Welcome back to the weekly D&D and Tabletop Gaming thread! Here’s a place where we can talk about Dungeons & Dragons or any other tabletop games that you nerds might be into. Tell us about the games you’re playing, speculate about future expansions, recruit your fellow Avocados into new groups, whatever you want.
This week’s discussion topic is the Draconic Bloodline for the Sorcerer class. Draconic Sorcerers have the blood of an ancient dragon flowing through their veins, which gives them the innate ability to cast spells and a few other benefits as well.
Starting at level 1, your Dragon Ancestor grants you the ability to speak and understand the Draconic language. In addition, when you are interacting with a dragon, you can double your proficiency bonus for any CHA ability check you make, as long as you would normally add your proficiency to the roll. You can also choose what type of draconic ancestry you have, choosing either one of the chromatic dragons (white, blue, red, green, or black) or the metallic dragons (gold, silver, bronze, copper, or brass).
Also starting at 1st level, your draconic bloodline grants you a degree of Draconic Resilience, as physical manifestations of your heritage emerge. Your hit point maximum increases by 1, and you will also gain 1 additional hit point each time you level up. As parts of your body are covered with a thin layer of dragon scales, your AC when not wearing armor is 13 plus your DEX modifier.
When you reach level 6, you gain an Elemental Affinity based on your draconic ancestor of choice. Whenever you cast a spell that deals damage of the type associated with your ancestry, you can add your CHA modifier to the damage roll. Also, at the same time, you can spend 1 sorcery point to gain resistance to that damage type for 1 hour. Fire damage is associated with red, gold, and brass dragons, cold damage with silver and white, lightning with blue and bronze, acid with black and copper, and poison with green dragons.
At level 14 you can manifest Dragon Wings as a bonus action, giving you a flying speed equal to your walking speed. These wings sprout from your back and last indefinitely until you dismiss them as a bonus action. You can’t use the wings if you are wearing armor, unless the armor is specially made to accommodate them, and any clothing you are wearing may be destroyed when the wings appear.
Finally, at level 18, you can channel the Draconic Presence of your dragon ancestor, causing those around you to become frightened or awestruck. You can use your action and 5 sorcery points to emit this aura of awe or fear to a radius of 60 feet around you. For 1 minute, each hostile creature that starts its turn in your aura must make a WIS save or become either charmed or frightened of you. A creature that succeeds on this saving throw is immune to the effect for the next 24 hours.
This week we finished up Wafflicious‘s Call of Cthulhu game! Our players include Juri Kask (CleverGuy), a crime boss who likes to flaunt his wealth and connections; Dorel Kask (Wasp), a production manager for the Operahouse and member of the Ministry of Culture for Estonia; Dasha Markovskaya (Spiny), a famous ballerina visiting the city; Evan Kabin (Joesephus), a foreign spy working to promote revolution; and Selma Simms (Otto), a lawyer and member of the Soviet Secret Police. We also quickly met up with a stagehand from the Opera House named Lutsi Toom (Hayes), who was apparently hiding in the prop room getting high during the play.
We had just discovered a rather large insectoid alien thing with rainbow-colored wings and antennae where its face should be. It was while we were talking to the thing and trying to decide whether to kill it that Lutsi appeared. She managed to defuse the situation a little, enough that we didn’t immediately kill the crab-bat-insect thing. It talked to us, calling itself “Mi-Go” and saying that we were all “trapped in his dream.” Juri had read about something called lucid dreaming a while back, and decided that if he was dreaming he should be able to just will himself awake. To his surprise, it worked and Juri suddenly found himself back in his seat in the theater looking at the empty stage–but only for a moment. A powerful force of some kind pulled him back into the dream world with the others.
Dorel and Dasha, seeing Juri briefly fade out of existence, thought he might onto something and tried to will objects into existence. Dasha made a simple box appear, but it dissolved into mist after a few seconds. Dorel tried something more complex–a toy monkey with cymbals–and managed to produce a nightmare version of it, but it too quickly faded. We reasoned that, since this wasn’t our own dream but “his,” we’d need to find the dreamer and wake them. The Mi-Go told us that the dreamer was the King in Yellow. Juri remembered that he had seen the Commissar playing the King during the opera, and thought that if we could find and wake the Commissar, we could all be freed.
We’d been through most of the opera house already, but Dorel said that there was a small area under the stage where actors and stagehands sometimes used to store equipment or make an entrance from below. That seemed like the best place to find the Commissar, so we headed back toward the stage. We could the “Groundskeeper,” Anton, was back, looking over the still-smiling audience and muttering something to himself that we couldn’t make out. His back was to us and to the trapdoor that led underneath, and Dorel tried to sneak over and open the door without alerting him. He seemed to notice as soon as she moved though. He didn’t attack us, just turned and gave us his creepy smile. He seemed pleased but surprised that we were headed downstairs “without an invitation.” He didn’t try to stop us though. The only thing that wiped the smile off his face was when someone mentioned the name “Mi-Go.” Anton was not happy that we had talked to that thing, and angrily demanded to know where we found it. Dorel pointed him in the opposite direction and we quickly made our way down the ladder under the trap door before Anton could ask any more questions.
The ladder went down far deeper than we expected, and ended in what looked like a fallout shelter. A long narrow corridor made of some kind of metal, lit with sickly green emergency lights, led to a huge vault door. Printed in Cyrillic on the door was the word “KING.” Lutsi and Juri turned the wheel to open the door and we found a vast chamber of stone, with large fissures and cracks in the floor. In the middle of the room was a huge metal throne, and sitting on the throne was a figure wrapped in a yellow cloak with a deep hood that obscured the face.
He looked up as we approached and addressed us. We asked him what was going on and he sort of explained his plan. We all knew that there was a demonstration planned by anti-Soviet resistance members for the same night as the play. The King planned to kill a theater full of government officials and Party members, people of great influence, which would of course be blamed on the rioters. Somehow this would spread the King’s own influence over the waking world. Dorel, who was secretly a member of the resistance, tried to shoot the King at that point, sensing a threat to herself and her rebel friends. Her shot went wide, and the King caught her with his gaze, leaving her utterly terrified. He then reached out one of his strange, withered hands and the vault door slammed shut behind us. Dasha started screaming for him to wake up, but instead he began some kind of strange dance that mesmerized most of the party. Dasha had managed to resist and did something the King certainly hadn’t expected. She ran up and slapped him.
The King was surprised enough that he stopped his dance and the rest of us came to our senses. We started running toward the vault door, Lutsi tried to will the door open with her mind. Miraculously, it worked, the door was suddenly open before us. The King descended into one of the larger fissures in the ground as we ran, and suddenly there was another of those loud ringing sounds, so loud it knocked a couple of us off our feet. It seemed to be coming from the King’s throne. Dasha turned and fired her gun, hitting the throne itself. We heard another sound, then, one that sounded much more harmonic and beautiful, like angels singing. The whole room seemed to brighten a bit. Realizing what we needed to do, we all turned and started firing at the chair. Strange grasping tentacles came up from the fissure that the King had gone into, trying to grab anyone who got too close, but as we all opened fired on the throne the beautiful harmonic sound began to close the fissures, sealing off the king.
Suddenly, we all woke up back in out seats in the theater. The rest of the audience around us were sleeping as well, but the strange growths we’d seen from their heads were gone. Dasha and Juri immediately bolted for the exits, passing some sleeping stagehands and ushers. Dorel moved up to the stage, however, where the set pieces were still up. In the small crawlspace beneath the stage, she found the body of the Commissar, wrapped in a yellow cloak. It looked like he’d been dead at least a week, even though we’d all seen him waling around earlier that very night. Dorel disposed of the body, and Selma was able to cover up the death of the Commissar until such time as it could benefit her. Juri was more than happy to pretend none of this had ever happened.