Lingering Shadows Part 1 - Campaign Stories

Read for fun, or for ideas in your own campaign!


This story comes from the community-created Share Your Campaign series, where the Eternity TTRPG community shares their games' stories. To see more from this series and others, visit the Share Your Campaign page.


Main Characters

Vatra: born of a wealthy family, Empyrean, secretly - killed his own parents

Drogi: ex-soldier, Human, cursed to not use legs (stabbed in the spine) and in a wheelchair

Iceliat: one of the few original Ateri, owns human slaves

Soudce: chancellor

Beatrix: ex-Supreme Company soldier, suspected to be dead

Ekern: Vatra’s house guard, witness to Vatra escaping

Shield: a master blacksmith in the party’s service

 

Vatra

“Do you have anything to say in your defense, Vatra?” Chancellor Soudce, an older Empyrean, sat elevated behind a podium with a look of stoic indifference. His robes were a gentle mix of dark blue and violet with transitions depending on how the light hit. His hair was long, white, and thinning, slicked back and tied to expose all the sharp angles of his face. His eyes were a storm cloud shade of gray now, with spider web-like wrinkles expanding from the corners. His frame was softer than it was decades before, though it hinted at a history of well defined muscles. Despite his age, he held himself with a commanding presence. When he spoke, it felt like a crime to interrupt.

 

The courtroom was an older house of worship repurposed to accommodate large gatherings such as this trial. The stained glass windows had been removed and reused for the new structure, so the space remained empty allowing the elements, birds, and noise to flow through uninterrupted. The weathering of the sill curved and cracked with white splotches left by perching birds. The light, at this moment, showed through to highlight where Vatra stood. A wooden box with a simple bench for him to sit and listen to the accusations placed upon him. It was warm and calming despite the predicament. Vatra made sure to look at everyone in the room before speaking. His face was calm and relaxed, but he could feel the muscles underneath try to tighten into an expression of concern. His crimson robes hid his small frame and his shaking muscles. The spectators couldn’t see it, but to him it felt like the world was quaking.

 

Vatra steadied himself the best he could. Inhaled deep and began to speak:

 

“You all know my family. They have been here for generations and grew to be an affluent, contributing part of this town. We have been charitable and generous. We have helped feed the hungry and clean the ones who call the streets and narrows “home”. I don’t say these things to brag, but to express the kind of stock that I have come from. My parents were well established and educated Empyreans. Many of you knew them. Ate with them. Laughed with them. Cried, even. They were wiser and more adept at spells than I. To me, they were like gods. Now look at me. One thing I've learned during my time away is that I'm a fragile being. I have had to go into my Lich form at least five times since being gone, and a few of those times were during a.friendly sparring match. I am physically weak and my magic has a tendency to miss.

 

I didn’t hear of my parents’ death until six days ago, and how I’m the prime suspect. I came here with my party as soon as I could. I'm told that my parents were killed by a blade. Now, imagine me trying to take on two powerful Empyreans, leaving without a drop of blood on my hands or clothes, then jumping out a second story window, as this so-called witness proclaims. And during this time, not once did I go into my Lich form? None of this fits what I'm capable of.

 

I'm told it was my family's guards who came after me, making a raucous outside.. I was under the protection of city guards, who told me only what they knew: there were bandits causing havoc. Why would my family guards just not tell the guards what happened? While in the cells, we were immediately attacked and our natural reaction was to defend. Had it not been for the guards who gave their life to protect me and my friend in the wheelchair, we were sure we would have perished. Once it was possible, we fled as far and as fast as we could to recollect and assess. Instead of going back and taking that risk so soon, I decided to help my new friend on his own personal quest to cure a curse that left him immobile.

 

This entire time I've been gone, I've done nothing but help try to cure a curse of someone I hardly know. Our lives have been in danger since the day I was chased away. I have gained nothing from the deaths of my parents. I have no riches. We got by doing odd jobs and catching what we ate. I have no power. No one knew who I was and wouldn’t believe me had I told them. I was wearing what I left with and looked disheveled. After running around this continent, we are no closer to finding the cure for my party member.

 

We live in a time where we can be cursed to not walk. When people can be cursed into becoming a lich and be cured a few days later. Ghosts inhabit armor and mock us while we fight. We were affected with hallucinations causing us to kill people who literally helped us ten minutes prior.

 

I can't tell you who did it. It could've been a house guard capable of using a knife properly and familiar with the house layout and passages. I’m told my Uncle is in control of my family’s assets. Could it not be a family member trying to use politics to trick the populace to love him with promises of goods only for his real purpose to come later. I do not accuse him of this. I only point out the possibility. I’m told a high wizard sensed my magical marker at the scene. Could it not be a wizard who was the only one to sense a presence similar to mine to gain access to the artifacts my parents may contain.

 

I want the same as my parents. I want the best for this town. This land. This world. And now, there is a reborn Phoenix reeking havoc in the skies above the Isles of Valerian. In its infancy, it has been able to create its own home the size of an island. We have seen the beast. It carried us out of the mountains without effort. We may be the only ones willing or able to battle it. But, here we are, wasting time on whether or not I killed my parents under impossible circumstances with no known motive.

 

Set me free and let me settle my familial affairs appropriately. Let me find cure to the curse of a soldier who helped fight for this land. Let us defeat this newborn beast. If you imprison me, kill me, because the world is at the whim of this beast. We were scratched and saw visions that resulted in us taking the lives of innocent, good men. Imagine what power would be unleashed once this Phoenix matures.

 

I've come back to town, peacefully. Using my family influence I'd like to prepare my party for the upcoming storm. If you stop me, then you've killed us all.”

 

Chancellor Soudce remained statuesque, but the audience silently murmured to one another in a fog of disbelief and skepticism. A few men and women could be heard whimpering in impending fear. The audience was divided by class and status. The nobler people were in the overhead bleachers, and the commoners were on the floor level and peeking through the windows. The commoners spoke of fear for their family’s safety. The nobles spoke of concerns over their assets. The commoners seemed to know more about the happenings over the Isles, but the nobles seemed more concerned over the worries closer to home.

 

Vatra took in the scene feeling more confident now. He felt if you can get people to talk, they’ve heard you. If you can get them to feel something, even fear, they remember you. His shoulders relaxed. The air felt different now: cooler. It almost felt like home again. Looking out the glass-free windows he finally had the chance to take in the world outside. He thought to himself, “How long has it been Fall?” The short, kempt ash trees still had all their leaves varying in differing shades of red and orange. Every tree was without a single green leaf. A gentle breeze made the trees lean slightly to the left with a soft, reciprocal bounce back to the right. Vatra could tune out the audience and listen to the rustling and a few birds singing.

 

No one was looking directly at him. He believed he could just walk out if he chose to, then remembered that the Chancellor was still watching over the room like an old fashioned, loyal kingsman. Chancellor Soudce closed his eyes and breathed in deep. Repositioning himself, he cleared his throat, and just like that, the room grew quiet. Everyone’s conversation halts in a domino-like fashion. Vatra thought it was awe inspiring to see. Once the room was silent, he gave the jury the order to enter the deliberation room to decide my fate. In reality, it was truly up to the Chancellor what would happen next. Allowing the jury to deliberate was more of a show of faith to the public that your peers were responsible for what would happen. Even if found not guilty of a crime, the Chancellor would give a punishment he seemed most fit. You could be found not at fault for domestic abuse by the jury, but the result would still be a type of community service or probation under the supervision of one of the more rough handling officers.

 

Chancellor Soudce’s gaze remained on Vatra as the jury left the stands and the room. Vatra returned the gaze in a mirrored stoicism. Two heavily robed guards followed the jury in the room and shut the door. A heavy locking mechanism could be heard engaging. “I don’t know what you’re up to,” Chancellor Soudce said in a lowered tone only Vatra could make out. There was no anger or accusation in his voice, just a factual statement. Vatra’s eyebrows twitched into a furrow for a moment, then immediately relaxed. The muscles around his mouth wanted to create a smirk, but he fought it off with aching success. Despite his confident appearance, he could feel his nerves begin to seize again. He thumbed and fiddled with the obsidian ring on his index finger.

 

Eyes still locked, Chancellor Soudce gave a quick neck cock over his left shoulder, signaling Vatra to come to the podium. Vatra stood and approached. The guards were told to allow him to pass, and they obediently side stepped enough to let him pass. The podium was made of a reddish wood, smoothed, polished, and waxed. It seemed to be the most well kept piece of furniture in the room. The Chancellor seemed even more stonelike up close. His skin was smooth and unblemished. His veins and tendons lay just under the skin as if he were still a young and dominant athlete. His face may carry his age, but the rest of him signaled that he could hold his own if he needed to. “Your parents were good people. They helped maintain this city. I agree that you don’t seem like one capable of taking them down, but I still have my uncertainties. Whatever the jury decides, I will honor for the sake of your family. I owe them. Know this, though, I do not trust you and if any new concrete evidence comes to light, you will not have the peace of being imprisoned.”

 

“Of course, Chancellor. My family spoke well of you and your kindness.” Vatra fought the urge to smile coyly. He maintained eye contact to continue the charade of confidence. The room began to murmur again, still about “what if” and “should we”. The noise drowned out the nervous breathing. Some people left knowing that these judgements can sometimes take hours, even days if the accused is unlucky enough. Vatra was certain he’d be freed. Not from his monologue he practiced so many times in his head, but by the concern he was able to create, about a bigger threat and the offer to take care of it. Even if he were to fail, he’d die in prison or die trying to save their world. This was something he never thought he would consider as a young adult: saving the world. Vatra is a nobody. A weak Empyrean, a less than beginner pyromancer, and average at best at all things business. What he was, though, at least to himself, was a defender of peace and balance. As a child he would put an end to fights amongst other children. He helped find the middle ground and got both parties a piece of what they were actually seeking. He got nothing from it, not even a “thank you”. He minded at first, but after a while he accepted that for things to be a good deed, you shouldn’t expect reward or praise. Otherwise, it becomes a job. Something for something. Growing up, though, he noticed that fights and arguments were harder and harder to find balance in. It was no longer who gets the bigger slice of a sweet or who gets to play with the ball next. Who owned the sheep roaming a certain property. Even older, who owned what property? Can you own a human: spouse or fellow man? Can you marry off your children as a means to barter? Everything got more complicated the older he got. Even harder when people whisper promises of goods and services if he sided with them, or if someone offers their view on “how things are supposed to be”.

 

“Go sit down.” Vatra nods and turns away.

 

Walking back to his temporary holding area, Vatra looks over the audience one more time to assess their feelings toward him. Nothing. Everyone is still held up in their own personal concerns. He wasn’t surprised by this. This is how people, regardless of race, are. Humans, Empyreans, and Ateri are all staying within their comfortable niche and mingling at a minimum. Vatra understood there is no changing this. People seek what is comfortable. Little do they know, though, comfort makes you complacent, and complacency makes you an easy target. Vatra began to think of his next steps, only to hear a thud at the jurors’ door. In the moment, he thought the door was being unlocked, but also noted that the sound wasn’t the normal metal pieces hitting. It may not have been metal, but a large object hitting the frame, muffling the true impact. Vatra would have thought that the jurors were having a good argument about the case, but was startled by the sound of a large shriek and another thud. A body being thrown?

 

The crowd gasped in unison at the sound. It was high in pitch and curdled, like a bird choking on its own blood. Everyone was standing now. Chancellor Soudce was immediately escorted by the two guards that separated him from everyone else. When Vatra went to look, the only thing he could see was the fluttering robes snaking through a now open hidden door. The lock disengaged. Two jurors ran out covered in blood. A single guard followed. His eyes were wide with fear and purpose. “Let’s go!,” he yelled to Vatra as he took him by the wrist. He noticed the main entrance clogged by the unorganized swarm of people trying to make their way out. Vatra pointed to the potential exit. The guard, without a thought, pulled and led. Vatra asked what was happening, but the guard could only huff and puff. “We need to get you to your estate!,” he was able to get out. Behind them, a few people must have seen them escape through this entrance and followed suit. He hoped that whatever was causing the fear and possible death did not join them.

 

The tunnel led everyone out in an alleyway. The exit was a shifted piece of wall made of cobblestone and mortar. It must’ve taken both guards to move it based on its size. The Chancellor and guards were nowhere to be seen. Despite the quiet anger and uncertainty of their relationship, Vatra hoped he was safe. The followers gushed out of the exit like a clogged pipe being freed. The guard took a long breath, reoriented himself, and led Vatra towards his estate.

 

At a normal, walking pace, it would normally take about fifteen minutes to get home, but they made it ten. They stopped at the entrance, both stooped over trying to catch their breath. The screams could no longer be heard. The estate was on top of a hill and looked over the town. They watched as the people, who now looked like panicked mice making their way through a maze, found their way to their homes or personal place of business. Still, there was no clear clue to what was happening. Vatra asked “What happened?”

 

The guard sat, still gasping, and leaned back against a pillar. His plate armor rose and fell in unison with his light wheezing like an off tune accordion. When he settled just enough, he said, “They were going to exonerate you.” He needed another moment to catch his breath and he signaled that by putting his hand up, palm facing Vatra. “When the other guard heard this, he,” the guard had to breathe again. “Oh god. I don’t know. He or she ripped off their robes. Pale skin. Purple tattoos? Blue? Can’t remember. So much blood. Ripped a juror's head off like it was an apple sitting on a table. Wings? Two, maybe four.” He stopped. “Gods! Please just let me into your home!” He was shaking now.

 

Vatra put a hand on his shoulder and met his eyes. “Thank you,” he said. “Come.” Vatra knocked on the door. It felt strange having to essentially ask permission to enter his own home, but he didn’t want to seem presumptuous. A house guard answered the door with eyes widened once he saw who knocked. “May we enter?” The guard nodded and chuckled as if the question were a joke. “Find someone to take care of this man. He is under our protection now. Send another to the Horsehead Inn and find my party, an Ateri and a Human in a wheelchair. Then, have someone have my uncle meet me in the study.” The house guard, Wyrm, nodded and guided the town guard away to a nearby reclining chair. A house servant was on the ready with a pitcher and glass of water. She began to head to Vatra, but he lightly smiled and waved with the back of his hand towards the struggling guard. The servant nodded, smiled and looked at Vatra up and down, almost tripping as she stepped away. “Still got it,” he said to himself silently.

 

 

Iceliat

 

Drogi and Iceliat were outside of the courtroom. Drogi, a human paralyzed from the waist down, sat in his chair, the backrest was up against the wall. Once a respected member of the Supreme Guard, he is now being used as a step stool. Looking back and up at Iceliat standing atop of the handles. “Well?” Drogi asked. “What’s happening now?”

 

Iceliat, a human-slave owning and selling Ateri, was peering through the window frame now bored. “I don’t know. Everyone is just standing around now. He gave a speech. People who were sitting are now moving to a different room.” He jumped down and to the side of Drogi and sat in the grass, back against the wall. “Do you think he did it,” Iceliat asked.

 

Drogi, angry and sarcastic, “Do I think he did it? Based on our travels, right, we had to save him multiple times. He hangs out in the back and blasts a fireball every now and then. He hits, maybe, fifty percent of the time. I don’t think he could kill a half dead beetle without legs even if it were in front of him and he had an iron pan.” He unlocked his brakes and turned to Iceliat, castor wheels almost hitting him in the shins.

 

Iceliat chuckled softly with his head turned away. “Yea, I don’t know. He knows something. He could have been playing us this entire time.” He raised both arms up, hands interlaced, and stretched side to side, spine popping with each lean. “Doesn’t matter. He’s helped you for nothing, so far. What’s he got to gain?”

 

Drogi, almost insulted, “Nothing! He wouldn’t have made it this far without us! Maybe check that asshole you call a mouth before you say something shitty again, huh?”

 

Iceliat wondered how someone so crass could have been such a respected member of the Supreme Guard. He thought that maybe a brain injury happened in conjunction with his inability to walk. “Hmm? How,” he paused, “human.”

 

Drogi tried to drive his leg rests into his shins only to be stopped by a foot pushing an arm rest and spinning him around. Backrest exposed, he kicked again, sending Drogi out of his chair and tumbling to the floor. He cursed, spat, and climbed back into his chair. Recentered, he turned to face him and said “You’ll get yours, slave owner.”

 

Iceliat side-eyed him and thought to himself how Drogi wouldn’t understand. There’s history, business, and cultural expectations that would just go over his head. He stood, picked up a stick and started plucking leaves and smaller sprouts. He was going to do something childish until a screech was heard. “Oh?” Iceliat turned, jumped to hang on the window sill, then pulled himself up to assess the situation.

 

Drogi cursed again, “You could’ve just jumped? Why’d you use my chair? What’s happening, asshat?”

 

Iceliat watched as the two guards protecting the Chancellor pressed a few stones on the wall behind the podium and the wall shifted and slid to the side. Bloodied people left the room the jurors entered, then a guard who bee-lined to Vatra. He was able to glimpse into the room where the torture was happening and saw what looked like a harpy leaping and ripping the jury apart. As much as he wanted to help, his body ready to fight, he knew this was beyond his ability alone. The monster was quick and vicious. The room would have prevented him from using his distanced abilities and Drogi was too hack happy. The swinging blades would most certainly get an innocent injured or worse. The guard and Vatra were heading through the wall opening, as were a few witnesses to the new exit. The juror room door burst into a shower of splinters exposing a figure unfamiliar to him.

 

Before he could get a good look, Drogi grabbed him by the leg and pulled down with a “What the hell is going on!”

 

Iceliat stumbled, feet crossed, fell to his rear, then readjusted. He stood and told Drogi it was time to return to the Inn. He took off before he could hear Drogi say something in protest or curse. Drogi, of course, did protest and curse. Iceliat jumped onto the main road that led to the inn and was shouldered by multiple panicking citizens. Shouldering back, he was able to make his way to a clearing. He turned back to see if he could see Drogi. He did. He was wheeling up the slight incline yelling and pushing a few of the people resulting in some eating dirt and rock. “Drogi can take care of himself”, he thought to himself.

 

The Horsehead Inn was simple in design. It was essentially a reinforced wooden box with square windows cut into place and open slatted window shutters. There was only one entry which acted as the only exit. It was a real fire hazard. The front door was colored in a chipping blue paint and had a door knob in the center. The inn’s wooden sign was hanging by a single eyelet, not because of age, but the wind unhooking the eye from its designated partner. Iceliat entered to be met by the innkeeper who had intended to step outside to smoke a pipe. They performed the awkward side-step dance before Iceliat sighed and motioned for her to pass. The interior was made of an unfamiliar wood plank. As with the outside, it was a simple design. There were only two rooms. One for the innkeeper to herself, and one large room with four bunk beds. Item security was not guaranteed and food was not included. For that, you’d have to go to the building next door to eat and drink. The bathroom was an outhouse behind the inn with a door that wouldn’t latch, so one hand was normally occupied holding it shut if the person required privacy. It was well kept otherwise, the waste catch was cleaned every other week and processed to be used as fertilizer. It was a process Iceliat’s servants were well aware of for the shared space.

 

Iceliat grabbed everyone’s items, potentially even some that didn’t belong to them. As he skillfully balanced everything out of the shared room, through the common area, and to the entryway, he was stopped by a man’s voice. “Iceliat?” he asked in a low, almost growling voice.

 

A second, more familiar voice, jumped in with, “Yea, that’s him! Take him in! He’s stealing all my things!”

 

Iceliat considered dropping everything and grabbing one of Drogi’s short swords. Before he could decide, the first voice asked, “Really?”

 

“Gods, you’re shit at this.” Drogi was slightly behind the stranger, but it was very obvious it was him at this point. “Iceliat, this is one of Vatra’s house guards. He’s been sent to bring us to him. Now be a good boy and carry my things. You know? Like a slave would.”

 

The guard grabbed a few of the items from Iceliat and placed them onto Drogi’s lap and around the handles on the back. Iceliat was able to shoulder and sling everything that belonged to him. He could now see Drogi eyeballing the guard like a bad joke. “Come,” the guard said. “I believe the master is in danger.”

 

“Whoa-ho! You hear that, Iceliat? ‘Master’ he says. All of a sudden murder suspect number one is a ‘master’.” Both the guard and Iceliat move past Drogi. “Oh-ho-ho! Let’s not keep the master waiting shall we?” By the time Drogi made the complete rotation the two were well ahead. “Hey, fuckers, come here! I’m being funny!”

 

Iceliat had to slow his pace from a glide to a light jaunt to allow the guard to lead the way at a more comfortable speed. He began to think to himself, “What have I gotten myself into? Alive hundreds of years, happily doing my trades, all the things I need. I was content. Why did I join these two? Now, I’m heading to the home of a potential killer. Potential, though? Sure, he’s not the best fighter, but he always has a look of plotting the next few steps and contingencies. What are we to him? Tools?” The guard tripped and rolled. Iceliat helped him up and they continued. “How much further, guard?” he asked.

 

The guard, between breaths, replies “It’s just up this last hill. You can see the archway. Go ahead. Thank you for helping me, but please don’t tell the others.”

 

“Humans,” Iceliat thought to himself, “so concerned about the opinions of others.” When he arrived at the front entrance, he was greeted by another guard. This guard led him through the house, up the stairs, and to Vatra sitting in a den of books, a fireplace, and refreshments laid on end tables.

 

Vatra placed a glass of water down and stood. He approached Iceliat and looked him over. “Are you hurt?” he asked. “Is Drogi with you?” He signaled one of the servants to bring Iceliat a drink.

 

“Drogi is on his way. You know why the delay.” Vatra nods and welcomes Iceliat to sit. A drink is ready for him in what looks like a silver chalice with engravings of filigree and embedded stones. He took a sip. Mead. A good, sweet ferment. He could tell the honey was made by bees that favored citrus plants as it gave a tangy sensation at the tip of his tongue. He closed his eyes and savored the drink. Vatra asked if it were to his liking and similar to what he would have at home. He nodded and responded with, “Our bees don’t have access to the flowers these bees are drinking from. It’s flavored more like a quince. Not better or worse, just different and inviting.” Vatra was looking into the fire, nodding.

 

“We haven’t really had a chance to relax somewhere familiar in some time, have we?” Iceliat shook his head and took another sip. “We don’t know anything about each other except surface details. We fought together. Almost saw death together. Even saved each other a few times. I’m including Drogi in this, of course.” Vatra’s eyes never left the flames. “I would like to tell you everything, but not yet. Not today, at least.”

 

Iceliat shrugged, “What I don’t know now is the same as what I didn’t know for the past few months. We are alive and I don’t sense any urgency.” He was staring into the flame now as well. “You’re a pyromancer. Do the flames speak to you?”

 

“You know, sometimes I wonder. I wonder if what I see in the flames is real or something I’m making up to convince myself and others that my skills are growing. The thing is, what the flames show are never set points. They’re more like ‘what could be’. Wouldn’t knowing ‘what could be’ make me decide to live my life in a way to make it true or false depending on how I want the outcome? What’s the point in looking into the flames if I could just make up what I want as I go along anyways? Besides, don’t the flames only show me what the fuel allows it? Right now, there’s a bird.”

 

“A bird?”

 

“Yea. Just some wings and what looks like glass breaking. But, look at the logs. The way they’re positioned allows for air flow to change the way the flame builds.” Iceliat grabs a poker and adjusts the logs into a different configuration. “Now, the image changes. If the image were a true sign, why would it change? Now I see a person in a box. Maybe made of glass.” Vatra takes his drink and throws the liquid into the fire. The sudden hiss and cracks of scorched wood now releases a light plume of smoke. “With the fire out, I see a ghost. What sense does that make? I’m not a smoke reader.”

 

Iceliat rolls the logs a few times and creates a small cave underneath, then gently blows. The air brightens the embers and soon relights the fire. Vatra looks with a surprised awe. “You’re right. It doesn’t matter what you see or what you think you see. It doesn’t matter what you hear or who you listen to. The only thing that matters is what you do. Regardless of what others may think, it’s up to you to decide if it’s the right thing for you.”

 

“Because what’s right for me, may be wrong for others.”

 

“Someone is always losing, Vatra. Sometimes we do bad, even terrible, things because of the final result. Yes, I own and sell human slaves. They’re great for business. Someone is always looking for a way to make their own life easier. If no one else is going to sell them, why not me? Are your servants free to leave? Where is the line that separates servants and slaves? Is the word ‘servant’ just a useful word to use because there is a stigma against the word slave? The prisoners of this land. Do they not break stones to make way for roads? They benefit nothing from this service. No time is taken from their sentence, no special privileges are provided. If they die during the work, then that’s one less prisoner to feed. Where is the line between working prisoner and slave? I don’t want to sell people. I don’t want to be sold. I know they don’t want to be sold. Families are being separated with every purchase. I also know that I, myself, don’t want to be starving in the streets. Not again. I try my best to vet the buyers. I try my best to sell these people to others who may still treat them like people. With some common decency. I know how it’s all wrong.”

 

“But, it’s business.”

 

“It’s business. It’s a damn, profitable, terrible business.”

 

Vatra calls over the servant girl who brought the drinks earlier. “Maili? It is Maili, correct?” he asked, She nodded obediently. “If I let you go today, what would you do next?” She looked as if she felt pressured and answering incorrectly would result in her going missing. “Speak freely.”

 

“Well, I-I don’t know, master.”

 

“Vatra. For now, you may call me Vatra. We are equals now.”

 

Maili couldn’t tell if she was being tested. “I-in truth, ma- Vatra, I believe I would die.” Both Vatra and Iceliat leaned in now. “Y-you see. This is all I know. I was born into this. Y-yes, we are not free in the fullest sense, but we are housed, fed, and cleaned.”

 

“Like dogs?” Vatra asked.

 

Not once looking up, she continued, “N-no no, mas- Vatra. We are free to have relationships. We are not beaten into submission or told to stop being who we are. This is merely a job with perks. When we do well, we are given more griever than promised and we may enter the town at night. I have seen friends find love. I have seen friends bought from their owners to be freed and start a family of their own. Yes, some are bought and transplanted to who knows where, but no one is trying to change who we are. Yes, slavery is a terrible concept, but we here are not slaves. We’re just workers who don’t want to disappoint.” She paused, smiled to herself, looked up then back down to her clasped hands. “I-I’m sorry.”

 

Vatra responds with, “No need, Maili.” He reached into his pocket and pulled out a coin purse, then threw it into her lap. “Take the servants into town tonight. Enjoy safely. There was a skirmish earlier, but everything seems to be calming down out there.”

 

Maili stood without hesitation. “Thank you, Vatra, thank you.”

 

As she began to leave, Vatra stopped her once more, “Oh, Maili. It’s ‘Master Vatra.” She dropped her head, nodded, and left. “I must keep up the appearance to not seem weak. Kindness can only be taken so far before others see it as weakness.”

 

Iceliat finally snapped back into himself and thought about what he saw in the old church. “There was a thing in the church”

 

“You saw it?”

 

“No, not quite. It was human-sized for sure, but off. It had wings and, maybe, tattoos.”

 

“A guard told me it was another guard. You may have seen him downstairs in the reclining chair. Apparently, this thing was disguising itself to enter these judgements. Maybe it heard something it didn’t want to and just snapped.”

 

“You think it was after you then?”

 

“No. It could easily be a coincidence. My uncle told me there have been stories lately about a woman luring men into the alleys at night and ripping their heads off with clean cuts. These instances were happening before we arrived. These are also stories told by drunkards in a town where it is common for bears to enter, rummage through trash, and encounter an unlucky drunk.”

 

Before Vatra could continue his thought, noise was coming from downstairs. “Let me in, shit-ass! I was invited by your master.” Drogi wheeled in and saw the refreshments, “What’s a cripple gotta do to get a damn drink in this place!”


Author Credit

Sean Kuttner

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Jacob Tegtman Eternity TTRPG Creator

Author - Jacob Tegtman

Dear reader, I hope you enjoyed this article. Tabletop gaming has been a passion of mine since I was 6 years old. I've played just about every game from Dungeons and Dragons to video games like Final Fantasy. These games have inspired me, made me laugh, made me cry, and brought me endless hours of enjoyment.


I started Eternity TTRPG - and the indie tabletop game that goes along with it (Eternity Shop) - to share my love of gaming with others. I believe that in our technology-driven age, tabletop games help bring a sense of magic and community back into our world.


If you love the site, please share it with others! I have lots of gaming-related material for you to peruse and use in your own gaming sessions. If you have any questions about the site or want to contribute, just send me a message using the "Contact" page, which you can find in the site's footer.

Josiah Mork: Creator of Starset RPG and Pen RPG
By Jacob Tegtman March 27, 2026
Transcribed content from our recent YouTube video: https://www.youtube.com/watch?v=9In5gaz65s8 Transcription Jacob Tegtman (00:01.848) Hey everyone, welcome back to Eternity TTRPG, where we cover really everything tabletop gaming related, Dungeons and Dragons. Now we're finally jumping into some of my favorite topics, which is game design and getting to spend some time with great game designers up and coming, people who are established. And today we're interviewing Josiah Mork, who is the owner and lead designer for Hoodwink Gaming. So welcome to the show. Thanks for being part of the channel. Josiah (00:33.142) Thanks, it's my pleasure. Yeah, it's been great working with you on eternity and getting to swap ideas. So I'm really looking forward to being able to talk through some of that process with you. Jacob Tegtman (00:44.478) Awesome, Ben. Yeah, I've been looking forward to talking with you. We always have a lot of fun when we catch up. I think this will be a really good conversation. There's so many parts of your mini games that I've wanted to ask you about for really such a long time. And it always felt like we were working on some project or discussing something. But now I have a really good excuse to just nail you down for maybe about an hour-ish and hopefully die. Josiah (00:50.028) for sure. Josiah (01:04.972) There's always something. Jacob Tegtman (01:14.352) dive into what you've been doing and why you've made some of the decisions you've made, which I think are really interesting. I'm sure, yeah. So do you just want to maybe start by introducing yourself more, know, who you are, what you've done, and yeah, where you're going? Josiah (01:20.968) Yeah, well, hopefully I've got good answers for you. We'll see. Josiah (01:32.756) Yeah, absolutely. yeah, like you said, I'm Josiah. I'm from Michigan, living just out of DC now. I've been designing and playing board games since my early teen years, I guess I would say. I love creative writing and storytelling. That's just been an amazing way that I've found to connect with people. My actually my undergrad and my grad degrees were in communication and looking at how communication connects us and strategies and stuff behind it. And so I find a storytelling a really compelling way to do that. But before I had gotten into school and whatnot, you know, I was homeschooled. I was in late middle school and I was reading this cartoon. Maybe you are some of your viewers have seen it. Foxtrot comics. And there are some. Have you seen it? Highly recommend, highly recommend. It's really funny. But there are these two characters, they're really nerdy middle schoolers and they were playing Dungeons and Dragons in the comic. And I just thought that was the coolest thing. But my parents, know, I'm a Christian, my family's Christian, fairly conservative. And so my parents were more familiar with like the 80s, like D &D scare, very like Stranger Things season four. And so they were not really like, yeah, not really D &D fans. And so I was like, well, okay, I'll create my own. And that's how it all got started, you know? And then it was a great way to make friends in my Boy Scout troop. You know, we would play, would swap ideas, we would... Jacob Tegtman (02:51.202) Yeah. Jacob Tegtman (02:55.042) Not too far ahead. Sure. Yeah, that's awesome. Jacob Tegtman (03:08.12) time. Josiah (03:09.972) you know, go on crazy adventures with rules that didn't quite work. And then over time, you know, I just realized that there were all of these cool avenues to explore and storytelling that D &D didn't necessarily do. And so I just felt really passionate that this is my way to connect with people and connect people with each other is through writing games. Jacob Tegtman (03:30.508) That's amazing, man. Yeah, it's funny, like the ways that we get into gaming too. Like you mentioned those comics. you ever see Dexter's Lab? Okay. Okay. Yeah, was probably a little bit before. Yeah. There was like an episode that was kind of based on Dungeons and Dragons and I saw it when I was like six and that's what got me into it as well. yeah. Josiah (03:39.616) Yeah, well, I've heard of it. Yeah, I've seen clips from it, yeah. Josiah (03:52.972) It's so funny how it seems like every show, know, Community, Gravity Falls, like, there are all these shows of every different genre, and they all have like a D &D episode for some reason. And I love it, you know, but it's so random. Jacob Tegtman (03:58.679) Yeah. Jacob Tegtman (04:05.302) Yeah, like all of them. Me too. Yeah, it is. Yeah. I also like the takes that different shows have on like nerdy board games. I think was like Parks and Rec had, I forget what the game was called. Yeah, you remember it. Yeah. Yeah. That's so cool, man. Josiah (04:20.81) The Cones of Dunshire, yeah. Love that, love those episodes. Jacob Tegtman (04:29.646) So I want to dive into really all of those things more, but what games do you currently have available then? And your website will post it in the show notes as well, but it is hoodwinkgaming.com for anybody who's interested. But yeah, tell us about some of your games. And again, I feel like I want to go into all of these in more detail, but yeah, give us the summary version at least for now. Josiah (04:55.05) Yeah, so it's a little deceptive at the moment. My original titles and kind of most of the games that I do are under the pen brand. So play easily now is the acronym. We have war game and role playing game. But actually neither of those are on the market at the moment. If you go to my website. Yeah, we've got a landing page for the war game and we've got a preview for the RPG. And I've actually I've got. Jacob Tegtman (05:12.95) really? I was actually, yeah, I was checking it out like yesterday, so. Josiah (05:24.422) know, prototypes of both of those here. But they are still in development because of various different reasons of wanting to refine some ideas or just kind of ended up having to move to other projects. So they're almost launch ready. But those are the ones that they're working on for the longest, just the newest editions aren't quite together yet. Jacob Tegtman (05:29.506) Yeah. Jacob Tegtman (05:39.96) Yeah, nice. Jacob Tegtman (05:46.04) Very cool. Josiah (05:46.164) And then the one that I've been working on most recently, and that we actually have a new project launching next month for, is Star Set. So that's a grimdark survival-oriented tabletop role-playing game that we launched initially a couple years ago, and then just did a relaunch for the second edition for, which is much more crunchy, much more mechanical, and much more narrative-based. So really looking forward to building that out. Jacob Tegtman (06:14.542) That's exciting. Yeah, I can attest that game is great. I really enjoyed reading through it. Everything from the design of the book to the art to the way that you have, especially character building in that, I find super fascinating. You can just tell, yeah, the amount of attention to detail in there is like out of this world. It really feels like you guys... Josiah (06:27.148) Well, thank you. Josiah (06:34.966) haha Jacob Tegtman (06:38.478) You took the lore of the game and you baked it into every part of the game. Whereas I think a lot of games like, you know, we'll talk about D &D later. D &D is like the game that's everything. So it's like if it's in a fantasy book or movie or anything, like we'll just jam it into D &D somehow. And, you know, that kind of has its place, but for building characters and stuff, you know, like you don't, I don't know. It's supposed to be able to fit many different genres and you're Josiah (06:42.72) Mm-hmm. Jacob Tegtman (07:08.612) I think what's so cool about is that when you're playing Star set you're playing Star set Because from the very first thing you do with your character and their background and their skills even it's all based on the lore of this whole universe so Josiah (07:19.902) Mm-hmm. Well, I really appreciate that. mean, that's really the heart behind it when we were working on it is, we had a story that we wanted to tell and really created the universe to tell that story. And one of the things, you know, that I picked up studying communication is that, you know, we are attracted to details. And even if it's details that, we haven't necessarily experienced in our own lives. Jacob Tegtman (07:24.963) Yeah. Jacob Tegtman (07:33.324) Yeah. Josiah (07:45.324) hearing vivid details or strong emotions in other people's stories lead us to be more connected with them. And so that was something that we really trying to flesh out in Star Set. hopefully, from the sound of it, it hopefully worked pretty well. Jacob Tegtman (08:00.352) I think so, yeah, absolutely. So, what do we talk about first, man? Like, what do you want to talk about first? Josiah (08:01.452) Thank you. Josiah (08:11.672) man, I could talk about games for hours and hours, so I better let you guide that conversation. Jacob Tegtman (08:14.944) You Okay, I just want to make sure we cover like the big things before we dive into the nitty gritty here. Yeah. Yeah. Josiah (08:24.332) Oh yeah, I mean, I kind of touched on, I guess I'll throw it out there. I'll throw it out there because it's really important to me and kind of the company into my story. you know, I really do, we're about to, you know, dig into the nitty gritty, like you said, and Dungeons and Dragons and all the different games that are out there. And I just think, you know, before whether you're a designer or a player, whenever you kind of step into a game, I think the most important thing and what's in the mission kind of a hoodwink that we try and do differently is that Jacob Tegtman (08:33.379) Yeah. Josiah (08:53.446) The games are just kind of an excuse. Really, the games are just an excuse to get together with people and to have FaceTime with people. And if working in social media has taught me anything, it's that people need that more than anything. And that's why we call it Hoodwink Games, because we kind of have all these substitutions. get hoodwinked into thinking that socializing is something that it's not. And really, it's just fellowshipping with people and joining community and FaceTime with people. and talking about the things that matter with people. And the way to do that from going from stranger to best friend is in my experience games. And so that's kind of the heart behind it. Jacob Tegtman (09:30.658) That's been a cool one. Yeah. You know, it's interesting you bring that up too, because this is something I've been thinking a lot about recently, especially as everybody's been seeing more AI come into their work, into their lives. And I feel that more than ever, people are wanting that human, real human interaction. And so as good as video games are looking nowadays and as fun as MMOs are and stuff like that, and I like all of those, I don't think I've Josiah (09:43.628) Mm-hmm. Josiah (09:53.004) Mm-hmm. Jacob Tegtman (10:03.53) found anything that's as fun is sitting around playing a tabletop role-playing game, especially in person. mean, even, you over FaceTime like this is fun, but something in person about it just makes it one of the best experiences. Josiah (10:09.729) video. Josiah (10:13.142) Mm-hmm. Josiah (10:18.686) It really does. It's those shared memories and those shared jokes. And, you know, I work in politics, doing social media for politics. And the thing that just aggravates me the most about politics, but also religion, people say don't talk about politics or religion because people care about it so much. And it's like those are things that we care about the most. So we should be able to share those with people. But you can't because as soon as you bring them up, you know, there are all these walls. Jacob Tegtman (10:39.48) Sure. Josiah (10:48.062) and games when you've played for a couple hours with somebody and slayed the dragon and made a couple jokes, then it's like, well, okay, now your opinion isn't the thing that I'm defining you on. The thing I'm defining you on is that, you know, you're a half drunk elf paladin or something like, and it just makes it easier. Jacob Tegtman (10:48.416) I guess. Jacob Tegtman (11:04.014) Yeah, that's so true. That's so true. Yeah, it definitely does break down those walls and give you that sense of shared history, even if it's like a shared mental history, theater of the mind. So, yeah. Josiah (11:17.27) Mm-hmm. Mm-hmm. It's great. Jacob Tegtman (11:21.428) I agree, man. Especially when you're doing... So I haven't read through all of the lore of Starseq. There's just so much in there. I've read through a good deal of it. But I think one of the things that also stands out about at least that game, because I know Penn's still in the work in progress... Josiah (11:38.599) the Jacob Tegtman (11:39.446) that, you know, it does cover a lot of political things and it covers a lot of religious things and you aren't like pushing a view on anybody, but just inherent to human life is politics and religion. so games let you approach these topics like in ways that allow you to explore what could be, but in a safe way and have conversations about what could be without feeling like you're being attacked or told. Josiah (11:53.856) Mm-hmm. Josiah (12:01.6) Thank you. Josiah (12:05.836) Mm-hmm. Yeah, that's really the, again, I'm really glad that you feel that way about the game, because that was one of the number one priorities of it, is there are just really hard conversations that should be had. And that game kind of came out of COVID, where there were a ton of hard conversations people were having. And I think you could spend every day, every minute of every day with people. Jacob Tegtman (12:14.306) Yeah, for sure. Jacob Tegtman (12:23.394) That's right. That's right. Yeah. Josiah (12:33.664) but if they're not people that you feel like you can have hard conversations with, then you haven't really been in community at all. And so having a medium like that, where, like you said, I don't wanna tell anybody what they should believe. There are things that I believe are true about God and about the world and about politics and stuff, but those things have to exist relationally for them to mean anything to you. so... Jacob Tegtman (12:39.788) Yeah. Jacob Tegtman (12:50.542) Sure. Josiah (12:58.954) to have that space to kind of explore and talk and then role play through just makes it fun for one thing, but also makes it so much more personal and so much more impactful, I think. Jacob Tegtman (12:59.374) Yeah. Jacob Tegtman (13:10.772) I agree. So what is the next thing that you said you're working on with StarCert? I think I missed that when you mentioned earlier. Yeah. Josiah (13:16.436) Yeah, so my co-writer, Emily, and her husband Ryan, who did some of the art for Star Set, they have actually written and illustrated the first campaign for it. It's called Echoes on Mars, and that's going to be launching on Kickstarter next month. Jacob Tegtman (13:31.822) Okay. Okay, cool. That's exciting, man. So what number of Kickstarter will this be for you? Josiah (13:38.092) Thank Josiah (13:42.294) That's Josiah (13:46.806) seven maybe six or seven. I'm doing this one well I should say the plan is to do it on Kickstarter but changing a lot of things. I'm still talking to them. My wife is behind me. I still want to talk through some of them with her because it had a lot of very negative Kickstarter experiences and learned a lot. So we're to do this one if we end up doing it on Kickstarter very slim down and very different than some of the other ones. So it's a constant learning experience. Jacob Tegtman (13:48.43) Sort of. Yeah. Jacob Tegtman (13:54.094) Sure. Jacob Tegtman (14:16.43) Yeah, I just remember I feel like every year or so I feel like you're launching something on Kickstarter successfully. So at least from the outsider's view looking in, it's like man Josiah just knows what he's doing with selling games. Josiah (14:30.208) You Well, I know a little bit more than I did last time and that's the goal. Yeah.
An anime-style character with long white hair
By Jacob Tegtman March 25, 2026
Transcribed content from our recent YouTube video: https://www.youtube.com/watch?v=si26EW5kj4Q Transcription Summary Final Fantasy Legend Edition TTRPG discussion covered the game's high customization and free distribution via mythos inspiration and iterative research. Final Fantasy Legend Edition Origin Legend Edition is a medium-complexity TTRPG developed over 4 years to emulate the entire Final Fantasy mythos, avoiding a focus only on the SNES era. The core goal was to create a neutral sandbox emphasizing high customization that supports high fantasy, steampunk, and futuristic settings. Design Philosophy and Research The game is distributed for free to continue the tradition of high-quality, free fan-created content within the TTRPG community. Extensive research was conducted on the IP, including cut content and Ultimania books, which led to the design pillars of iteration and experimentation. Customization and Unique Features Character creation allows hybrid archetypes via the selection of 3 classes from over 50 available options with variable progression speeds. Unique Legend Edition features include row-based combat and active defenses, creating a tactical risk-reward system. Details Introduction to Final Fantasy Legend Edition Project : Jacob Tegtman welcomed Mildra The Monk, the lead designer and spearhead of the Final Fantasy Legend Edition project, to the Eternity TTRPG channel for their first interview of this kind. Mildra The Monk expressed appreciation for being hosted and agreed to begin by discussing their background and the nature of the project (00:00:00). Mildra The Monk's Background and TTRPG Contributions : Mildra The Monk introduced themself as a content creator who has reviewed games, run playtests, and conducted over a thousand interviews in the last five years. They cover third-party D\&D material, indie games, and fan games such as Naruto 5e and Dungeons of the Dragoning, the latter of which started as an April Fool's joke that combined five different RPGs (00:01:03). Most recently, they served as the lead designer and project lead for the Final Fantasy Legend Edition TTRPG (00:02:26). Running a Final Fantasy Legend Edition One-Shot : Mildra The Monk mentioned they had been running a one-shot using the Legend Edition for the past few weeks with rotating party members and ran one for Jacob Tegtman as they were planning content on the game (00:02:26). They noted that a community member has been developing a work-in-progress Roll20 sheet for the game, which had recently received a significant update (00:03:26). Virtual Tabletop Support for Legend Edition : When addressing the question of virtual tabletop support, Mildra The Monk stated that they have not done any real coding in at least ten years and lack the skill set to build a custom sheet from scratch for platforms like Roll20 or Foundry. They acknowledged the community's support, noting that people are using their own time to support the game with tools like the Roll20 sheet (00:03:26). Summary of Final Fantasy Legend Edition : Legend Edition is a medium-complexity TTRPG that took about four years to create, aimed at emulating the Final Fantasy mythos. The project originated from Mildra The Monk's pet peeve that previous tabletop versions of Final Fantasy heavily skewed toward the SNES era (IV, V, and VI), neglecting entries like VII, XIV, and XVI which appeal to newer generations of fans (00:04:21). The goal of Legend Edition is to use the recurring Final Fantasy mythos as a neutral sandbox for tables to build campaigns in any direction, prioritizing customization (00:06:43). Game Design Flexibility and High Customization : The game was designed to be equally viable in high fantasy settings, like Final Fantasy III or IV, as it is in steampunk settings, such as Final Fantasy VI or XIV, and futuristic entries, such as Final Fantasy VIII or XIII. Jacob Tegtman noted that playing the game demonstrated that the number of classes and intricate character details allow players to create characters fitting any Final Fantasy experience they desire (00:06:43). Reasoning Behind Free Distribution of Legend Edition : Mildra The Monk explained that the game is available for free because they came up as a tabletop player seeing high-quality fan games that were just as good as paid games, and they wanted to pass along that torch to the community (00:09:44). They expressed the desire for someone to take their work, hack it, and put up their own version, continuing the chain of free content (00:11:02). Research and Design Philosophy for Legend Edition : A major focus of the project was capturing the soul of Final Fantasy, which involved extensive research, including reviewing existing games, cut content from games, behind-the-scenes interviews, and Ultimania books (00:11:02). The core philosophy derived from this research was "iteration and experimentation," which led to the game's foundational design pillars (00:12:16). The Inspiration to Focus on Final Fantasy : Mildra The Monk is a devoted Final Fantasy fan, but other factors drove the project, including a desire to carry on the lineage of prior Final Fantasy TTRPG fan projects like the mid-90s Returners project (00:12:16). A core motivation was bridging the gap between video games and tabletop gaming, using Final Fantasy because its consistent mythology allows for adaptation that goes beyond merely replicating the video games (00:14:29). Avoiding the Trap of Literal IP Adaptation : Mildra The Monk highlighted a common problem with tabletop adaptations of existing IPs, where designers attempt to adapt the source material wholesale, citing the early TSR run of Indiana Jones as an example where they only allowed players to play as movie characters. Instead, people generally prefer to create their own character within the world, such as being a student at Xavier Academy rather than playing as the X-Men (00:15:49). Emulating the Mythos Over One Game : Mildra The Monk emphasized that designers should emulate the overall mythos of a franchise rather than hyperfocusing on one game or one era (00:17:00). For Final Fantasy, this is supported by recurring elements such as job names, play styles, spell names, summons, and abilities that maintain a consistent theme (00:18:09). Classes, Character Creation, and Flexibility : The customization in Legend Edition is demonstrated by the character creation system where players select three classes with different progression speeds, allowing for a unique hybrid character from over 50 classes (00:21:27). This approach is a compromise that provides the strong thematic elements of the job system without restricting player choices, such as customizing weapon lists to be setting-agnostic and avoid favoring one style of fantasy (00:20:06) (00:22:24). Key Design Pillars of Final Fantasy Legend Edition : Mildra The Monk outlined the three major pillars of the game's design: "mythos not setting," "customization is king," and the **phase structure** (00:24:24). The phase structure involves four acts—preparation, exploration, encounter, and downtime—which is loosely inspired by the Asian four-act format (kishōtenketsu) and the Town-Field-Dungeon trinity pioneered by Dragon Quest (00:25:34). The Research Process as a Favorite Part of the Project : Mildra The Monk stated that the research phase was one of their favorite parts, which allowed them to discover early concepts for the video games that were eventually cut (00:27:50). Examples included the early name for Materia being "spheres," which was later revisited for Final Fantasy X, and a puzzle tattoo mechanic for Final Fantasy X's sphere grid, which was cut (00:28:33). Inspirations and Creative Liberties in Design : The research led to design inspirations such as an unused Chocobo Lancer concept art from Final Fantasy XI resulting in the Chocobo Knight class in Legend Edition, addressing the long-desired idea of Chocobo cavalry (00:29:32). The team took certain liberties, like creating the speed-based Dervish to serve as an answer to the Berserker class, and the Ravager as a spell-spamming class, drawing from inspirations like Final Fantasy XIII (00:31:48). Development of the Yo-kai Class : The Yo-kai class began as an idea for a controllable summon, similar to the Aeons in Final Fantasy X, but was changed to avoid replicating one game (00:31:48). The final concept for the Yo-kai, as avatars for Eidolons, was inspired by the design of Yoko in Bravely Second and the concept of the rider or shioal spiritualist in Voodoo (00:32:43). Impact of Extensive Research on Project Quality : Jacob Tegtman acknowledged that the depth of research, spanning Final Fantasy lore, mythology, and diverse concepts like Voodoo, enabled Mildra The Monk to create over 50 classes, each with up to seven tiers of abilities, amounting to hundreds of unique mechanics that synergize well (00:33:58). Mildra The Monk affirmed that this extensive research, modeled after the preparation of Star Trek producer Harve Bennett before producing *Wrath of Khan*, was a necessary baseline (00:36:10). Historical Context of Final Fantasy Combat System : Mildra The Monk highlighted Hiroyuki Itto, the pioneer of the job system and the Active Time Battle (ATB) system, noting that he cited American football and Formula 1 as inspirations for ATB (00:39:09). Mildra The Monk asserted that the shift toward action-based combat, seen in games like Final Fantasy XV and XVI, was an evolution building on foundations laid decades ago by Itto, not a radical shift (00:40:15). Snapshot of Unique Legend Edition Features : For those unfamiliar with Legend Edition, Mildra The Monk listed key differentiators, including high customizability in the job system, easy creation of hybrid archetypes, fewer but more impactful skills, and multiple character creation/advancement methods (00:41:59). Jacob Tegtman added the unique row-based combat and active defenses, such as parrying and evading, which create a tactical, risk-reward philosophy in the design (00:43:17). Future Vision and Upcoming Projects for Mildra The Monk : Immediate future plans include overseeing support elements like new Excel and HTML solo-play sheets, as well as writing world book guides, which are lighter books focused on emulating individual Final Fantasy entries like FFIII or FFVIII (00:45:13). They are also considering TTRPGs based on 2D fighting games, aiming for a defined setting like a fighting game version of Night City, and they intend to create a fantasy-themed mech game and a Wuxia-themed RPG (00:46:24). Ongoing Efforts to Promote the TTRPG Community : Mildra The Monk is continuing their mission to showcase the totality of tabletop role-playing games by highlighting the international scene, including content from Brazil, Germany, and Sweden (00:50:01) (00:52:17). They mentioned forthcoming streams covering the Spanish Anima Universe, Sword World, and *We's Blade*, a game compared to *Panzer Dragoon* (00:51:15). Availability and Support for Mildra The Monk : Mildra The Monk can be found streaming regularly on YouTube and Twitch, on Twitter where they highlight artists and indie games, and in their personal Discord (00:55:07). While Legend Edition remains free, they have set up support mechanisms like Ko-fi for those who wish to leave a tip (00:56:19).
A gnarled, dark tree stands in a misty forest under a pale moon.
By Jacob Tegtman March 22, 2026
Transcribed content from our recent YouTube video: https://www.youtube.com/watch?v=AuryVcZdp4Y Transcription There are kind two ends of the spectrum for D&D races. There’s Story-specific races: These come with a strong, built-in narrative that fits specific campaign worlds or settings, that almost tells you how to play them. Then there’s more Flexible races. These are much easier to slot anywhere because they don’t necessarily come with an expected tone or backstory. You can sort of fit them into any campaign with ease – like playing a human. Some D&D player races feel like they’re built for a specific kind of story. Others feel flexible enough to drop into almost any campaign. Gnarlborn from Crooked Moon… sit somewhere in between—and that’s kind of what makes them interesting. They have strong flavor, but they aren’t restrictive for your campaign. They come with built-in lore that gives you instant roleplay direction, but they aren’t so specific that you can only play them in your Crooked Moon campaign. Welcome back to Eternity TTRPG.  As you can already tell, today we’re looking at a lesser-known player option for playable races, which is the Gnarlborn from Crooked Moon. If you’ve seen my other videos on the topic, Crooked Moon has become one of my favorite D&D settings of all-time. We’re going through each of the races presented in Crooked Moon, and today getting to the treant-like Gnarlborn. Starting with the basics, Gnarlborn are – well, born – from the soil of a region called Ardengloom, a forest that’s less “peaceful woodland,” and more “haunted, thinking ecosystem.” The forest itself is filled with these massive trees called Elderwoods—each one housing lingering Fey spirits. Gnarlborn commune with these spirts and Elderwoods, forming an intricate and well-connected forest community. So yeah, you’re playing basically “a tree person.” But you’re also playing something that exists in a constant, low-level conversation with ancient, possibly unreliable spirits. That alone gives you a strong roleplay hook without needing a complicated backstory, as your tie to those spirits, and who/ what they are could gain any level of depth that you’d like, over the course of a campaign – or even a few adventures. Visually, Gnarlborn are humanoid, but like the trees in your yard, everything about them is asymmetrical—branches, moss instead of clothing accents, glowing hollows where a face might be. No two look the same. Some might feel ancient and slow, while others might come across as curious or even a little disconnected—like they’re only partially focused on the present. And since they can live for hundreds—sometimes thousands—of years, you can decide how much that actually affects your character. Are they wise because of their age, or are they just... slow? Ok, when it comes to core mechanics, let’s talk about what you actually get—because this is where Gnarlborn become very usable. First, we have: Deep Roots You get advantage on checks and saves to avoid being moved or knocked prone. This is simple, but it can be very useful against certain enemies. Next is: Elderwood Whispers After every long rest, you can pick up a new skill, tool proficiency, or even a language. Temporarily. This is probably the most interesting trait the Gnarlborn have. It’s not flashy, but it gives you day-to-day adaptability, which can be nice. It rewards players who like planning ahead—or improvising, based on expected challenges for the day. Third, we have what may be the Gnarlborn’s most *potentially powerful effect, which is: Grasping Branches As a Bonus action, you restrain a creature if they fail a Strength save. Or slow them if they succeed. The main issue here is the saving DC isn’t very high (it’s 8, plus your Constitution modifier, plus your proficiency bonus). But! Even on a successful save, the creature has half speed for a turn. So, grasping branches can be decent battlefield control without requiring you to be a spellcaster. And because this effect recharges on a short rest, you may just actually use it. It’s not overwhelming—but it’s consistently useful. Root Sense gives you tremorsense out to 60 feet. So, the ability to find Invisible enemies, Creatures behind walls, etc. And lastly, you have: Towering Size Which gives you advantage to end being grappled, and – if your group actually tracks carrying capacity, you can in fact carry more stuff. Nothing flashy—but admittedly, very practical. Playing a Gnarlborn definitely isn’t for every player. They don’t provide anything to spike damage, or even do anything unpredictable, really. But you are resisting disruption, controlling space, and adapting between sessions. They fit really well in parties that need consistency rather than specialization. From the roleplaying side, Gnarlborn also work really well in campaigns that lean into: Fey themes, Haunted environments, or Long timelines with ancient histories since they naturally connect to all of those. Gnarlborn feel connected to something bigger: whether that’s the Elderwoods, nature, fey-touched spirits, or an ancient grove deep in the dark woods. So, if you were to play a Gnarlborn, what direction would you take your character? Would you pick them for their subtle combat control, or more to explore their connection with the wilds? Whether you’ve played them in a campaign already, or you have ideas for what you might like to try, let me know in the comments. Thanks for watching, and I’ll catch you in my next Crooked Moon race guide.
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