of wealth, and mercy typically comes with the expectation of future repayment. It’s not uncommon for the elderly to walk away and die alone once they can no longer contribute. Unwanted and disabled children fare even worse.

Religion, likewise, is the worship of the strongest. Local rulers often title themselves as gods. In other tribes, a powerful monster, aberration, automaton or artificial intelligence may be elevated to deity status—knowingly or not. Most cultures lack a clear concept of Heaven or Hell, believing sin to bring doom to themselves or their people in short time. Terms like “god” and “demon” are often used interchangeably to describe incomprehensibly powerful beings. A “god” usually denotes something beyond direct communication, while a “demon” tends to have clearer—though often malicious—intentions, and might even be willing to bargain.

Technology is mostly at a Bronze Age level, with one exception: humans often find and use lost Progenitor devices—though they rarely understand how they work. Most powerful items belong to the ruling class, although any random child can potentially own a small trinket of unknown purpose.

 

Mature themes and the dark side of the prismatic planet

As you can see, life on Primus is far from easy. Humanity engages in many evils—infanticide, slavery, human sacrifice, prejudice, wars of aggression, and the wanton destruction of ecosystems, among others. On top of that, it must contend with man-eating monsters, hostile machines, destructive technologies, radiation poisoning, and severe environmental catastrophes.

This book does not dwell on these themes, though they are mentioned in passing. The bleak setting of Primus need not lead to bleak or hopeless adventures; on the contrary, it can serve as a backdrop for brave characters striving to save the world—or at least their own necks.

---

Sunday, January 04, 2026

Shadow of the Torturer (review)

Shadow of the Torturer (1980), by Gene Wolfe, the first part in The Book of the New Sun series, is an amazing work; so much that the first thing I considered when writing this is how to make this review more than just glowing praise and a strong recommendation.

So I'll start with a caveat: this book is definitely not an easy read. The language is baroque and intricate to a point that often surpasses Vance and Gygax. The subject matter is not light either; this is dark fantasy written by someone who understands dark fantasy. I often stopped reading the book to re-read a paragraph because it was too difficult or too insightful (and, to be honest, I had abandoned the book in the first chapter a few years ago before giving it a second try).

By the way, I read it in physical format, but if you have a device that lets you access a dictionary with a single click, it will be especially useful here. The author frequently employs archaic terms (and occasionally some Latin) where simpler words might suffice, yet he does so consistently and elegantly; it feels enriching rather than a gimmick.


The plot is about Severian, a torturer's apprentice who falls in love with a prisoner and has to travel due to the consequences of his trespasses, while at the same time growing from childhood to maturity. The (superb) world-building takes us through ancient ruins, secrets, lost technology, weird religions, half-forgotten myths, and a few strange creatures (that are not really important in this first book).

The near-absence of magic and monsters makes me wonder if I should call this dark fantasy or dark sci-fi; probably a mix of both, in the true weird tradition. The little magic there is seems to be of Clarke’s third law type (or a variation: any sufficiently forgotten technology is indistinguishable from magic).

But fantasy and sci-fi are far from the only influences of this book. Despite having a "dying Earth" setting and other similarities to Vance, the echoes of Kafka and Borges are often clear. Like these authors, Wolfe manages to create a world that is strange not only in its inhabitants and landscapes, but often in its thoughts and morals. I have to add that I found the characters also full of nuance and depth, not merely strong warriors, evil overlords or damsels in distress.

The influence of Catholicism, on the other hand, is both strong and somewhat hidden, as religion also seems to be partly forgotten and twisted in this dying world. Apparently, the author was a devout Catholic, but with a somewhat somber view of the world, as you can see from this quote:

“It has been remarked thousands of times that Christ died under torture. Many of us have read so often that he was a “humble carpenter” that we feel a little surge of nausea on seeing the words yet again. But no one ever seems to notice that the instruments of torture were wood, nails, and a hammer; that the man who built the cross was undoubtedly a carpenter too; that the man who hammered in the nails was as much a carpenter as a soldier, as much a carpenter as a torturer. Very few seem even to have noticed that although Christ was a “humble carpenter,” the only object we are specifically told he made was not a table or a chair, but a whip.”

Well, as you can see, I was thoroughly impressed with this book. It is certainly one of the best books I've ever read, not only because it seems to take influence from some of my favorite authors but because the writing is superb by itself. 

Yes, if you want some sci-fi, fantasy, or D&D ideas, you'll find it here, but there is so much more; it seems to elevate the genre to a new level. I am always doubtful if I should review a book without reading the whole series (which, by the end of the book, feels necessary - there are apparent five books in this "New Sun" cycle), but this was a really good one. 

Highly recommended.

Happy new year and may you live to see the New Sun!

Tuesday, December 16, 2025

More d100 D&D

I've been playing with this idea again.

Basically, you have percentile values for each ability. 

Each level gets you at least 2% better at (basically) everything, with each ability point giving you 3% as a starting rule.


A level 8 PC (example above) might have Strength 13/55% and Intelligence 10/46%.

We'd basically use that 55% for skills, attacks, and magic.

Probably thieves get 20% extra on their skills, fighters on their attacks, and mages on their spellcasting.

Limit PCs to level 10 or so, and leveling bonus will not surpass differences in abilities., although the system does still work up to level 20 and more.

Saving throws use the same number. The 30–80 range is quite perfect for that.

[Strength 10 gives you 32% on level one; with Strength 20, you'd get 80% on level 10, or 100% if you're an specialist; maybe you could do ability x4 plus level x2 for slightly more competent PCs].

Combat wouldn't be hard to do; you probably need some defense stat in lieu of AC, maybe even some dodge chance, parry, etc. One reason I like d100, BTW, is because they can produce crits on doubles, and use the "tens" digit as damage, to make combat quicker and more exciting.

HP are trickier. You can't really get the same range as old-school D&D without a completely different formula.

Spells would be a lot weaker unless you spend some of your magic for additional effects.

But at this point I'm not even sure you'd need the ability scores; the percentiles would be enough. I can hardly think of a task a PC should be able to attempt without getting better through leveling. Breaking down doors, for example, could certainly improve with practice.

"But why not just roll under every ability, like in The Black Hack, etc.?" This is doable too, but I like the small increments from level instead of raising attributes directly. And the curve from my method, going from around 30% to 80%, feels more akin to D&D’s zero-to-hero style than starting at a 40–50% chance of success.

And, well, I just like the d100.