DICE AND DRAMATICS

A d20 Guide to Better Role-Playing for Beginners and Veterans Alike

By Ben Mowbray

Requires the use of the Dungeons & Dragons® Player’s Handbook, Third Edition,
published by Wizards of the Coast, Inc.

ADDITIONAL CREDITS
Editor: Callie Jönsson-Mowbray
Special thanks to: Daniel “Master of the Universe” DeNardo

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 Ultramyth - Worlds Within Worlds
DICE AND DRAMATICS .................................................................... 1
TABLE OF CONTENTS........................................................................ 2
INTRODUCTION.................................................................................. 3
CHAPTER 1: KNOW THYSELF
KNOW THYSELF .................................................................................. 5
KNOW YOUR RACE ............................................................................ 6
KNOW YOUR CLASS ........................................................................... 6
KNOW YOUR SKILLS ........................................................................... 7
KNOW YOUR FEATS............................................................................ 8
KNOW YOUR ALIGNMENT ................................................................. 8
FLESHING OUT YOUR CHARACTER............................................. 8
RELIGION............................................................................................. 8
VITAL STATISTICS ............................................................................... 9
LOOKS................................................................................................ 10
PERSONALITY .................................................................................... 10
BACKGROUND .................................................................................. 11
CHAPTER 2: ROLE-PLAYING IN-GAME
ROLE-PLAYING.................................................................................. 13
KNOW THE RULES ............................................................................ 14
GAME ETIQUETTE ............................................................................. 14
PORTRAYING YOUR CHARACTER ..................................................... 14
DM TIP .............................................................................................. 15
USING YOUR SENSES ........................................................................ 15
MAKING SKILL CHECKS ................................................................... 16
MAKING CHOICES ............................................................................ 17
BEING INFLUENCED BY A SPELL ...................................................... 18
USING MAGIC ................................................................................... 18
OTHER THINGS TO ROLE-PLAY ....................................................... 20
CHAPTER 3: NON-HUMAN RACES
NON-HUMAN CHARACTERS ....................................................... 21
READING THE ENTRIES .................................................................... 21
CIVILISED RACES .............................................................................. 22
DWARVES .......................................................................................... 22
ELVES ................................................................................................. 23
GNOMES ............................................................................................ 25
HALF-ELVES...................................................................................... 26
HALF-ORCS ....................................................................................... 27
HALFLINGS ....................................................................................... 27
SAVAGE RACES ................................................................................. 28
CENTAURS ......................................................................................... 28
GNOLLS ............................................................................................. 29
GOBLINOIDS ...................................................................................... 29
KOBOLDS ........................................................................................... 30
2
Table of Contents
LIZARDFOLK ......................................................................................31
MINOTAURS .......................................................................................32
ORCS...................................................................................................32
TROGLODYTES ...................................................................................33
TEMPLATE RACES .............................................................................34
ASIMAR ..............................................................................................34
HALF-CELESTIALS .............................................................................34
HALF-DRAGONS................................................................................35
HALF-FIENDS.....................................................................................35
LYCANTHROPES.................................................................................35
TIEFLINGS...........................................................................................36
VAMPIRES ..........................................................................................37
CHAPTER 4: NEW SPELLS AND EQUIPMENT
EQUIPMENT ........................................................................................39
ARMOUR ............................................................................................40
CLOTHING .........................................................................................40
MAGICAL ITEMS ................................................................................45
RINGS .................................................................................................45
WONDROUS ITEMS ............................................................................45
SPELLS ...................................................................................................47
CHAPTER 5: ROLE-PLAYING AS DM
ENCOURAGING ROLE-PLAYING..................................................51
KNOW YOUR PLAYERS ......................................................................52
KNOW YOUR PCS ..............................................................................52
KNOW YOUR DM METHODS ...........................................................52
ENTICE PLAYERS WITH REWARDS ...................................................53
ENHANCING YOUR GAME ATMOSPHERE ...............................53
GETTING PLAYERS IN THE MOOD ...................................................53
PROPS .................................................................................................53
VOICES ...............................................................................................53
CUT SCENES .......................................................................................54
CINEMATIC PLAY ..............................................................................55
ROLE-PLAYING TIPS FOR THE DM...............................................55
PORTRAYING VILLAINS.....................................................................55
PORTRAYING HENCHMEN ................................................................56
PORTRAYING MONSTERS ..................................................................56
PORTRAYING COHORTS ....................................................................56
PORTRAYING COMMONERS ..............................................................56
PORTRAYING ARISTOCRATS .............................................................57
PORTRAYING EXPERTS ......................................................................57
PORTRAYING ADEPTS .......................................................................57
PORTRAYING WARRIORS ..................................................................58
OPEN GAME LICENSE VERSION 1.0A..........................................59

Introduction
Welcome to Dice and Dramatics, a d20 guide
to better role-playing.
In the world of role-playing, most players can
be broken down into three basic categories of
gaming styles.
On the furthest extreme, we have roll-players
– that is, players that are focused more on
stats, dice rolling and the rules of the game
than faithfully portraying a role. This is
usually the category from where munchkin
players and rules lawyers will come.
On the opposite extreme we have true role-
players – those people who totally immerse
themselves in their roles. True role-players
focus almost solely on the experience,
description and depth of play, and almost not
at all upon the rules. Some groups might even
play a diceless game, rewarding description
and acting over dice rolling.
The third group are somewhere in between,
with some focus on the rules, but also on role-
playing.
Often each member of a role-playing group
will likely have their own favoured style,
however, when it comes down to it, it is the
DM or GM who truly sets the standard for
play. Ultimately it is up to he or she to set the
standards on which they will run their
campaign.
This book caters for the later two categories of
players who wish to expand their role-playing
ability and increase the enjoyment of the
game.
Who should read this book?
Both DMs and players will benefit from this
book. Players will learn techniques for fleshing
out their own characters, making them all the
more real and believable, and therefore
enjoyable. Player characters are the most
important in the game, for they are the
protagonists, no matter what their alignment –
the story is about them.
Dice and Dramatics
DMs on the other hand are responsible for
portraying every other creature in their game
world. This book can be especially useful to
them, particularly regarding the generation of
detailed NPCs that your group is likely to
encounter again and again.
What is in this book?
This book details a number of different ways
to enhance your role-playing experience, from
simple tips to flesh out your character, to new
spells and equipment of a simpler variety.
Chapter by chapter, this book contains the
following:
Chapter 1: Know Thyself: This chapter
focuses on getting to know your character and
fleshing her out, including several optional
tables for randomly generating your
character’s hair and style and her weight
based on her physique.
Chapter 2: Role-Playing In-Game: Focuses on
techniques, ideas and tips for role-playing
your character during play sessions.
Chapter 3: Non-Human Races: This section
goes into detail on the subject of non-human
races, and gives some suggestions how
mainstream civilised, savage and template
creatures should be stereotypically played.
Chapter 4: New Spells & Equipment:
Contains a collection of new equipment,
magical items and spells of a more mundane
use, including individual articles of clothing
(instead of simple outfits), several new armour
types specifically for female characters, and a
variety of useful everyday magical items for
those who can afford them.
Chapter 5: Role-Playing as DM: This chapter
contains information specifically geared
towards the DM. It has a brief overview on
some techniques that can be used to make
your game more immersive, and some brief
tips on role-playing NPCs.
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 Ultramyth - Worlds Within Worlds
Definitions
d%: Indicates the roll of a percentile dice; the
rolling of two d10s to acquire a number
between one and a hundred.
DM: A common abbreviation for the game
master or storyteller of d20 games. For
trademark reasons, the correct name will not
be presented here. Consult your Player’s
Handbook for more information.
GM: A generic term meaning game master,
effectively the same as a DM.
House Rules: Refers to a customisation of the
system rules specific to your game or
campaign. These may be rules your DM is not
going to enforce, or new ones that she is.
In-Character: When you are actively
pretending to be your character while at the
game table.
In-Game: Refers to how you act and behave
while playing the game.
Meta-Thinking/Gaming: Meta-thinking is
when you as a player make decisions or
assumptions based on knowing the game
mechanics of the system you are playing.
NPC: A non-player character, usually
controlled by the DM or GM.
PC: Player character – an imaginary fantasy
character being role-played and controlled by
a human player.
Additional Notes
Throughout this work, players, DMs and for
the most part, characters are referred to in the
feminine. This is for simplicities sake and
nothing else – none of the subjects of this work
are limited by sex.
4
FROM THE AUTHOR
This book was initially meant to be just a basic
guide to role-playing for a group of first-time
players in a horror campaign I was running.
Quickly what began as just a few pages of
hints and tips formed into a comprehensive
guide detailing ways to flesh out characters
and improve one’s role-playing skills.
It is my first published work as an author, the
first completed project of many in the pipeline.
This work is geared towards those players
who wish to become better at role-playing. It
has been written with both new and veteran
players in mind, and should hopefully help
you as a player, or DM, to improve your game.
Many of the issues discussed in this work may
seem simple and even obvious to some, but
often they are so much so that they are easily
overlooked or forgotten. I’ve tried to make the
guide as simple as possible without going
overboard.
You won’t find any complex new rules, feats
or classes in this work, however, there is a
section on equipment, spells and magical
items that are designed to be interesting and
practical more so than powerful.
I hope you enjoy reading this guide and that
there is something in it for everyone.
Ben Mowbray

Know Thyself
The only way a player can truly role-play well
is to know her character inside and out. The
easiest way to familiarise yourself with your
character is to pay careful attention at
character creation time.
While some DMs take to creating the
characters for their PCs to play, while a good
technique for new players who don’t yet know
the rules, this can make things less
personalised for veteran players, and makes
role-playing the character harder to get into.
The optimal condition of creating PCs is for
the DM and player to sit down, alone, and go
Dice and Dramatics
through the creation process together. While
this can be more time consuming, the end
result is a much more detailed PC and a much
more content player.
During this process, both DM and player
should discuss the reasoning behind the
player’s choices. Ultimately, the DM holds
sway over what is permitted – after all, they
are the one running the game.
The basic methods of character creation leave
a lot of things open ended. Statistically, a
character is little more than a few numbers,
names and pieces of equipment. However, to
some degree, race, class, skills, feats, sex and
5
 Ultramyth - Worlds Within Worlds
alignment serve as a basis to flesh out the
character.
The objective of role-playing is to imagine
yourself in the shoes of your character. In real
life, you do not do anything without reason.
However, this fact often escapes us, since
we’ve lived with ourselves since birth. In
creating a fictional fantasy character, we’re
essentially reverse engineering the life of an
adult.
Just like your own life, your character should
have made life choices with reasoning behind
them. Perhaps a skill selected is related to the
traditional family business, or a class selected
for its personal appeal.
KNOW YOUR RACE
Race is probably the most defining attribute of
a character’s personality. Racial stereotypes,
abilities and attitudes can affect the way your
character thinks and behaves in different
situations.
It is easy to forget just how alien even the core
races can be compared to humans. The fact
that there is no real-world comparison to
having other sentient races makes this fact
often elusive. A longer lifespan, magical
ability, or heightened abilities affect the
outlook on life that non-human races take.
A guide to role-playing key non-player races is
presented in Chapter 3: Playing Non-Human
Races.
KNOW YOUR CLASS
Ask yourself why your character has chosen
their class - what in their life has led them to
pursue this particular career. A sorcerer might
dabble in magic out of a natural born talent,
while a wizard might pursue it purely out of
interest, or because their peers or relatives
expect it of them.
Class can affect a player character’s outlook on
life.
6
Barbarians
Barbarians hold freedom in high esteem, and
despise constraining laws. They love the
wilderness, and often fail to see the value of
civilised pursuits. Barbarians are often of
simpler mind, not necessarily because they are
stupid, but rather due to their upbringing.
They are usually less patient than other classes
and often mistrust things they don’t
understand, especially magic. They are often
quite superstitious. The Viking Berserker
warriors and Conan the Cimmerian are good
examples of stereotypical barbarians.
Bards
Bards love to travel and to entertain. They love
to be the centre of attention. Bards live for the
passions of life, and often can afford
eccentricities or quirks that serve to define
them as unique performers rather than
madmen. Liken bards to modern rock stars
and actors, who wish fame and fortune from
their talents, or for a more archaic viewpoint,
potential jesters and travelling minstrels.
Clerics
Clerics are usually more withdrawn than other
characters, as they often are used to spending
large amounts of time cloistered in churches
and temples devoting their time to their
patron god. Faith is everything to them, and
they are most likely to try and convert those
they meet, as spreading the word is a part of
their job description. This attitude can conflict
with other characters, especially those of
chaotic alignments.
Druids
Druids have a great respect and zest for nature
and life, which they often choose to champion.
They feel constrained and disgusted by
civilisation, especially big cities where the
streets are covered in filth. Druids have a habit
of getting high and mighty about their ideals,
just as clerics can, however their focus on
nature likens them to modern environmental
extremists.

Fighters
Fighters are defined by their martial
disciplines. They actively pursue violent
careers as soldiers of fortune, mercenaries and
champions. While fighters most certainly can
have noble intentions, they are seldom
reluctant to fight.
Monks
Monks are often the strong and silent type.
They often have a zeal that is tempered by
their beliefs and discipline, and often they
abstain from worldly pleasures as a part of
this discipline. Monks tend to speak about
their faith in such a way that it is neutral and
non-threatening. Real world examples include
the monks from many 70’s Kung Fu movies, or
the modern Shaolin monks.
Paladins
The paladin is truly a cross between the cleric
and the fighter. Of strict alignment, paladins
are lawful good to a fault. Everything must be
done the correct and lawful way. Paladins
firmly believe in their ways and the ways of
their faith, and are holy warriors for the cause
of their gods. Paladins could almost be
labelled as fanatics, were it not for their strict
alignment. The Paladins of Charlemagne are
the inspiration for fantasy paladins. They are
likened to most pious crusaders.
Rangers
Rangers have much in common with fighters
and druids, however, while they hold a dear
respect and love for nature, they are not as
fanatical as druids about its protection.
Rangers are accomplished fighters, and get
along well with fighters and barbarians.
Strider from Lord of the Rings is an excellent
example of a typical ranger.
Rogues
Rogues very seldom are of lawful alignment.
They love attention, but know how to avoid it
when necessary. Life is often a game to them,
and the goal is to survive while making a
mint. Rogues are often more selfish than other
characters, as the very idea of stealing in the
Dice and Dramatics
first place is possessive and self-centred. Think
of rogues as master thieves, pirates and
swashbucklers. They often have seedy
personalities.
Sorcerers
Sorcerers usually view themselves as superior
to others due to their natural mastery of
magic. They are often arrogant, egocentric and
overconfident. This can make them annoying
to other players at time, and boastful.
Sorcerers often have some sort of obscure
heritage from which they derive their power,
which, in addition to their formidable
spellcasting ability, leave them under the
suspicion of other characters.
Wizards
Wizards spend a great deal of time in the
pursuit of knowledge, and often have a greater
patience than other classes. They can
sometimes develop the same superiority
complex as sorcerers, but on the whole they
are more tempered individuals. Wizardry is a
far more disciplined pursuit than sorcery,
requiring a great deal of dedication, research
and persistence.
KNOW YOUR SKILLS
When selecting skills, take a moment to think
about why your character has chosen a
particular skill, and how she has learned it.
Skills can be defining, as where they come
from can be related to your character’s
background. A character with any craft or
profession skills for example might have
learned them from their parent’s trades. In a
fantasy setting, trades often stay in the family
so many characters should have skills that
they have learned from family members as
they’ve grown up.
Remember, the first level represents all that
your character has learned in life as they’ve
grown to maturity.
As you select your skills, ask yourself, which
are a part of your character’s professional
training, which are more of a hobby, and
which come naturally.
7
 Ultramyth - Worlds Within Worlds
Natural skills tend to be those that receive a
large bonus related to your character’s high
ability scores.
Instead of choosing skills that will help you
most in combat or while adventuring, consider
what type of person you want your character
to be and base your skills not on what will
make the gaming experience easier for you,
but rather what fits your character’s profile.
KNOW YOUR FEATS
Feats, as extraordinary as they may be, must
be learned somewhere, or inspired from
somewhere. Have a good think about how
your character has gained the feats that she
has. How do they relate to or reflect your
character’s personality.
Read carefully each feat’s description and
imagine what your character looks like while
using it. From a gaming point of view, it’s
important to know how your feats work and
when to use them. Feats help diversify
character classes so that each character is
unique.
KNOW YOUR ALIGNMENT
Although change is always a possibility, as all
people change with time, it’s important to
understand your alignment. The nine main
alignments can be simplified into three
categories that basically define common
morality. While it often serves to make good
and evil more black and white in the game,
morality truly changes with society. For
example, the Drow, who have little moral
RELIGION
value for life, may perceive someone that
humans judge chaotic evil as being chaotic
neutral instead.
Below, the basic components of alignment are
broken down into five major groups.
Law: Law is a state of order, where rules
govern how things are to be done. Morality
stems from the law in most societies, which is
why the way alignments are viewed can
change with different races. Lawful characters
are often moral and honest, especially if lawful
8
good or lawful neutral in alignment. Lawful
evil characters follow the rules to a ruthless
fault.
Chaos: Chaos is the opposite of law, a state in
which things are disorderly. Nature is often a
chaotic force, and chaotic people might be
thought of as being more selfish than others.
Chaotic characters are more focused on
themselves, and do not like to be constrained
by rules and laws.
Neutrality: Neutral characters don’t like to
pick sides. They walk the line in between
chaos and law. Their view on life is much
more grey than other alignments.
Good: Good characters are moral in
alignment. They hold life, fairness and justice
in high regard, and act accordingly.
Evil: Evil characters hold little value in any life
aside from themselves. They have no use for
morals, and so often indulge in habits that
good characters would find abhorring. Evil
characters are potentially capable of anything.
Fleshing Out Your
Character
The Player’s Handbook has an entire chapter
devoted to describing your character, though
it only really describes your looks, background
and personality in brief. Religion and vital
statistics are a little better described, and
hence are only represented here in token.
Religion probably plays a far greater role in a
fantasy world than in the real world. Almost
all characters, no matter their class or race,
revere a deity or more in one shape or form.
Just as in life, the strength of faith varies from
person to person. Some might be very lax
about their religion, while others are as pious
as they come.
Religion does not have to be something for
clerics only. In a land of magic and monsters,
 Dice and Dramatics

it’s common knowledge that the gods are out TABLE 2-1: HAIR LENGTH
there somewhere. d% Length
01-06 Shaved (no style)
Depending on your race, class or alignment,
07-15 Short, crew cut (no style)
you should select your deity carefully. Decide 16-32 Short, clipped
whether or not your character is a strict 33-56 Short, neck length
member of her faith or is lax about her 57-84 Long, shoulder length
devotion to her god or gods. 85-93 Long, shoulder blades
94-97 Very long, waist length
Praying to the gods in time of need is
98-00 Very long, to legs
commonplace, just as it is in reality. In times of
need, people turn to their faith. Fantasy TABLE 2-2: HAIR CONSISTENCY
characters should be no different. d% Consistency
01-12 Fine
VITAL STATISTICS
13-23 Thin
Vital statistics simply describe your physical
24-76 Average
qualities – the colour of your eyes, skin and 77-88 Thick
hair, your height and weight and your age. 89-00 Oily
However, what is provided in the Player’s
TABLE 2-3: HAIR STYLE
Handbook is merely a way to randomly
d% Hair Style
generate statistics for the core races.
01-08 Braids, thick
HAIR 09-16 Braids, thin
In addition to hair colour, you might also 17-24 Curls, large
consider the way in which your character’s 25-32 Curls, tiny
hair is kept and worn. Below are three tables 33-40 Long fringe
for generating random hair lengths, styles and 41-48 Mullet, fringe
consistency or for you to manually choose. 49-56 Mullet, spiked
57-64 Spiked
65-76 Strait
77-84 Tied back
85-92 Unkept
93-00 Wild

HUMANOID PHYSIQUES
Height is a strait forward physical attribute
that speaks for itself, though weight is a little
more of a grey area. Build cannot necessarily
be derived from weight alone – one character
might be short and fat, another tall and
muscular, yet they both weigh the same.
There are three basic body types or physiques
that humanoid player characters are likely to
have.
Ectomorph
Ectomorphs are usually tall and always thin,
with delicate frames and sometime
disproportionately large heads. Short
ectomorphic women have a petite body. Most

9
 Ultramyth - Worlds Within Worlds

elves and halflings fit into this category, as do physical attractiveness is measured partially
other creatures with high dexterity. by charisma. However, charisma is really
based on personality, and more reflects your
Endomorph
character’s personal magnetism rather than
Endomorphs have evenly distributed weight,
her looks.
and so are average in their proportion. Female
adult endomorphs usually have less Consider your character’s physical abilities
developed bodies than other body types, when deciding how she looks – a creature
having more of a boyish figure than a feminine with a good body can be found attractive for
one. Dwarves and gnomes fill this category, as that aspect, rather than personality.
do creatures with high constitution.
Make other considerations when describing
Mesomorph your character’s look. Perhaps a defining
Mesomorphs are athletic and muscular, often moment in her life has left her with a
with broad shoulders and thicker necks. prominent scar, or she was born with an
Female mesomorphs have lesser hips and unusual birthmark. He class might shape the
more of a muscular build to than other body way she dresses or wears he hair.
types. Half-orcs and strong creatures belong to
this category. PERSONALITY
Personality means a lot when role-playing.
WEIGHT MODIFIERS Without it, your character is lifeless and two-
As it stands, the weight system presented in dimensional. Personality affects how your
the Player’s Handbook is rather generic. In the character interacts, and how you portray her.
core rules, your character’s abilities are not
faithfully represented in your weight. In Just like in real life, each character should have
general, stronger and endurable creatures tend their own personalities, their own grievances,
to be more bulky than those with a high likes, dislikes, character flaws and, well,
dexterity. Table 2-4 below presents some character!
optional modifiers to add to your character’s Think about what sort of person your
weight based on their physical abilities. character is. Is she the strong and silent type,
or a chatterbox gossip? Is she calm and patient
LOOKS
or a pernickety fusspot?
Race is always a starting point for the way
your character looks. Knowing what your PERSONAL TRAITS
character looks like helps you visualise who In Table 2-5 below fifty different possible traits
you are role-playing better. are presented to help you flesh out your
character’s personality, however, these are but
As mentioned in the Player’s Handbook,
TABLE 2-4: WEIGHT BY STR, CON & DEX MODIFIERS
Weight Weight CON Weight Weight Weight Weight
STR Mod (small) (medium) Mod (small) (medium) DEX Mod (small) (medium)
-3 -15 lb. -30 lb. -3 -7.5 lb. -15 lb. -3 +7.5 lb. +15 lb.
-2 -10 lb. -20 lb. -2 -5 lb. -10 lb. -2 +5 lb. +10 lb.
-1 -5 lb. -10 lb. -1 -2.5 lb. -5 lb. -1 +2.5 lb. +5 lb.
+0 +0 lb. +0 lb. +0 +0 lb. +0 lb. +0 +0 lb. +0 lb.
+1 +5 lb. +10 lb. +1 +2.5 lb. +5 lb. +1 -2.5 lb. -5 lb.
+2 +10 lb. +20 lb. +2 +5 lb. +10 lb. +2 -5 lb. -10 lb.
+3 +15 lb. +30 lb. +3 +7.5 lb. +15 lb. +3 -7.5 lb. -15 lb.
+4 +20 lb. +40 lb. +4 +10 lb. +20 lb. +4 -10 lb. -20 lb.
+5 +25 lb. +50 lb. +5 +12.5 lb. +25 lb. +5 -12.5 lb. -25 lb.
Add. +1 +5 lb. +10 lb. Add. +1 +2.5 lb. +5 lb. Add. +1 -2.5 lb. -5 lb.

10
 Dice and Dramatics

a small sampling of the way that your This section will not cover the few questions
character might act or behave socially, presented in the Player’s Handbook however
especially if you are playing a subrace such as there are a handful of new questions and
a Drow, or a savage species. considerations to think about. After reading
this, close your eyes and imagine your
BACKGROUND character.
Your character’s past and personal history are
as much of what makes your character as your Birth
race, class, skills, feats and alignment. It is also When and where was your character born?
a great resource for the DM to derive plot Who are or was her parents? Were both
hooks that really involve the player. The present during childhood? Is she an orphan? If
arrival on the scene of a hated nemesis or an so, did she grow up in an orphanage, alone or
encounter with an old flame can make a great with foster parents? What was it like growing
and engaging story. up? Did your character grow up amongst her
own kind? If not, did she have to deal with
The Player’s Handbook discusses in brief
racial prejudice? Did she have any childhood
some questions to ask yourself when creating
friends of note?
your character’s background, however, this is
a very skeletal and sketchy representation of Upbringing
the person your character is. Was your character upbringing easy or was it
difficult? When did she first encounter another
TABLE 2-5: PERSONALITY TRAITS
of her chosen class? What inspired her to make
d% Trait d% Trait
the decision to become an adventurer? What
01-02 Absent-minded 51-52 Lady killer
inspired her to become a member of her
03-04 Aggressive 53-54 Moody
05-06 Anxious 55-56 Open-minded chosen profession? Was there anyone in
07-08 Arrogant 57-58 Overconfident particular that she got along especially well
09-10 Attentive 59-60 Passionate with? Did she make any enemies?
11-12 Bitter 61-62 Patient
Hometown
13-14 Brave 63-64 Peaceful
If possible, especially if you’re playing in an
15-16 Brutal 65-66 Playful
17-18 Caring 67-68 Promiscuous
established campaign setting, describe the
19-20 Charming 69-70 Reliable country, state, region and town that your
21-22 Chivalric 71-72 Seedy character comes from. This is not necessarily
23-24 Compulsive liar 73-74 Selfless the town that she was born in, but where she
25-26 Cowardly 75-76 Sly grew up. If adventuring ever takes your group
27-28 Dedicated 77-78 Spiteful back to that place, your character is bound to
29-30 Devious 79-80 Superficial run into people she knows. This can be a great
31-32 Dishonest 81-82 Superstitious plot device for DMs to use.
33-34 Doubtful 83-84 Suspicious
35-36 Egotist 85-86 Tease Family
37-38 Enigmatic 87-88 Thrifty Are your character’s parents still alive? Does
39-40 Greedy 89-90 Trickster she have any siblings or is she an only child?
41-42 Honest 91-92 Unreliable Does she have any other relatives, such as
43-44 Hot tempered 93-94 Violent aunts, uncles, cousins and grandparents? Were
45-46 Ignorant 95-96 Whiner
any of her relatives close to her as she grew
47-48 Impatient 97-98 Wilful
up? Did another relative other than her
49-50 Jealous 99-00 Withdrawn
parents take care of her as she grew up? Does
It is recommended that the DM take part in she have any non-blood family, such as foster
the creation of a character’s background, as it parents? If so, are they of the same race? Did
can be an excellent source of campaign ideas.

11
 Ultramyth - Worlds Within Worlds

she learn any of her skills from a family trade

or business? Is there any family member that
your character doesn’t get along with? Does
her family have any traditional enemies? If so,
would they carry their animosity over to her?
Lovers
Was there ever someone special in your
character’s life? Was is a wonderful
relationship or just not meant to be? Is the ex-
lover living or dead? If dead, were they killed
or did they die of natural causes. Is an ex-lover
now a bitter rival? Was your character ever
married? If so, do they have children
somewhere? Do they see them?
Friends
Did your character have a best friend as she
was growing up? Is that person still around? If
so, are they still good friends? Does your
character have any other good friends? How
does your character know her friends? Are
they also adventurers, or are they more settled
people?
Enemies
Does your character have any nemesis? Are
they a threat, or merely someone your
character strongly dislikes? Is your character’s
enemy an ex-friend or lover? Why are they
enemies?
Purpose
Is your character’s purpose in adventuring the
same as when she started out? Or have things
changed from when she started her training?

12

Role-Playing
Sometimes it takes more than knowing your
character to immerse yourself in the role.
Because of the detached nature of the d20
system, both players and DMs often can forget
some of the simple things we take for granted
in real life when role-playing.
We often forget our senses and think of things
from a withdrawn, outside perspective, almost
like an onlooker, rather than in the first person
where it really should be.
We each have preconceived thoughts about
what the various races look like – we use our
imaginations to paint a picture of what is
Dice and Dramatics
occurring throughout the game without
actually seeing it.
Players and DMs communicate with each
other throughout a session, as the DM directs
the circumstances of the adventure while the
Players decide what actions they will take
accordingly. However, the majority of players
think of these scenarios from an outside view,
a top-down or chase camera perspective. This
viewpoint not only takes away from the role-
playing experience, but its logical and
detached approach causes you to meta-think if
not meta-game.
However, if one can get past this way of
thinking and instead think of things from a
13
 Ultramyth - Worlds Within Worlds
first person point of view, the game world
takes on an entirely different light. Often
players will overlook an important plot device
simply because they forget to look. Remember,
your character usually has at least five senses,
just like you do, which can all be employed in
game to enrich your role-playing experience.
As you role-play your character in various
circumstances, consider the following:
KNOW THE RULES
It would be a mistake to think that in focusing
more on role-playing that you should not need
to use the rules as much. However, constantly
referring to or dictating rules can detract from,
if not break entirely, the game atmosphere.
Knowing the rules not only speeds up the
game, it lets you enjoy it more, and to focus
more on what your character can do. If you
know the rules, you can optimise your
character to be the best she can be.
GAME ETIQUETTE
Following a few common sense rules will help
your game. Most DMs declare what the rules
are to begin with, but too often these easy asks
are ignored by gamers.
• Listen to the DM. Always listen. You may
miss some vital clue if you do not. Just as it
is a player’s duty to listen, the DM should
talk carefully and clearly, and not too fast.
• Do not interrupt while the DM is talking.
Firstly it’s rude to interrupt, and secondly,
you’ll probably miss something she said.
• It takes an incredible amount of
preparation to run a game, so respect your
DM. Remember, this is her game, not
yours, you as a player, have been invited
into her game and you should remember
this fact while playing.
• The DM is god. What she says goes, within
reason. There are disagreeable DMs, but
disagreeable players mostly cause this
behaviour in the first place.
14
• Do not chat out of character during the
game, unless the DM has specifically said
you can.
• Turn off your mobile phones. This one gets
annoying. Pretend you’re in a cinema for
the duration of your gaming.
• Remember you are playing a game.
These are but a few simple instructions to
follow. Of course, DMs should take their
players into consideration as well, but the
toughest job is most certainly the DM’s.
PORTRAYING YOUR CHARACTER
How to flesh out and familiarise yourself with
your character has been covered in the
previous chapter, however, it has not been
discussed how to bring them to life. Ultimately
it is the portrayal of your character that gives a
two-dimensional character that additional
dimension.
ACTING IN CHARACTER
When you sit down for a game session, you
are taking on the role of someone else in
another world full of magic and fantastic
creatures. That other person might not even be
human, and they are probably capable of far
more than any regular person. For the
duration of the session, you are filling that
character’s shoes.
Acting in character means that you have put
aside your regular identity for a time and
instead are thinking and acting ‘in character’,
referring to yourself in-game as your character
in the first person.
You should be sensible while doing this. In
reality, you should be limiting your acting
skills to a seated position at the gaming table,
unless your DM asks you to do otherwise, and
limit violence to abstraction via the rules, as is
intended.
Endeavour to learn the character names of
your fellow players. Doing so increases the
believability and depth of your game.

DM TIP
Reward good role-players with small amounts
of extra experience points. This gives good
role-players an award for their efforts and
encourages other players to role-play better
next time by providing them incentive.
USING PROPS
Props can be a great game enhancement. They
can come in the simplest most forms, such as a
pendant that represents an heirloom of your
character’s, or as extravagant as coming to the
game in full costume.
What is too extreme is for you and your DM
and fellow players to decide.
USING VOICES
Using an altered voice for your character can
add an extra dimension that helps bring her to
life. However, voices require some degree of
talent and skill to be effective in game – if they
are not done properly, they can be at best
distracting, and at worst, extremely annoying.
This skill is an important tool to DMs, as they
have to portray not a single character, but
rather every single creature in their campaign.
A different accent for each character is
optimal, and brings the world to life, giving
the players a more convincing role-playing
experience.
However, voices aren’t for everyone, and not
everyone is good at it. The best thing to do
regarding voices is to get feedback from other
players about your voices. Sometimes you
companions might find the use of voices off-
putting, especially if the authenticity of an
accent is questionable or poor. If you can’t do
voices, don’t feel obliged to.
USING YOUR SENSES
It is amazing how often the use of the senses
escapes the mind of even the veteran player.
While visualising the whole scene, players too
Dice and Dramatics
often forget that they are only meant to be
seeing things from a single perspective. Often
this ignorance of the basic senses can leave
player groups missing vital clues, simply
because they didn’t open their eyes, listen, or
notice a strange smell.
Few characters would ask many questions
about a 20 ft. by 20 ft. room when it comes to
the senses. A particular smell might alert you
to the nearby presence of a troll, while a light
breeze could indicate a draft coming from a
nearby secret door or concealed exit.
DM Tip
When describing areas and situations, utilise
your player’s senses to give them subtle clues.
It is usually best to warn your players of these
tactics before you start using it in game, or
they are likely to miss the hints you leave.
When playing, ask yourself, and your DM:
HOW DOES IT SMELL?
We take this sense for granted a lot of the time.
Consider this; fantasy cities are often very
smelly places. Lacking the modern sewage we
have today, coupled with low hygiene
produces a very uncomfortable smell to those
not used to it. Half-Orc adventurers might
think nothing of it, but an elf might find it
positively repulsive.
Several hundred years ago, perfume was a
must for noblemen and anyone else who could
afford it. It was the practice on the streets of
Paris two hundred years ago to perfume one’s
sleave. When walking through the repulsive
parts of town, the elite would clutch their
sleaves to their noses to drown out the stench
with their perfume.
Consider how thick and stuffy the air might be
underground, near lava, or in a dungeon.
Creatures have a distinctive smell that with
time can be learned and as a result, provide a
clue as to the nature of the beast whose lair the
adventurers are exploring in its absence.
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 Ultramyth - Worlds Within Worlds
HOW DOES IT TASTE?
We are very fortunate to have all the varieties
of food on earth on our plates. Medieval
people were far less fortunate. Their relatively
bland meals might have been at times as
simple as bread and cheese, which might also
be several days or even weeks, stale. Just
because a piece of bread or cheese is mouldy is
no excuse for the adventurer to throw it away.
Sometimes food is scarce, and a character’s
hunger can lead them to do crazy things in
order to get the food she needs.
Taste can also be used to help identify potions
and other liquids.
HOW DOES IT FEEL?
Touch is probably the most ignored sense in
role-playing. Touch is the driving sense of
most skills, but additionally, it can be used in
subtle ways.
Sensing a light wind while underground can
help indicate the direction of an exit, or is a
clue that perhaps a secret passage exists
nearby.
MAKING SKILL CHECKS
Using skills is of course a critical part of the
non-combat mechanics for the system. Your
skills demonstrate your character’s abilities to
interact with the world around them. There
are roughly two categories that skills can be
broken down into – Automatic Skills and
Manual Skills.
AUTOMATIC SKILLS
The automatic category encompasses only a
handful of skills. These skills are grouped as
such because their use is automatic, perhaps
not as far as game mechanics go, but in a sense
of how your character interacts with the world
around her – she is always using her senses for
example, so long as she is conscious.
These skills can be either used manually by the
player, or rolled for them by the DM. Both
have their pros and cons – manual play allows
the player greater control over her character,
but failed rolls can encourage meta-thinking,
16
while DM control can eliminate meta-thinking
and promotes good role-playing while
sacrificing player freedom.
For a better role-playing experience, DM
control is recommended.
Automatic skills are Listen, Sense Motive and
Spot.
MANUAL SKILLS
Manual skills are called as such because they
require the character to make a conscious
choice to use them. For example, you will not
find an item hidden in a room unless you use
the Search skill to look for it.
Manual skills are every other skill that is not
an automatic skill. They should be left under
full control of the player.
Bluff and Diplomacy
Bluff is a very versatile skill. It can be used in
many ways, from telling a convincing lie, to
seduction.
Diplomacy is closely related, being also a
social skill, albeit one that is used for etiquette,
mediation, negotiation and peacekeeping.
By pure game mechanics, the use of these
skills should be a simple roll of a die, though
many players and DMs feel that this is poor
role-playing.
Rather than declaring that you are just going
to use your diplomacy or bluff skill, consider
how your character is gong to attempt it. The
DM will likely augment your roll with a
synergy bonus if you can think of an inventive
or convincing approach to the use of these
skills.
Craft
The craft skill is probably the most labour-
intensive talent your character can possess.
Creating an item of some kind using the Craft
skill, be it alchemical goods or a weapon, takes
time, tools and investment.
These are commodities that your character will
likely not have on the road, and require

specialist tools to use. Many simple items take
days to create.
When your character is travelling, it takes
three times as long to create an item as usual,
as she can only work on them of an evening by
the campfire or when she is not travelling.
Optional Rule
When using the Craft skill, additional items
can be worked on at the same time, lowering
the time taken to craft (but not the cost). For
each item beyond the first, decrease the
amount of time needed to create them by 1/3
incrementally for each item, to a maximum
number of items equal to the crafter’s skill
ranks.
For example, say an item takes 3 days to
create. To create two of the same item will take
an additional 2 days, while a third will take an
additional 1 day, and a fourth an additional ½
day, so for 4 items of the same kind, they may
be crafted in 6½ days instead if 12 days as
individual items.
This ability should not be used for untrained
craft checks.
Search
Some might argue that Search should be
amongst the automatic skills, however, it is
not because you cannot ‘find’ something
(except perhaps by chance) if you are not
actively looking for it. Using your character’s
Dice and Dramatics
search skill, you look carefully about the area
about you in detail, which allows you to
discover anything of interest that is not
blatantly obvious.
MAKING CHOICES
At times your character is going to have to
make choices – should she pursue the escaping
evil wizard or loot his lair before the dungeon
collapses in?
Often players make the mistake of doing what
they want to do, and not what their character
wants to do. Consider your character’s
motivations when making a decision.
MOTIVATION
Motivation is the ‘why’ of a decision.
Instinctively players do not like to place their
characters in mortal danger. However,
sometimes to do this is to overlook how the
character, rather than the player, feels about
things.
In books or movies, often the hero decides to
make a stand or sacrifice themselves for the
greater good, even if their life is at risk. If it is
in your character’s nature to behave this way,
then by all means, role-play.
Conversely it might be more appropriate for
your character to flee if she is especially
cowardly, fearful or a self-preservationist.
The first thing you should ask yourself is,
‘what motivation does my character have for
making this choice?’
EMOTIONS
How often are real-life decisions influenced by
emotion? The presence of, or absence of
emotions can affect your character’s decisions.
Emotion can get in the way of logic, especially
when a situation involves a threat to a loved
one. Consider how your character feels about
situations emotionally.
FAITH
Especially for the Paladin and Cleric, faith is a
driving force behind decisions. These
characters, and to a lesser degree, Druids and
17
 Ultramyth - Worlds Within Worlds
Rangers, who also use divine magic, are
influenced by their gods. A cleric may
disagree with her god’s will, however, she
knows better than to question her god’s
judgement, for to do so is to loose faith.
ASSUMPTIONS
Does your barbarian character really know
much about magic beyond superstition? Role-
play without assumed knowledge. Unless
you’re a magic-user, you probably know little
if not nothing about magic. Don’t make
assumptions in-character. Only act as your
character would act. This includes dealing
with foes with special resistances. If your
character has never heard of, yet alone,
encountered a troll, she will not know that
their weakness is fire for example.
BEING INFLUENCED BY A SPELL
Some magic spells, especially those belonging
to the enchantment school, can lead your
character to believe things she might not
otherwise. For example, under the influence of
charm person, she might believe an enemy to
be a close friend.
Below are some recommendations for role-
playing your character while under the
influence of one of these spells.
Charm Person
You listen to and believe the words of the
caster as if he were a most trusted friend. You
do not automatically follow his suggestions,
but you weigh his words as you would a
trusted friend or loved one. You act
accordingly, and depending on your bond
towards your companions, you may favour
the caster over your cohorts.
Hypnotism
Ideas can be suggested to you while the caster
fascinates you, though they are not as
compelling as the suggestion spell. You weigh
the suggestions as if a friend has
recommended them to you.
18
Suggestion
You feel compelled to follow a suggestion if it
is worded reasonably. You trust the
suggestion and feel like now is a great time to
follow up on it.
Dominate Person
When your character is dominated, she looses
complete control of her body. She can do
nothing but sit back and watch. The DM or
another player who has cast Dominate Person
on your characters should for its duration
control your character.
Demand
Demand spells work as suggestion, but
remotely.
AFTER THE SPELL IS BROKEN
Consider how your character feels after a spell
has worn off. Is she ashamed of what she has
done under its influence, does she feel used?
Perhaps she has reduced self-confidence
because of it. This can lead to distrust in
magic, through bad experiences.
USING MAGIC
Magic is a major element of high fantasy.
Many players will have characters that at some
stage will be capable of casting spells.
Often spellcasting classes have different views
to than the more mundane professions due to
the perspective and power that comes with
magic and its use.
Sorcerers especially are cocky and
overconfident with their power. Wizards are
more tempered and disciplined, and clerics
and druids acknowledge that their power
comes not from themselves, but from above.
Magic certainly has its advantages over
mundane martial arts. For example, if
ambushed at night, a fighter may be rushing
for 1-5 minutes putting on his armour, while a
sorcerer simply casts a single spell the first
round and is protected instantly. Spells also
often have the ability to target more than one
creature at a time, allowing the spellcaster to

inflict damage upon a much wider array of
foes at once.
THE NATURE OF MAGIC
Magic does add an additional level of
complexity to the game, and it is important for
players of magic classes to know how and
when to use their spells. Part of this
knowledge is an understanding of the
difference between each distinct type of magic.
Divine Magic
Divine magic is derived from a power greater
than the caster. Clerics, druids, paladins and
rangers all use divine magic. Often the magic
comes from a patron deity, or nature itself.
Magic of this type requires less discipline to
learn, but requires rigorous prayer and
entreaty to the gods from which the power
comes.
Arcane Magic
Arcane magic is the largest and most
specialised type of magic. It comes from the
self. Sorcerers have a natural aptitude for this
magic, while wizards learn it through
discipline.
Unlike divine magic, there are eight
disciplines of arcane magic, commonly
referred to as schools. Each school governs a
certain type of magic, for example, Divination
governs foresight and glimpsing the future,
while Necromancy governs magic related to
the dead.
KNOWING YOUR SPELLS
It is important to know all about your spells
when role-playing, because the more rules you
enforce, the more complex magic, and its use
gets.
While not always appropriate for clerics, for
wizards, and especially sorcerers, knowing the
spells at your disposal well is an important
part of the game. As a magic user, you should
expect to use your powers often.
Learn your spells well, for in matters of role-
playing, stopping the game to look up a spell
Dice and Dramatics
or rule can be a real distraction and detraction
from the game.
CASTING SPELLS IN-CHARACTER
When role-playing the casting of spells, you
can heighten the atmosphere by doing a bit of
simple acting. This may be as simple as
finding ways to express the sort of spell it is by
acting out some components.
Somatic Components
Somatic components really are only just
movements of the hands and body. You
should only express with your upper body, as
you will likely be seated during play. Somatic
components might be like a sign-language
version of verbal components, or they may be
the physical action for loosing a spell, for
example, see Burning Hands in the Player’s
Handbook.
Verbal Components
A simple muttering of gibberish under one’s
breath, perhaps with your eyes closed part of
the time should be sufficient enough to make
convincing use of a verbal component. Verbal
components are arcane words of power. They
need to be spoken out loud, but they don’t
need to be screamed or shouted.
Material Spell Components
As it stands in the official rules, many spells
require material components, often-trivial
things, but sometimes items of value. You
should plan ahead what you are going to need
in advance, and consider role-playing to the
fullest the acquisition of rare spell
components.
The need for components is a good reason to
backtrack to town, or seek out some obscure
plant in the nearby forest.
However, as far as acting out your spell-
casting goes, you might consider using a prop,
or using an imaginary prop as part of your
spellcasting act.
Spell Foci
The best thing for role-playing spell foci is to
find a prop resembling the required focus. If
19
 Ultramyth - Worlds Within Worlds

none is available, an imaginary focus will do. and things break, especially when they are
The inclusion of foci in your spellcasting act is pushed to the limits. Wear and tear can be
not necessary, and this is a relatively minor used as a plot device also.
inclusion. However, as far as spell components
• Everyday life – you can’t wear your
go, it can be rather important.
armour all the time. Maybe you develop a
PREPARING YOUR SPELLS chafe, or can’t stand to wear it any longer.
Each spellcasting class at the end of the day, You have to eat also – where do you get
with few exceptions, must prepare their spells your food from, and how do you cook it?
for the next day.
• Travel – how do you get from place to
Bards and Sorcerers place? Do you walk? Ride? Do you need
Bards and sorcerers receive their power from find passage by coach or ship? Where are
within. Their magical advantage is that they you going to find a ship to take you where
need not memorise their spells, but it is you want? Do you have to charter a vessel?
limited by their spell knowledge.
Divine Spellcasters
Those classes with divine magic must pray for
their spells at a designated time of the day.
This may be at a relevant time to their patron
deity or a time of their choosing. They must
pray at this time, or as soon as possible if they
are prevented.
Wizards
Wizards must of an evening or before they
rest, pour over their spellbook to memorise the
morning’s spell. This process takes an hour if
all spells are to be memorised, however, it is
necessary only to replace spent spells.

OTHER THINGS TO ROLE-PLAY

These are just small things to consider when
role-playing that you may not have thought
about.
• Cleaning and maintaining your weapons
and armour – blades need to be sharpened,
and armour oiled for optimal use. They
also need to be cleaned and dried, and
possibly polished if one’s arms are a
matter of pride. This activity may be good
to do of an evening, especially for martial
types while their spellcasting companions
are preparing their spells.
• Wear and tear – occasionally your
character is going to need a new
bowstring, or a replacement pair of boots.
Adventuring is a demanding occupation,

20

Non-Human
Characters
Playing non-human characters can be fun, but
a challenge. The non-human mind works in
different ways, differing from species to
species, but the differences are seldom subtle.
READING THE ENTRIES
Each racial entry is organised in the following
way, describing the aspects of a typical
character of that race.
Appearances: Details the common physical
look of the race and its subraces.
Dice and Dramatics
Personalities: Details the sort of social traits a
character of the race is likely to possess.
Morals: Details a broad overview of the
morals that members of the race have
established.
Likes: Lists the most common appreciations of
the race, including their fondness for members
of other races.
Dislikes: The races and activities that
members of the race find disagreeable.
Upbringing: Details a typical upbringing for a
member of the race.
Family: Details the constitution of family
within the race.
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 Ultramyth - Worlds Within Worlds
Role-Playing Tips: Provides handy role-
playing pointers for acting out a character of
the race.
Civilised Races
The civilised races represent the most
sophisticated societies in a fantasy setting.
They are learned, have structured societies
and kingdoms, and laws that govern the
people, be they restrictive or very lax.
They also have a much higher technology than
savage races or monsters, with craftsmen
producing many different kinds of good that
make the various aspects of life more
endurable than they otherwise would have
been.
DWARVES
The dwarf family is made up of four different
subspecies; hill, deep, duergar and mountain
dwarves. Each race has their own unique
distinguishing features that separate them
from one another. The stereotypical details of
a dwarf are presented below.
Appearances: All dwarves are short, standing
a foot or more shorter than humans on
average, but their bone structure is broad and
powerful.
With the exception of the duergar, who are
bald and have no body hair, dwarves’ bodies
are covered in thick hair and they sport facial
growth from a young age. Dwarves pride
themselves on the condition of their beards,
and some dwarven women too can grow
them. Due to this fact, it can be difficult to tell
dwarven men from women, at least from a
distance.
Hill dwarves are characterised for their
brownish skin shades, black hair and bright
eyes.
Deep dwarves are slighter of frame to than
their cousins, with reddish-tinged skin pallor
and dull blue eyes. Their hair tends to be from
a bright red to straw blonde.
22
Mountain dwarves are identified with their
lightness of skin and lighter hair than Hill
dwarves.
Personalities: Dwarves tend to be stubborn
and greedy, but strait forward and truthful.
Cheerful dwarves are usually only be found
drunk – often they appear grumpy, moody
and temperamental. Seldom will they be
anything but serious, laughing and enjoying
life only in the company of their most trusted
companions.
Many dwarves are judging and very
comparative to a point where they might seem
annoying or haughty to other races. Wronged
dwarves are vengeful.
Their long lifespan leaves them slower to trust
and make friends than most, and most
suspicious of non-dwarven races, however in
time they can make the most dedicated of
companions.
Dwarven respect is often given grudgingly,
especially to members of races that are
traditionally disliked or hated by them.
However, there sense of honour overrides
their stubbornness when appropriate
admiration is due.
Deep dwarves are antisocial, especially when
dealing with non-dwarven races. They prefer
to deal with their own kind, or not at all.
Duergar are as monotonous and drab as their
appearance, and tend to be of a more
malignant alignment.
Morals: Of great importance to the dwarves is
the concept of family. Dwarven society is
made up of clans, each one being nothing but
a large family of extended relatives. Honesty
and honour are high-held morals. They believe
strongly in justice, but vengeance is not
beyond them.
‘Slow and steady’ would perhaps be a
dwarven motto, for they are careful and
tenacious by nature.

Dwarves have a less refined approach to
etiquette to than humans and elves, and they
tend to be messy eaters.
Likes: Even the dowdy duergar dwarves to
some extent appreciate jewellery and
craftsmanship, though their lacklustre crafts
could only be seen in their private dwellings.
However, the other dwarves are defined by
their expert craftsmanship and lust for the
glitter of gold. They are also avid drinkers of
ale and any other liquor able to get them
goodly drunk.
They are also known for their great appetites –
dwarves are lovers of food. They are also
known in battle for their love of heavy armour
and the comfort of an axe, the dwarven
weapon of choice.
Most dwarves get along fine with gnomes, and
are quite tolerant of Halflings and humans.
Dislikes: Orcs, goblinoids and giants are
hated enemies of dwarves. They also have a
dislike of elven temperaments, finding them
too unpredictable as well as indecisive and
undependable. Similarly, dwarves don’t get
along with humanoid personalities that have
elven qualities.
Upbringing: Dwarves are usually brought up
in large underground cities and mines.
Dwarves are as famous for their mining as
they are for their crafts and ache for gold.
From childhood to adulthood lasts between 40
to 50 years, a time when their close-knit family
carefully teaches them, the dwarven ways.
Family: Dwarven families are large and are
considered very important. One great family
composed of many smaller families, related
through marriage and distant relations, makes
up a dwarven clan. A patriarch usually rules
the clan, often a king, and rarely a queen.
A dwarven character is likely to have a lot of
relatives still surviving, unless for some reason
she is the last surviving member of her clan.
Be this the case, then her main reason for
existence would be to seek vengeance.
Dice and Dramatics
Role-Playing Tips: When role-playing as a
dwarf, consider acting in the following ways:
• When underground remark on the quality
or lack thereof of the stonework.
• Act gruff, annoyed and agitated when not
pursuing a worthy activity.
• At the start of a campaign, view other
characters with suspicion and distrust.
Over time, you may come to trust them
better.
• Allow your character to act greedily in
relation to gold, jewels, art objects and
magical items.
ELVES
Six different subraces compose the family of
elves. Each is distinct in their own way, more
so than the subraces of other creatures. These
subraces are aquatic, drow, gray, high, wild
and wood elves. The stereotypical elf is
represented below.
Appearances: High elves stand a few inches
shorter than humans, and are by far finer of
feature. Their eyes are larger and slightly
slanted, and their ears longer and pointed.
They are of frail and delicate builds that grants
them a graceful nimbleness but leaves their
constitution lacking. They tend to have dark
hair, pale skin and green eyes. They are
known for their alluring and almost haunting
beauty. All elves have no body hair, and are
incapable of growing facial hair.
Aquatic elves have the same delicate build, but
have a slight greenish-silver tinge to their pale
skin. Their hair tends to be an emerald green,
and they have gills that allow them to breathe
underwater, but leave them lacking when on
the surface. Aquatic elves have partially
webbed fingers and toes that allow them to be
more competent swimmers.
The Drow differ greatly from their other
cousins, being quite different in alignment and
appearance. Life underground has stunted
their growth, and they are shorter than their
surfacer and aquatic cousins. Their skin is a jet
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black to dark blue colour, their hair often
white or other very pale colours.
Grey elves tower over their brethren, almost as
tall as humans. They carry themselves with a
regal bearing, but are still slender and delicate.
Their hair tends to be silvery or pale gold and
their eyes either a deep amber or violet.
Wild elves are characterised by their black hair
and dark brown skin. They are as short as
their cousins, but are far more solidly built.
Wood elves, better known as Sylvan elves are
deep forest dwellers. They are more muscular
than their cousins, and without the same
grace. They tend to have blonde or red hair
and blue eyes.
Personalities: Elves tend to be polite,
hospitable and gracious, even to those whom
they feel are beneath their standards
(essentially anyone who isn’t an elf), and they
are very tolerant in general.
The noticeable exception is the drow, who
view themselves as superior to all races,
including their own cousins. They have little
tolerance for even their own people yet alone
others. Men are especially treated with
intolerance amongst the drow.
While dwarves are known for their tempers,
elves are known for their coolness, even under
immense pressure. However their lifespan
tends to give them a detached and broad
outlook on life. They can be aloof and distant,
but have a great zest for life and they take
pleasure from the simplest of things, especially
those things that occur naturally in nature.
Elves are down to earth, and love the arts,
including art, craft, dance and song.
Elves often have a very tonal voice and they
express themselves with their whole bodies.
Elven is a very melodic language and is often
used by non-elven bards to compose ballads
and songs.
24
Elves are patient and focused, a deadly
combination – elves are relentless in pursuing
their goals.
Morals: For the most part, elves share the
common morality, holding life, fairness and
justice in high regard. However, they prefer
freedom and individuality to than the
structured civilization of humans.
Again the exception is the drow. Drow have a
totally different viewpoint on life. They have
little respect for anything and their motto
might as well be ‘only the strongest should
survive’. They are a matriarchal society, and
they treat each other like dirt. Men are treated
poorly and are expected to always submit to
their mistresses. Life is cheap for the drow,
especially non-drow lives, and so murder,
assassination and slavery are all permitted,
and are in fact to be expected.
Thoughtfulness, subtlety and patience are the
elven moral disciplines.
Likes: Elves are lovers of the beautiful. They
take great care with personal grooming,
fashion and what they eat. Many elven women
are very petite, an attribute that augments
their physical attractiveness to other races.
Elves love art, dance, music and crafts, they
also have a talent for the Longsword, and all
manners of drawn bows.
Elves also have great talent and passion for
magic in all its forms.
Dislikes: Elves dislike creatures that are
unnatural, or that defile nature. They find
undead particularly foul.
Upbringing: Elves spend more than their first
century simply maturing to adulthood. After a
pregnancy lasting 18 months, a newborn elf is
brought into the world.
Elven parents are very loving, and until a child
can walk and talk (around 1½-2 years), they
are very dedicated and attentive to their child.
Once the child is old enough to begin doing
things for itself however, the elven
childrearing doctrine is to give the child as

much freedom as possible. Elves never punish
their children in severe manners, and in their
first few decades, young elves are very
mischievous and unruly. By the time they
reach their 30’s to 40’s, however, they are well
settled, well behaved, patient and dedicated to
their studies.
Elves enter puberty at around the age of 70-80
years and reach full maturity by about the age
of 115. They are usually physically mature
enough to reproduce by the age of 80, but an
elven girl choosing to give birth at this age is
extremely rare.
Elves live a semi-nomadic lifestyle. Elven
communities move from place to place every
few years to avoid exhausting the natural
environment around them. This low-impact
style of living highlights the inherent respect
elves have for the land off which they live.
Elven dwellings often bend in with their
surroundings, hidden away in remote
mountains, forests and woodlands. Growing
up with nature is a part of elven life.
Drow communities differ greatly. Drow
children learn discipline the hard way,
through harsh punishment. Drow tend to
settle permanently in great subterranean cities.
These places are hash to live in, but far worse
for outsiders. Slavery and domination is
common, and life is cheap. It is expected that a
drow woman’s daughter will likely one day
assassinate her to take her place as head of the
family.
Family: Family is an open concept to elves,
being far different to humans. Their concept of
a free and open upbringing is taken to the
extreme, with a child choosing not only her
own name, but also to which family she will
belong. Until a child chooses her name and
family, she is considered a part of her mother’s
family.
Regardless, elves treat each other with love
and respect and in this sense, an elven
community is in many ways one large family.
Dice and Dramatics
Drow families are matriarchal with the mother
being the leader of the household, or her
mother if she is still alive. Even amongst
family members, backstabbing and treachery
is to be expected. Drow children seldom
survive to maturity if they are unable to
compete with their peers.
Role-Playing Tips: When role-playing an
elven character, consider acting in the
following way:
• Constantly be either late or early – time for
elves is more abstract than other races.
• Be slightly arrogant, but not so much as in
an obvious way. Elves are subtle when it
comes to hints.
• Be thoughtful about puzzles, and use
especially your listen, spot and search
skills.
• Do not speak unless you have something
to say.
• Keep your facial expressions minimal.
GNOMES
There are three racial sub-groups of the
gnomish race: rock, forest and svirfneblin
gnomes. Below are the details for a
stereotypical gnomish character.
Appearances: Gnomes stand at around half
the height of a human, and have large,
oversized eyes. Gnomish men can grow
beards, and often do.
Rock gnomes have a brownish tinged skin and
their fair hair.
Svirfneblin are comparatively different, with
rock-coloured flesh from a medium-brown to
a stony-grey. Males are bald, but can still grow
beards, while females have stringy grey hair.
Forest gnomes have the most different
appearance, with moss-coloured to barky skin,
dark hair and woody-brown, green or pale
blue eyes. They also stand much shorter than
other gnomes.
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Personalities: Rock gnomes are renowned for
their love of animals, appreciation of precious
materials, and sense of humour. Gnomes are
witty and practical jokers – they love to play
games, and tricks are certainly not beneath
them.
They are also brilliant and innovative
geniuses, constantly inventing strange
contraptions and devices that marvel the
human world. They are inquisitive sometimes
to a fault.
Svirfneblin are a little more cautious and
secretive, surviving underground requires that
their societies and settlements remain
unknown to the savage subterranean hordes.
Morals: In general, gnomes believe in those
ideals that would be considered good. They
have their own laws and moral systems that
reflect those of human civilisation, though
they are more lax with their laws. Gnomes
never are likely to feel above playing tricks
and practical jokes, and this can be the nastier
side of moral ethics.
Likes: Gnomes love technology. They are
natural tinkers and inventors, and often have a
broad knowledge of engineering and alchemy.
They love precious objects, and so get along
well with dwarves who are like-minded.
Gnomes also like halflings who can appreciate
a good joke.
Gnomes usually live underground, but they
love nature and animals, and spend a great
deal of time above ground.
Gnomes also have a natural aptitude for
magic.
Dislikes: Gnomes are suspicious of taller
HALF-ELVES
races, but can grow to trust. They loathe the
goblinoid races, giants and kobolds – their
natural enemies. Svirfneblin especially are
suspicious of drow and duergar.
Upbringing: In many ways, gnomes have a
similar upbringing to Dwarves. They share a
clan-based family orientation, however, they
are slightly more family-oriented. Gnomes are
long-lived, with a lifespan similar to dwarves.
Gnomes spend a good part of their life with
their family as they grow up, and there’s
always someone around. There is no such
thing as an orphan gnome – there are always
relatives waiting to take care of those in need.
Family: Gnomish families are usually
excessively large, not in the sense that a
gnomish couple will have many children, but
rather that gnomes regard their 2nd, 3rd, 4th and
possibly 5th cousins even as close family.
Suffice to say, gnomish families on the whole
are large.
Role-Playing Tips: When role-playing a
gnomish character, consider acting in the
following ways:
• Play practical jokes on other characters. Do
not over do it, but the occasional prank
won’t go astray.
• Show enthusiasm when around machines
of any kind.
• Role-play your character’s curiosity –
investigate everything, you never know
what you might find.
• Find ways to bring up your relatives in
conversation. You have at least one relative
for every situation. This mentioning may
or may not be followed up by a story, if so,
it should be wild and unbelievable.
• Make a habit of exaggerating.
• Make a list of names and titles you call
yourself. Gnomes love names and usually
have half a dozen or so that they go by.
Half-elves are the product of a union between
a human and an elf. They have the misfortune
of being longer lived than humans, but far
shorter lived than elves, leaving them fitting in
with neither society.
They have a tendency to adopt the culture of
one of their parents, so for the purposes of
formulating your character’s background

26

based on race, base it off either the human or
the elf.
Half-elves never truly fit in, and are in the best
company only with those in the same
situation. They get along well with other half-
elves and surprisingly, half-orcs, as they are in
a similar situation.
Role-Playing Tips: When role-playing a half-
elf character, consider performing in the
following ways.
• You may reject one side of your heritage.
Perhaps you dislike elves, and elven
temperaments because you grew up in
human civilisation. Or vice versa.
• In turn, humans may view you with
suspicion, while you find elves to be too
slow for your liking. You never feel like
you fit in, unless it is amongst others of
your kind.
HALF-ORCS
The outcome of a union between human and
orc, usually by force, half-orcs are the
misfortunate children of rape and pillage.
Generally, they adopt their mother’s culture,
but they are outcasts in human society.
Half-orcs are known for their brute strength,
and lack of intelligence and sheer ugliness.
However, some become great and noble
heroes in a bid to justify themselves to their
peers, making up for their debauched heritage
in the eyes of human civilisation.
Role-Playing Tips: Half-orcs should be
relatively unchallenging to play, as they are
extremely simple of mind. Their tactics are
strait forward and crude.
• Take things other characters say quite
literally, even when it is otherwise
obviously sarcasm.
• Scratch your head a lot in confusion when
NPCs or player characters are talking
above your comprehension level.
• You will encounter many people who are
frightened of you, especially children.
Dice and Dramatics
Perhaps you feel a need to make friends to
make up for this, or you growl at them in
spite of their hatred and fear.
• Racism is something you fight everyday.
Not all of it will come in spoken form. In
fact, your imposing stature and arms will
usually limit your experiences of it to
fearful and distrusting gazes. Some store
owners may refuse you service.
HALFLINGS
Lightfoot, deep and tallfellow halflings
compose the family of halfling subraces.
Below are the details pertaining to a
stereotypical halfling character.
Appearances: Halflings stand on similar par to
gnomes, being approximately half the size of
an adult human, with Tallfellow halflings
being slightly taller than their cousins.
Lightfoot halflings have brown hair with thick
curly locks and brown or black eyes.
Tallfellow halflings have golden curls and
fairer skin then their lightfoot cousins. They
also have a slimmer appearance, and a body
shape more like an elf to a miniature man.
Deep halflings are ruddy of skin, with strait
and black hair and black eyes.
Halfling men can grow some facial hair,
however, this is usually in the form of long
sideburns. Moustaches and beards are almost
completely unheard of.
Personalities: Halflings love to get along with
people of all races. They are emotional,
cheerful, and often good-natured. Curiosity
however is their notoriety, as they are
infamous for their inquisitiveness.
Often they get themselves into trouble
pursuing their curiosities. This coupled with
their carefree attitude makes of them
daredevils not easily matched by any race.
They have a remarkable ability to survive even
the direst situation and uncanny if not dumb
luck seems to follow them in their escapades.
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Morals: Halflings hold strong moral values,
the most prominent of which is equality. They
are natural blenders, making themselves
welcome additions to communities of any
civilised race by being helpful and valuable.
This adaptability also conforms to their moral
sense – they usually adapt the morals of the
new places they move too.
Likes: Halflings appreciate wealth and
adventure, however, of wealth, they are
spendthrift, and are the most effective
dispensers of coin as soon as it is made
available. More than once, this bad habit has
left a spendthrift halfling bankrupt or in debt
to a shady character.
Dislikes: Halflings have little grievance with
anyone or anything. Their need to please in
fact limits their dislikes.
Upbringing: Halflings have tight-knit
communities. When they settle, they usually
do it en-mass, and will establish their own
areas in a settlement where many halflings are
to be found.
The community helps out with the young
halflings, and childhood is usually filled with
many friends and extended family for
playmates.
Family: Family is very important to halflings,
and as such, they share a clan-based thinking
along with dwarves and gnomes. Halfling
families are large, but not to the excesses of
gnomes.
Role-Playing Tips: The following tips advise
the portrayal of a stereotypical halfling
character.
• Role-play your character’s inherent
curiosity to a fault.
• Try to go out of your way to get along with
everyone in the group.
• Be upfront and cheerful, and keep a
playful attitude towards most things.
• Spend your coin as soon as you can.
28
Savage Races
Beneath the civilised races are the savage races
– those races that lead a tribal, often lawless
life with primitive technology, usually at an
iron-working stage at best. Characters from
these races are generally less intelligent and
rely on brute strength and muscle over brains
and intelligence.
However, as PCs, savage characters are often
slightly different from their brethren, being
somewhat more civilised and open to civilised
ideas and ideals.
CENTAURS
Centaurs are part-humanoid-part-equine in
nature, sharing the upper body of a man or elf-
like being with the lower body of a horse. The
following is a description of a stereotypical
centaur character.
Appearances: Centaurs are large creatures,
with the lower body of a horse and the torso
and upper body of a humanoid where the
horses neck might have started.
Their hair is usually black or brown, and flows
in a mane over their shoulders and down the
length of their back. Their horse body differs
from their humanoid body in skin colour, and
can range in any colour or shape to be found
amongst horses.
Personalities: Centaurs are antisocial
creatures, shunning even the presence of
strangers yet alone their company. However,
they are mild-tempered, and agreeable if
befriended. Towards friends, centaurs are
rowdy, boorish and somewhat aggressive.
Morals: Centaurs believe in nature, and live a
tribal life working off the land in a manner
similar to elves. They have temperance for life
uncommon amongst the savage races.
Likes: Centaurs are lovers of the land. They
appreciate rangers, druids and bards, likening
those professions to the ideals that most please
their kind. They are lovers of nature especially,
and are excellent horticulturists.

While they shun humans, they have a liking of
elves, who show the same respect for the land
as they.
Dislikes: Centaurs are extremely suspicious of
strangers, and guard their territory carefully.
They always carry a bow and weapons, even
when only scouting their own territory. They
are not a race quick to trust, especially
humans.
Upbringing: Centaurs live a tribal life, their
communities usually being headed by a druid
of their kind. Aside from the obvious racial
differences, centaurs have a similar
upbringing to barbarian tribes found amongst
humans and other civilised races.
Family: Centaur families are relatively small,
and supportive, and they share similar
functions to human families.
Role-Playing Tips: The following tips apply to
characters portraying a centaur character.
• Play a distant and suspicious character.
• You will get a great deal of looks from
civilised races, especially in their
settlements. A centaur is a rare sight, even
amongst elves, with whom they trade.
• Expect lots of horse jokes.
• Play the strong, silent type, talking rarely
unless you have something to say.
• Centaurs role-play similarly to an elf in
many ways.
GNOLLS
Gnolls are hyena-like humanoids that wander
in loose tribes.
Appearances: Gnolls are tall, hyena-headed
creatures with greyish-red tinged fur all over
their bodies. Their mouths are often open,
canines glaring, and a long and salivating
tongue hanging as if in anticipation of food.
Personalities: Gnolls are nocturnal animals,
with low intelligence, and as such, they
operate more on instincts than by thinking
logically. They have a tendency to think with
Dice and Dramatics
their stomachs, and are slow of wit and do not
grasp so many civilised concepts.
Morals: None to speak of.
Likes: A gnoll’s favourite thing is food. Knolls
are known for thinking with their stomachs.
Amazingly, just about any meat of any
creature will do to satisfy them.
Dislikes: Gnolls dislike giants especially, but
also other humanoids. They are a lazy race,
and have distaste for manual labour.
Upbringing: Gnolls are born in a litter of three
to twelve pups. They mature to adulthood
over the course of seven to ten years, but begin
hunting and doing adult activities from
around the age of five or six.
Family: Gnolls don’t have a concept of family
as such, but rather, they have a pack identity,
much like the animals for which they are
known.
Role-Playing Tips: Use the following tips
when role-playing a gnoll character.
• Think with your stomach all the time, even
if it is going to get you into trouble.
• Think simplistically. Your character can’t
grasp as complex ideas as the workings of
magic, or how a catapult works.
• Speak with a deep raspy voice from the
bottom of your stomach. Speak in simple
language, perhaps with incorrect
grammar.
• Growl when angry, howl when distressed
or upset.
• Eat ravenously just about anything put in
front of you, so long as it’s meat.
• Act lazily. Gnolls hate manual labour.
GOBLINOIDS
The goblinoid family includes bugbears,
goblins and hobgoblins, all those races that
speak goblin. All are stealthy hunters and
raiders. The stereotypical goblinoid
protagonist is presented below.
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Appearances: The goblinoid family is diverse,
with each subrace varying a great deal.
Bugbears are much taller, stronger and hairier
versions of their cousins. They are muscular,
standing a foot on average taller than humans,
and are distinguished by sharp fangs and a
bear-like nose from which they derive their
names.
Goblins are a little bigger than a halfling, with
a flat face, broad nose and pointed ears. They
have wide mouths filled with tiny pointed
teeth and larger, sharp fangs. Goblins have the
proportions of a primate, with arms reaching
almost to the ground. Their skin can range
from yellow through orange to red, with tribal
consistency.
Personalities: Goblinoids are more instinctual
than intelligent, though they are capable of as
complex thought as civilised races are.
Bugbears are usually bullies, using their brute
strength to boss other creatures around.
Goblins are devious and ingenious when it
comes to tricks, traps and ambushes, however
they are poor tacticians. They have no concept
of a fair fight – anything goes that will give
them an advantage. They are extremely
adaptable to almost any environment or
situation. However, goblins are flawed by
cowardice, especially when lacking in
numbers or allies.
Hobgoblins on the other hand are of a more
disciplined mind. They are very competitive,
violent and ill tempered, prepared to fight
over even the smallest of grievances.
All goblinoids will eat anything – any creature
is legitimate food.
Morals: In general, goblinoids are malicious
and cruel, with little value of anything, yet
alone life. They are not beneath treachery
either. They hold little sacred save their dark
and twisted gods.
Likes: Goblinoids prefer to clothe themselves
in drab natural materials, such as leather. They
30
are familiar with underground caverns and
other subterranean locations in which they
often settle.
Dislikes: Goblinoids have a tendency to hate
everyone and everything, including their own
kind. They are incredibly self-centred, and this
reflects in their personalities.
Upbringing: Goblinoids have no concept of
family as such. They are a brood species,
breeding and perpetuating with any of their
kind, but usually within the tribe. By this
means, incest and inbreeding in general are
common, as is physical abuse. Only the most
crafty or strongest goblinoids will make it well
into maturity.
Family: As previously mentioned, goblinoids
have no concept of family. There is only the
tribe or the horde. They sleep communally and
do not partner off with others of their kind.
Role-Playing Tips: Use the following acting
tips when role-playing a goblinoid character.
• Use your strengths wherever possible. As a
bugbear, be sure to bully those around you
who are weaker.
• Speak with a harsh, raspy voice.
• As a goblin, use guile and cunning to
defeat your foes. Run away when you are
confronted with overwhelming odds.
• Hobgoblins should be quick to temper,
and start fights often for ridiculous
reasons.
• Fight in with the group, not alone.
• Eat ravenously just about anything put in
front of you, so long as it’s meat.
KOBOLDS
Kobolds are very distant relatives of dragons
and other reptilians. Below is presented the
typical kobold for play.
Appearances: Kobolds stand about the same
size as a halfling, gnome or goblin. They have
scaly hide, a naked tail, and a head that seems

to be a bizarre cross between a crocodile and a
dog with short horns.
The kobold’s eyes are red and amplify light,
giving them a slight glow in low light. Their
skin ranges from a rusty brownish to black.
Personalities: Kobolds are cowardly like
goblins, but with a more sadistic twist. They
are usually hateful and self-centred, and
believe themselves better than other races.
Morals: None to speak of.
Likes: Kobolds build their lairs underground,
and they are accomplished miners. They like
each other, but that’s about it.
Dislikes: Kobolds by nature, dislike
everything. One might even go as far as to say
they hate everything, especially other
humanoids and fey.
Upbringing: Kobolds are hatched from
communal eggs, never knowing who it was
that laid them. They grow up in the fortified
kobold settlements underground, and mature
quickly to adulthood.
Family: Kobolds have no concept of family,
only tribes.
Role-Playing Tips: The following are several
points for role-playing a Kobold.
• When you speak, think of a yipping lap
dog, with a high-pitched bark.
• Expect to be refused service and encounter
a lot of racism. It is not easy to get by when
you are so small.
• Creatures will probably overlook you in
conversation, or glare at you repulsively.
LIZARDFOLK
Lizardfolk are dangerous reptilian humanoids
that live in swamps and occasionally flooded
subterranean caves. The following is a
stereotypical description of Lizardfolk.
Appearances: Lizardfolk are a cross between a
lizard and a powerfully built humanoid. They
have reptilian scales all over their body, a
long, crocodile-like tail and sharp claws. They
Dice and Dramatics
are taller than humans, and much heavier of
bulk. Their scaled skin is usually a shade of
green with a yellowed underbelly.
Personalities: Lizardfolk have quite alien in
comparison to even the savage races as far as
thinking goes. Survival is what drives their
logic, and human emotions and thoughts seem
as alien to them as their own are to humans.
In combat they are disorganised and fight
individually. Their lack of tactics probably is
spawned from simple minds, though they are
more intelligent than a gnoll, but less than a
goblinoid.
Morals: None to speak of. Lizardfolk are
capable of anything, especially when it comes
to survival.
Likes: Lizardfolk like the water, and they are
to some degree amphibious, able to hold their
breaths for a longer time than civilised races
while submerged.
Dislikes: Lizardfolk dislike anything that
threatens their survival, and so will go to any
length to ensure continued existence.
Upbringing: Lizardfolk are raised in a
communal setting. They hatch from eggs, and
mature over a 10-12 year period to adulthood.
This communal life is relatively pleasant, but
monotonous and little distinction is given
between one Lizardfolk to the next.
Family: Lizardfolk have no concept of family.
They hatch from eggs kept anonymously
together.
Role-Playing Tips: The following tips apply to
the role-playing of Lizardfolk.
• Speak with a hiss, drawing out or
repeating especially ‘s’ in your
conversations.
• Have difficulty grasping human concepts.
• Act without morals, despite your
alignment, as far as it concerns your
survival.
31
 Ultramyth - Worlds Within Worlds
• When looking at other characters, gaze at
them with a hypnotic stare – wide eyes,
unblinking, and tilting your head back and
fourth as you listen.
• Expect strange looks and stares, but ignore
them. They are irrelevant.
MINOTAURS
Half-man, half-beast, the Minotaur is a
creature with the body of a man and the head
of a bull. The following describes the typical
Minotaur.
Appearances: Minotaurs stand about seven
feet in height and are upwards of 700 pounds
of meat and raw muscle. Their bodies are
covered in shaggy brown fur, and the head of
a bull or powerful oxen crowns their otherwise
humanoid body. They have clawed hands,
hoofed feet and a short bovine tail.
Personalities: Minotaurs are possessive, and
quick to tempter. In the wild, they are
territorial. Minotaurs are not very intelligent
creatures, and they easily get frustrated and
therefore enraged when confronted with
situations that they fail to understand.
Morals: None to speak of. Minotaurs do not
have a society of any kind, so they do not have
morals.
Likes: Minotaurs tend to think instinctively, so
they think with their stomachs. More
intelligent minotaurs realise the value of coin
and what it might acquire. However, they like
to keep things simple wherever possible.
Dislikes: Minotaurs don’t like what they don’t
understand, so they can be and get quite
temperamental when frustrated by things they
fail to comprehend.
Upbringing: As soon as Minotaurs can fend
for themselves, they go off on their own, or
with other like-minded individuals, learning
to survive on their own by instinct.
Family: Little is known about Minotaur family
or upbringing. Minotaurs have very small
families and they do not stay together for long.
32
As soon as a young minotaur can fend for
himself, he goes off on his own.
Role-Playing Tips: The following is useful
when portraying a Minotaur character.
• Unless your Minotaur was brought up by
human society, or is extremely intelligent,
they will be able to speak and understand
only Giant.
• Minotaurs that can speak should do so
with very broken, very simple speech.
They may only have a 20-30-word
vocabulary. They can understand
approximately three times as much.
• Get frustrated in conversation when you
don’t understand.
• When you get frustrated, you get angry,
and may randomly break things with your
great strength.
• Expect many strange looks and stares,
though not many people would be stupid
enough to refuse you service without
expecting a fight.
ORCS
Orcs are primitive humanoids that like to
wreak havoc and destruction. The following
summarises the stereotypical orc.
Appearances: Orcs appear as savage
humanoids with well-muscled bodies, broad
limbs and greyish green skin. They have pig-
like faces, red eyes and tusks like a boar. Their
ears are pointed and their hair wild and black.
Personalities: Orcs are temperamental, and
have little patience or tolerance. They are
naturally violent and quick to anger. Orcs are
simple of mind, with low intelligence. Some
concepts may be outside their grasp. They are
often also self-centred, and have been known
to think with their stomachs.
Morals: Orcs believe they have their own code
of morals, but it is considered unscrupulous
by the moral systems of civilisation. They live
a violent way of life which reflects on their
belief system.

TROGLODYTES
Likes: Orcs love combat and fighting, they are
natural fighters, but thankfully not as
intelligent as the civilised races. Like gnolls
and minotaurs, though to a lesser extent, food
is a passion for orcs.
Dislikes: Orcs hate both dwarves and elves.
Their belief in survival through conquest puts
them at odds with all intelligent creatures, and
leads to a great animosity between them. This
dislike may extend between different orc
tribes, who are not beneath squabbling with
each other.
Upbringing: Orc upbringing is tribal. Orc
children are taught combat from an early age,
and their masculine society heavily favours
male children over female. Female orcs are
seen at best as possessions.
Family: Orcs have families led by a male, and
sons are favoured heavily. Daughters are seen
only as potential breeders, and monogamy is
unheard of. Polygamy is rife, and an orcish
Dice and Dramatics
male prides himself on how many wives he
possesses.
Role-Playing Tips: The following tips should
be taken into consideration when role-playing
an Orc.
• Orcs don’t do well in sunlight. They are
dazed and confused.
• Orcs speak with a broken speech when
speaking common.
• Use your brute strength to give you an
advantage.
• Don’t think – just act.
• Demonstrate impatience and enthusiasm
for combat.
• Most societies will be especially hateful
towards your character.
Troglodytes are reptilian humanoids
somewhat akin to Lizardfolk. Below is a
typical troglodyte.
Appearances: Troglodytes are shorter than
humans, and have beady black eyes. They
have an upright lizard form that gives them a
basic humanoid shape, a long tail and long but
muscled limbs. Their heads are that of a lizard,
with a frill about the neck.
Troglodytes have a chameleon-like ability to
alter the colour of their skin to blend in with
their surroundings.
Personalities: Troglodytes are not very
intelligent, but they are ferocious and
fearsome, and they reach of a foul stench. They
are defensive and evil-minded. They see any
enemy as food.
Morals: None to speak of.
Likes: Troglodytes like a warm environment.
They are a warlike species, and revel in the
defeat of their enemies by devouring their
flesh.
They prize steel above all else, and will try to
appropriate it wherever possible.
33
 Ultramyth - Worlds Within Worlds
Dislikes: Troglodytes dislike cold weather.
They also have no great love for trinkets or
coin. Often they will discard treasure, unless it
is made of steel.
Upbringing: Upbringing in troglodyte society
is communal. Troglodytes are hatched in
communal caves, so there is no parental
identification, and their peers judge them by
their actions rather than their heritage.
Family: Troglodytes have no family to speak
of. They live in tribes lead by the strongest of
their race.
Role-Playing Tips: The following tips apply
when role-playing a troglodyte.
• Your character’s natural body odour could
cause some interesting problems while
adventuring, especially when frightened or
angry.
• Expect to be treated with suspicion in
human or other civilised societies.
• Speak with broken, serpent-like speech,
like a Lizardfolk.
• Do not look, stare. Do not move your eyes,
move your head.
Template Races
On rare occasions, an outsider mates with a
mortal race, and a hybrid child is born. At
other times, characters are infected with
curses, such as lycanthropy and vampirism.
Characters with a template behave differently
to others of their race.
Often template characters are complex at their
simplest. They have a hard time fitting into
society, but they also have a considerable
amount more power than common races.
Template creatures can make for an interesting
player character, however, some, like the
vampire, are included here for use by DMs
more than for players.
34
ASIMAR
Asimar are usually the descendants of a half-
celestial. They still retain some of the abilities,
traits and powers of their ancestors, and their
divine heritage is apparent in their
appearance. Often they are very fine of
feature, and have a radiant aura about them.
Asimar are well liked in general, for they tend
to be decidedly good, and therefore popular,
at least in common civilised areas. However,
they are often loners due to their own self-
isolation from dedication to good and justice.
Not all are this way, and those who are not
blend in well to regular society.
Role-Playing Tips: The following tips apply to
role-playing an asimar character.
• Consider paladin-hood as an option.
• Get along well with paladins and monks,
and clerics of lawful good alignments.
• Expect people to come to you for help
before others about you. This may become
an annoyance, especially if you are a
neutral, evil or non-lawful asimar.
• Play your charisma more than ordinary.
HALF-CELESTIALS
Half-celestials are the product of a union
between a celestial and any other race. They
are a proud child, beaming with the golden
radiance, wings and eyes of their divine
outsider parent.
Such unions are always made out of love, and
voluntarily. And so the child will have a
wonderful upbringing to good-aligned
parents. They are pleasing to look at with
golden skin and eyes, and great white wings.
However, half-celestials usually do not fit into
society, their higher selves often appalled by
the state of morals and actions of their own
mortal blood kin. This usually leads them to
become loners, dissatisfied with all but the
most noble of people. They get along well with
paladins and lawful good clerics.

Role-Playing Tips: The following tips apply to
role-playing a half-celestial character.
• Consider paladin-hood as an option.
• Get along well with paladins and monks,
and clerics of lawful good alignments.
• Expect people to come to you for help
before others about you. See this as an
opportunity to justify your higher heritage,
and do not refuse to help the innocent and
the needy.
• Lecture other characters for immoral
behaviours. Perhaps behave zealous
regarding your faith also.
HALF-DRAGONS
A half-dragon is the dead-giveaway result of a
union between a dragon and another creature.
The half-dragon born has distinct reptilian and
dragon-like qualities, usually being born with
scaly skin, elongated features, larger teeth and
claws, and serpentine eyes. If they are large
creatures, they usually also have wings.
Half-dragon protagonists will be met with
suspicion. Their unique features can leave
them mistaken for some sort of demon or
fiend. However, they are also likely to be
respected through fear.
Role-Playing Tips: The following tips apply to
role-playing a half-dragon character.
• Use your inherited powers wherever
possible – you like to show how powerful
you are to other creatures. You may be a
show off in this respect.
• Adapt the same viewpoints as your dragon
parent’s type.
• View yourself as superior to other races
thanks to your dragon heritage.
• Perhaps act self-confident, cocky or simply
haughty.
HALF-FIENDS
Half-fiends are usually the spawn of fiendish
rape, and rarely of a willing participant. Part
their mother’s race, and part their father’s,
Dice and Dramatics
they have dominant fiendish features and are
hideous to behold, sporting horns, glowing
red eyes, dark, scaled flesh and large, bat-like
wings.
Half-fiends are usually evil, taking from the
dominant demonic genes in their blood.
However, this is not strictly the case, and some
half-fiends are of good or neutral alignment.
No matter what their alignment, half-fiends in
mortal society will probably have a hard time
fitting in, if not being downright rejected by
their communities.
Role-Playing Tips: The following tips apply to
role-playing a half-fiend character.
• You will be treated with fear and disgust
amongst your mortal parent’s race, and
will never feel like you fit in. You may be
bitter about this, or it may not bother you
at all. It may lead to a hatred of those of
your mortal race.
• Use your natural weapons in combat, as
well as your spells. On the other hand, a
reluctant or good aligned half-fiend might
avoid using her powers in an attempt to
suppress her demonic side.
• Good half-fiends may wish to atone their
nature by doing as much good as possible.
• Evil half-fiends may wish to do as much
evil as possible to impress their fiendish
parent.
LYCANTHROPES
Lycanthropes are creatures that are infected or
were born with, a disease that affects them by
the cycles of the moon or otherwise. Under
certain circumstances, they transform into
supernatural animals.
Appearances: Infected lycanthropes often
develop slightly feral features compared to
their original appearances. This however,
other than the witnessing of a transformation,
is the only hint as to their hidden nature.
Personalities: The ‘beast within’ affects
Lycanthrope’s personalities to a point where
35
 Ultramyth - Worlds Within Worlds

often they begin displaying odd and

uncharacteristic behaviour that might more
easily be associated with their animal side.
Morals: Depending on the nature of their
transformation, the lycanthrope’s morals can
be severely altered. Usually this is the result of
an altered state of consciousness only present
when they have transformed and are
dominated by their beast side.
Likes: Unaffected.
Dislikes: Unaffected.
Upbringing: Especially true for inflicted
lycanthropes, lycanthropic characters should
have little in the way of training or
preparation for their new lives. Natural
lycanthropes grow up with it, so it becomes
natural to them, and this is why such beings
can transform at will.
Family: Unchanged.
Role-Playing Tips: The following tips apply to
role-playing a lycanthrope character.
• Struggle with the inner beast, especially if
genetic urges of their fiendish ancestry. Those
you were inflicted or you dislike what you
who wish to get along in civilisation keep a
are.
low profile and try to stay out of the spotlight.
• Let the beast nature overcome you on Known tieflings are often cast out of society
occasions, devour your food like an animal and become outlaws and exiles.
when hungry, give other subtle hints to
Role-Playing Tips: The following tips apply to
your hidden nature without revealing too
role-playing a tiefling character.
much.
• Keep a low profile, and don’t reveal your
• Use your senses more so than other
inherent nature unless necessary. This
characters, especially your sense of smell,
applies for Tieflings of all natures.
or another sense associated with the beast
you transform into. • You may wish to disguise those parts of
your body that give away your heritage.
TIEFLINGS Some tieflings even remove their horns.
Tieflings can trace their heritage back to a half-
• Lend a slight fiendish twist to your
fiend, and have the diluted blood of an evil
character’s personality. Act slyly. Perhaps
outsider. They appear to have an evil twist,
you are observant, and act in such a way
and usually have small horns protruding from
that when your ploys are executed, no one
their foreheads, pointed teeth, or perhaps
executes you.
cloven hoofs for feet, though no two are alike.
Tiefling characters are inherently pulled
towards acts of evil, though a few do resist the

36

VAMPIRES
The vampire is a template that can be applied
to any creature. Becoming a vampire is very
much a life-changing event, and no matter
what the eventual form, most creatures going
through this change experience a very
different understanding of life. Below is
presented some thoughts to consider when
role-playing a vampire character.
Appearances: Vampires are gaunter, paler
versions of their formal selves. Often their eyes
have a supernatural depth that betrays their
true age. Their bodies are frozen in time from
their death, though the transition into un-life
makes marked improvements – they become
leaner and more attractive than before, to
become all the more appealing and attractive
to the prey they will lure in using deceit.
If damaged, vampire bodies return to the
original condition they were in before they
were wounded, even hair if it is cut, will grow
back to its original length in a matter of
minutes.
Dice and Dramatics
Often in a mixed society, a vampire can walk
amongst the common crowd without being
noticed, however, in strict communities of
their own original race, they tend to stand out.
However, a simple application of common
cosmetics can render their skin to a passable
shade, allowing them to move about
undetected by the mundane eye.
Personalities: Often vampires maintain a
somewhat twisted version of their prior
personality. They with time develop an elf-like
patience, and tend to be more analytical and
observant than conversationalists, used to life
at a distance. They seldom converse with
mortals, unless it is to lure them away.
Although vampires can suggest and dominate
creatures, they prefer to do it the natural way,
preying on the vulnerable – those who are
unloved, feel unattractive, or are just simply
naïve.
Morals: Vampires develop their own moral
code, twisted to fit their lifestyle. Not all of
them see themselves as evil, as preying on the
blood of humanoids is simply their natural
diet. However, few hold life in high regard,
and their intolerance to good holy symbols
leaves them little choice but to associate with
creatures of a more vile nature, if at all.
Likes: Blood is the obvious like of a vampire,
though occasionally one is made who loathes
what she is and the taste of blood. Vampires
have a specific taste, usually preferring the
blood of humanoids closest to their own races,
though they can feed if necessary on any
natural creature.
Vampires get along well with other evil
creatures who simply accept their nature.
Dislikes: Vampires tend to be annoyed with
‘good’ personalities, simply because they get
all high and mighty about the value of life,
which you take each night, just to get by.
A vampire trusts good characters as much as
they trust her, since she knows they will turn
against her the moment they get the chance.
37
 Ultramyth - Worlds Within Worlds

They are especially distrusting of clerics who

wield the power of the gods.
Upbringing: A vampire’s upbringing will of
course not change from the base creature,
though her initiation into darkness might be
considered her upbringing. Perhaps she was
raped of her mortality, as so often happens, or
perhaps she was selected by her master.
Family: A vampire’s family is her master, the
vampires he has created and the vampires she
might make. Just because they are related,
does not mean these vampires have to like
each other.
Role-Playing Tips: Too many DMs make the
mistake of role-playing buffy-style cannon-
fodder vampires. Vampires are immortal,
extremely powerful, intelligent and cunning
creatures, not to be underestimated or
underplayed. The following pointers should
help bring a vampire villain to life:
• Use patience and be diligent. You have
forever to get revenge or plan against your
foes, so get it right.
• Do not do anything rash or emotion
charged.
• Do not use your powers unless you have
to. Subtlety is the key to your existence.
You must live in the shadows, so behave
accordingly.
• Use your environment to your advantage.
Do not be afraid to retreat – what is the use
of regeneration if you don’t give yourself a
chance to heal?

38

WEAPONS
Equipment
The Player’s Handbook presents a variety of
weapons, armour and equipment for use in
your average fantasy campaign. However, the
selection is quite limited, and caters for only
items of interest.
Presented here are some more mundane items
that are designed to enhance the believability
of your campaign, or to customize the
appearance of your character, including
clothes and accessories, and more practical
magical items and devices.
Dice and Dramatics
Listed below are several weapons that you
won’t find in the Player’s Handbook. Most of
these weapons are actually utensils or tools, or
are cleverly designed to be hidden or
disguised arms.
Dagger, bodice: This dagger is so named for it
is usually stored in the bodice between a
woman’s breasts. The dagger also doubles as
scissors. It has two blades usually 2-4 inches
long.
Knife, boot: Designed to be a concealable
weapon, this blade doubles as an eating
utensil in the field.
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 Ultramyth - Worlds Within Worlds

Knife, common: A common kitchen and CLOTHING

eating utensil can double as a weapon in times
of need. The blade is usually from 2-5 inches
long.
ARMOUR
For the most part, the armour of the Player’s
Handbook provides a more-or-less complete
assortment of protective gear designed
specifically for a military fashion.
HEAD
Armoured Corset, Leather: This corset is
constructed of reinforced hard-boiled leather,
providing a basic form of leather armour in
addition to female support.
Armoured Corset, Splinted: A corset
reinforced with metal strips, not only
supporting the wearer’s bust and defining her
figure, but also providing the protection of
splint mail.
Belted Mage Armour: Designed for maximum
dexterity and minimal magical hindrance,
belted mage armour consists of a network of
leather belts that form a light form of
protection without creating additional spell
failure.
This kind of armour has the protection of
leather armour, but with a lower spell failure
chance equivalent to padded armour.
Note, the sorcerer illustrated in the Player’s
Handbook for that class is seen wearing
armour similar to this.
Clothing plays an important part in defining
your PC’s character. A character can be
defined by what she wears, and you may wish
to customise your character’s costume beyond
the outfits described in the Player’s Handbook.
Clothing descriptions are sorted by their
location below.
Bonnet: The bonnet is a hat worn on the
crown of the head, with short flaps on the side
and a geometric shape.
Caul: A net or cloth cap consisting of fabric
gathered into a band to confine the hair and fit
the head opening closely.
Chaperone: A headdress that is a cross
somewhere between a hood and a Rondelle.
Chaplet: A circlet of metal imitating flowers
word around the head as a Rondelle.
Circlet: A metal band worn about the head,
very much like an oversized ring.
Coif: A close-fitting cap that conforms to the
shape of the head and covers most of the head
excluding the face, but usually covering the
ears.
Crown: A more decorative and expensive
variation of the circlet, less ring-like in shape.
Hat, acorn: A light hat that fits the head
closely, but does not cover as larger amount of
head that the coif covers.

TABLE 4-1: WEAPONS

Simple Weapons Cost Dmg (S) Dmg (M) Critical Range Increment Weight Type
Light Melee Weapons
Dagger, scissors 3 gp 1d3 1d4 19–20/x2 — 1 lb. Piercing or Slashing
Knife, boot 1 gp 1d2 1d3 19–20/x2 — 1 lb. Piercing or Slashing
Knife, common 8 sp 1d2 1d3 x2 — 1 lb. Slashing

TABLE 4-2: ARMOUR

Armour/ Shield Maximum Dex Armour Check Arcane Spell –––– Speed ––––
Armour Cost Bonus Bonus Penalty Failure Chance (30 ft.) (20 ft.) Weight
Light Armour
Armoured corset, leather 10 gp +2 +6 0 10% 30 ft. 20 ft. 10 lb.
Belted mage armour 10 gp +2 +6 0 5% 30 ft. 20 ft. 15 lb.
Medium Armour
Armoured corset, splinted 150 gp +4 +3 -4 25% 20 ft. 15 ft. 30 lb.

40
 Dice and Dramatics

Hat, broadbrim: A stiffened hat with a much
broader rim usually with a radius the width of
the diameter of the crown of the hat.
Hat, flat: A usually brimmed hat with a soft
crown constructed as a circle pleated into a
brim or knitted to shape.
Hat, iconographic: A decorative cone-shaped
hat with twisted roll brims, usually worn by
clerics and clergy.
Hat, pointed: The stereotypical ‘wizard’s hat’,
TABLE 4-3: CLOTHING & ACCESSORIES
a tall cone that comes to a point, sometime
brimmed, sometimes not.
Hat, sack: A sack hat is similar to the
chaperone, but the tippet was eliminated and
the shoulder cape was converted into a sack-
shaped crown.
Hat, sugarloaf: A light hat of similar design as
the acorn hat but is much taller.
Hat, stiffened: Hats of blocked felt, stiffened
or supported fabrics, or straw or other plant
fibres usually having brims; not classifiable as
an acorn hat, sugarloaf hat, or bonnet; and

Clothing Article Cost Clothing Article Cost Clothing Article Cost

Head Body Feet
Bonnet 5 cp Apron 3 cp Boots, full leg 2 gp
Caul 2 cp Bodice (female) 1 sp Boots, heavy 12 sp
Chaperone 3 cp Coat, heavy 15 sp Boots, knee-high 15 sp
Chaplet 2 cp Coat, light 12 sp Boots, light 1 gp
Circlet 1 gp Corset, full (female) 12 sp Shoes, buckled 8 sp
Coif 2 cp Corset, half (female) 8 sp Shoes, drawstring 4 sp
Crown 3 gp Doublet 5 gp Shoes, laced 5 sp
Hat, acorn 3 cp Doublet, arming 7 gp Shoes, slippers 3 sp
Hat, broadbrim 6 cp Dress 5 cp Boots, waterproofing* +1 gp
Hat, flat 8 cp Dry Coat* 15 gp
Hat, iconographic 6 cp Gown 5 sp Legs
Hat, pointed 6 cp Jacket, common 2 sp Breeches 16 cp
Hat, sack 4 cp Jacket, quilted 15 sp Leggings 12 cp
Hat, sugarloaf 4 cp Nightdress 13 cp Pantaloons 3 sp
Hat, stiffened 4 cp Nightrobe 15 cp Pants 14 cp
Hat, stocking 5 cp Nightshirt 12 cp Skirt, long 1 sp
Hat, top 1 sp Robe, Bathing 10 cp Skirt, petticoat 9 cp
Hood 3 cp Robe, Monk's 5 cp Skirt, short 7 cp
Rondelle 3 sp Shirt, long sleaved 9 cp Stockings 2 sp
Veil 2 cp Shirt, short sleaved 7 cp Trousers 2 sp
Shirt, undershirt 6 cp Quilted Pants 3 gp
Neck Smock 5 cp Slops 3 sp
Cape 8 cp Surcoat, common 5 sp
Cloak, hooded 4 sp Surcoat, quilted 2 gp Accessories
Cloak, light 2 sp Toga 5 cp Brooch, common 1 sp
Cloak, winter 6 sp Tunic 8 cp Brooch, expensive 1 gp
Cravat 3 cp Vest 5 cp Brooch, exquisite 15 gp
Drape 5 cp * Alchemically Treated Cosmetic Kit 2 gp
Mantle 9 cp Earring, common 1 sp
Scarf 3 cp Waist Handkerchief 2 cp
Shoal 5 cp Belt, buckled 3 sp Monocle 25 gp
Belt, component 8 sp Perfume, cheap 20 gp
Hands Belt, cord 1 sp Perfume, exotic 50 gp
Gloves, archery 2 gp Belt, leather 1 sp Perfume, expensive 80 gp
Gloves, fur-lined 15 sp Belt, rope 5 cp Perfume, exquisite 120 gp
Gloves, heavy 8 sp Belt, sword and dagger 5 sp Pouch, purse 5 cp
Gloves, light 5 sp Girdle 8 sp Spectacles 50 gp
Gloves, opera 15 sp Sash 5 cp Wig 2 gp

41
 Ultramyth - Worlds Within Worlds
often worn over other types of headdress.
Hat, stocking: A soft cone or truncated cone
shaped caps that covers the top half or two-
thirds of the hair-growing region of the head.
Hat, top: A stiffened hat with a very short
brim and a high, cylindrical top.
Hood: A loose-fitting covering of the head and
shoulders with a face and sometimes a neck
opening.
Rondelle: A cloth circlet worn about the head
on a diagonal angle from the back of the ears
to the forehead.
Veil: A sheet of fabric worn about the head.
NECK
Cape: A long piece of material, usually
stretching from the neck to the knees, covering
the back of the wearer.
Cloak, hooded: As a cloak, with a hood
stitched on.
Cloak, light: Similar to a cape, only it reaches
to the ankles, and stretches to cover the front
of the body as well.
Cloak, winter: The same as a light cloak only
made of heavier material, and with an
additional layer of material covering the
shoulders and upper chest.
Cravat: A form of decorative necktie.
Drape: A stretch of cloth similar to a cape,
though worn unsecured draped over the
shoulders.
Mantle: A loose, sleeveless coat worn over the
body, similar to a cloak.
Scarf: A long rectangular stretch of material
used to tie about the neck.
Shoal: A square blanket or rug usually knitted
or crocheted with tassels, which is worn
folded and draped over the shoulders. Only
women usually wear shoals.
HANDS
Gloves, archery: Archery gloves are designed
for optimal use with the bow.
42
Gloves, fur-lined: These are as regular gloves,
though their insides are lined with fur, often
cat skin, to give extra warmth.
Gloves, heavy: Usually made of leather, these
gloves allow little articulation, but protect the
wearer’s hand from harm and the elements.
Gloves, light: Common gloves worn that
provide good articulation while giving basic
protection to the hands from the elements.
Often worn as riding gloves.
Gloves, opera: Long gloves, usually made of
fine materials such as satin or silk, which reach
to the elbows or upper arms. The fingers are
fine and tight fitting, giving excellent
articulation. Gloves of this kind are usually
only worn by women.
BODY
Apron: An apron is worn over a dress or other
clothing, usually as a prevention method for
soiling ones clothes.
Bodice (female): The bodice is an external
item of clothing worn solely by women (unless
your male character is a cross dresser) for
support. It wraps around the breasts and chest
and is laced up either at the front or the back.
Coat, heavy: The heavy coat is worn over the
whole body, except the head, and is the best
protection against the cold.
Coat, light: As the heavy coat, only made of
lighter and cooler material.
Corset, full (female): Women for breast and
chest support wear the corset. This version
covers both the breasts and the chest, and
compacts the waist into an hourglass shape.
Corset, half (female): As the full corset, only it
does not cover the breasts, it only supports
them.
Doublet: The doublet is a quilted shirt, often
worn as basic armour. The doublet is
effectively padded armour.
Doublet, arming: The arming doublet is the
same as above, only it is designed to be worn
in conjunction with half-plate armour. It has

special hooks for this reason, which enable the
half-plate pieces to be better secured in place.
Wearing an arming doublet under half-plate
armour restores improves the flexibility of the
suit because the weight is better distributed,
and the wearer gains the same effective
maximum Dex bonus and armour check
penalty as if she were wearing full-plate
armour.
However, in addition, the arcane spell failure
chance increases to 45% and the wearer does
not receive any additional armour bonus from
wearing the doublet.
Dress: The dress is the common attire of
women. It is long, covering the whole body.
Dry Coat: The dry coat is alchemically treated
to be waterproof. Water beads off its surface as
if it were made of glass. The coat also provides
a minor acid resistance, reducing acid damage
by one point per round. Otherwise the dry
coat is similar to a light coat.
Gown: The gown is a more elaborate version
of the dress – its design varies greatly, but it is
the suitable attire of noble women and special
occasions.
Jacket, common: The common jacket is worn
an accessory for cold weather. It covers the
arms and torso.
Jacket, quilted: As a common jacket, only
made of quilted material. When worn with
quilted pants, the ensemble is effectively
padded armour.
Nightdress: The nightdress is bed wear for
women. It is worn at night while the wearer is
sleeping.
Nightrobe: A robe worn over the top of a
nightdress or nightshirt. It is made of light
material, and is designed for moving about in
the home before bed.
Nightshirt: The nightshirt is bed wear for
men. It is worn at night while the wearer is
sleeping.
Dice and Dramatics
Robe, Bathing: This basic robe is made of
thick, fluffy fabric designed to absorb water off
a wet body. As the name suggests, it is used
after bathing.
Robe, Monk's: The monk’s robe is simple,
lightweight and does not offer much
protection from the elements.
Shirt, long sleaved: The long-sleaved shirt
covers the torso and all of the arms. It is a
basic item worn by most men.
Shirt, short sleaved: The short sleaved shirt
covers the torso and the upper arms of the
wearer.
Shirt, undershirt: The undershirt is usually
worn by men in the winter time, underneath
their other shirts.
Smock: The smock functions similarly to the
apron, only it covers more of the body.
Surcoat, common: The surcoat is worn over
the top of armour, and is usually worn by
knights bearing their coat of arms.
Surcoat, quilted: The same as above, but
functions as padded armour.
Toga: This is a loose-fitting outer garment
worn over the top of a tunic.
Tunic: The tunic is similar to a shirt, except it
extends down to just above the knee. It is not
necessary to wear leg wear while wearing a
tunic.
Vest: The best is an overgarment worn on top
of a shirt. It covers only the upper torso.
WAIST
Belt, buckled: This belt is as a leather belt,
only it has a metal buckle instead of being tied.
Belt, component: This belt is lined with small
pouches useful for storing spell components.
Belt, cord: This is a simple cord made of
intricately tied knots. It is similar to a rope
belt, but more elaborate.
Belt, leather: This is a long strip of leather that
is tied in the centre of the waist.
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 Ultramyth - Worlds Within Worlds
Belt, rope: The rope belt is just a length of rope
tied about the waist.
Belt, sword and dagger: As a leather belt, but
includes sections for hanging two scabbards.
Girdle: The girdle is a very wide leather belt
that has several buckles either at the front or
the back. It covers a majority of the wearer’s
stomach and provides good support,
especially for lifting heavy weights.
Sash: The sash is a length of material that is
tied about the waist.
FEET
Boots, full leg: Full leg boots extend from the
base of the feet all the way up to the crotch.
These boots are considered heavy.
Boots, heavy: Heavy boots are made of thick
material and offer the best protection. They
reach to the shins.
Boots, knee high: These are longer heavy
boots that extend to just above the knee, hence
their name. Often they can be worn folded
down at the shins.
Boots, light: These boots are made of leather,
and are lightweight, while affording better
comfort and protection to than shoes.
Shoes, buckled: These are shoes that use a
buckle to secure them on the feet.
Shoes, drawstring: These shoes use
primitive lace to draw them together.
Shoes, laced: Same as drawstring shoes, only
with a better lace that is more secure and tight-
fitting.
Shoes, slippers: These shoes only fit the toes
and front of the feet. They are comfortable but
not very wearable.
Boots, waterproofing: Alchemical water-
proofing can be applied to shoes or boots to
make them watertight up to their opening.
LEGS
Breeches: This garment is designed for men,
and covers the thighs and the hips. They are
44
usually worn in conjunction with stockings or
leggings
Leggings: A leg covering extending from the
ankle to the knee, commonly made of heavy
materials, such as leather or canvas.
Pantaloons: Elaborate and tightly tailored
pants worn by the gentlemanly.
Pants: A less elaborate version of the
pantaloons. Pants are a garment covering the
legs and hips.
Skirt, long: A garment, hanging from the
waist, worn by women. This version hangs
from the hips to the ankles.
Skirt, petticoat: An underskirt worn by
women in colder climes, often made of
decorative lace.
Skirt, short: A shorter variation of the long
skirt, reaching from the waist to just above, or
just below the knees.
Stockings: A tight-fitting garment for the legs
that reaches from the feet to the middle of the
thighs.
Trousers: A garment for men loosely fitting
from hips to ankles.
Quilted Pants: As a regular pants, only made
of quilted material. When worn with a quilted
jacket, the ensemble is effectively padded
a armour.
Slops: Short full trousers.
ACCESSORIES
Brooch: The brooch is a simple article of
jewellery that serves to attach in place a cloak
or apron, or similar garment.
Cosmetic Kit: This simple kit is used to apply
basic makeup. It can be used without penalty
as the right tools for the disguise skill, but
does not convey any bonus.
Handkerchief: A simple square of material
used to wipe ones nose.
Monocle: As glasses, but only covers one eye.
Usually attached to a small length of chain.
 Dice and Dramatics

Perfume: A scent in a bottle applicable to the
skin or clothing to give a pleasant aroma.
Pouch, purse: This small leather pouch is
suitable for carrying a small amount of coin.
Spectacles: A pair of glasses used to help the
visually impaired see better.
Wig: False hair, used by the bald or by actors
as a part of a costume. Can be made to look
real or otherwise.
items designed for every day use rather than
specifically for adventurers.
RINGS
Ring of Endure Elements: This simple ring
when worn this ring affects the character as if
under the influence of an Endure Elements spell
as cast by a 1st level wizard.
Faint abjuration; CL 1st; Forge Ring, endure
elements; Price 2,000 gp

CLOTHING MATERIAL WONDROUS ITEMS

Clothing costs can increase dramatically Belt of Flotation: This resizable belt is
depending on the type of material used in its designed for children learning to swim. On
construction. Use the flowing table to figure command, this belt ensures that the wearer
out the cost of clothing for the neck, hands, stays afloat on the surface of the water by
body and legs by material. casting a Buoyancy spell upon them.
TABLE 4-4: MATERIALS Faint transmutation; CL 0; Craft Wondrous
Material Cost Multiplier Item, buoyancy; Price 360 gp; Weight 1 lb.
Canvas ×½
Cotton ×2½ Ballet Slippers: These unassuming slippers
Lace ×2 are enchanted in such a way that the wearer
Leather ×2 gains a +5 competence bonus to Perform
Linen ×1
Silk ×10
(dance) checks.
Velvet ×5 Faint transmutation; CL 5th; Craft Wondrous
Wool ×1½
Item; Cost 2,500 gp; Weight 1 lb.
QUALITY
Bathtub of Ever-clean Water: This cast-iron
The quality of an article of clothing may also
tub is capable of creating the perfect bath. On
affect its price. Below is a table representing
command, it runs a bath to the indicated depth
several different common price modifiers to be
and temperature and fills it with enchanted
found in a fantasy campaign settings.
water. The water never becomes dirty, and
Use the following table to calculate the cost of bathing in it cleanses the bather as an aura of
clothing made of various qualities. cleanliness spell. The water also neutralises the
TABLE 4-5: QUALITY effects of acid.
Quality Cost Multiplier The tub is large enough to comfortably fit
Poor ×½
Standard ×1
either one medium creature or two small
Good ×1½ creatures.
Fine ×2
Faint transmutation and faint conjuration; CL
High ×2½
Dwarven ×3 1st; Craft Wondrous Item, create water, aura of
Elven ×5 cleanliness; Price 2,160 gp; Weight 120 lb.
Extravagant +½
Belt of Dryness, Greater: When worn, this
Magical Items leather belt constantly affects the wearer and
the wearer’s gear as a permanent aura of
In theme with the rest of this chapter, this
dryness, and will keep them dry, even when
section details some more obscure magical
submerged completely in water.

45
 Ultramyth - Worlds Within Worlds
Faint transmutation; CL 1st; Craft Wondrous
Item, aura of dryness; Price 2,000 gp; Weight 1
lb.
Belt of Dryness, Lesser: This belt functions the
same as the greater belt of dryness above, but
only works once a day instead of constantly, as
a spell made by a 1st level caster.
Faint transmutation; CL 1 ; Craft Wondrous
st
Item, aura of dryness; Price 360 gp; Weight 1 lb.
Belt of Wenching: This belt, devised by a
crafty womanizer can cast Charm Person 1/day
and Enlarge Person 1/day.
Faint enchantment and faint transmutation;
CL 1st; Craft Wondrous Item, charm person,
enlarge person; Price 720 gp; Weight 1 lb.
Bodice of Bust: This simple-looking leather
bodice when worn increases the cleavage of its
wearer. When worn by women, the wearer’s
breasts become several sizes larger. When
worn by men, they appear to have (all too
often hairy) small breasts.
Faint transmutation; CL 1st; Craft Wondrous
Item, enlarge person; Price 2,000 gp; Weight 2
lb.
Broom of Cleaning: This object looks like a
common house broom, however, once per day
on command it can animate and may be
commanded to clean a designated area.
Faint transmutation; CL 1st; Craft Wondrous
Item, animate household object; Price 360 gp;
Weight 3 lb.
Chauncey’s Belt of Chastity: Devised by a
paranoid sorcerer and father, this belt must be
secured about its target. Once secured, it can
only be removed by the person who secured it
or by the target’s spouse upon their wedding
night.
When the wearer's maidenhood is threatened,
this device activates, firing a Magic Missile (as
a 1st level sorcerer) targeting the assailant's
genitales.
46
The belt is comfortable, waterproof, and
magically does not interfere with the wearer’s
normal functions.
Faint evocation; CL 1st; Craft Wondrous Item,
bestow curse, magic missile; Cost 1,200 gp;
Weight 2 lb.
Cloak of Temperance: This winter cloak
appears indistinguishable from any other
cloak though when worn, it protects the
wearer like a Ring of Endure Elements.
Faint abjuration; CL 1st; Forge Ring, endure
elements; Price 2,000 gp; Weight 3 lb.
Goggles of Water Breathing: When worn,
these goggles not only allow the wearer to see
clearly in water, but they also let them to
breathe water as if it were air.
Moderate transmutation; CL 9th; Craft
Wondrous Item, water breathing; Cost 24,000
gp; Weight 2 lb.
Icebox of Preservation: This 1½ x 2½ x 1½ ft.
box has a lockable lid. Anything stored within
the box is affected as if under the influence of a
Preservation spell until it is removed from the
box. The box has been designed with freezing
food in mind for access to fresh fruit and
vegetables during the cold winter months
when they don’t grow.
Faint transmutation; CL 1st; Craft Wondrous
Item, preservation; Cost 2,000 gp; Weight 15 lb.
Locker of Good Food: This locker is about the
size of a modern esky. Once a day this locker
can produce food and water as if by the spell
Create Food and Water as cast by a 4th level
cleric.
Faint conjuration; CL 4th; Craft Wondrous
Item, create food and water; Cost 2,400 gp;
Weight 15 lb.
Mantelpiece of Good Heating: This otherwise
ordinary looking mantelpiece can be installed
in any fireplace. By command, it can activate a
modified continual flame that provides heat
that gently spreads around the room. The fire
is not hot enough to burn, and does not

require fuel, but is warm enough to make any
room comfortable within 5 minutes.
Faint evocation; CL 3rd; Craft Wondrous Item,
continual flame; Cost 5,000 gp; Weight 8 lb.
Perfume of Attraction: When applied, the
wearer affects those around them as if they
had cast Mass Charm Person as a 4th level
wizard. The perfume has 50 applications.
Moderate enchantment; CL 4th; Craft
Wondrous Item, mass charm person; Cost 9,000
gp; Weight 1 lb.
Perfume of Fresh Air: When applied, the
wearer affects an area around them in a 15-
foot radius as if she were the centre of a Lesser
Zone of Sweet Air spell for two hours. The
perfume has 50 applications.
Faint transmutation; CL 1st; Craft Wondrous
Item, lesser zone of sweet air; Cost 1,000 gp;
Weight 1 lb.
Perfume of Personality: An application of this
perfume temporarily boosts the wearer's
charisma as if an Eagle's Splendour spell had
been cast by a 3rd level wizard. The perfume
contains 50 applications.
Faint transmutation; CL 3rd; Craft Wondrous
Item, eagle’s splendour; Cost 2,250 gp; Weight 1
lb.
Skeleton Key, Greater: This key decorated
with turn in the fashion of a human skull with
ruby eyes can be used to open or lock any
door, chest or portal as if using either a Knock
or an Arcane Lock spell as cast by a 3rd level
wizard.
Moderate transmutation; CL 5th; Craft
Dice and Dramatics
Wondrous Item, knock, arcane lock; Cost 24,000
gp; Weight ½ lb.
Skeleton Key, Lesser: This is minor version of
the above. Knock on locked and Arcane Lock
on unlocked doors, chests and portals; 3rd
level wizard; 50 charges.
Moderate transmutation; CL 5th; Craft
Wondrous Item, knock, arcane lock; Cost 12,000
gp; Weight ½ lb.
Spectacles of Magic Detection: Twice per day
while wearing these glasses, the wearer is able
to Detect Magic as a 1st level wizard.
Faint divination; CL 1st; Craft Wondrous Item,
detect magic; Cost 770 gp; Weight 1 lb.
Wig of Style: Once per day on command this
wig can be altered in colour, length and style
as per the desire of the wearer. The effect is
permanent unless changed by the owner.
Faint transmutation; CL 3rd; Craft Wondrous
Item, alter self; Cost 2,000 gp; Weight 3 lb.
Spells
The magic presented in the core rules is
appropriate for your average adventurer, but
what about more mundane applications for
magic? Do you really think a wizard is willing
to prepare his own food when the time spent
will get in the way of study? Of course they
aren’t. There are a variety of low-level spells
designed for everyday use to ease the labours
of the day.
These spells are all arcane in nature, as it is
against the principles of divine magic to pray
to your god to clean your room for example.
47
 Ultramyth - Worlds Within Worlds

Animate Household Object Spell Resistance: No

Transmutation
This spell creates an instant vacuum that
Level: Brd 2, Sor/Wiz 1
magically sucks away all that the caster
Components: V, S
considers dirt and filth from either the person
Casting Time: 1 standard action
of a target creature, or from a designated area.
Range: Touch
This effectively can be used to clean an area or
Targets: One common household object
object as if it had been perfectly cleansed and
weighing up to 5 lb. + 1 lb./level
to the target creature effectively washes them
Duration: 10 minutes + 5 minutes/level
as if they had had a good bath.
Saving Throw: None
Spell Resistance: No Focus: A miniature silver broom worth 5 sp.

You can animate a nonliving everyday object, Aura of Dryness

such as a broom, rake or shovel. Transmutation
Level: Brd 1, Sor/Wiz 1
The object obeys a number of simple
Components: V, S
directions, related to how it is used as a tool.
Casting Time: 1 standard action
For example, a shovel responds to “dig here”
Range: Touch
while a broom would respond to “sweep this
Targets: Creature touched
room”.
Duration: 10 minutes + 5 minutes/level
The spell cannot be used to attack creatures, Saving Throw: None
just for what it is designed for. Spell Resistance: No
The object animated is not itself magical. This spell creates an invisible aura about the
target that causes all that it is wearing to
Aura of Cleanliness
remain dry, even when totally submerged in
Transmutation
water.
Level: Brd 1, Sor/Wiz 1
Components: V, S, F Buoyancy
Casting Time: 1 standard action Transmutation
Range: Close (25 ft. + 5 ft./2 levels) Level: Brd 0, Sor/Wiz 0
Targets: Creature or 20 sq. ft./level Components: S
Duration: Instant Casting Time: 1 standard action
Saving Throw: None Range: Touch
Targets: Creature touched
TABLE 4-6: SPELLS
Spell Name Level School Effect
Animate Household Object 1 Transmutation Animates an everyday object weighing up to 5 lb. + 1 lb./level
Aura of Cleanliness 1 Transmutation Cleanses everything on target or in area of effect
Aura of Dryness 1 Transmutation Keeps everything on target dry for duration
Buoyancy 0 Transmutation Makes target buoyant for the duration
Casanova's Love Petals 0 Illusion A shower of rose petals that lasts for 1d4 hours + 1 hour/level
Charm Person, Mass 3 Enchantment As charm person but all within 30 ft.
Ease Birth 1 Abjuration Allows a quick and easy birth.
Fetch 1 Transmutation Retrieves an object weighing 5 lb. + 1 lb./level
Kalen's Fantastic Fat Burner 2 Transmutation Reduces body fat by up to 5%/level
Kalen's Fantastic Toner 2 Transmutation Increases muscle definition by up to 5%/level
Prepare Food 0 Transmutation Turns raw ingredients into a prepared meal to taste.
Preservation 1 Transmutation Preserves 10 lb. + 2 lb./level for 1 month/level
Zone of Sweet Air, Greater 4 Abjuration As lesser only also dispels cloud and air effects
Zone of Sweet Air, Lesser 1 Transmutation Creates an area of sweet smelling air

48

Duration: 10 minutes + 5 minutes/level
Saving Throw: None
Spell Resistance: No
Once cast, this makes the target float while in
water or any other substance of similar
composition. The target, regardless of weight
will float to the top of the water for the
duration of the spell.
Casanova’s Love Petals
Illusion
Level: Brd 0, Sor/Wiz 0
Components: V, S
Casting Time: 1 standard action
Range: Short (25 ft. + 2 ft./level)
Fetch
Targets: 10 sq. ft.
Duration: 1 hour/level
Saving Throw: None
Spell Resistance: No
Casanova’s Love Petals creates a shower of red
rose petals that will settle on a surface, such as
a bed. The petals remain for the duration of
the spell.
Charm Person, mass
Enchantment (Charm) [Mind-Affecting]
Level: Brd 3, Sor/Wiz 3
Components: V, S
Casting Time: 1 standard action
Range: Close (25 ft. + 5 ft./2 levels)
Targets: One or more creatures, no two of
which can be more than 30 ft. apart.
Duration: 12 hours/level
Saving Throw: Will negates
Kalen’s Fantastic Fat Burner
Spell Resistance: Yes
This spell functions like charm person except
that mass charm person affects a number of
creatures whose combined HD do not exceed
twice your level, or at least one humanoid
creature regardless of HD. If there are more
potential targets than you can affect, you
choose them one at a time until you choose a
humanoid creature with too many HD.
Ease Birth
Abjuration
Level: Clr 1
Components: V, S
Dice and Dramatics
Casting Time: 1 standard action
Range: Touch
Target: One pregnant target
Duration: 15 minutes – 1 min./level (to a
minimum of 1 minute)
Saving Throw: See below
Spell Resistance: No
Ease Birth enables a pregnant target to make a
painless, bloodless and swift delivery and give
birth to an unharmed, healthy baby (provided
there were no previous complications).
Afterwards, the mother feels refreshed and
fine, with no soreness or physical damage.
Transmutation
Level: Brd 1, Sor/Wiz 1
Components: V, S
Casting Time: 1 standard action
Range: Close (25 ft. + 5 ft./2 levels)
Target: One object weighing up to 5 lb. + 1
lb./level
Duration: Instantaneous
Saving Throw: See below
Spell Resistance: No
You reach out your hand towards an object
and with an invisible force draw it towards
you. The object can only travel in a strait line
and only to your outstretched hand. A
creature holding an object must succeed at a
grapple check equal to the caster’s Spell Save
DC.
Transmutation
Level: Clr 2
Components: V, S, F
Casting Time: 5 minutes
Range: Touch
Targets: Creature touched
Duration: Instant
Saving Throw: Fortitude negates
Spell Resistance: Yes (harmless)
This vain use of magic instantly burns away
up to 5% per level of the target’s body fat to a
maximum of 100%. This will permanently
reduce the target’s body weight by the
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 Ultramyth - Worlds Within Worlds

appropriate amount. This does not prevent the Targets: 10 lb. + 2 lb./level
gain of additional weight. Duration: 1 month/level
Saving Throw: None
This is a visual effect only, and does not affect
Spell Resistance: No
the target’s abilities.
While under the effects of this spell, the items
Focus: A doll depicting a thinner version of the
touched are effectively do not age.
target’s race.
Zone of Sweet Air, Lesser
Kalen’s Fantastic Toner
Transmutation
Transmutation
Level: Brd 1, Clr 1, Sor/Wiz 1
Level: Clr 2
Components: V, S, M
Components: V, S, F
Casting Time: 1 standard action
Casting Time: 5 minutes
Range: Close (25 ft. + 5 ft./2 levels)
Range: Touch
Range: 30 ft. radius
Targets: Creature touched
Duration: 10 min./level
Duration: Instant
Saving Throw: None
Saving Throw: Fortitude negates
Spell Resistance: No
Spell Resistance: Yes (harmless)
This spell creates a radius of sweet-smelling
This vain use of magic instantly increases
air in the area designated by the caster. This
body tone and muscle sculpture by up to 5%
only alters the aroma of the area, and not any
per level to a maximum of 100%. This is a
effects in place. The spell can be used to
visual effect only, and does not affect the
disguise the smell of otherwise odorous spell
target’s abilities.
effects.
Focus: A doll depicting a well-muscled version
Material Component: A flower petal.
of the target’s race.
Zone of Sweet Air, Greater
Prepare Food
Abjuration
Transmutation
Level: Brd 4, Clr 4, Sor/Wiz 4
Level: Brd 0, Clr 0, Sor/Wiz 0
Components: V, S, M
Components: V, S
Casting Time: 1 standard action
Casting Time: 1 standard action
Range: Close (25 ft. + 5 ft./2 levels)
Range: Touch
Range: 30 ft. radius
Targets: 5 lb. + 1 lb./level
Duration: 1 round/level
Duration: Instant
Saving Throw: None
Saving Throw: None
Spell Resistance: No
Spell Resistance: No
In addition to applying the effects of Lesser
This spell renders provided ingredients into a
Zone of Sweet Air, this spell creates a quantity
prepared meal to the user’s specifications. The
of pure, breathable air within the area of its
spell was designed by a lazy wizard who
effect.
couldn’t be bothered cooking and was too
cheap to hire help. All cloud and air effects (obscuring mist,
stinking cloud, etc.) within the selected area
Preservation
are dispelled. No other spells of this type may
Transmutation
be begun in the affected area while this
Level: Brd 1, Clr 1, Sor/Wiz 1
enchantment is in effect.
Components: V, S
Casting Time: 1 standard action Material Component: An application from a
Range: Touch bottle of exotic or better perfume.

50

This chapter is specifically for DMs. It may be
read by players, as it contains no spoilers as
such, however, it is totally geared towards
better role-playing for the DM.
As DM, it is ultimately you who decides how
much role-playing will be in a campaign.
Good role-playing requires mood and
atmosphere, and encouragement – some
players might feel silly putting on a voice, or
talking in first person as a fictional character.
If you can’t take role-playing seriously, don’t
expect it to appear in your campaign, no
matter how good your players are – a game is
only as good as its DM.
Dice and Dramatics
Encouraging
Role-Playing
You will have to do more than role-play well
yourself in your parts as DM. Naïve players
might easily slay an NPC character you have
spent a substantial amount of time planning,
creating and detailing. Such is life for those
DMs who have players who see the game as
hack and slash, or kill for treasure and
experience rewards alone.
There are quite a number of players who enjoy
this type of game, though the author is of the
opinion that any player, in time, can be turned
into a decent role-player.
51
 Ultramyth - Worlds Within Worlds
KNOW YOUR PLAYERS
Your players are the people you are
entertaining, taking part in the world you
create, be it from your own imagination or a
specific campaign setting. So never let them
forget that they are guests in your game. As
DM, you will soon be able to notice the trends
of your players.
You should choose your players wisely – some
people can be immature and detrimental
toward the game. You are better off trying to
steer away from these sorts of attention
seekers.
You could make a survey to ask what your
players look for in a game, but really, the
telltale signs of what kinds of players they are
reflect in their actions, especially during
encounters.
Once you know what your players look for,
you can use that knowledge to lure them into
role-playing. To those who are in it for the
rewards, entice them with experience bonuses
for good role-playing. For those who are in it
for the hack and slash, send them up against
an impossible foe and force them to use guile
and tactics over brawn.
Use their likes to encourage those who you
can and bring the others up to spec by less
respectable means. Remember, after all, DM is
god in your game. ;)
KNOW YOUR PCS
As mentioned in previous chapters, the best
way to create characters is to go through the
creation process along with your player. You
are the master of your world, so ultimately, it’s
your decision what you will allow, but going
through this process together, especially the
background information on the player, lets
you both know the character better. It lets the
player recognise relatives when she sees them
in-game, and it allows you to plan ahead,
weaving the character’s own story into your
own plot hooks and adventures.
52
This method serves to bind the character more
firmly into an established identity in your
world.
However, if you instead create the PC’s
characters yourself, be sure to spend a great
deal of time writing a background for each
character. In this instance, you are defining the
role, and if you want the player to fit it well,
you have to explain well what sort of person
the role is.
• Always refer to your players by their
character names while playing. This
encourages them to get into the roles
better. You should ask your players to do
the same when referring to one another.
• Try to develop subplots for each of your
players once and a while. This helps them
develop better as characters, and as a
player increases their gaming satisfaction.
KNOW YOUR DM METHODS
In many ways, the manner in which you
conduct your game gives a message to your
players how they may play in your campaign.
As a DM, you must set the standards to begin
with, offering your players options to role-
play:
• Make sure your players know what rules
you have in place. Some of the more
complex rules of the d20 system, such as
weight restrictions and magic components
are not always enforced by DMs.
Alternatively, you may be enforcing
optional or custom ‘house rules’. Let your
players know if this is the case, and which
rules this applies to.
• When making encounters, create
alternative solutions to problems that
emphasise role-playing, through skill,
dialogue or good thinking instead of
combat
• Keep the game dynamic instead of linear,
giving the players freedom to do what
they want to do, even if it wasn’t what you
expected.

ENTICE PLAYERS WITH REWARDS
Ultimately, players look forward to the
accumulation of treasure, experience and
power. It can be easy in a player’s mind, to see
killing as the easiest and quickest way to
achieve these goals – killing monsters yields
experience and hopefully treasure, but there
are some clever ways you can instead
encourage role-play:
• Reward puzzle and problem solving with
bonus experience and/or treasure.
• Award good role-players modest amounts
of bonus experience based on their
performances at the end of each session –
you should only award minor amounts,
but enough to show a noticeable difference
in experience over several sessions
between the good players and the less
adept ones.
Enhancing Your
Game Atmosphere
There are a number of options you may
employ to enhance atmosphere of your game.
Often all it takes is a few good props, a bit of
good acting and maybe some music to set up
the right ambience.
GETTING PLAYERS IN THE MOOD
Probably the most important thing when
going for better role-playing is to get your
players in the mood. Often they come in to
your place of play, sit down with one another
and start talking socially about what they have
been up to in the last week.
Recounting the Last Session
It is especially important to recap on the
happenings of the last or last few sessions.
Some players are forgetful, especially if it’s
been a long time since last they played.
A recap will help refresh their memory and
remind them of what they were last doing and
where to go from there.
Dice and Dramatics
PROPS
Props have been previously discussed, but
while they can make portraying a character
more fun for a player, you as a DM can use
them much more effectively. There’s nothing
quite as cool for a player as being handed a
hand-written, wax-sealed letter that the King
has ordered them to take to his cousin the
Duke.
Props are great especially for plot-related
items.
VOICES
As DM, your voice is your tool. It is how you
convey information to your players, and in
this respect, is the most important factor
contributing to your success as a DM.
However, common speech can get
monotonous, especially after several hours.
Differing your voice between narration and
character portrayals can make all the
difference. So can the use of archaic dialogue
in said portrayals.
ARCHAIC DIALOGUE
Some groups enjoy the medieval atmosphere
of fantasy role-playing by using archaic or Old
English. Often this enhancement is a hybrid
form of language, not quite Elizabethan/
Shakespearian English, but something in
between the language of that time and modern
English.
Of course, this is not always a favourite, and
relies heavily on the wishes of the group as a
whole weather or not it should be used.
However, when used by you as DM, it can be
used to encourage role-playing.
CHARACTER VOICES
Voices have been discussed in a previous
chapter, however, it’s worth bringing the topic
up again in regards as to how they should be
used by DMs.
If you are good at impersonating accents,
tones, and lisps and such, you will probably be
very successful at adding a plethora of NPC
voices to your campaign.
53
 Ultramyth - Worlds Within Worlds

• Keep a master list of reoccurring NPCs,
and make a note of what accent and tone
of voice you will use for each. It can’t be
stressed enough how important this is, as
it is very easy to loose track of which NPC
has which voice.
• Try not to use the exact same voice twice.
• Do not use voices if your players find them
distracting or too humorous to keep their
mouths shut. Giggling and laughing are
telltale signs you should not use voices.
MUSIC
Music can be one of the best campaign
enhancers you will ever use. It can require a
bit of discipline and technical know-how to
execute correctly, especially if composing mp3
CDs for the purposes of gaming, but it can be
used to create an unparalleled atmosphere.
The advantages of music are obvious, but then
the question arises – when and where to use it.
There is no strait answer, because different
groups have different preferences. Some
players find background music distracting to
their thoughts, while others find it aids them.
You as DM should find out which.
Creating a soundtrack for your game will
probably require a bit of tinkering on your
computer, unless you have several
soundtracks already that you feel are
appropriate to your game. Shuffling CD
players or play lists can get annoying and
detrimental to the game though, so if you can
afford it, burning a CD with the tracks in order
of use for a planned session is best.
There are two basic ways you can do things.
The first is to play music for the entire session.
This usually just involves an appropriate
soundtrack set to loop, and sets only a general
theme.
The second, and more time-consuming option
is to create a custom CD with music
appropriate to each ‘scene’ in your session.
Planning out a track to match a cut scene
perfectly can be one of the most immersive
experiences a player can have – short of
watching a movie.
• You can develop character theme songs for
each player in the group. This can be
nostalgic, and certainly encourages better
role-playing.
• You can use atmospheric music for
background gaming, adventuring and the
like.
• Use suspenseful music for tense moments
and encounters.
• Use set pieces for cut scenes, possibly even
planning the cut scene to fit the music.
This can be extremely effective.
ARTWORK
Not everyone is gifted with a great
imagination. Sometimes players can have a
hard time visualising people and places.
Worse still, some people mismatch names to
faces, so to speak, and this is a problem in role-
playing.
The use of artwork, as props can eliminate this
problem. With pictures to go off, players can
more easily identify a previously met
character by their image rather than their
name.
Artwork can come from anywhere, and it
doesn’t have to be your own – for the
purposes of private use, you won’t be
breaking any laws making a photocopy of an
image you think looks like an NPC dwarf you
wish to have the characters meet.
• The Internet is an excellent resource for
finding pictures.
• Use anything you think fits your
campaign. Imagery is a powerful tool.
CUT SCENES
This stylistic device is a brilliant way to begin
or end a major encounter, or plot advance.
Basically it involves the description of a scene
or action sequence as opposed to playing it.
The players sit back, while you describe what
goes on.

54

Not every player favours this, mostly because
they aren’t in control, though you will
probably find that most role-players enjoy this
device, especially if it is true to their
characters.
• Make them short – set the scene, but don’t
use cut scenes that involve intense
descriptions of more than a page, or that
take place over more than a few minutes of
relative game-time.
• This is a great way to start a new session.
CINEMATIC PLAY
This concept steps out of the rule, and
becomes dice-less play. Basically, the concept
is this:
Instead of playing the game the usually way,
by the rules, description will be used entirely
in its place. Effectively, imagine the scene to be
like a movie, or a scene from a book. The DM
describes the encounter, and the player’s
describe their actions. Ultimately, the DM
decides what happens.
It’s a pretty simple concept and can be loads of
fun. However, it’s not for everyone.
Role-Playing Tips
for the DM
As DM, you can probably make good use of
the rest of this book. However, there are some
pointers that can be made focusing centrally
on the DM and the playing of NPCs, both
antagonists and protagonists.
DRAW INSPIRATION
Don’t concern yourself with plagiarism and a
need for original ideas. Your job is to entertain
as much as create, and drawing inspiration
from books and movies is a great time saver,
and an effective way to improve your game.
Idea stealing is nothing new in role-playing.
Go with what works – there’s always a way to
take on an old idea with a new and exciting
twist.
Dice and Dramatics
PORTRAYING NPCS
The following is just a very loose guideline for
portraying NPCs. It isn’t designed to give a
comprehensive tutorial on how to run your
NPCs in game, just a presentation of a few
ideas and details you may wish to take into
consideration.
PORTRAYING VILLAINS
A big mistake to make when creating and
portraying villains is to make them dumb. Evil
takes intelligence, wit and brains to pull off
without dire consequences. It also requires
good leadership and management to keep it
together – after all, a whole bunch of chaotic
evil creatures are hard to mould into an
effective team without someone with brains to
direct them.
Villains, unless they work alone are likely to
have a multitude of servants, bodyguards, and
of course, henchmen.
Motivations
Often a villain’s motivation lies in the nature
of his alignment. A lawful evil opponent may
seek satisfaction in honourable conquest. This
sort of character takes the rules to the extreme.
Unlike other villainous types, he is likely to
stand fast even to the end, and will not try to
escape.
A neutral evil character is slightly
unpredictable. He is a man of his word – but
only when it suits him. He is a mercenary of
sorts, and is most likely to make deals in
exchange for his life. This character will stick
around while there is something worth staying
for, but once it is gone, he will try to flee.
The chaotic evil character is completely
unpredictable. They are to be feared just by the
inherent fact that they are capable of anything.
Role-Playing Tips
• Evil does not equal stupid. It takes some
intelligence to make it to the top. Evil
characters are frequent planners. No
respectable self-serving villain will not
have plans within plans.
55
 Ultramyth - Worlds Within Worlds
• Evil does not commit evil without reason.
There must be method to a villain’s
madness. Remember, there’s a fine line
between genius and madness.
• Always have two escape plans. If there is
one thing a dishonourable villain knows
how to do, it’s to save his own skin.
• Villains should always have an achillis
heel – a weakness that allows them to be
defeated. This may not be apparent to
player characters, but it should be there.
PORTRAYING HENCHMEN
The henchman is the backbone of evil.
Without henchmen, there can be no evil
empire. The henchman is usually a simple
kind of evil – just trying to make a living.
Motivations
Henchmen are always there for a reason, and
seldom is it out of love for their master. Most
henchmen are paid in coin, or promised power
of some sort. This makes them somewhat more
negotiable than villains.
At the end of the day, when it comes to
weighing up coin against living, they will
generally take living.
Role-Playing Tips
• Henchmen are usually either cowards or
too stupid to run when they should.
• Henchmen are more open-minded than
villains when it comes to negotiation.
Unless they fear their ‘boss’, they are likely
to be open to bribes, or to switch sides if
the price is right.
• Henchman will attempt to do what they’re
told, but may chicken out to save their
own skins.
PORTRAYING MONSTERS
Seldom do monsters require very much role-
playing. Most creatures fitting under this
category are mostly mindless killers. Most
undead and animals fit in this group, along
with a great deal of other magical creatures.
56
However, for the more intelligent kind, there
will always be some sort of logic behind a
creatures decisions and actions. Orcs for
example think with simple minds and
therefore have simple, direct tactics.
PORTRAYING COHORTS
Cohorts are NPCs who for some reason are
followers of the PCs. They could be
mercenaries, dedicated fans, disciples or
admirers.
Motivations
Motivation for cohorts is broad. They could
come from any walk of life, and may be there
for many different reasons. Most are attracted
by the use of the leadership feat.
Anything from coin to curiosity could be a
motivation for a cohort.
Role-Playing Tips
• Cohorts usually admire their leader in
some way, unless they are forced into
service, for example, via conscription,
order of a superior or by geas.
• Cohorts usually will follow their leader,
but only to a point. At the end of the day, if
they aren’t motivated, they probably won’t
follow orders.
PORTRAYING COMMONERS
Commoners are just trying to get along
without getting killed. They are the peasants,
generally hard-working labourers, and the
backbone of society. Commoners are simple
minded, and own only the most rudimentary
of possessions.
They do not bathe often, and their hygiene is
in constant question by the nobility.
Motivations
Commoners are just trying to make a living.
They represent the otherwise unskilled
labourers and farmers of your fantasy world.
They lead simple lives, their only goal being to
get by, and if they’re lucky, have a little money
to spare.

Role-Playing Tips
• Commoners are simple people, and often
weak of character, at least in comparison to
the player characters.
• Commoners just want to get by. They
don’t want any trouble, especially if it isn’t
worth anything to them.
• Commoners are generally poor and
humble. However, this poverty can make
them easy to bribe.
• They aren’t particularly good at any
particular skill, perhaps with the exception
of Handle Animal or Profession (farmer).
PORTRAYING ARISTOCRATS
Nobles of all sorts usually have set views
about the peasantry and the world. They
consider themselves the social elite, the rich
and the well to do, and therefore those who
have greater rights than anyone else.
Of course, there is room for honourable or
kind-hearted nobles, but often their strong
viewpoints, no doubt the result of fervent
family influences of notion, get in the way of
their generosity and caring.
Motivations
Aristocrats consider themselves the crème of
society. Being in such a position of wealth,
prestige and power, they are well concerned
with keeping their social position and titles if
they have them. They are concerned with how
they are perceived by other nobles, and spend
a great deal of time trying to impress or outdo
their peers.
Role-Playing Tips
• Nobles and Aristocrats are stereotypically
‘above’ the common folk. They see
themselves as superior due to their wealth
and position of power.
• They are often snooty and snobbish, and
very vain. They surround themselves with
fineries and excesses that leave a stark
contrast between them and the poor.
Dice and Dramatics
• Aristocrats feel themselves elite, even to
heroes, unless the hero is of noble birth.
• Try to be polite, though tact is an option.
• Speak in clear, proper English, while
sitting or standing in an upright pose,
perhaps with the hands behind your hips.
PORTRAYING EXPERTS
Experts make up the bulk of skilled artisans
and tradesmen. They might also encompass
traders and merchants. They are from the
middle class, well to do, but not rich, and
respected in the community for their produce.
Motivations
Experts are motivated by business. Trade is
their business, and so they aim for good sales
of the produce they make to receive a decent
income. For this reason, they’ll do almost
anything to sell their wares, although those
producing exceptional quality produce usually
find that business comes to them rather then
them needing to peddle their wares.
Role-Playing Tips
• Experts may have several points in bluff or
diplomacy skills – they need to be good
with their tongues to make more sales,
especially if their produce is low-grade or
cheap.
• Speak with your body as well as your
voice – swing your arms to indicate your
wears.
• Exaggerate.
PORTRAYING ADEPTS
Adepts are magic users that are not as devoted
to the arts as other spellcasters. They cast
divine magic like a cleric, but are far less
gifted.
These individuals are the shamans, wise
women, witches and healers of small
communities and tribes. They know what they
do well, but their focus is usually less on
combat and more focused on healing the
ailments of the community.
57
 Ultramyth - Worlds Within Worlds

Motivations
Adepts make their living servicing the
community. Some may work for very little,
while others may charge exuberant amounts
of money for their services rendered. Usually
they have a desire to heal, and know many
people in the community.
Role-Playing Tips
• These characters know a lot about the
community, especially the people in it.
• They probably have several ranks in the
Heal skill.
• Prepare spells according to the character’s
role in the community.

PORTRAYING WARRIORS
Warriors are the lesser cousins of the fighter.
They usually compose the militia or town
guard, your general cannon-fodder guardians
of a community.
Warriors may be conscripts, volunteers or
cheap mercenaries. Usually they are capable,
but not exceptionally great combatants, unlike
the fighter.
Motivations
Generally, warriors are protectors more than
aggressors. Usually they have a desire to serve
and protect. They enforce laws and keep the
streets safe, working shifts around the clock.
Some may like their work, others may not.
They have a lot slower lives than soldiers or
adventurers, and are also paid far less.
Sometimes this lack of coin makes them more
susceptible to bribes.
Role-Playing Tips
• Warriors are more susceptible to bribes
due to their low incomes.
• Warriors are brawny and see themselves
as the protectors of the peace.
• They don’t take hassle very well, especially
from adventurers.

58

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