d20 Natural 20 Press Tournaments, Fairs and Taverns.pdf
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Requires the use of the Dungeons & Dragons®
Player’s Handbook, ird Edition,
published by Wizards of the Coast®
2
Tournaments,
Fairs, & Taverns
by Peter M. Ball · Ryan Z. Nock
and Russell Morrissey
P M
Russell Morrissey
I A
Danilo Moretti
(and a few i ne folks from the EN World community)
C A
Danilo Moretti
Natural 20 Press and the writers of
Fairs, and Taverns
would like to thank the EN World
community for contributing much of the material in this
book, and for being willing to give advice and critiques
to help make this as good a book as possible.
G D
Duncan Fielden
E
Ryan Z. Nock
A C
A Dragon’s Hoard
Daniel Still
Baal’meral’runn
Lysle Kapp
Bear Wrasslin’
B. R. Davis
Board Tumbling Game
Quim Ball-llosera
Conjuration Combat
Chad Imbrogno
Drinksmash
Phill Sunbury
Drunken Daggers
Maddman
Everyman’s Fireball
Lysle Kapp
Squashgoblin
Andrew Anderson
Temperature Climbing
Lysle Kapp
Tower of Castilo
We would also like to thank our artist, Danilo Moretti,
for surprising us with his great talent under immense
pressures of time. Sadly, we underestimated how big this
book was going to get, otherwise we would have given
him more work.
Peter would like to thank Sean, Schooter, Murray, Craig
and Melissa, who will be putting those drinking rules
to good use in the very near future. He also thanks
his l atmates, Hannah and Eric, who didn’t kick him
out after the indoor football games and dusk to dawn
writing sessions.
James P. Mullen
Tripstep’s Ladder
Lysle Kapp
Trollbridge
Morgan Davey
Ryan Nock would like especially to thank God, whom
he forgot to thank the i rst time around. “I greatly
appreciate the direction you’ve made available for my
life, and I’ll try to make sure I portray you well in my
next book.”
Additional material
Daniel R. Collins
for joust and melee
Alternate rules for
David J. McKee
Drinksmash(Stonehead)
Natural 20 Press is an imprint of EN World. Please visit
http://www.enworld.org for more information.
Inspiration for the Hall ing
Maddman
entry in the Long row section
Gin and Rabbits
Unknown
and
Tree Game
contributors
All other material
Peter Ball
Russell Morrissey
Ryan Nock
O G C
: Everything in this book other than art, the product title, “Natural 20 Press”, “EN
World” and this credits page is designated as Open Gaming Content.
A
Natural 20 Press and the writers of
Tournaments,
Contents
3
P
4
C S: F G
42
A Dragon’s Gold
42
C O: R G
5
Board Tumbling Game
44
Degree of Success
5
Squashgoblin
44
Drinking
6
Temperature Climbing
46
New Feat
8
Tower of Castilo
47
Professional Gambling
9
Tripstep’s Ladder
49
New Skills & New Uses for Old Skills
9
New Feats
11
C S:
R G F E
Tournaments
11
50
Layout of Games in the Following Chapters
13
Taverns
50
Fairs
51
C T: C G
14
Tournaments
51
Arm-Wrestling
14
Create a Hook
52
Card or Dice Games
14
General Notes
52
Drinking
15
Descriptive Notes
53
Long row
15
Sites of Interest and the Guide NPC
54
Races and Chases
16
Encounters
54
Strategy
19
A Few Words of Advice
55
C T: M T
20
Archery
e Black Eagle Pennant
56
20
Locations at the Black Eagle Pennant
58
Crazy Ernie’s Bear Wrasslin’ for Crazy Folk
21
Guide NPC
59
Drinksmash
22
Encounters at the Tourney
59
Duelling
22
Field List
23
e Market of Shadows
60
Jousting
24
Locations at the Market of Shadows
61
e Tree Game
26
Guide NPC
63
Encounters at the Market of Shadows
63
C F: T G
27
Drunken Daggers
27
e House of the Badger
65
e Everyman’s Fireball
28
Locations at the House of the Badger
67
Gin and Rabbits
29
Guide NPC
68
Stageless Play
30
Encounters at the House of the Badger
69
Stage Contests
31
Trollbridge
32
A:
T R S
70
Random Stall Contents and Merchant’s Wares 70
Quick Entertainers
Young Wits
33
C F: M C
34
70
Baal’meral’ruun
34
Twenty Potential Menu Meals
71
Conjuration Combat
38
House Specials or Imported Alcohols
71
e Game of Forms
40
New Spells
41
4
Preface
“A t Wrl’s Gm, n W r ts Plars”
Entertainment is one of the main social needs of any
person or group, part of the continuing efort to stave
of the boredom and monotony people loath in everyday
life. Forms of entertainment have developed through
millennia of civilization, ranging from myriad forms
of storytelling, to artistic creations and performances,
and most importantly, games and competitions. Games
are one of the most compelling and complicated
forms of entertainment, because members of society
can participate in them, whereas many other forms
of entertainment simply leave the common person as
a spectator. ough some games (particularly sports)
can primarily only be enjoyed from the sidelines, most
common games can involve anyone as a participant.
L
e key to utilizing this book to its full potential is to
remember you can easily give a new description to
material that doesn’t it your view of your campaign so
it works in your world. To assist in inding the material
you’ll want, the following section summarizes the
chapters of
Tournaments, Fairs, and Taverns
.
Chapter 1: Rules of the Game
presents a few over-
arching rules that apply to several other sections of the
book, including rules for drunkenness, an explanation
of the Knowledge (gaming and gambling) skill, and
guidelines for roleplaying large tournaments.
Chapter 2: Classic Games
details a handful of
games that are relatively simple in premise, and thus
are common to many diferent societies. Most of these
games are competitions of skill or physical ability that do
not require large groups, which might explain their wide-
reaching appeal.
rough years of adjustments and adaptations, many
games grow to be more than simply ways to provide
entertainment, but rather an artistic aspect of their
culture, as identifying as language or government.
Indeed, in many ways, games and competitions could
be considered an artform, a masterpiece work of activity
often overlooked beside painting or sculpture. Regardless
of how they are received, however, games are an
important and integral part of society.
Chapter 3: Martial Tournaments
includes seven
games based around one of civilization’s primary
concerns – combat. ey range from such rural and wild
entertainments as wrestling bears, to the legendary and
noble tournaments of archery contests and the joust.
Chapter 4: Tavern Games
introduces seven games
that it with the raucous and bawdy feel of many taverns.
From card and dice games to dagger tossing and more
dangerous kin, tavern games might convince you to
actually want to start a game with “So you’re all sitting
in a tavern…”
In a roleplaying adventure, competitions and games
hold a unique place, a game within a game, and as such
they are versatile tools. Game masters can use them to
add lavour to a setting, to counterpoint more serious
events elsewhere in the adventure, or even as adventures
themselves, while players can use their character’s
participate in games to develop personality quirks or
prove their might in ways that don’t require leaving a
wake of blood. Some villains might toy with heroes by
forcing them to entertain him in a game, or a stubborn
informant might only be willing to provide his knowledge
if he can be beaten in his favorite sport, or the characters
might simply want to interact with everyday folk to prove
they’re real people.
Chapter 5: Magical Competitions
showcases three
games that rely on magical power, one a wizard’s ield
sport, another the magical equivalent of a cockight, the
third a game of inventiveness and quick wit.
Chapter 6: Festival Games
opens up six games for
public entertainment. ese games may be common
sights at fairgrounds in a fantasy realm, and the fun that
others are having might encourage PCs to join in the
fun.
Tournaments, Fairs, & Taverns
presents twenty-nine
games that can it easily into a fantasy setting (most, in
fact, don’t even require magic and can it any setting), and
also gives advice and guidelines for running adventures
that incorporate these games. Hopefully, the games
and rules in this book will add lavour and charm to
your adventures, because after all, lavour and charm is
entertaining, and why else do we play these games?
Chapter 7: Running Games & Festive Encounters
gives brief advice on how to make games within the
game have impact. It also describes three sample settings
in which to use the rest of the material in the book. Any
of these settings can easily be dropped into a game as a
location for an adventure, even if you don’t want to use
the presented games. We suggest that players not read
this section, since it might spoil some of the surprises of
those locations.
Chapter One:
Rules of the Game
5
is chapter presents rules that will be used elsewhere
in the book. None of these are mandatory additions to a
game, and the game master might choose simply not to
use them if he thinks that it will be more fun for alcohol
to have no efect on the heroes, or if he’d rather roleplay
out a 200-person grand melee ighter by ighter. ese
rules are provided to help assist you in using this book,
but in no way feel constrained by them.
the two systems. Attack and damage rolls determine who
succeeds and how fast in combat, not a DS rating.
Using Degrees of Success
Each competitor begins the competition with a DS of 0.
ere are two types of DS.
In cases where competitors are each trying to achieve
the same goal independently
(a foot race, for example):
Each competitor makes a series of skill checks. e skill
check result is added to the character’s DS. us, though
you might make a single bad roll, you could still be ahead
because of good rolls earlier. is is called Direct DS.
In cases where competitors are directly opposed and
equal opponents could be at a stale-mate for some time
(an arm-wrestle, for example): Each competitor makes
a series of opposed skill checks. If the leading character
wins, the diference between the winner’s skill check result
and the loser’s is added to the winner’s DS. If
the trailing character wins, the diference is
subtracted
from the leading character’s DS
(this can result in a DS below 0). In this type
of competition, a lot of “to-ing and fro-ing”
may take place. is is called Opposed DS.
Degree of Success
Standard skill rolls merely indicate a result of success or
failure. Degrees of Succuess are a new d20 mechanic for
resolving
how well
you do something when compared to
someone else. Additionally, these rules skew the results
in favor of skill or ability over those of random chance.
When should you use Degrees of Success?
e Degree of Success (DS) rules should
only be used in competitions between
people or groups, or against a preset clock
or previous record. ey are used when it
is important to know how well, or how fast,
or how accurately you accomplish a task.
Do not use these rules in combat in place
of normal attack rolls, or when a character
is simply trying to accomplish something.
ey are used when you are trying to do
better
than someone else.
Simple
Degree of Success
If you don’t want to use
the listed rules, use these
three steps to break ties
(i.e. situations where both
competitors succeed in their
skill checks) easily.
Target Number
e Target Number is used to determine
when one of the competitors has won the
contest. e irst competitor whose DS
reaches the Target Number has won the
competition. Alternatively, it may be more
important who has the highest DS in a
given period of time or rounds. e way in
which DS is used is described in each game.
Contests with low Target Numbers are over
quickly, sometimes after only one or two
checks; those with higher Target Numbers
(such as a game of chess) will last much
longer, although a contestant with a large
advantage over his opponent may be able to
achieve victory fairly quickly. e Degrees
of Success are a good indication of how
close the contest was. A competition with
only narrow leads in DS represents a very close game, the
likes of which make spectators lean forward in their seats,
caught up in the drama of the competition.
The winner is the character
with the highest modier to his
d20 roll (as determined by skill
ranks, ability modiiers and
other bonuses).
For example, you should use these rules for
arm wrestling, but not for bending a cage
of iron bars. Likewise, though you wouldn’t
use them for a simple climb check to see
whether a character can scale a clif, you
should use these rules if two competitors
are trying to see who will reach the top
irst. Since it is quite possible that both
climbers could succeed all their climb
checks, some other method is helpful in
seeing who edges out as the winner.
If their modiiers are tied,
check only the modiiers from
their skill ranks and synergy
bonuses, if applicable. Thus,
an experienced chess player
will have a very slight edge
over another chess player with
fewer skill ranks but a higher
Intelligence score.
If both competitors are still
tied, roll again.
Never use the Degree of Success rules in
combat situations involving attack and damage rolls.
e Degree of Success rules do for skills much the same
thing that hit points do for combat, so do not confuse
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