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		<title>Wandering DMs Season 06</title>
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	<title>2024 Year in Review &#124; Wandering DMs Season 6 &#124; Wandering DMs S06 E41</title>
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	<pubDate>Mon, 16 Dec 2024 17:12:00 +0000</pubDate>
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	<description><![CDATA[Paul &#38; Dan look back on the year 2024 for the Wandering DMs. It&#8217;s been a momentous year: The 50th anniversary of Dungeons &#38; Dragons, a new version of the D&#38;D game, the Chinese Year of the Dragon, in-depth looks at Original vs. Basic D&#38;D, and special guests like Michael Moorcock, Luke Gygax, Jon Peterson, an Matt Finch. Share your high and low points, and we&#8217;ll share ours! A year-in-review is any sort of publication which is traditionally released on an annual basis to cover the events of the past year from the perspective of the contributors to the publication. Years-in-review are often intended to highlight the highs and lows of the events which occurred throughout the year, and often include select works published during the year which are considered by the editors of the year-in-review to be the most memorable works of the year. Years-in-review are often used to list &#8220;Top Ten&#8221; lists voted upon by hired critics and reviewers of other media. So let&#8217;s commemorate the last time we&#8217;ll do this added bit of text! This description uses material from the Wikipedia article &#8220;Year-in-review&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[Paul &#38; Dan look back on the year 2024 for the Wandering DMs. It&#8217;s been a momentous year: The 50th anniversary of Dungeons &#38; Dragons, a new version of the D&#38;D game, the Chinese Year of the Dragon, in-depth looks at Original vs. Basic D&#]]></itunes:subtitle>
	<content:encoded><![CDATA[Paul &#38; Dan look back on the year 2024 for the Wandering DMs. It&#8217;s been a momentous year: The 50th anniversary of Dungeons &#38; Dragons, a new version of the D&#38;D game, the Chinese Year of the Dragon, in-depth looks at Original vs. Basic D&#38;D, and special guests like Michael Moorcock, Luke Gygax, Jon Peterson, an Matt Finch. Share your high and low points, and we&#8217;ll share ours! A year-in-review is any sort of publication which is traditionally released on an annual basis to cover the events of the past year from the perspective of the contributors to the publication. Years-in-review are often intended to highlight the highs and lows of the events which occurred throughout the year, and often include select works published during the year which are considered by the editors of the year-in-review to be the most memorable works of the year. Years-in-review are often used to list &#8220;Top Ten&#8221; lists voted upon by hired critics and reviewers of other media. So let&#8217;s commemorate the last time we&#8217;ll do this added bit of text! This description uses material from the Wikipedia article &#8220;Year-in-review&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
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	<itunes:summary><![CDATA[Paul &#38; Dan look back on the year 2024 for the Wandering DMs. It&#8217;s been a momentous year: The 50th anniversary of Dungeons &#38; Dragons, a new version of the D&#38;D game, the Chinese Year of the Dragon, in-depth looks at Original vs. Basic D&#38;D, and special guests like Michael Moorcock, Luke Gygax, Jon Peterson, an Matt Finch. Share your high and low points, and we&#8217;ll share ours! A year-in-review is any sort of publication which is traditionally released on an annual basis to cover the events of the past year from the perspective of the contributors to the publication. Years-in-review are often intended to highlight the highs and lows of the events which occurred throughout the year, and often include select works published during the year which are considered by the editors of the year-in-review to be the most memorable works of the year. Years-in-review are often used to list &#8220;Top Ten&#8221; lists voted upon by hired critics and reviewers of other media. So let&#8217;s commemorate the last time we&#8217;ll do this added bit of text! This description uses material from the Wikipedia article &#8220;Year-in-review&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Paul &#38; Dan look back on the year 2024 for the Wandering DMs. It&#8217;s been a momentous year: The 50th anniversary of Dungeons &#38; Dragons, a new version of the D&#38;D game, the Chinese Year of the Dragon, in-depth looks at Original vs. Basic D&#38;D, and special guests like Michael Moorcock, Luke Gygax, Jon Peterson, an Matt Finch. Share your high and low points, and we&#8217;ll share ours! A year-in-review is any sort of publication which is traditionally released on an annual basis to cover the events of the past year from the perspective of the contributors to the publication. Years-in-review are often intended to highlight the highs and lows of the events which occurred throughout the year, and often include select works published during the year which are considered by the editors of the year-in-review to be the most memorable works of the year. Years-in-review are often used to list &#8220;Top Ten&#8221; lists voted upon by hired critics and reviewers of other media. So]]></googleplay:description>
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	<title>Crafting Villains &#124; Creating Satisfying Foils for Your Players &#124; Wandering DMs S06 E40</title>
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	<pubDate>Mon, 09 Dec 2024 17:12:00 +0000</pubDate>
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	<description><![CDATA[Dan and Paul discuss ways to create satisfying recurring villains in your D&#38;D campaign. How do you balance the desire for epic, climactic showdowns with the unpredictable, open-ended nature of a TTRPG campaign? Should your villain be the untouchable mastermind pulling strings from the shadows, or someone your players can engage with directly throughout the story? Join us as we share tips, pitfalls, and our favorite examples of how to keep your players on the edge of their seats with antagonists they’ll love to hate.]]></description>
	<itunes:subtitle><![CDATA[Dan and Paul discuss ways to create satisfying recurring villains in your D&#38;D campaign. How do you balance the desire for epic, climactic showdowns with the unpredictable, open-ended nature of a TTRPG campaign? Should your villain be the untouchable ]]></itunes:subtitle>
	<content:encoded><![CDATA[Dan and Paul discuss ways to create satisfying recurring villains in your D&#38;D campaign. How do you balance the desire for epic, climactic showdowns with the unpredictable, open-ended nature of a TTRPG campaign? Should your villain be the untouchable mastermind pulling strings from the shadows, or someone your players can engage with directly throughout the story? Join us as we share tips, pitfalls, and our favorite examples of how to keep your players on the edge of their seats with antagonists they’ll love to hate.]]></content:encoded>
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	<itunes:summary><![CDATA[Dan and Paul discuss ways to create satisfying recurring villains in your D&#38;D campaign. How do you balance the desire for epic, climactic showdowns with the unpredictable, open-ended nature of a TTRPG campaign? Should your villain be the untouchable mastermind pulling strings from the shadows, or someone your players can engage with directly throughout the story? Join us as we share tips, pitfalls, and our favorite examples of how to keep your players on the edge of their seats with antagonists they’ll love to hate.]]></itunes:summary>
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	<title>Original vs. Basic D&#038;D Part 3 &#124; Combat! &#124; Wandering DMs S06 E39</title>
	<link>https://wanderingdms.com/podcast/original-vs-basic-dd-part-3-combat-wandering-dms-s06-e39/</link>
	<pubDate>Mon, 02 Dec 2024 17:12:00 +0000</pubDate>
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	<description><![CDATA[Dan &#38; Paul revisit the Original vs. Basic Dungeon &#38; Dragons collision. This time: As similar as the early editions are, a fundamental place where they differ is the combat turn sequence. Moldvay&#8217;s B/X rules have a unique turn sequence not seen in other versions of D&#38;D. And for Original D&#38;D (1974), can you even find the turn sequence, anyway? Plus other acts of critical violence. The original Dungeons &#38; Dragons (commonly abbreviated D&#38;D) boxed set by Gary Gygax and Dave Arneson was published by TSR, Inc. in 1974. It included the original edition of the Dungeons &#38; Dragons fantasy role-playing game. The original Dungeons &#38; Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; races (human, dwarf, elf, halfling); armor class; monsters and treasure; underground dungeons consisting of halls, rooms, and doors protected by tricks and traps; and magic items, such as intelligent swords. After the release of the AD&#38;D game, the Basic Set saw a major revision in 1981 by editor Tom Moldvay. The game was not brought in line with AD&#38;D but instead further away from that ruleset, and thus the basic D&#38;D game became a separate and distinct product line from AD&#38;D. The former was promoted as a continuation of the tone of original D&#38;D, while AD&#38;D was an advancement of the mechanics. The revised version of the set included a larger, sixty-four page rule book with a red border and a color cover by Erol Otus, the module B2 The Keep on the Borderlands, six polyhedral dice, and a marking crayon. The book came drilled with holes so that it could be used in a three-ringed binder, and the full set of off-white polyhedral dice came in a heat-sealed bag with a small wax crayon for coloring the numbers on the dice. This description uses material from the Wikipedia articles &#8220;Dungeons &#38; Dragons (1974)&#8221; and &#8220;Dungeons &#38; Dragons Basic Set&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[Dan &#38; Paul revisit the Original vs. Basic Dungeon &#38; Dragons collision. This time: As similar as the early editions are, a fundamental place where they differ is the combat turn sequence. Moldvay&#8217;s B/X rules have a unique turn sequence not s]]></itunes:subtitle>
	<content:encoded><![CDATA[Dan &#38; Paul revisit the Original vs. Basic Dungeon &#38; Dragons collision. This time: As similar as the early editions are, a fundamental place where they differ is the combat turn sequence. Moldvay&#8217;s B/X rules have a unique turn sequence not seen in other versions of D&#38;D. And for Original D&#38;D (1974), can you even find the turn sequence, anyway? Plus other acts of critical violence. The original Dungeons &#38; Dragons (commonly abbreviated D&#38;D) boxed set by Gary Gygax and Dave Arneson was published by TSR, Inc. in 1974. It included the original edition of the Dungeons &#38; Dragons fantasy role-playing game. The original Dungeons &#38; Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; races (human, dwarf, elf, halfling); armor class; monsters and treasure; underground dungeons consisting of halls, rooms, and doors protected by tricks and traps; and magic items, such as intelligent swords. After the release of the AD&#38;D game, the Basic Set saw a major revision in 1981 by editor Tom Moldvay. The game was not brought in line with AD&#38;D but instead further away from that ruleset, and thus the basic D&#38;D game became a separate and distinct product line from AD&#38;D. The former was promoted as a continuation of the tone of original D&#38;D, while AD&#38;D was an advancement of the mechanics. The revised version of the set included a larger, sixty-four page rule book with a red border and a color cover by Erol Otus, the module B2 The Keep on the Borderlands, six polyhedral dice, and a marking crayon. The book came drilled with holes so that it could be used in a three-ringed binder, and the full set of off-white polyhedral dice came in a heat-sealed bag with a small wax crayon for coloring the numbers on the dice. This description uses material from the Wikipedia articles &#8220;Dungeons &#38; Dragons (1974)&#8221; and &#8220;Dungeons &#38; Dragons Basic Set&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
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	<itunes:summary><![CDATA[Dan &#38; Paul revisit the Original vs. Basic Dungeon &#38; Dragons collision. This time: As similar as the early editions are, a fundamental place where they differ is the combat turn sequence. Moldvay&#8217;s B/X rules have a unique turn sequence not seen in other versions of D&#38;D. And for Original D&#38;D (1974), can you even find the turn sequence, anyway? Plus other acts of critical violence. The original Dungeons &#38; Dragons (commonly abbreviated D&#38;D) boxed set by Gary Gygax and Dave Arneson was published by TSR, Inc. in 1974. It included the original edition of the Dungeons &#38; Dragons fantasy role-playing game. The original Dungeons &#38; Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; races (human, dwarf, elf, halfling); armor class; monsters and treasure; underground dungeons consisting of halls, rooms, and doors protected by tricks and traps; and magic items, such as intelligent swords. After the release of the AD&#38;D game, the Basic Set saw a major revision in 1981 by editor Tom Moldvay. The game was not brought in line with AD&#38;D but instead further away from that ruleset, and thus the basic D&#38;D game became a separate and distinct product line from AD&#38;D. The former was promoted as a continuation of the tone of original D&#38;D, while AD&#38;D was an advancement of the mechanics. The revised version of the set included a larger, sixty-four page rule book with a red border and a color cover by Erol Otus, the module B2 The Keep on the Borderlands, six polyhedral dice, and a marking crayon. The book came drilled with holes so that it could be used in a three-ringed binder, and the full set of off-white polyhedral dice came in a heat-sealed bag with a small wax crayon for coloring the numbers on the dice. This description uses material from the Wikipedia articles &#8220;Dungeons &#38; Dragons (1974)&#8221; and &#8220;Dungeons &#38; Dragons Basic Set&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Dan &#38; Paul revisit the Original vs. Basic Dungeon &#38; Dragons collision. This time: As similar as the early editions are, a fundamental place where they differ is the combat turn sequence. Moldvay&#8217;s B/X rules have a unique turn sequence not seen in other versions of D&#38;D. And for Original D&#38;D (1974), can you even find the turn sequence, anyway? Plus other acts of critical violence. The original Dungeons &#38; Dragons (commonly abbreviated D&#38;D) boxed set by Gary Gygax and Dave Arneson was published by TSR, Inc. in 1974. It included the original edition of the Dungeons &#38; Dragons fantasy role-playing game. The original Dungeons &#38; Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; ra]]></googleplay:description>
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	<title>Dungeon Design Dash #5 Part 2 &#124; Infested Perch of the Mammoth Egg &#124; Wandering DMs S06 E38</title>
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	<pubDate>Mon, 25 Nov 2024 17:12:00 +0000</pubDate>
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	<description><![CDATA[Dan and Paul return to complete the dungeon design dash for the &#8220;Infested Perch of the Mammoth Egg&#8221;. Unfortunately one hour was just not enough this time around, so they&#8217;re coming back to complete the adventure, and reveal some of the extra editing passes that go into publishing these adventures. Once complete, this adventure will be posted for sale on DriveThruRPG, and a free copy sent to every active patron. Now is a great time to become a patron &#8211; get all the benefits PLUS a free adventure!]]></description>
	<itunes:subtitle><![CDATA[Dan and Paul return to complete the dungeon design dash for the &#8220;Infested Perch of the Mammoth Egg&#8221;. Unfortunately one hour was just not enough this time around, so they&#8217;re coming back to complete the adventure, and reveal some of the e]]></itunes:subtitle>
	<content:encoded><![CDATA[Dan and Paul return to complete the dungeon design dash for the &#8220;Infested Perch of the Mammoth Egg&#8221;. Unfortunately one hour was just not enough this time around, so they&#8217;re coming back to complete the adventure, and reveal some of the extra editing passes that go into publishing these adventures. Once complete, this adventure will be posted for sale on DriveThruRPG, and a free copy sent to every active patron. Now is a great time to become a patron &#8211; get all the benefits PLUS a free adventure!]]></content:encoded>
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	<itunes:summary><![CDATA[Dan and Paul return to complete the dungeon design dash for the &#8220;Infested Perch of the Mammoth Egg&#8221;. Unfortunately one hour was just not enough this time around, so they&#8217;re coming back to complete the adventure, and reveal some of the extra editing passes that go into publishing these adventures. Once complete, this adventure will be posted for sale on DriveThruRPG, and a free copy sent to every active patron. Now is a great time to become a patron &#8211; get all the benefits PLUS a free adventure!]]></itunes:summary>
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	<title>Dungeon Design Dash #5 &#124; Creating a D&#038;D Adventure in One Hour &#124; Wandering DMs S06 E37</title>
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	<pubDate>Mon, 11 Nov 2024 17:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=7669</guid>
	<description><![CDATA[Dan and Paul are back at it again, creating an entire D&#38;D adventure in just one hour! Armed with only their D&#38;D source books, Matt Finch&#8217;s excellent Tome of Adventure Design, and the input from live viewers, they&#8217;ll create a fully stocked and playable D&#38;D dungeon adventure right in front of your eyes. Once it&#8217;s complete, adventure WDM05 will be posted on DriveThruRPG and free copies distributed to all our faithful patrons!]]></description>
	<itunes:subtitle><![CDATA[Dan and Paul are back at it again, creating an entire D&#38;D adventure in just one hour! Armed with only their D&#38;D source books, Matt Finch&#8217;s excellent Tome of Adventure Design, and the input from live viewers, they&#8217;ll create a fully sto]]></itunes:subtitle>
	<content:encoded><![CDATA[Dan and Paul are back at it again, creating an entire D&#38;D adventure in just one hour! Armed with only their D&#38;D source books, Matt Finch&#8217;s excellent Tome of Adventure Design, and the input from live viewers, they&#8217;ll create a fully stocked and playable D&#38;D dungeon adventure right in front of your eyes. Once it&#8217;s complete, adventure WDM05 will be posted on DriveThruRPG and free copies distributed to all our faithful patrons!]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/7669/dungeon-design-dash-5-creating-a-dd-adventure-in-one-hour-wandering-dms-s06-e37.mp3" length="96477904" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[Dan and Paul are back at it again, creating an entire D&#38;D adventure in just one hour! Armed with only their D&#38;D source books, Matt Finch&#8217;s excellent Tome of Adventure Design, and the input from live viewers, they&#8217;ll create a fully stocked and playable D&#38;D dungeon adventure right in front of your eyes. Once it&#8217;s complete, adventure WDM05 will be posted on DriveThruRPG and free copies distributed to all our faithful patrons!]]></itunes:summary>
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		<title>Dungeon Design Dash #5 &#124; Creating a D&#038;D Adventure in One Hour &#124; Wandering DMs S06 E37</title>
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	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/11/thumbnail-s06e37-1.0.1.png"></googleplay:image>
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<item>
	<title>Ghouls in D&#038;D &#124; Hungry for More &#124; Wandering DMs S06 E36</title>
	<link>https://wanderingdms.com/podcast/ghouls-in-dd-hungry-for-more-wandering-dms-s06-e36/</link>
	<pubDate>Mon, 28 Oct 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=7666</guid>
	<description><![CDATA[Dan and Paul reflect on the many changing faces of ghouls in D&#38;D and fantasy literature. How did they become one of the most feared monster types? What flavor is best: the one from Lovecraft, Howard, Leiber, Gygax, or Romero? Should they be unthinking undead, or a sentient organized race? What&#8217;s the best way to skin (or unskin) them in your D&#38;D game? In Arabic folklore, the ghul is said to dwell in cemeteries and other uninhabited places. A male ghoul is referred to as ghul while the female is called ghulah. A source identified the Arabic ghoul as a female creature who is sometimes called Mother Ghoul (ʾUmm Ghulah) or a relational term such as Aunt Ghoul. She is portrayed in many tales luring hapless characters, who are usually men, into her home where she can eat them. Some state[who?] that a ghoul is a desert-dwelling, shapeshifting demon that can assume the guise of an animal, especially a hyena. It lures unwary people into the desert wastes or abandoned places to slay and devour them. The creature also preys on young children, drinks blood, steals coins, and eats the dead, then taking the form of the person most recently eaten. One of the narratives identified a ghoul named Ghul-e Biyaban, a particularly monstrous character believed to be inhabiting the wilderness of Afghanistan and Iran. In &#8220;Pickman&#8217;s Model&#8221;, a short story by H. P. Lovecraft, ghouls are members of a subterranean race. Their diet of dead human flesh mutated them into bestial humanoids able to carry on intelligent conversations with the living. The story has ghouls set underground with ghoul tunnels that connect ancient human ruins with deep underworlds. Lovecraft hints that the ghouls emerge in subway tunnels to feed on train wreck victims. Lovecraft&#8217;s vision of the ghoul, shared by associated authors Clark Ashton-Smith and Robert E. Howard, has heavily influenced the collective idea of the ghoul in American culture. Ghouls as described by Lovecraft are dog-faced and hideous creatures but not necessarily malicious. Though their primary (perhaps only) food source is human flesh, they do not seek out or hunt living people. They are able to travel back and forth through the wall of sleep. This is demonstrated in Lovecraft&#8217;s &#8220;The Dream Quest of Unknown Kadath&#8221; in which Randolph Carter encounters Pickman in the dream world after his complete transition into a mature ghoul. This description uses material from the Wikipedia article &#8220;Ghoul&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[Dan and Paul reflect on the many changing faces of ghouls in D&#38;D and fantasy literature. How did they become one of the most feared monster types? What flavor is best: the one from Lovecraft, Howard, Leiber, Gygax, or Romero? Should they be unthinkin]]></itunes:subtitle>
	<content:encoded><![CDATA[Dan and Paul reflect on the many changing faces of ghouls in D&#38;D and fantasy literature. How did they become one of the most feared monster types? What flavor is best: the one from Lovecraft, Howard, Leiber, Gygax, or Romero? Should they be unthinking undead, or a sentient organized race? What&#8217;s the best way to skin (or unskin) them in your D&#38;D game? In Arabic folklore, the ghul is said to dwell in cemeteries and other uninhabited places. A male ghoul is referred to as ghul while the female is called ghulah. A source identified the Arabic ghoul as a female creature who is sometimes called Mother Ghoul (ʾUmm Ghulah) or a relational term such as Aunt Ghoul. She is portrayed in many tales luring hapless characters, who are usually men, into her home where she can eat them. Some state[who?] that a ghoul is a desert-dwelling, shapeshifting demon that can assume the guise of an animal, especially a hyena. It lures unwary people into the desert wastes or abandoned places to slay and devour them. The creature also preys on young children, drinks blood, steals coins, and eats the dead, then taking the form of the person most recently eaten. One of the narratives identified a ghoul named Ghul-e Biyaban, a particularly monstrous character believed to be inhabiting the wilderness of Afghanistan and Iran. In &#8220;Pickman&#8217;s Model&#8221;, a short story by H. P. Lovecraft, ghouls are members of a subterranean race. Their diet of dead human flesh mutated them into bestial humanoids able to carry on intelligent conversations with the living. The story has ghouls set underground with ghoul tunnels that connect ancient human ruins with deep underworlds. Lovecraft hints that the ghouls emerge in subway tunnels to feed on train wreck victims. Lovecraft&#8217;s vision of the ghoul, shared by associated authors Clark Ashton-Smith and Robert E. Howard, has heavily influenced the collective idea of the ghoul in American culture. Ghouls as described by Lovecraft are dog-faced and hideous creatures but not necessarily malicious. Though their primary (perhaps only) food source is human flesh, they do not seek out or hunt living people. They are able to travel back and forth through the wall of sleep. This is demonstrated in Lovecraft&#8217;s &#8220;The Dream Quest of Unknown Kadath&#8221; in which Randolph Carter encounters Pickman in the dream world after his complete transition into a mature ghoul. This description uses material from the Wikipedia article &#8220;Ghoul&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/7666/ghouls-in-dd-hungry-for-more-wandering-dms-s06-e36.mp3" length="91510472" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[Dan and Paul reflect on the many changing faces of ghouls in D&#38;D and fantasy literature. How did they become one of the most feared monster types? What flavor is best: the one from Lovecraft, Howard, Leiber, Gygax, or Romero? Should they be unthinking undead, or a sentient organized race? What&#8217;s the best way to skin (or unskin) them in your D&#38;D game? In Arabic folklore, the ghul is said to dwell in cemeteries and other uninhabited places. A male ghoul is referred to as ghul while the female is called ghulah. A source identified the Arabic ghoul as a female creature who is sometimes called Mother Ghoul (ʾUmm Ghulah) or a relational term such as Aunt Ghoul. She is portrayed in many tales luring hapless characters, who are usually men, into her home where she can eat them. Some state[who?] that a ghoul is a desert-dwelling, shapeshifting demon that can assume the guise of an animal, especially a hyena. It lures unwary people into the desert wastes or abandoned places to slay and devour them. The creature also preys on young children, drinks blood, steals coins, and eats the dead, then taking the form of the person most recently eaten. One of the narratives identified a ghoul named Ghul-e Biyaban, a particularly monstrous character believed to be inhabiting the wilderness of Afghanistan and Iran. In &#8220;Pickman&#8217;s Model&#8221;, a short story by H. P. Lovecraft, ghouls are members of a subterranean race. Their diet of dead human flesh mutated them into bestial humanoids able to carry on intelligent conversations with the living. The story has ghouls set underground with ghoul tunnels that connect ancient human ruins with deep underworlds. Lovecraft hints that the ghouls emerge in subway tunnels to feed on train wreck victims. Lovecraft&#8217;s vision of the ghoul, shared by associated authors Clark Ashton-Smith and Robert E. Howard, has heavily influenced the collective idea of the ghoul in American culture. Ghouls as described by Lovecraft are dog-faced and hideous creatures but not necessarily malicious. Though their primary (perhaps only) food source is human flesh, they do not seek out or hunt living people. They are able to travel back and forth through the wall of sleep. This is demonstrated in Lovecraft&#8217;s &#8220;The Dream Quest of Unknown Kadath&#8221; in which Randolph Carter encounters Pickman in the dream world after his complete transition into a mature ghoul. This description uses material from the Wikipedia article &#8220;Ghoul&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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		<title>Ghouls in D&#038;D &#124; Hungry for More &#124; Wandering DMs S06 E36</title>
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	<itunes:duration>1:03:33</itunes:duration>
	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Dan and Paul reflect on the many changing faces of ghouls in D&#38;D and fantasy literature. How did they become one of the most feared monster types? What flavor is best: the one from Lovecraft, Howard, Leiber, Gygax, or Romero? Should they be unthinking undead, or a sentient organized race? What&#8217;s the best way to skin (or unskin) them in your D&#38;D game? In Arabic folklore, the ghul is said to dwell in cemeteries and other uninhabited places. A male ghoul is referred to as ghul while the female is called ghulah. A source identified the Arabic ghoul as a female creature who is sometimes called Mother Ghoul (ʾUmm Ghulah) or a relational term such as Aunt Ghoul. She is portrayed in many tales luring hapless characters, who are usually men, into her home where she can eat them. Some state[who?] that a ghoul is a desert-dwelling, shapeshifting demon that can assume the guise of an animal, especially a hyena. It lures unwary people into the desert wastes or abandoned places to sla]]></googleplay:description>
	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/10/thumbnail-s06e36-1.0.0.png"></googleplay:image>
	<googleplay:explicit>No</googleplay:explicit>
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<item>
	<title>Scaling D&#038;D Adventures &#124; Tips for Handling Any Group Size &#124; Wandering DMs S06 E35</title>
	<link>https://wanderingdms.com/podcast/scaling-dd-adventures-tips-for-handling-any-group-size-wandering-dms-s06-e35/</link>
	<pubDate>Mon, 21 Oct 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=7661</guid>
	<description><![CDATA[This week on Wandering DMs, Paul Siegel and Dan “Delta” Collins dive into one of the most common challenges DMs face: scaling D&#38;D adventures when the number of players doesn’t match what the adventure was designed for. Whether you&#8217;re running a session for fewer players than expected or you suddenly have a larger group to accommodate, adjusting on the fly can be tricky. Paul and Dan will break down strategies for tweaking encounters, managing balance, and ensuring every player stays engaged, even when the group size shifts unexpectedly. Without time to prepare in advance, making adjustments on the fly requires quick thinking and flexibility. How do you rebalance combat encounters without losing the tension or excitement of the adventure? What do you do when a critical puzzle or social encounter suddenly becomes too easy or too hard because of the group size? Paul and Dan will explore these challenges and offer real-world examples from their years of experience running games, helping DMs make smart adjustments in the heat of the moment. They’ll also discuss how to write adventures that are easier to adjust to variable group sizes and what kind of guidance adventure authors can include to help DMs handle these situations. Whether you&#8217;re a seasoned Dungeon Master or new to running games, join the conversation and get tips you can apply right away! As always, they’ll be live and taking your questions and comments in real time. Don’t miss it — Sunday at 1 PM Eastern on YouTube and Twitch!]]></description>
	<itunes:subtitle><![CDATA[This week on Wandering DMs, Paul Siegel and Dan “Delta” Collins dive into one of the most common challenges DMs face: scaling D&#38;D adventures when the number of players doesn’t match what the adventure was designed for. Whether you&#8217;re running a ]]></itunes:subtitle>
	<content:encoded><![CDATA[This week on Wandering DMs, Paul Siegel and Dan “Delta” Collins dive into one of the most common challenges DMs face: scaling D&#38;D adventures when the number of players doesn’t match what the adventure was designed for. Whether you&#8217;re running a session for fewer players than expected or you suddenly have a larger group to accommodate, adjusting on the fly can be tricky. Paul and Dan will break down strategies for tweaking encounters, managing balance, and ensuring every player stays engaged, even when the group size shifts unexpectedly. Without time to prepare in advance, making adjustments on the fly requires quick thinking and flexibility. How do you rebalance combat encounters without losing the tension or excitement of the adventure? What do you do when a critical puzzle or social encounter suddenly becomes too easy or too hard because of the group size? Paul and Dan will explore these challenges and offer real-world examples from their years of experience running games, helping DMs make smart adjustments in the heat of the moment. They’ll also discuss how to write adventures that are easier to adjust to variable group sizes and what kind of guidance adventure authors can include to help DMs handle these situations. Whether you&#8217;re a seasoned Dungeon Master or new to running games, join the conversation and get tips you can apply right away! As always, they’ll be live and taking your questions and comments in real time. Don’t miss it — Sunday at 1 PM Eastern on YouTube and Twitch!]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/7661/scaling-dd-adventures-tips-for-handling-any-group-size-wandering-dms-s06-e35.mp3" length="88125905" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[This week on Wandering DMs, Paul Siegel and Dan “Delta” Collins dive into one of the most common challenges DMs face: scaling D&#38;D adventures when the number of players doesn’t match what the adventure was designed for. Whether you&#8217;re running a session for fewer players than expected or you suddenly have a larger group to accommodate, adjusting on the fly can be tricky. Paul and Dan will break down strategies for tweaking encounters, managing balance, and ensuring every player stays engaged, even when the group size shifts unexpectedly. Without time to prepare in advance, making adjustments on the fly requires quick thinking and flexibility. How do you rebalance combat encounters without losing the tension or excitement of the adventure? What do you do when a critical puzzle or social encounter suddenly becomes too easy or too hard because of the group size? Paul and Dan will explore these challenges and offer real-world examples from their years of experience running games, helping DMs make smart adjustments in the heat of the moment. They’ll also discuss how to write adventures that are easier to adjust to variable group sizes and what kind of guidance adventure authors can include to help DMs handle these situations. Whether you&#8217;re a seasoned Dungeon Master or new to running games, join the conversation and get tips you can apply right away! As always, they’ll be live and taking your questions and comments in real time. Don’t miss it — Sunday at 1 PM Eastern on YouTube and Twitch!]]></itunes:summary>
	<itunes:image href="https://wanderingdms.com/wp-content/uploads/2024/10/thumbnail-s06e35-1.0.0.png"></itunes:image>
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		<title>Scaling D&#038;D Adventures &#124; Tips for Handling Any Group Size &#124; Wandering DMs S06 E35</title>
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	<itunes:duration>1:01:12</itunes:duration>
	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[This week on Wandering DMs, Paul Siegel and Dan “Delta” Collins dive into one of the most common challenges DMs face: scaling D&#38;D adventures when the number of players doesn’t match what the adventure was designed for. Whether you&#8217;re running a session for fewer players than expected or you suddenly have a larger group to accommodate, adjusting on the fly can be tricky. Paul and Dan will break down strategies for tweaking encounters, managing balance, and ensuring every player stays engaged, even when the group size shifts unexpectedly. Without time to prepare in advance, making adjustments on the fly requires quick thinking and flexibility. How do you rebalance combat encounters without losing the tension or excitement of the adventure? What do you do when a critical puzzle or social encounter suddenly becomes too easy or too hard because of the group size? Paul and Dan will explore these challenges and offer real-world examples from their years of experience running games, ]]></googleplay:description>
	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/10/thumbnail-s06e35-1.0.0.png"></googleplay:image>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
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<item>
	<title>Matt Finch &#124; Tome of Worldbuilding &#124; Wandering DMs S06 E34</title>
	<link>https://wanderingdms.com/podcast/matt-finch-tome-of-worldbuilding-wandering-dms-s06-e34/</link>
	<pubDate>Mon, 14 Oct 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=7657</guid>
	<description><![CDATA[Dan and Paul chat with Matt Finch, the ENNIE-award winning designer of the Swords &#38; Wizardry game, and who also created OSRIC, and the Quick Primer for Old School Gaming. Plus he made our favorite Tome of Adventure Design, as seen in use in the Wandering DMs Dungeon Design Dashes. Next up on Kickstarter is Matt&#8217;s Tome of Wordbuilding Design. Is this just in time for all our fantasy worldbuilding needs? The Tome of World Building is written by ENNIE-award winning author Matt Finch, author of the critically-acclaimed Tome of Adventure Design. Using the Tome of World Building, you can create fantasy worlds quickly and fill them out with a wealth of detail from the random-generation tables in this book. This Kickstarter offers two high quality hardcover books to create a trilogy of creative power with the Tome of Adventure Design. The first is the Tome of World Building, allowing you to create maps, cultures, countries, wilderness regions, and all the history and backstabbing politics of a fantasy world. The second is the Nomicon, with tables to invent fantasy names for everything you&#8217;ll generate using the Tome of World Building.]]></description>
	<itunes:subtitle><![CDATA[Dan and Paul chat with Matt Finch, the ENNIE-award winning designer of the Swords &#38; Wizardry game, and who also created OSRIC, and the Quick Primer for Old School Gaming. Plus he made our favorite Tome of Adventure Design, as seen in use in the Wande]]></itunes:subtitle>
	<content:encoded><![CDATA[Dan and Paul chat with Matt Finch, the ENNIE-award winning designer of the Swords &#38; Wizardry game, and who also created OSRIC, and the Quick Primer for Old School Gaming. Plus he made our favorite Tome of Adventure Design, as seen in use in the Wandering DMs Dungeon Design Dashes. Next up on Kickstarter is Matt&#8217;s Tome of Wordbuilding Design. Is this just in time for all our fantasy worldbuilding needs? The Tome of World Building is written by ENNIE-award winning author Matt Finch, author of the critically-acclaimed Tome of Adventure Design. Using the Tome of World Building, you can create fantasy worlds quickly and fill them out with a wealth of detail from the random-generation tables in this book. This Kickstarter offers two high quality hardcover books to create a trilogy of creative power with the Tome of Adventure Design. The first is the Tome of World Building, allowing you to create maps, cultures, countries, wilderness regions, and all the history and backstabbing politics of a fantasy world. The second is the Nomicon, with tables to invent fantasy names for everything you&#8217;ll generate using the Tome of World Building.]]></content:encoded>
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	<itunes:summary><![CDATA[Dan and Paul chat with Matt Finch, the ENNIE-award winning designer of the Swords &#38; Wizardry game, and who also created OSRIC, and the Quick Primer for Old School Gaming. Plus he made our favorite Tome of Adventure Design, as seen in use in the Wandering DMs Dungeon Design Dashes. Next up on Kickstarter is Matt&#8217;s Tome of Wordbuilding Design. Is this just in time for all our fantasy worldbuilding needs? The Tome of World Building is written by ENNIE-award winning author Matt Finch, author of the critically-acclaimed Tome of Adventure Design. Using the Tome of World Building, you can create fantasy worlds quickly and fill them out with a wealth of detail from the random-generation tables in this book. This Kickstarter offers two high quality hardcover books to create a trilogy of creative power with the Tome of Adventure Design. The first is the Tome of World Building, allowing you to create maps, cultures, countries, wilderness regions, and all the history and backstabbing politics of a fantasy world. The second is the Nomicon, with tables to invent fantasy names for everything you&#8217;ll generate using the Tome of World Building.]]></itunes:summary>
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		<title>Matt Finch &#124; Tome of Worldbuilding &#124; Wandering DMs S06 E34</title>
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	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Dan and Paul chat with Matt Finch, the ENNIE-award winning designer of the Swords &#38; Wizardry game, and who also created OSRIC, and the Quick Primer for Old School Gaming. Plus he made our favorite Tome of Adventure Design, as seen in use in the Wandering DMs Dungeon Design Dashes. Next up on Kickstarter is Matt&#8217;s Tome of Wordbuilding Design. Is this just in time for all our fantasy worldbuilding needs? The Tome of World Building is written by ENNIE-award winning author Matt Finch, author of the critically-acclaimed Tome of Adventure Design. Using the Tome of World Building, you can create fantasy worlds quickly and fill them out with a wealth of detail from the random-generation tables in this book. This Kickstarter offers two high quality hardcover books to create a trilogy of creative power with the Tome of Adventure Design. The first is the Tome of World Building, allowing you to create maps, cultures, countries, wilderness regions, and all the history and backstabbing po]]></googleplay:description>
	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/10/thumbnail-s06e34-1.0.0.png"></googleplay:image>
	<googleplay:explicit>No</googleplay:explicit>
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<item>
	<title>Wrath of the Sea Lich &#124; Luke Gygax &#038; 50 Years of D&#038;D &#124; Wandering DMs S06 E33</title>
	<link>https://wanderingdms.com/podcast/wrath-of-the-sea-lich-luke-gygax-50-years-of-dd-wandering-dms-s06-e33/</link>
	<pubDate>Mon, 07 Oct 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=7654</guid>
	<description><![CDATA[Paul and Dan chat with Luke Gygax on the 50th anniversary of D&#38;D and his new old-school mega-adventure, Wrath of the Sea Lich! Wrath of the Sea Lich is a reimagining of his hit series, &#8220;Oculus of Senrahbah&#8221; originally created for 5e. Luke and Matt enlisted the help of notable designer Sersa Victory to reengineer the scenario for the critically acclaimed Shadowdark system. Together, they have remastered the entire series, the encounters are rebalanced, and the entire work is reformatted to fit the Old School aesthetic of Shadowdark. n &#8220;Wrath of the Sea Lich&#8221;, the party sets out to recover the Eye of Chentoufi, an ancient artifact sought by a local treasure hunter. Unknown to all, the artifact is sought by the ancient Ydrissid lich, Ireshkigal, who has been dormant for thousands of years in her watery fortress. As the characters venture across the city, they eventually find their way to a submerged ruins and encounter remnants of a forgotten age. As they begin to understand the implications of Ireshkigal’s return, the sense of urgency to find the artifact mounts. The lich’s revival could bring serious consequences to the world, and the party must decide whether to use the power of the Oculus or find a way to destroy it. Shadowdark RPG is a modern fantasy role-playing game that seamlessly blends classic tabletop RPG elements with innovative mechanics, creating a new experience for players who have grown up with modern role-playing games. Designed to evoke the nostalgia of early dungeon crawlers while introducing streamlined gameplay, Shadowdark encourages exploration, tactical combat, and rich storytelling. Its flexible system accommodates various play styles, making it accessible for both newcomers and experienced adventurers. The game emphasizes fast-paced action, player agency, and a dark atmosphere that challenges players throughout each game session. It won the 2024 Three Castles Award for best game design, as well as four gold ENNIEs: Product of the Year, Best Game, Best Rules, and Best Layout &#38; Design.]]></description>
	<itunes:subtitle><![CDATA[Paul and Dan chat with Luke Gygax on the 50th anniversary of D&#38;D and his new old-school mega-adventure, Wrath of the Sea Lich! Wrath of the Sea Lich is a reimagining of his hit series, &#8220;Oculus of Senrahbah&#8221; originally created for 5e. Luke]]></itunes:subtitle>
	<content:encoded><![CDATA[Paul and Dan chat with Luke Gygax on the 50th anniversary of D&#38;D and his new old-school mega-adventure, Wrath of the Sea Lich! Wrath of the Sea Lich is a reimagining of his hit series, &#8220;Oculus of Senrahbah&#8221; originally created for 5e. Luke and Matt enlisted the help of notable designer Sersa Victory to reengineer the scenario for the critically acclaimed Shadowdark system. Together, they have remastered the entire series, the encounters are rebalanced, and the entire work is reformatted to fit the Old School aesthetic of Shadowdark. n &#8220;Wrath of the Sea Lich&#8221;, the party sets out to recover the Eye of Chentoufi, an ancient artifact sought by a local treasure hunter. Unknown to all, the artifact is sought by the ancient Ydrissid lich, Ireshkigal, who has been dormant for thousands of years in her watery fortress. As the characters venture across the city, they eventually find their way to a submerged ruins and encounter remnants of a forgotten age. As they begin to understand the implications of Ireshkigal’s return, the sense of urgency to find the artifact mounts. The lich’s revival could bring serious consequences to the world, and the party must decide whether to use the power of the Oculus or find a way to destroy it. Shadowdark RPG is a modern fantasy role-playing game that seamlessly blends classic tabletop RPG elements with innovative mechanics, creating a new experience for players who have grown up with modern role-playing games. Designed to evoke the nostalgia of early dungeon crawlers while introducing streamlined gameplay, Shadowdark encourages exploration, tactical combat, and rich storytelling. Its flexible system accommodates various play styles, making it accessible for both newcomers and experienced adventurers. The game emphasizes fast-paced action, player agency, and a dark atmosphere that challenges players throughout each game session. It won the 2024 Three Castles Award for best game design, as well as four gold ENNIEs: Product of the Year, Best Game, Best Rules, and Best Layout &#38; Design.]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/7654/wrath-of-the-sea-lich-luke-gygax-50-years-of-dd-wandering-dms-s06-e33.mp3" length="91292768" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[Paul and Dan chat with Luke Gygax on the 50th anniversary of D&#38;D and his new old-school mega-adventure, Wrath of the Sea Lich! Wrath of the Sea Lich is a reimagining of his hit series, &#8220;Oculus of Senrahbah&#8221; originally created for 5e. Luke and Matt enlisted the help of notable designer Sersa Victory to reengineer the scenario for the critically acclaimed Shadowdark system. Together, they have remastered the entire series, the encounters are rebalanced, and the entire work is reformatted to fit the Old School aesthetic of Shadowdark. n &#8220;Wrath of the Sea Lich&#8221;, the party sets out to recover the Eye of Chentoufi, an ancient artifact sought by a local treasure hunter. Unknown to all, the artifact is sought by the ancient Ydrissid lich, Ireshkigal, who has been dormant for thousands of years in her watery fortress. As the characters venture across the city, they eventually find their way to a submerged ruins and encounter remnants of a forgotten age. As they begin to understand the implications of Ireshkigal’s return, the sense of urgency to find the artifact mounts. The lich’s revival could bring serious consequences to the world, and the party must decide whether to use the power of the Oculus or find a way to destroy it. Shadowdark RPG is a modern fantasy role-playing game that seamlessly blends classic tabletop RPG elements with innovative mechanics, creating a new experience for players who have grown up with modern role-playing games. Designed to evoke the nostalgia of early dungeon crawlers while introducing streamlined gameplay, Shadowdark encourages exploration, tactical combat, and rich storytelling. Its flexible system accommodates various play styles, making it accessible for both newcomers and experienced adventurers. The game emphasizes fast-paced action, player agency, and a dark atmosphere that challenges players throughout each game session. It won the 2024 Three Castles Award for best game design, as well as four gold ENNIEs: Product of the Year, Best Game, Best Rules, and Best Layout &#38; Design.]]></itunes:summary>
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	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Paul and Dan chat with Luke Gygax on the 50th anniversary of D&#38;D and his new old-school mega-adventure, Wrath of the Sea Lich! Wrath of the Sea Lich is a reimagining of his hit series, &#8220;Oculus of Senrahbah&#8221; originally created for 5e. Luke and Matt enlisted the help of notable designer Sersa Victory to reengineer the scenario for the critically acclaimed Shadowdark system. Together, they have remastered the entire series, the encounters are rebalanced, and the entire work is reformatted to fit the Old School aesthetic of Shadowdark. n &#8220;Wrath of the Sea Lich&#8221;, the party sets out to recover the Eye of Chentoufi, an ancient artifact sought by a local treasure hunter. Unknown to all, the artifact is sought by the ancient Ydrissid lich, Ireshkigal, who has been dormant for thousands of years in her watery fortress. As the characters venture across the city, they eventually find their way to a submerged ruins and encounter remnants of a forgotten age. As they begi]]></googleplay:description>
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<item>
	<title>D&#038;D Party Size &#124; Gathering the Right Number of Troops &#124; Wandering DMs S06 E32</title>
	<link>https://wanderingdms.com/podcast/dd-party-size-gathering-the-right-number-of-troops-wandering-dms-s06-e32/</link>
	<pubDate>Mon, 30 Sep 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=7650</guid>
	<description><![CDATA[Dan and Paul, the Wandering DMs, discuss the right number of players for D&#38;D and other TTRPGs. How many is too many? How few is too few? What factors play into choosing the right range of party size for your adventure design? Team size and team composition affect team processes and team outcomes. The optimal size (and composition) of teams is debated and will vary depending on the task at hand. At least one study of problem-solving in groups showed an optimal size of groups at four members. Other works estimate the optimal size between 5–12 members or a number of members that can consume two pizzas. Writers such as Belbin (1981, 1993), Woodcock (1989), Margerison and McCann (1990), Davis et al. (1992), Parker (1990), and Spencer and Pruss (1992) focused on team roles and how these affected team performance. These studies suggested that team performance was a function of the number and type of roles team members played. The number of roles for optimal performance varied from 15 (Davis et al., 1992) to four (Parker, 1990). This variation has been attributed to how roles were defined. Regarding composition, all teams will have an element of homogeneity and heterogeneity. The more homogeneous the group, the more cohesive it will be. The more heterogeneous the group, the greater the differences in perspective and increased potential for creativity, but also the greater potential for conflict. This description uses material from the Wikipedia article &#8220;Team&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[Dan and Paul, the Wandering DMs, discuss the right number of players for D&#38;D and other TTRPGs. How many is too many? How few is too few? What factors play into choosing the right range of party size for your adventure design? Team size and team compo]]></itunes:subtitle>
	<content:encoded><![CDATA[Dan and Paul, the Wandering DMs, discuss the right number of players for D&#38;D and other TTRPGs. How many is too many? How few is too few? What factors play into choosing the right range of party size for your adventure design? Team size and team composition affect team processes and team outcomes. The optimal size (and composition) of teams is debated and will vary depending on the task at hand. At least one study of problem-solving in groups showed an optimal size of groups at four members. Other works estimate the optimal size between 5–12 members or a number of members that can consume two pizzas. Writers such as Belbin (1981, 1993), Woodcock (1989), Margerison and McCann (1990), Davis et al. (1992), Parker (1990), and Spencer and Pruss (1992) focused on team roles and how these affected team performance. These studies suggested that team performance was a function of the number and type of roles team members played. The number of roles for optimal performance varied from 15 (Davis et al., 1992) to four (Parker, 1990). This variation has been attributed to how roles were defined. Regarding composition, all teams will have an element of homogeneity and heterogeneity. The more homogeneous the group, the more cohesive it will be. The more heterogeneous the group, the greater the differences in perspective and increased potential for creativity, but also the greater potential for conflict. This description uses material from the Wikipedia article &#8220;Team&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/7650/dd-party-size-gathering-the-right-number-of-troops-wandering-dms-s06-e32.mp3" length="86706633" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[Dan and Paul, the Wandering DMs, discuss the right number of players for D&#38;D and other TTRPGs. How many is too many? How few is too few? What factors play into choosing the right range of party size for your adventure design? Team size and team composition affect team processes and team outcomes. The optimal size (and composition) of teams is debated and will vary depending on the task at hand. At least one study of problem-solving in groups showed an optimal size of groups at four members. Other works estimate the optimal size between 5–12 members or a number of members that can consume two pizzas. Writers such as Belbin (1981, 1993), Woodcock (1989), Margerison and McCann (1990), Davis et al. (1992), Parker (1990), and Spencer and Pruss (1992) focused on team roles and how these affected team performance. These studies suggested that team performance was a function of the number and type of roles team members played. The number of roles for optimal performance varied from 15 (Davis et al., 1992) to four (Parker, 1990). This variation has been attributed to how roles were defined. Regarding composition, all teams will have an element of homogeneity and heterogeneity. The more homogeneous the group, the more cohesive it will be. The more heterogeneous the group, the greater the differences in perspective and increased potential for creativity, but also the greater potential for conflict. This description uses material from the Wikipedia article &#8220;Team&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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		<title>D&#038;D Party Size &#124; Gathering the Right Number of Troops &#124; Wandering DMs S06 E32</title>
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	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Dan and Paul, the Wandering DMs, discuss the right number of players for D&#38;D and other TTRPGs. How many is too many? How few is too few? What factors play into choosing the right range of party size for your adventure design? Team size and team composition affect team processes and team outcomes. The optimal size (and composition) of teams is debated and will vary depending on the task at hand. At least one study of problem-solving in groups showed an optimal size of groups at four members. Other works estimate the optimal size between 5–12 members or a number of members that can consume two pizzas. Writers such as Belbin (1981, 1993), Woodcock (1989), Margerison and McCann (1990), Davis et al. (1992), Parker (1990), and Spencer and Pruss (1992) focused on team roles and how these affected team performance. These studies suggested that team performance was a function of the number and type of roles team members played. The number of roles for optimal performance varied from 15 (Da]]></googleplay:description>
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	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
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<item>
	<title>Travel Encounters in D&#038;D &#124; Wandering Why? &#124; Wandering DMs S06 E31</title>
	<link>https://wanderingdms.com/podcast/travel-encounters-in-dd-wandering-why-wandering-dms-s06-e31/</link>
	<pubDate>Mon, 23 Sep 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=7647</guid>
	<description><![CDATA[Paul and Dan do a deep dive on the state of travel encounters in classic D&#38;D and other games. Should they be based on random wandering tables, or fine-tuned by the DM for the given adventure session? Is the goal to simulate a living world, or to challenge the PCs at the table? Should the DM know in advance what will happen, or share in the surprise? Travel in the Middle Ages offered hardships and challenges, though it was important to the economy and to society. The wholesale sector depended (for example) on merchants dealing with/through caravans or sea-voyagers, end-user retailing often demanded the services of many itinerant peddlers wandering from village to hamlet, gyrovagues (wandering monks) and wandering friars brought theology and pastoral support to neglected areas, traveling minstrels toured, and armies ranged far and wide in various crusades and in sundry other wars. Pilgrimages were common in both the European and Islamic world and involved streams of travelers both locally and internationally. In the late 16th century, it became fashionable for young European aristocrats and wealthy upper-class men to travel to significant European cities as part of their education in the arts and literature. This was known as the Grand Tour, and included cities such as London, Paris, Venice, Florence, and Rome. However, the French Revolution brought with it the end of the Grand Tour. This description uses material from the Wikipedia article &#8220;Travel&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[Paul and Dan do a deep dive on the state of travel encounters in classic D&#38;D and other games. Should they be based on random wandering tables, or fine-tuned by the DM for the given adventure session? Is the goal to simulate a living world, or to chal]]></itunes:subtitle>
	<content:encoded><![CDATA[Paul and Dan do a deep dive on the state of travel encounters in classic D&#38;D and other games. Should they be based on random wandering tables, or fine-tuned by the DM for the given adventure session? Is the goal to simulate a living world, or to challenge the PCs at the table? Should the DM know in advance what will happen, or share in the surprise? Travel in the Middle Ages offered hardships and challenges, though it was important to the economy and to society. The wholesale sector depended (for example) on merchants dealing with/through caravans or sea-voyagers, end-user retailing often demanded the services of many itinerant peddlers wandering from village to hamlet, gyrovagues (wandering monks) and wandering friars brought theology and pastoral support to neglected areas, traveling minstrels toured, and armies ranged far and wide in various crusades and in sundry other wars. Pilgrimages were common in both the European and Islamic world and involved streams of travelers both locally and internationally. In the late 16th century, it became fashionable for young European aristocrats and wealthy upper-class men to travel to significant European cities as part of their education in the arts and literature. This was known as the Grand Tour, and included cities such as London, Paris, Venice, Florence, and Rome. However, the French Revolution brought with it the end of the Grand Tour. This description uses material from the Wikipedia article &#8220;Travel&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/7647/travel-encounters-in-dd-wandering-why-wandering-dms-s06-e31.mp3" length="89154067" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[Paul and Dan do a deep dive on the state of travel encounters in classic D&#38;D and other games. Should they be based on random wandering tables, or fine-tuned by the DM for the given adventure session? Is the goal to simulate a living world, or to challenge the PCs at the table? Should the DM know in advance what will happen, or share in the surprise? Travel in the Middle Ages offered hardships and challenges, though it was important to the economy and to society. The wholesale sector depended (for example) on merchants dealing with/through caravans or sea-voyagers, end-user retailing often demanded the services of many itinerant peddlers wandering from village to hamlet, gyrovagues (wandering monks) and wandering friars brought theology and pastoral support to neglected areas, traveling minstrels toured, and armies ranged far and wide in various crusades and in sundry other wars. Pilgrimages were common in both the European and Islamic world and involved streams of travelers both locally and internationally. In the late 16th century, it became fashionable for young European aristocrats and wealthy upper-class men to travel to significant European cities as part of their education in the arts and literature. This was known as the Grand Tour, and included cities such as London, Paris, Venice, Florence, and Rome. However, the French Revolution brought with it the end of the Grand Tour. This description uses material from the Wikipedia article &#8220;Travel&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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		<title>Travel Encounters in D&#038;D &#124; Wandering Why? &#124; Wandering DMs S06 E31</title>
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	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Paul and Dan do a deep dive on the state of travel encounters in classic D&#38;D and other games. Should they be based on random wandering tables, or fine-tuned by the DM for the given adventure session? Is the goal to simulate a living world, or to challenge the PCs at the table? Should the DM know in advance what will happen, or share in the surprise? Travel in the Middle Ages offered hardships and challenges, though it was important to the economy and to society. The wholesale sector depended (for example) on merchants dealing with/through caravans or sea-voyagers, end-user retailing often demanded the services of many itinerant peddlers wandering from village to hamlet, gyrovagues (wandering monks) and wandering friars brought theology and pastoral support to neglected areas, traveling minstrels toured, and armies ranged far and wide in various crusades and in sundry other wars. Pilgrimages were common in both the European and Islamic world and involved streams of travelers both l]]></googleplay:description>
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	<title>Rutskarn&#8217;s Gambit &#124; Creating Political Intrigue with Boot Hill &#124; Wandering DMs S06 E30</title>
	<link>https://wanderingdms.com/podcast/rutskarns-gambit-creating-political-intrigue-with-boot-hill-wandering-dms-s06-e30/</link>
	<pubDate>Mon, 16 Sep 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=7639</guid>
	<description><![CDATA[Dan and Paul are joined by special guest Adam &#8220;Rutskarn&#8221; DeCamp, author of the blog Chocolate Hammer. Rutskarn will share his experience running a highly political campaign using the original TSR Western RPG Boot Hill, first published in 1975. How can a game with zero rules for social interactions and a highly deadly combat system actually encourage play focused on politics, deception, and intrigue? Boot Hill is a western-themed role-playing game designed by Brian Blume, Gary Gygax, and Don Kaye (although Kaye unexpectedly died before the game was published), and first published in 1975. Boot Hill was TSR&#8217;s third role-playing game, appearing not long after Dungeons &#38; Dragons (D&#38;D) and Empire of the Petal Throne. Boot Hill focused on gunfighting rather than role-playing. The first edition and second editions were specifically marketed as a miniatures combat game, but even in the third edition, most of the rules concerned combat resolution, with relatively little information about settings and few rules for social interaction. Combat could be short and deadly, with death often coming from the first gunshot. This lethality did not change over time since, unlike D&#38;D characters, Boot Hill characters did not advance in levels to develop better defenses or advantages over non-player characters; they remained just as likely to die in their hundredth combat as they had been in their first. As a result, most characters had a very short life span, and players generally had little chance to identify with their player character over the long term, as they could with a player character in D&#38;D. This description uses material from the Wikipedia article &#8220;Boot Hill (role-playing game)&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[Dan and Paul are joined by special guest Adam &#8220;Rutskarn&#8221; DeCamp, author of the blog Chocolate Hammer. Rutskarn will share his experience running a highly political campaign using the original TSR Western RPG Boot Hill, first published in 1975]]></itunes:subtitle>
	<content:encoded><![CDATA[Dan and Paul are joined by special guest Adam &#8220;Rutskarn&#8221; DeCamp, author of the blog Chocolate Hammer. Rutskarn will share his experience running a highly political campaign using the original TSR Western RPG Boot Hill, first published in 1975. How can a game with zero rules for social interactions and a highly deadly combat system actually encourage play focused on politics, deception, and intrigue? Boot Hill is a western-themed role-playing game designed by Brian Blume, Gary Gygax, and Don Kaye (although Kaye unexpectedly died before the game was published), and first published in 1975. Boot Hill was TSR&#8217;s third role-playing game, appearing not long after Dungeons &#38; Dragons (D&#38;D) and Empire of the Petal Throne. Boot Hill focused on gunfighting rather than role-playing. The first edition and second editions were specifically marketed as a miniatures combat game, but even in the third edition, most of the rules concerned combat resolution, with relatively little information about settings and few rules for social interaction. Combat could be short and deadly, with death often coming from the first gunshot. This lethality did not change over time since, unlike D&#38;D characters, Boot Hill characters did not advance in levels to develop better defenses or advantages over non-player characters; they remained just as likely to die in their hundredth combat as they had been in their first. As a result, most characters had a very short life span, and players generally had little chance to identify with their player character over the long term, as they could with a player character in D&#38;D. This description uses material from the Wikipedia article &#8220;Boot Hill (role-playing game)&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/7639/rutskarns-gambit-creating-political-intrigue-with-boot-hill-wandering-dms-s06-e30.mp3" length="87359823" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[Dan and Paul are joined by special guest Adam &#8220;Rutskarn&#8221; DeCamp, author of the blog Chocolate Hammer. Rutskarn will share his experience running a highly political campaign using the original TSR Western RPG Boot Hill, first published in 1975. How can a game with zero rules for social interactions and a highly deadly combat system actually encourage play focused on politics, deception, and intrigue? Boot Hill is a western-themed role-playing game designed by Brian Blume, Gary Gygax, and Don Kaye (although Kaye unexpectedly died before the game was published), and first published in 1975. Boot Hill was TSR&#8217;s third role-playing game, appearing not long after Dungeons &#38; Dragons (D&#38;D) and Empire of the Petal Throne. Boot Hill focused on gunfighting rather than role-playing. The first edition and second editions were specifically marketed as a miniatures combat game, but even in the third edition, most of the rules concerned combat resolution, with relatively little information about settings and few rules for social interaction. Combat could be short and deadly, with death often coming from the first gunshot. This lethality did not change over time since, unlike D&#38;D characters, Boot Hill characters did not advance in levels to develop better defenses or advantages over non-player characters; they remained just as likely to die in their hundredth combat as they had been in their first. As a result, most characters had a very short life span, and players generally had little chance to identify with their player character over the long term, as they could with a player character in D&#38;D. This description uses material from the Wikipedia article &#8220;Boot Hill (role-playing game)&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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		<title>Rutskarn&#8217;s Gambit &#124; Creating Political Intrigue with Boot Hill &#124; Wandering DMs S06 E30</title>
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	<itunes:duration>1:00:40</itunes:duration>
	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Dan and Paul are joined by special guest Adam &#8220;Rutskarn&#8221; DeCamp, author of the blog Chocolate Hammer. Rutskarn will share his experience running a highly political campaign using the original TSR Western RPG Boot Hill, first published in 1975. How can a game with zero rules for social interactions and a highly deadly combat system actually encourage play focused on politics, deception, and intrigue? Boot Hill is a western-themed role-playing game designed by Brian Blume, Gary Gygax, and Don Kaye (although Kaye unexpectedly died before the game was published), and first published in 1975. Boot Hill was TSR&#8217;s third role-playing game, appearing not long after Dungeons &#38; Dragons (D&#38;D) and Empire of the Petal Throne. Boot Hill focused on gunfighting rather than role-playing. The first edition and second editions were specifically marketed as a miniatures combat game, but even in the third edition, most of the rules concerned combat resolution, with relatively litt]]></googleplay:description>
	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/09/thumbnail-s06e30-1.0.1.png"></googleplay:image>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
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	<title>D&#038;D Beyond Update Fail! &#124; Backward-Compatibility Blues &#124; Wandering DMs S06 E29</title>
	<link>https://wanderingdms.com/podcast/dd-beyond-update-fail-backward-compatibility-blues-wandering-dms-s06-e29/</link>
	<pubDate>Sun, 15 Sep 2024 18:30:58 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=7641</guid>
	<description><![CDATA[Dan and Paul wrap up the most recent Wizards D&#38;D Beyond fumble &#8212; a decision to retract all the items, magic, and spells from the 2014 version of D&#38;D 5th Edition, and replace all content globally with the 2024 revised D&#38;D content (whether players wanted it or not!). After public outcry, WOTC flip-flopped on their decision, but was it a preventable mistake? How hard is it for a game company to make old &#38; new customers both equally happy? There are several incentives for a company to implement backward compatibility. Backward compatibility can be used to preserve older software that would have otherwise been lost when a manufacturer decides to stop supporting older hardware. Classic video games are a common example used when discussing the value of supporting older software. The cultural impact of video games is a large part of their continued success, and some believe ignoring backward compatibility would cause these titles to disappear. Backward compatibility also acts as a selling point for new hardware, as an existing player base can more affordably upgrade to subsequent generations of a console. This also helps to make up for lack of content at the launch of new systems, as users can pull from the previous console&#8217;s library of games while developers transition to the new hardware. Moreover, studies in the mid-1990s found that even consumers who never play older games after purchasing a new system consider backward compatibility a highly desirable feature, valuing the mere ability to continue to play an existing collection of games even if they choose never to do so. Backward compatibility with the original PlayStation (PS) software discs and peripherals is considered to have been a key selling point for the PlayStation 2 (PS2) during its early months on the market. The monetary costs of supporting old software is considered a large drawback to the usage of backward compatibility. The associated costs of backward compatibility are a larger bill of materials if hardware is required to support the legacy systems; increased complexity of the product that may lead to longer time to market, technological hindrances, and slowing innovation; and increased expectations from users in terms of compatibility. Because of this, several console manufacturers phased out backward compatibility toward the end of the console generation in order to reduce cost and briefly reinvigorate sales before the arrival of newer hardware. Backward compatibility introduces the risk that developers will favor developing games that are compatible with both the old and new systems, since this gives them a larger base of potential buyers, resulting in a dearth of software which uses the advanced features of the new system. This description uses material from the Wikipedia article &#8220;Backward compatibility&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[Dan and Paul wrap up the most recent Wizards D&#38;D Beyond fumble &#8212; a decision to retract all the items, magic, and spells from the 2014 version of D&#38;D 5th Edition, and replace all content globally with the 2024 revised D&#38;D content (whethe]]></itunes:subtitle>
	<content:encoded><![CDATA[Dan and Paul wrap up the most recent Wizards D&#38;D Beyond fumble &#8212; a decision to retract all the items, magic, and spells from the 2014 version of D&#38;D 5th Edition, and replace all content globally with the 2024 revised D&#38;D content (whether players wanted it or not!). After public outcry, WOTC flip-flopped on their decision, but was it a preventable mistake? How hard is it for a game company to make old &#38; new customers both equally happy? There are several incentives for a company to implement backward compatibility. Backward compatibility can be used to preserve older software that would have otherwise been lost when a manufacturer decides to stop supporting older hardware. Classic video games are a common example used when discussing the value of supporting older software. The cultural impact of video games is a large part of their continued success, and some believe ignoring backward compatibility would cause these titles to disappear. Backward compatibility also acts as a selling point for new hardware, as an existing player base can more affordably upgrade to subsequent generations of a console. This also helps to make up for lack of content at the launch of new systems, as users can pull from the previous console&#8217;s library of games while developers transition to the new hardware. Moreover, studies in the mid-1990s found that even consumers who never play older games after purchasing a new system consider backward compatibility a highly desirable feature, valuing the mere ability to continue to play an existing collection of games even if they choose never to do so. Backward compatibility with the original PlayStation (PS) software discs and peripherals is considered to have been a key selling point for the PlayStation 2 (PS2) during its early months on the market. The monetary costs of supporting old software is considered a large drawback to the usage of backward compatibility. The associated costs of backward compatibility are a larger bill of materials if hardware is required to support the legacy systems; increased complexity of the product that may lead to longer time to market, technological hindrances, and slowing innovation; and increased expectations from users in terms of compatibility. Because of this, several console manufacturers phased out backward compatibility toward the end of the console generation in order to reduce cost and briefly reinvigorate sales before the arrival of newer hardware. Backward compatibility introduces the risk that developers will favor developing games that are compatible with both the old and new systems, since this gives them a larger base of potential buyers, resulting in a dearth of software which uses the advanced features of the new system. This description uses material from the Wikipedia article &#8220;Backward compatibility&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
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	<itunes:summary><![CDATA[Dan and Paul wrap up the most recent Wizards D&#38;D Beyond fumble &#8212; a decision to retract all the items, magic, and spells from the 2014 version of D&#38;D 5th Edition, and replace all content globally with the 2024 revised D&#38;D content (whether players wanted it or not!). After public outcry, WOTC flip-flopped on their decision, but was it a preventable mistake? How hard is it for a game company to make old &#38; new customers both equally happy? There are several incentives for a company to implement backward compatibility. Backward compatibility can be used to preserve older software that would have otherwise been lost when a manufacturer decides to stop supporting older hardware. Classic video games are a common example used when discussing the value of supporting older software. The cultural impact of video games is a large part of their continued success, and some believe ignoring backward compatibility would cause these titles to disappear. Backward compatibility also acts as a selling point for new hardware, as an existing player base can more affordably upgrade to subsequent generations of a console. This also helps to make up for lack of content at the launch of new systems, as users can pull from the previous console&#8217;s library of games while developers transition to the new hardware. Moreover, studies in the mid-1990s found that even consumers who never play older games after purchasing a new system consider backward compatibility a highly desirable feature, valuing the mere ability to continue to play an existing collection of games even if they choose never to do so. Backward compatibility with the original PlayStation (PS) software discs and peripherals is considered to have been a key selling point for the PlayStation 2 (PS2) during its early months on the market. The monetary costs of supporting old software is considered a large drawback to the usage of backward compatibility. The associated costs of backward compatibility are a larger bill of materials if hardware is required to support the legacy systems; increased complexity of the product that may lead to longer time to market, technological hindrances, and slowing innovation; and increased expectations from users in terms of compatibility. Because of this, several console manufacturers phased out backward compatibility toward the end of the console generation in order to reduce cost and briefly reinvigorate sales before the arrival of newer hardware. Backward compatibility introduces the risk that developers will favor developing games that are compatible with both the old and new systems, since this gives them a larger base of potential buyers, resulting in a dearth of software which uses the advanced features of the new system. This description uses material from the Wikipedia article &#8220;Backward compatibility&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Dan and Paul wrap up the most recent Wizards D&#38;D Beyond fumble &#8212; a decision to retract all the items, magic, and spells from the 2014 version of D&#38;D 5th Edition, and replace all content globally with the 2024 revised D&#38;D content (whether players wanted it or not!). After public outcry, WOTC flip-flopped on their decision, but was it a preventable mistake? How hard is it for a game company to make old &#38; new customers both equally happy? There are several incentives for a company to implement backward compatibility. Backward compatibility can be used to preserve older software that would have otherwise been lost when a manufacturer decides to stop supporting older hardware. Classic video games are a common example used when discussing the value of supporting older software. The cultural impact of video games is a large part of their continued success, and some believe ignoring backward compatibility would cause these titles to disappear. Backward compatibility also]]></googleplay:description>
	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/09/thumbnail-s06e29-1.0.0.png"></googleplay:image>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
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<item>
	<title>Creating D&#038;D Pre-Gens &#124; Character Creation for One-Shots &#124; Wandering DMs S06 E28</title>
	<link>https://wanderingdms.com/podcast/creating-dd-pre-gens-character-creation-for-one-shots-wandering-dms-s06-e28/</link>
	<pubDate>Mon, 26 Aug 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=7635</guid>
	<description><![CDATA[Paul and Dan discuss creation of pre-generated characters for one-shot roleplaying games. From the fastest and easiest ways to quickly generate stats, to crafting unique back-stories that fit (or fight) with the plot. How does it differ between styles of game, and when, if ever, to let the players create their own characters for one-off and convention style games. In both tabletop role playing games such as Dungeons &#38; Dragons and role-playing video games such as Final Fantasy, a player typically creates or takes on the identity of a character that may have nothing in common with the player. The character is often of a certain (usually fictional) race and class (such as zombie, berserker, rifleman, elf, or cleric), each with strengths and weaknesses. The attributes of the characters (such as magic and fighting ability) are given as numerical values which can be increased as the gamer progresses and gains rank and experience points through accomplishing goals or fighting enemies. Character creation (also character generation / character design) is the process of defining a player character in a role-playing game. The result of character creation is a direct characterization that is recorded on a character sheet. This may include a representation of the character&#8217;s physical, mental, psychological, and social attributes and skills in terms of the specific game&#8217;s mechanics. It may also include informal descriptions of the character&#8217;s physical appearance, personality, personal back-story (&#8220;background&#8221;), and possessions. Games with a fantasy setting may include traits such as race, class, or species. Character creation is the first step typically taken by the players (as opposed to the gamemaster) in preparation for a game. This description uses material from the Wikipedia articles &#8220;Player Character&#8221; and &#8220;Character Creation&#8220;, which are released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[Paul and Dan discuss creation of pre-generated characters for one-shot roleplaying games. From the fastest and easiest ways to quickly generate stats, to crafting unique back-stories that fit (or fight) with the plot. How does it differ between styles of]]></itunes:subtitle>
	<content:encoded><![CDATA[Paul and Dan discuss creation of pre-generated characters for one-shot roleplaying games. From the fastest and easiest ways to quickly generate stats, to crafting unique back-stories that fit (or fight) with the plot. How does it differ between styles of game, and when, if ever, to let the players create their own characters for one-off and convention style games. In both tabletop role playing games such as Dungeons &#38; Dragons and role-playing video games such as Final Fantasy, a player typically creates or takes on the identity of a character that may have nothing in common with the player. The character is often of a certain (usually fictional) race and class (such as zombie, berserker, rifleman, elf, or cleric), each with strengths and weaknesses. The attributes of the characters (such as magic and fighting ability) are given as numerical values which can be increased as the gamer progresses and gains rank and experience points through accomplishing goals or fighting enemies. Character creation (also character generation / character design) is the process of defining a player character in a role-playing game. The result of character creation is a direct characterization that is recorded on a character sheet. This may include a representation of the character&#8217;s physical, mental, psychological, and social attributes and skills in terms of the specific game&#8217;s mechanics. It may also include informal descriptions of the character&#8217;s physical appearance, personality, personal back-story (&#8220;background&#8221;), and possessions. Games with a fantasy setting may include traits such as race, class, or species. Character creation is the first step typically taken by the players (as opposed to the gamemaster) in preparation for a game. This description uses material from the Wikipedia articles &#8220;Player Character&#8221; and &#8220;Character Creation&#8220;, which are released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/7635/creating-dd-pre-gens-character-creation-for-one-shots-wandering-dms-s06-e28.mp3" length="90746704" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[Paul and Dan discuss creation of pre-generated characters for one-shot roleplaying games. From the fastest and easiest ways to quickly generate stats, to crafting unique back-stories that fit (or fight) with the plot. How does it differ between styles of game, and when, if ever, to let the players create their own characters for one-off and convention style games. In both tabletop role playing games such as Dungeons &#38; Dragons and role-playing video games such as Final Fantasy, a player typically creates or takes on the identity of a character that may have nothing in common with the player. The character is often of a certain (usually fictional) race and class (such as zombie, berserker, rifleman, elf, or cleric), each with strengths and weaknesses. The attributes of the characters (such as magic and fighting ability) are given as numerical values which can be increased as the gamer progresses and gains rank and experience points through accomplishing goals or fighting enemies. Character creation (also character generation / character design) is the process of defining a player character in a role-playing game. The result of character creation is a direct characterization that is recorded on a character sheet. This may include a representation of the character&#8217;s physical, mental, psychological, and social attributes and skills in terms of the specific game&#8217;s mechanics. It may also include informal descriptions of the character&#8217;s physical appearance, personality, personal back-story (&#8220;background&#8221;), and possessions. Games with a fantasy setting may include traits such as race, class, or species. Character creation is the first step typically taken by the players (as opposed to the gamemaster) in preparation for a game. This description uses material from the Wikipedia articles &#8220;Player Character&#8221; and &#8220;Character Creation&#8220;, which are released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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		<title>Creating D&#038;D Pre-Gens &#124; Character Creation for One-Shots &#124; Wandering DMs S06 E28</title>
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	<itunes:block>no</itunes:block>
	<itunes:duration>1:03:01</itunes:duration>
	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Paul and Dan discuss creation of pre-generated characters for one-shot roleplaying games. From the fastest and easiest ways to quickly generate stats, to crafting unique back-stories that fit (or fight) with the plot. How does it differ between styles of game, and when, if ever, to let the players create their own characters for one-off and convention style games. In both tabletop role playing games such as Dungeons &#38; Dragons and role-playing video games such as Final Fantasy, a player typically creates or takes on the identity of a character that may have nothing in common with the player. The character is often of a certain (usually fictional) race and class (such as zombie, berserker, rifleman, elf, or cleric), each with strengths and weaknesses. The attributes of the characters (such as magic and fighting ability) are given as numerical values which can be increased as the gamer progresses and gains rank and experience points through accomplishing goals or fighting enemies. Ch]]></googleplay:description>
	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/08/thumbnail-s06e28-1.0.1.png"></googleplay:image>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
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<item>
	<title>The Measure of Man in D&#038;D &#124; Statting Real People in TTRPGs &#124; Wandering DMs S06 E27</title>
	<link>https://wanderingdms.com/podcast/the-measure-of-man-in-dd-statting-real-people-in-ttrpgs-wandering-dms-s06-e27/</link>
	<pubDate>Mon, 19 Aug 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=7629</guid>
	<description><![CDATA[Dan &#38; Paul scope out principles for statting out real people in D&#38;D and other role-playing games. What do the standard ability scores really mean, anyway? How have they varied over editions of D&#38;D across the years? And how can we compare and model real people in other games like Call of Cthulhu, Star Frontiers, and Fearful Ends? Kinanthropometry is defined as the study of human size, shape, proportion, composition, maturation, and gross function, in order to understand growth, exercise, performance, and nutrition. It is a scientific discipline that is concerned with the measurement of individuals in a variety of morphological perspectives, its application to movement and those factors which influence movement, including: components of body build, body measurements, proportions, composition, shape and maturation; motor abilities and cardiorespiratory capacities; physical activity including recreational activity as well as highly specialized sports performance. The predominant focus is upon obtaining detailed measurements upon the body composition of a given person. Kinanthropometry is the interface between human anatomy and movement. It is the application of a series of measurements made on the body and from these we can use the data that we gather directly or perform calculations using the data to produce various indices and body composition predictions and to measure and describe physique. Read Dan&#8217;s article on D&#38;D Intelligence and IQ This description uses material from the Wikipedia article &#8220;Kinanthropometry&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[Dan &#38; Paul scope out principles for statting out real people in D&#38;D and other role-playing games. What do the standard ability scores really mean, anyway? How have they varied over editions of D&#38;D across the years? And how can we compare and ]]></itunes:subtitle>
	<content:encoded><![CDATA[Dan &#38; Paul scope out principles for statting out real people in D&#38;D and other role-playing games. What do the standard ability scores really mean, anyway? How have they varied over editions of D&#38;D across the years? And how can we compare and model real people in other games like Call of Cthulhu, Star Frontiers, and Fearful Ends? Kinanthropometry is defined as the study of human size, shape, proportion, composition, maturation, and gross function, in order to understand growth, exercise, performance, and nutrition. It is a scientific discipline that is concerned with the measurement of individuals in a variety of morphological perspectives, its application to movement and those factors which influence movement, including: components of body build, body measurements, proportions, composition, shape and maturation; motor abilities and cardiorespiratory capacities; physical activity including recreational activity as well as highly specialized sports performance. The predominant focus is upon obtaining detailed measurements upon the body composition of a given person. Kinanthropometry is the interface between human anatomy and movement. It is the application of a series of measurements made on the body and from these we can use the data that we gather directly or perform calculations using the data to produce various indices and body composition predictions and to measure and describe physique. Read Dan&#8217;s article on D&#38;D Intelligence and IQ This description uses material from the Wikipedia article &#8220;Kinanthropometry&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/7629/the-measure-of-man-in-dd-statting-real-people-in-ttrpgs-wandering-dms-s06-e27.mp3" length="91072726" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[Dan &#38; Paul scope out principles for statting out real people in D&#38;D and other role-playing games. What do the standard ability scores really mean, anyway? How have they varied over editions of D&#38;D across the years? And how can we compare and model real people in other games like Call of Cthulhu, Star Frontiers, and Fearful Ends? Kinanthropometry is defined as the study of human size, shape, proportion, composition, maturation, and gross function, in order to understand growth, exercise, performance, and nutrition. It is a scientific discipline that is concerned with the measurement of individuals in a variety of morphological perspectives, its application to movement and those factors which influence movement, including: components of body build, body measurements, proportions, composition, shape and maturation; motor abilities and cardiorespiratory capacities; physical activity including recreational activity as well as highly specialized sports performance. The predominant focus is upon obtaining detailed measurements upon the body composition of a given person. Kinanthropometry is the interface between human anatomy and movement. It is the application of a series of measurements made on the body and from these we can use the data that we gather directly or perform calculations using the data to produce various indices and body composition predictions and to measure and describe physique. Read Dan&#8217;s article on D&#38;D Intelligence and IQ This description uses material from the Wikipedia article &#8220;Kinanthropometry&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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		<title>The Measure of Man in D&#038;D &#124; Statting Real People in TTRPGs &#124; Wandering DMs S06 E27</title>
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	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Dan &#38; Paul scope out principles for statting out real people in D&#38;D and other role-playing games. What do the standard ability scores really mean, anyway? How have they varied over editions of D&#38;D across the years? And how can we compare and model real people in other games like Call of Cthulhu, Star Frontiers, and Fearful Ends? Kinanthropometry is defined as the study of human size, shape, proportion, composition, maturation, and gross function, in order to understand growth, exercise, performance, and nutrition. It is a scientific discipline that is concerned with the measurement of individuals in a variety of morphological perspectives, its application to movement and those factors which influence movement, including: components of body build, body measurements, proportions, composition, shape and maturation; motor abilities and cardiorespiratory capacities; physical activity including recreational activity as well as highly specialized sports performance. The predomina]]></googleplay:description>
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	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
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<item>
	<title>Creeping Doom Playtest &#124; Co-DMing Social Encounters &#124; Wandering DMs S06 E26</title>
	<link>https://wanderingdms.com/podcast/creeping-doom-playtest-co-dming-social-encounters-wandering-dms-s06-e26/</link>
	<pubDate>Mon, 12 Aug 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=7567</guid>
	<description><![CDATA[Dan &#38; Paul give a postmortem on running their fourth Dungeon Design Dash product, Creeping Doom of the Pumpkin King, in a co-DM fashion. It&#8217;s their first DDD wilderness adventure, and surprises abound! What happens when the party pursues mostly social encounters with a dedicated Adversary DM? Can two DMs swap out musical-chairs NPCs without going crazy? Does D&#38;D always revert back to its horror roots? A playtest is the process by which a game designer tests a new game for bugs and design flaws before releasing it to market. Playtests can be run &#8220;open&#8221;, &#8220;closed&#8221;, &#8220;beta&#8221;, or otherwise, and are very common with board games, collectible card games, puzzle hunts, role-playing games, and video games, for which they have become an established part of the quality control process. An individual involved in testing a game is referred to as a playtester. An open playtest could be considered open to anyone who wishes to join, or it may refer to game designers recruiting testers from outside the design group. Prospective testers usually must complete a survey or provide their contact information in order to be considered for participation. A closed playtest is an internal testing process not available to the public. Beta testing normally refers to the final stages of testing just before going to market with a product, and is often run semi-open with a limited form of the game in order to find any last-minute problems. With all forms of playtesting it is not unusual for participants to be required to sign a non-disclosure agreement, in order to protect the game designer&#8217;s copyrights. Watch the livestream creation of Creeping Doom of the Pumpkin King here This description uses material from the Wikipedia articles &#8220;Playtest&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[Dan &#38; Paul give a postmortem on running their fourth Dungeon Design Dash product, Creeping Doom of the Pumpkin King, in a co-DM fashion. It&#8217;s their first DDD wilderness adventure, and surprises abound! What happens when the party pursues mostly]]></itunes:subtitle>
	<content:encoded><![CDATA[Dan &#38; Paul give a postmortem on running their fourth Dungeon Design Dash product, Creeping Doom of the Pumpkin King, in a co-DM fashion. It&#8217;s their first DDD wilderness adventure, and surprises abound! What happens when the party pursues mostly social encounters with a dedicated Adversary DM? Can two DMs swap out musical-chairs NPCs without going crazy? Does D&#38;D always revert back to its horror roots? A playtest is the process by which a game designer tests a new game for bugs and design flaws before releasing it to market. Playtests can be run &#8220;open&#8221;, &#8220;closed&#8221;, &#8220;beta&#8221;, or otherwise, and are very common with board games, collectible card games, puzzle hunts, role-playing games, and video games, for which they have become an established part of the quality control process. An individual involved in testing a game is referred to as a playtester. An open playtest could be considered open to anyone who wishes to join, or it may refer to game designers recruiting testers from outside the design group. Prospective testers usually must complete a survey or provide their contact information in order to be considered for participation. A closed playtest is an internal testing process not available to the public. Beta testing normally refers to the final stages of testing just before going to market with a product, and is often run semi-open with a limited form of the game in order to find any last-minute problems. With all forms of playtesting it is not unusual for participants to be required to sign a non-disclosure agreement, in order to protect the game designer&#8217;s copyrights. Watch the livestream creation of Creeping Doom of the Pumpkin King here This description uses material from the Wikipedia articles &#8220;Playtest&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/7567/creeping-doom-playtest-co-dming-social-encounters-wandering-dms-s06-e26.mp3" length="90078545" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[Dan &#38; Paul give a postmortem on running their fourth Dungeon Design Dash product, Creeping Doom of the Pumpkin King, in a co-DM fashion. It&#8217;s their first DDD wilderness adventure, and surprises abound! What happens when the party pursues mostly social encounters with a dedicated Adversary DM? Can two DMs swap out musical-chairs NPCs without going crazy? Does D&#38;D always revert back to its horror roots? A playtest is the process by which a game designer tests a new game for bugs and design flaws before releasing it to market. Playtests can be run &#8220;open&#8221;, &#8220;closed&#8221;, &#8220;beta&#8221;, or otherwise, and are very common with board games, collectible card games, puzzle hunts, role-playing games, and video games, for which they have become an established part of the quality control process. An individual involved in testing a game is referred to as a playtester. An open playtest could be considered open to anyone who wishes to join, or it may refer to game designers recruiting testers from outside the design group. Prospective testers usually must complete a survey or provide their contact information in order to be considered for participation. A closed playtest is an internal testing process not available to the public. Beta testing normally refers to the final stages of testing just before going to market with a product, and is often run semi-open with a limited form of the game in order to find any last-minute problems. With all forms of playtesting it is not unusual for participants to be required to sign a non-disclosure agreement, in order to protect the game designer&#8217;s copyrights. Watch the livestream creation of Creeping Doom of the Pumpkin King here This description uses material from the Wikipedia articles &#8220;Playtest&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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		<title>Creeping Doom Playtest &#124; Co-DMing Social Encounters &#124; Wandering DMs S06 E26</title>
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	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Dan &#38; Paul give a postmortem on running their fourth Dungeon Design Dash product, Creeping Doom of the Pumpkin King, in a co-DM fashion. It&#8217;s their first DDD wilderness adventure, and surprises abound! What happens when the party pursues mostly social encounters with a dedicated Adversary DM? Can two DMs swap out musical-chairs NPCs without going crazy? Does D&#38;D always revert back to its horror roots? A playtest is the process by which a game designer tests a new game for bugs and design flaws before releasing it to market. Playtests can be run &#8220;open&#8221;, &#8220;closed&#8221;, &#8220;beta&#8221;, or otherwise, and are very common with board games, collectible card games, puzzle hunts, role-playing games, and video games, for which they have become an established part of the quality control process. An individual involved in testing a game is referred to as a playtester. An open playtest could be considered open to anyone who wishes to join, or it may refer to ga]]></googleplay:description>
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	<title>Original vs. Basic D&#038;D Part 2 &#124; Sweep the Leg &#124; Wandering DMs S06 E25</title>
	<link>https://wanderingdms.com/podcast/original-vs-basic-dd-part-2-sweep-the-leg-wandering-dms-s06-e25/</link>
	<pubDate>Mon, 05 Aug 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
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	<description><![CDATA[In Part 1 Dan and Paul barely scratched the surface on the differences between Original D&#38;D (1974) and Basic D&#38;D (1981)! Due to popular demand they&#8217;re back for more. Hopefully this time they&#8217;ll escape the character creation section and get into combat, monsters, and spells, but who knows? There&#8217;s the whole sweep attack issue to hammer out first. The original Dungeons &#38; Dragons (commonly abbreviated D&#38;D) boxed set by Gary Gygax and Dave Arneson was published by TSR, Inc. in 1974. It included the original edition of the Dungeons &#38; Dragons fantasy role-playing game. The original Dungeons &#38; Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; races (human, dwarf, elf, halfling); armor class; monsters and treasure; underground dungeons consisting of halls, rooms, and doors protected by tricks and traps; and magic items, such as intelligent swords. After the release of the AD&#38;D game, the Basic Set saw a major revision in 1981 by editor Tom Moldvay. The game was not brought in line with AD&#38;D but instead further away from that ruleset, and thus the basic D&#38;D game became a separate and distinct product line from AD&#38;D. The former was promoted as a continuation of the tone of original D&#38;D, while AD&#38;D was an advancement of the mechanics. The revised version of the set included a larger, sixty-four page rule book with a red border and a color cover by Erol Otus, the module B2 The Keep on the Borderlands, six polyhedral dice, and a marking crayon. The book came drilled with holes so that it could be used in a three-ringed binder, and the full set of off-white polyhedral dice came in a heat-sealed bag with a small wax crayon for coloring the numbers on the dice. This description uses material from the Wikipedia articles &#8220;Dungeons &#38; Dragons (1974)&#8221; and &#8220;Dungeons &#38; Dragons Basic Set&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[In Part 1 Dan and Paul barely scratched the surface on the differences between Original D&#38;D (1974) and Basic D&#38;D (1981)! Due to popular demand they&#8217;re back for more. Hopefully this time they&#8217;ll escape the character creation section an]]></itunes:subtitle>
	<content:encoded><![CDATA[In Part 1 Dan and Paul barely scratched the surface on the differences between Original D&#38;D (1974) and Basic D&#38;D (1981)! Due to popular demand they&#8217;re back for more. Hopefully this time they&#8217;ll escape the character creation section and get into combat, monsters, and spells, but who knows? There&#8217;s the whole sweep attack issue to hammer out first. The original Dungeons &#38; Dragons (commonly abbreviated D&#38;D) boxed set by Gary Gygax and Dave Arneson was published by TSR, Inc. in 1974. It included the original edition of the Dungeons &#38; Dragons fantasy role-playing game. The original Dungeons &#38; Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; races (human, dwarf, elf, halfling); armor class; monsters and treasure; underground dungeons consisting of halls, rooms, and doors protected by tricks and traps; and magic items, such as intelligent swords. After the release of the AD&#38;D game, the Basic Set saw a major revision in 1981 by editor Tom Moldvay. The game was not brought in line with AD&#38;D but instead further away from that ruleset, and thus the basic D&#38;D game became a separate and distinct product line from AD&#38;D. The former was promoted as a continuation of the tone of original D&#38;D, while AD&#38;D was an advancement of the mechanics. The revised version of the set included a larger, sixty-four page rule book with a red border and a color cover by Erol Otus, the module B2 The Keep on the Borderlands, six polyhedral dice, and a marking crayon. The book came drilled with holes so that it could be used in a three-ringed binder, and the full set of off-white polyhedral dice came in a heat-sealed bag with a small wax crayon for coloring the numbers on the dice. This description uses material from the Wikipedia articles &#8220;Dungeons &#38; Dragons (1974)&#8221; and &#8220;Dungeons &#38; Dragons Basic Set&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/7485/original-vs-basic-dd-part-2-sweep-the-leg-wandering-dms-s06-e25.mp3" length="89402326" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[In Part 1 Dan and Paul barely scratched the surface on the differences between Original D&#38;D (1974) and Basic D&#38;D (1981)! Due to popular demand they&#8217;re back for more. Hopefully this time they&#8217;ll escape the character creation section and get into combat, monsters, and spells, but who knows? There&#8217;s the whole sweep attack issue to hammer out first. The original Dungeons &#38; Dragons (commonly abbreviated D&#38;D) boxed set by Gary Gygax and Dave Arneson was published by TSR, Inc. in 1974. It included the original edition of the Dungeons &#38; Dragons fantasy role-playing game. The original Dungeons &#38; Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; races (human, dwarf, elf, halfling); armor class; monsters and treasure; underground dungeons consisting of halls, rooms, and doors protected by tricks and traps; and magic items, such as intelligent swords. After the release of the AD&#38;D game, the Basic Set saw a major revision in 1981 by editor Tom Moldvay. The game was not brought in line with AD&#38;D but instead further away from that ruleset, and thus the basic D&#38;D game became a separate and distinct product line from AD&#38;D. The former was promoted as a continuation of the tone of original D&#38;D, while AD&#38;D was an advancement of the mechanics. The revised version of the set included a larger, sixty-four page rule book with a red border and a color cover by Erol Otus, the module B2 The Keep on the Borderlands, six polyhedral dice, and a marking crayon. The book came drilled with holes so that it could be used in a three-ringed binder, and the full set of off-white polyhedral dice came in a heat-sealed bag with a small wax crayon for coloring the numbers on the dice. This description uses material from the Wikipedia articles &#8220;Dungeons &#38; Dragons (1974)&#8221; and &#8220;Dungeons &#38; Dragons Basic Set&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[In Part 1 Dan and Paul barely scratched the surface on the differences between Original D&#38;D (1974) and Basic D&#38;D (1981)! Due to popular demand they&#8217;re back for more. Hopefully this time they&#8217;ll escape the character creation section and get into combat, monsters, and spells, but who knows? There&#8217;s the whole sweep attack issue to hammer out first. The original Dungeons &#38; Dragons (commonly abbreviated D&#38;D) boxed set by Gary Gygax and Dave Arneson was published by TSR, Inc. in 1974. It included the original edition of the Dungeons &#38; Dragons fantasy role-playing game. The original Dungeons &#38; Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; races (human, dwarf, elf, halfli]]></googleplay:description>
	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/08/thumbnail-s06e25-1.0.1.png"></googleplay:image>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
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	<title>Original vs. Basic D&#038;D &#124; Who Wins the Crown? &#124; Wandering DMs S06 E24</title>
	<link>https://wanderingdms.com/podcast/original-vs-basic-dd-who-wins-the-crown-wandering-dms-s06-e24/</link>
	<pubDate>Mon, 22 Jul 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
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	<description><![CDATA[Let&#8217;s chat about two of our favorite editions of early D&#38;D &#8212; Original D&#38;D (1974) and Basic D&#38;D (1981)! Dan &#38; Paul run most of D&#38;D in similar ways, but their instincts sometimes differ in which of these traditions they&#8217;re coming from. What changes were made by the brilliant Tom Moldvay in Basic D&#38;D? Were they for the better, or worse? What should new players start with today for that classic D&#38;D experience? The original Dungeons &#38; Dragons (commonly abbreviated D&#38;D) boxed set by Gary Gygax and Dave Arneson was published by TSR, Inc. in 1974. It included the original edition of the Dungeons &#38; Dragons fantasy role-playing game. The original Dungeons &#38; Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; races (human, dwarf, elf, halfling); armor class; monsters and treasure; underground dungeons consisting of halls, rooms, and doors protected by tricks and traps; and magic items, such as intelligent swords. After the release of the AD&#38;D game, the Basic Set saw a major revision in 1981 by editor Tom Moldvay. The game was not brought in line with AD&#38;D but instead further away from that ruleset, and thus the basic D&#38;D game became a separate and distinct product line from AD&#38;D. The former was promoted as a continuation of the tone of original D&#38;D, while AD&#38;D was an advancement of the mechanics. The revised version of the set included a larger, sixty-four page rule book with a red border and a color cover by Erol Otus, the module B2 The Keep on the Borderlands, six polyhedral dice, and a marking crayon. The book came drilled with holes so that it could be used in a three-ringed binder, and the full set of off-white polyhedral dice came in a heat-sealed bag with a small wax crayon for coloring the numbers on the dice. This description uses material from the Wikipedia articles &#8220;Dungeons &#38; Dragons (1974)&#8221; and &#8220;Dungeons &#38; Dragons Basic Set&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[Let&#8217;s chat about two of our favorite editions of early D&#38;D &#8212; Original D&#38;D (1974) and Basic D&#38;D (1981)! Dan &#38; Paul run most of D&#38;D in similar ways, but their instincts sometimes differ in which of these traditions they&#821]]></itunes:subtitle>
	<content:encoded><![CDATA[Let&#8217;s chat about two of our favorite editions of early D&#38;D &#8212; Original D&#38;D (1974) and Basic D&#38;D (1981)! Dan &#38; Paul run most of D&#38;D in similar ways, but their instincts sometimes differ in which of these traditions they&#8217;re coming from. What changes were made by the brilliant Tom Moldvay in Basic D&#38;D? Were they for the better, or worse? What should new players start with today for that classic D&#38;D experience? The original Dungeons &#38; Dragons (commonly abbreviated D&#38;D) boxed set by Gary Gygax and Dave Arneson was published by TSR, Inc. in 1974. It included the original edition of the Dungeons &#38; Dragons fantasy role-playing game. The original Dungeons &#38; Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; races (human, dwarf, elf, halfling); armor class; monsters and treasure; underground dungeons consisting of halls, rooms, and doors protected by tricks and traps; and magic items, such as intelligent swords. After the release of the AD&#38;D game, the Basic Set saw a major revision in 1981 by editor Tom Moldvay. The game was not brought in line with AD&#38;D but instead further away from that ruleset, and thus the basic D&#38;D game became a separate and distinct product line from AD&#38;D. The former was promoted as a continuation of the tone of original D&#38;D, while AD&#38;D was an advancement of the mechanics. The revised version of the set included a larger, sixty-four page rule book with a red border and a color cover by Erol Otus, the module B2 The Keep on the Borderlands, six polyhedral dice, and a marking crayon. The book came drilled with holes so that it could be used in a three-ringed binder, and the full set of off-white polyhedral dice came in a heat-sealed bag with a small wax crayon for coloring the numbers on the dice. This description uses material from the Wikipedia articles &#8220;Dungeons &#38; Dragons (1974)&#8221; and &#8220;Dungeons &#38; Dragons Basic Set&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/7372/original-vs-basic-dd-who-wins-the-crown-wandering-dms-s06-e24.mp3" length="89898256" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[Let&#8217;s chat about two of our favorite editions of early D&#38;D &#8212; Original D&#38;D (1974) and Basic D&#38;D (1981)! Dan &#38; Paul run most of D&#38;D in similar ways, but their instincts sometimes differ in which of these traditions they&#8217;re coming from. What changes were made by the brilliant Tom Moldvay in Basic D&#38;D? Were they for the better, or worse? What should new players start with today for that classic D&#38;D experience? The original Dungeons &#38; Dragons (commonly abbreviated D&#38;D) boxed set by Gary Gygax and Dave Arneson was published by TSR, Inc. in 1974. It included the original edition of the Dungeons &#38; Dragons fantasy role-playing game. The original Dungeons &#38; Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; races (human, dwarf, elf, halfling); armor class; monsters and treasure; underground dungeons consisting of halls, rooms, and doors protected by tricks and traps; and magic items, such as intelligent swords. After the release of the AD&#38;D game, the Basic Set saw a major revision in 1981 by editor Tom Moldvay. The game was not brought in line with AD&#38;D but instead further away from that ruleset, and thus the basic D&#38;D game became a separate and distinct product line from AD&#38;D. The former was promoted as a continuation of the tone of original D&#38;D, while AD&#38;D was an advancement of the mechanics. The revised version of the set included a larger, sixty-four page rule book with a red border and a color cover by Erol Otus, the module B2 The Keep on the Borderlands, six polyhedral dice, and a marking crayon. The book came drilled with holes so that it could be used in a three-ringed binder, and the full set of off-white polyhedral dice came in a heat-sealed bag with a small wax crayon for coloring the numbers on the dice. This description uses material from the Wikipedia articles &#8220;Dungeons &#38; Dragons (1974)&#8221; and &#8220;Dungeons &#38; Dragons Basic Set&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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		<title>Original vs. Basic D&#038;D &#124; Who Wins the Crown? &#124; Wandering DMs S06 E24</title>
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	<itunes:duration>1:02:26</itunes:duration>
	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Let&#8217;s chat about two of our favorite editions of early D&#38;D &#8212; Original D&#38;D (1974) and Basic D&#38;D (1981)! Dan &#38; Paul run most of D&#38;D in similar ways, but their instincts sometimes differ in which of these traditions they&#8217;re coming from. What changes were made by the brilliant Tom Moldvay in Basic D&#38;D? Were they for the better, or worse? What should new players start with today for that classic D&#38;D experience? The original Dungeons &#38; Dragons (commonly abbreviated D&#38;D) boxed set by Gary Gygax and Dave Arneson was published by TSR, Inc. in 1974. It included the original edition of the Dungeons &#38; Dragons fantasy role-playing game. The original Dungeons &#38; Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighti]]></googleplay:description>
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	<title>D&#038;D on the Clock &#124; Games with Time Constraints &#124; Wandering DMs S06 E23</title>
	<link>https://wanderingdms.com/podcast/dd-on-the-clock-games-with-time-constraints-wandering-dms-s06-e23/</link>
	<pubDate>Tue, 09 Jul 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=7237</guid>
	<description><![CDATA[In this last-minute, condensed episdoe of Wandering DMs, Dan and Paul discuss using real world time elements in games. From timers in D&#38;D adventures to board games that include a ticking clock, they&#8217;ll cover everything in under 45 minutes. They even manage to fit in an actual play of 5 Minute Dungeon!]]></description>
	<itunes:subtitle><![CDATA[In this last-minute, condensed episdoe of Wandering DMs, Dan and Paul discuss using real world time elements in games. From timers in D&#38;D adventures to board games that include a ticking clock, they&#8217;ll cover everything in under 45 minutes. They]]></itunes:subtitle>
	<content:encoded><![CDATA[In this last-minute, condensed episdoe of Wandering DMs, Dan and Paul discuss using real world time elements in games. From timers in D&#38;D adventures to board games that include a ticking clock, they&#8217;ll cover everything in under 45 minutes. They even manage to fit in an actual play of 5 Minute Dungeon!]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/7237/dd-on-the-clock-games-with-time-constraints-wandering-dms-s06-e23.mp3" length="65584715" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[In this last-minute, condensed episdoe of Wandering DMs, Dan and Paul discuss using real world time elements in games. From timers in D&#38;D adventures to board games that include a ticking clock, they&#8217;ll cover everything in under 45 minutes. They even manage to fit in an actual play of 5 Minute Dungeon!]]></itunes:summary>
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		<title>D&#038;D on the Clock &#124; Games with Time Constraints &#124; Wandering DMs S06 E23</title>
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	<itunes:block>no</itunes:block>
	<itunes:duration>45:33</itunes:duration>
	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[In this last-minute, condensed episdoe of Wandering DMs, Dan and Paul discuss using real world time elements in games. From timers in D&#38;D adventures to board games that include a ticking clock, they&#8217;ll cover everything in under 45 minutes. They even manage to fit in an actual play of 5 Minute Dungeon!]]></googleplay:description>
	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/07/thumbnail-s06e23-1.0.1.png"></googleplay:image>
	<googleplay:explicit>No</googleplay:explicit>
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<item>
	<title>Jon Peterson &#124; 50 Years of D&#038;D &#124; Wandering DMs S06 E22</title>
	<link>https://wanderingdms.com/podcast/jon-peterson-50-years-of-dd-wandering-dms-s06-e22/</link>
	<pubDate>Mon, 01 Jul 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=7149</guid>
	<description><![CDATA[One of our all-time favorite guests, Jon Peterson, D&#38;D historian extraordinaire, returns to talk all things about the 50th anniversary of D&#38;D. From his official &#8220;Making of Original Dungeons &#38; Dragons 1970-1977&#8221;, participation in Gen Con 50th anniversary celebrations, inclusion in the MIT Press &#8220;Fifty Years of Dungeons &#38; Dragons&#8221; book, and the hotly-anticipated re-release of his seminal &#8220;Playing at the World&#8221;, he&#8217;s been super busy this year! Dan &#38; Paul will catch up with him and find out what the highlights and new discoveries have been. The original Dungeons &#38; Dragons (commonly abbreviated D&#38;D) boxed set by Gary Gygax and Dave Arneson was published by TSR, Inc. in 1974. It included the original edition of the Dungeons &#38; Dragons fantasy role-playing game. The original Dungeons &#38; Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; races (human, dwarf, elf, halfling); armor class; monsters and treasure; underground dungeons consisting of halls, rooms, and doors protected by tricks and traps; and magic items, such as intelligent swords. The set also presents rules for travelling through the wilderness by land and sea, hiring specialists as well as men-at-arms, constructing fortifications and establishing baronies. The set defines movement rates and areas are using inches, like that of the miniatures rules from which the system descended. This description uses material from the Wikipedia article &#8220;Dungeons &#38; Dragons (1974)&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[One of our all-time favorite guests, Jon Peterson, D&#38;D historian extraordinaire, returns to talk all things about the 50th anniversary of D&#38;D. From his official &#8220;Making of Original Dungeons &#38; Dragons 1970-1977&#8221;, participation in G]]></itunes:subtitle>
	<content:encoded><![CDATA[One of our all-time favorite guests, Jon Peterson, D&#38;D historian extraordinaire, returns to talk all things about the 50th anniversary of D&#38;D. From his official &#8220;Making of Original Dungeons &#38; Dragons 1970-1977&#8221;, participation in Gen Con 50th anniversary celebrations, inclusion in the MIT Press &#8220;Fifty Years of Dungeons &#38; Dragons&#8221; book, and the hotly-anticipated re-release of his seminal &#8220;Playing at the World&#8221;, he&#8217;s been super busy this year! Dan &#38; Paul will catch up with him and find out what the highlights and new discoveries have been. The original Dungeons &#38; Dragons (commonly abbreviated D&#38;D) boxed set by Gary Gygax and Dave Arneson was published by TSR, Inc. in 1974. It included the original edition of the Dungeons &#38; Dragons fantasy role-playing game. The original Dungeons &#38; Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; races (human, dwarf, elf, halfling); armor class; monsters and treasure; underground dungeons consisting of halls, rooms, and doors protected by tricks and traps; and magic items, such as intelligent swords. The set also presents rules for travelling through the wilderness by land and sea, hiring specialists as well as men-at-arms, constructing fortifications and establishing baronies. The set defines movement rates and areas are using inches, like that of the miniatures rules from which the system descended. This description uses material from the Wikipedia article &#8220;Dungeons &#38; Dragons (1974)&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
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	<itunes:summary><![CDATA[One of our all-time favorite guests, Jon Peterson, D&#38;D historian extraordinaire, returns to talk all things about the 50th anniversary of D&#38;D. From his official &#8220;Making of Original Dungeons &#38; Dragons 1970-1977&#8221;, participation in Gen Con 50th anniversary celebrations, inclusion in the MIT Press &#8220;Fifty Years of Dungeons &#38; Dragons&#8221; book, and the hotly-anticipated re-release of his seminal &#8220;Playing at the World&#8221;, he&#8217;s been super busy this year! Dan &#38; Paul will catch up with him and find out what the highlights and new discoveries have been. The original Dungeons &#38; Dragons (commonly abbreviated D&#38;D) boxed set by Gary Gygax and Dave Arneson was published by TSR, Inc. in 1974. It included the original edition of the Dungeons &#38; Dragons fantasy role-playing game. The original Dungeons &#38; Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; races (human, dwarf, elf, halfling); armor class; monsters and treasure; underground dungeons consisting of halls, rooms, and doors protected by tricks and traps; and magic items, such as intelligent swords. The set also presents rules for travelling through the wilderness by land and sea, hiring specialists as well as men-at-arms, constructing fortifications and establishing baronies. The set defines movement rates and areas are using inches, like that of the miniatures rules from which the system descended. This description uses material from the Wikipedia article &#8220;Dungeons &#38; Dragons (1974)&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[One of our all-time favorite guests, Jon Peterson, D&#38;D historian extraordinaire, returns to talk all things about the 50th anniversary of D&#38;D. From his official &#8220;Making of Original Dungeons &#38; Dragons 1970-1977&#8221;, participation in Gen Con 50th anniversary celebrations, inclusion in the MIT Press &#8220;Fifty Years of Dungeons &#38; Dragons&#8221; book, and the hotly-anticipated re-release of his seminal &#8220;Playing at the World&#8221;, he&#8217;s been super busy this year! Dan &#38; Paul will catch up with him and find out what the highlights and new discoveries have been. The original Dungeons &#38; Dragons (commonly abbreviated D&#38;D) boxed set by Gary Gygax and Dave Arneson was published by TSR, Inc. in 1974. It included the original edition of the Dungeons &#38; Dragons fantasy role-playing game. The original Dungeons &#38; Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced e]]></googleplay:description>
	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/06/thumbnail-s06e22-1.0.0.png"></googleplay:image>
	<googleplay:explicit>No</googleplay:explicit>
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<item>
	<title>Drugs and Alcohol in D&#038;D &#124; Roleplaying Under the Influence &#124; Wandering DMs S06 E21</title>
	<link>https://wanderingdms.com/podcast/drugs-and-alcohol-in-dd-roleplaying-under-the-influence-wandering-dms-s06-e21/</link>
	<pubDate>Mon, 24 Jun 2024 16:10:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=7091</guid>
	<description><![CDATA[Dan and Paul discuss the presence of drugs and alcohol in D&#38;D and other tabletop roleplaying games. They&#8217;ll touch on how state alterning substandces are represented in the fiction, rules for handling characters under the influence, and even what happens when the players themselves partake! According to addiction researcher Martin A. Plant, some people go through a period of self-redefinition before initiating recreational drug use. They tend to view using drugs as part of a general lifestyle that involves belonging to a subculture that they associate with heightened status and the challenging of social norms. Plant states: &#8220;From the user&#8217;s point of view there are many positive reasons to become part of the milieu of drug taking. The reasons for drug use appear to have as much to do with needs for friendship, pleasure and status as they do with unhappiness or poverty. Becoming a drug taker, to many people, is a positive affirmation rather than a negative experience&#8221;. The prevalence of recreational drugs in human societies is widely reflected in fiction, entertainment, and the arts, subject to prevailing laws and social conventions. In video games, for example, drugs are portrayed in a variety of ways: including power-ups (cocaine gum replenishes stamina in Red Dead Redemption 2), obstacles to be avoided (such as the Fuzzies in Super Mario World 2: Yoshi&#8217;s Island that distort the player&#8217;s view when accidentally consumed), items to be bought and sold for in-game currency (coke dealing is a big part of Scarface: The World Is Yours). In the Fallout video game franchise, drugs (&#8220;chems&#8221; in the game) can fill the role of any above mentioned. Drug trafficking, gang rivalries, and their related criminal underworld also play a big part in the Grand Theft Auto video game franchise. This description uses material from the Wikipedia article &#8220;Recreational drug use&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[Dan and Paul discuss the presence of drugs and alcohol in D&#38;D and other tabletop roleplaying games. They&#8217;ll touch on how state alterning substandces are represented in the fiction, rules for handling characters under the influence, and even wha]]></itunes:subtitle>
	<content:encoded><![CDATA[Dan and Paul discuss the presence of drugs and alcohol in D&#38;D and other tabletop roleplaying games. They&#8217;ll touch on how state alterning substandces are represented in the fiction, rules for handling characters under the influence, and even what happens when the players themselves partake! According to addiction researcher Martin A. Plant, some people go through a period of self-redefinition before initiating recreational drug use. They tend to view using drugs as part of a general lifestyle that involves belonging to a subculture that they associate with heightened status and the challenging of social norms. Plant states: &#8220;From the user&#8217;s point of view there are many positive reasons to become part of the milieu of drug taking. The reasons for drug use appear to have as much to do with needs for friendship, pleasure and status as they do with unhappiness or poverty. Becoming a drug taker, to many people, is a positive affirmation rather than a negative experience&#8221;. The prevalence of recreational drugs in human societies is widely reflected in fiction, entertainment, and the arts, subject to prevailing laws and social conventions. In video games, for example, drugs are portrayed in a variety of ways: including power-ups (cocaine gum replenishes stamina in Red Dead Redemption 2), obstacles to be avoided (such as the Fuzzies in Super Mario World 2: Yoshi&#8217;s Island that distort the player&#8217;s view when accidentally consumed), items to be bought and sold for in-game currency (coke dealing is a big part of Scarface: The World Is Yours). In the Fallout video game franchise, drugs (&#8220;chems&#8221; in the game) can fill the role of any above mentioned. Drug trafficking, gang rivalries, and their related criminal underworld also play a big part in the Grand Theft Auto video game franchise. This description uses material from the Wikipedia article &#8220;Recreational drug use&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/7091/drugs-and-alcohol-in-dd-roleplaying-under-the-influence-wandering-dms-s06-e21.mp3" length="86743507" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[Dan and Paul discuss the presence of drugs and alcohol in D&#38;D and other tabletop roleplaying games. They&#8217;ll touch on how state alterning substandces are represented in the fiction, rules for handling characters under the influence, and even what happens when the players themselves partake! According to addiction researcher Martin A. Plant, some people go through a period of self-redefinition before initiating recreational drug use. They tend to view using drugs as part of a general lifestyle that involves belonging to a subculture that they associate with heightened status and the challenging of social norms. Plant states: &#8220;From the user&#8217;s point of view there are many positive reasons to become part of the milieu of drug taking. The reasons for drug use appear to have as much to do with needs for friendship, pleasure and status as they do with unhappiness or poverty. Becoming a drug taker, to many people, is a positive affirmation rather than a negative experience&#8221;. The prevalence of recreational drugs in human societies is widely reflected in fiction, entertainment, and the arts, subject to prevailing laws and social conventions. In video games, for example, drugs are portrayed in a variety of ways: including power-ups (cocaine gum replenishes stamina in Red Dead Redemption 2), obstacles to be avoided (such as the Fuzzies in Super Mario World 2: Yoshi&#8217;s Island that distort the player&#8217;s view when accidentally consumed), items to be bought and sold for in-game currency (coke dealing is a big part of Scarface: The World Is Yours). In the Fallout video game franchise, drugs (&#8220;chems&#8221; in the game) can fill the role of any above mentioned. Drug trafficking, gang rivalries, and their related criminal underworld also play a big part in the Grand Theft Auto video game franchise. This description uses material from the Wikipedia article &#8220;Recreational drug use&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Dan and Paul discuss the presence of drugs and alcohol in D&#38;D and other tabletop roleplaying games. They&#8217;ll touch on how state alterning substandces are represented in the fiction, rules for handling characters under the influence, and even what happens when the players themselves partake! According to addiction researcher Martin A. Plant, some people go through a period of self-redefinition before initiating recreational drug use. They tend to view using drugs as part of a general lifestyle that involves belonging to a subculture that they associate with heightened status and the challenging of social norms. Plant states: &#8220;From the user&#8217;s point of view there are many positive reasons to become part of the milieu of drug taking. The reasons for drug use appear to have as much to do with needs for friendship, pleasure and status as they do with unhappiness or poverty. Becoming a drug taker, to many people, is a positive affirmation rather than a negative experienc]]></googleplay:description>
	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/06/thumbnail-s06eXX-1.0.1-1.png"></googleplay:image>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
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<item>
	<title>Secret Rules &#124; Playing D&#038;D in the Dark &#124; Wandering DMs S06 E20</title>
	<link>https://wanderingdms.com/podcast/secret-rules-playing-dd-in-the-dark-wandering-dms-s06-e20/</link>
	<pubDate>Mon, 10 Jun 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=6975</guid>
	<description><![CDATA[Dan &#38; Paul discuss experiences in TRPGs when players don&#8217;t know the rules. Is it fundamentally fair or unfair? Does it add to the immersion of the roleplay? What added flexibility dos it give to the GM? Is exploring the rules of a new world an essential part of roleplaying games, that we&#8217;ve lost along the way? Games with concealed rules are games where the rules are intentionally concealed from new players, either because their discovery is part of the game itself, or because the game is a hoax and the rules do not exist. In fiction, the counterpart of the first category are games that supposedly do have a rule set, but that rule set is not disclosed. For example: Paranoia is a tabletop role-playing game in which the rules are considered &#8220;classified&#8221;. Only the Gamemaster has full knowledge of the rules, while other players must deduce them by trial and error as they proceed through the game. The game acknowledges that players may read the gamemaster section, but demonstrating knowledge of the rules is considered treasonous, and the gamemaster may also make arbitrary changes. This description uses material from the Wikipedia article &#8220;List of games with concealed rules&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[Dan &#38; Paul discuss experiences in TRPGs when players don&#8217;t know the rules. Is it fundamentally fair or unfair? Does it add to the immersion of the roleplay? What added flexibility dos it give to the GM? Is exploring the rules of a new world an ]]></itunes:subtitle>
	<content:encoded><![CDATA[Dan &#38; Paul discuss experiences in TRPGs when players don&#8217;t know the rules. Is it fundamentally fair or unfair? Does it add to the immersion of the roleplay? What added flexibility dos it give to the GM? Is exploring the rules of a new world an essential part of roleplaying games, that we&#8217;ve lost along the way? Games with concealed rules are games where the rules are intentionally concealed from new players, either because their discovery is part of the game itself, or because the game is a hoax and the rules do not exist. In fiction, the counterpart of the first category are games that supposedly do have a rule set, but that rule set is not disclosed. For example: Paranoia is a tabletop role-playing game in which the rules are considered &#8220;classified&#8221;. Only the Gamemaster has full knowledge of the rules, while other players must deduce them by trial and error as they proceed through the game. The game acknowledges that players may read the gamemaster section, but demonstrating knowledge of the rules is considered treasonous, and the gamemaster may also make arbitrary changes. This description uses material from the Wikipedia article &#8220;List of games with concealed rules&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/6975/secret-rules-playing-dd-in-the-dark-wandering-dms-s06-e20.mp3" length="89201287" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[Dan &#38; Paul discuss experiences in TRPGs when players don&#8217;t know the rules. Is it fundamentally fair or unfair? Does it add to the immersion of the roleplay? What added flexibility dos it give to the GM? Is exploring the rules of a new world an essential part of roleplaying games, that we&#8217;ve lost along the way? Games with concealed rules are games where the rules are intentionally concealed from new players, either because their discovery is part of the game itself, or because the game is a hoax and the rules do not exist. In fiction, the counterpart of the first category are games that supposedly do have a rule set, but that rule set is not disclosed. For example: Paranoia is a tabletop role-playing game in which the rules are considered &#8220;classified&#8221;. Only the Gamemaster has full knowledge of the rules, while other players must deduce them by trial and error as they proceed through the game. The game acknowledges that players may read the gamemaster section, but demonstrating knowledge of the rules is considered treasonous, and the gamemaster may also make arbitrary changes. This description uses material from the Wikipedia article &#8220;List of games with concealed rules&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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		<title>Secret Rules &#124; Playing D&#038;D in the Dark &#124; Wandering DMs S06 E20</title>
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	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Dan &#38; Paul discuss experiences in TRPGs when players don&#8217;t know the rules. Is it fundamentally fair or unfair? Does it add to the immersion of the roleplay? What added flexibility dos it give to the GM? Is exploring the rules of a new world an essential part of roleplaying games, that we&#8217;ve lost along the way? Games with concealed rules are games where the rules are intentionally concealed from new players, either because their discovery is part of the game itself, or because the game is a hoax and the rules do not exist. In fiction, the counterpart of the first category are games that supposedly do have a rule set, but that rule set is not disclosed. For example: Paranoia is a tabletop role-playing game in which the rules are considered &#8220;classified&#8221;. Only the Gamemaster has full knowledge of the rules, while other players must deduce them by trial and error as they proceed through the game. The game acknowledges that players may read the gamemaster section]]></googleplay:description>
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	<googleplay:explicit>No</googleplay:explicit>
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<item>
	<title>Jobs in D&#038;D &#124; Gainful Employment for Adventurers &#124; Wandering DMs S06 E19</title>
	<link>https://wanderingdms.com/podcast/jobs-in-dd-gainful-employment-for-adventurers-wandering-dms-s06-e19/</link>
	<pubDate>Mon, 03 Jun 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=6917</guid>
	<description><![CDATA[The Wandering DMs tackle employment in D&#38;D. Do adventurers need day jobs? Does starting a business or pursuing a craft undermine the motiviation to go out treasure hunting? What of systems that define prior careers as part of characgter creation? It&#8217;s time for Dan and Paul to get to work! Employment is a relationship between two parties regulating the provision of paid labour services. Usually based on a contract, one party, the employer, which might be a corporation, a not-for-profit organization, a co-operative, or any other entity, pays the other, the employee, in return for carrying out assigned work. Employees work in return for wages, which can be paid on the basis of an hourly rate, by piecework or an annual salary, depending on the type of work an employee does, the prevailing conditions of the sector and the bargaining power between the parties. Researchers have also explored the relationship between employment and illicit activities. Using evidence from Africa, a research team found that a program for Liberian ex-fighters reduced work hours on illicit activities. The employment program also reduced interest in mercenary work in nearby wars. The study concludes that while the use of capital inputs or cash payments for peaceful work created a reduction in illicit activities, the impact of training alone is rather low. This description uses material from the Wikipedia article &#8220;Employment&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[The Wandering DMs tackle employment in D&#38;D. Do adventurers need day jobs? Does starting a business or pursuing a craft undermine the motiviation to go out treasure hunting? What of systems that define prior careers as part of characgter creation? It&]]></itunes:subtitle>
	<content:encoded><![CDATA[The Wandering DMs tackle employment in D&#38;D. Do adventurers need day jobs? Does starting a business or pursuing a craft undermine the motiviation to go out treasure hunting? What of systems that define prior careers as part of characgter creation? It&#8217;s time for Dan and Paul to get to work! Employment is a relationship between two parties regulating the provision of paid labour services. Usually based on a contract, one party, the employer, which might be a corporation, a not-for-profit organization, a co-operative, or any other entity, pays the other, the employee, in return for carrying out assigned work. Employees work in return for wages, which can be paid on the basis of an hourly rate, by piecework or an annual salary, depending on the type of work an employee does, the prevailing conditions of the sector and the bargaining power between the parties. Researchers have also explored the relationship between employment and illicit activities. Using evidence from Africa, a research team found that a program for Liberian ex-fighters reduced work hours on illicit activities. The employment program also reduced interest in mercenary work in nearby wars. The study concludes that while the use of capital inputs or cash payments for peaceful work created a reduction in illicit activities, the impact of training alone is rather low. This description uses material from the Wikipedia article &#8220;Employment&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
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	<itunes:summary><![CDATA[The Wandering DMs tackle employment in D&#38;D. Do adventurers need day jobs? Does starting a business or pursuing a craft undermine the motiviation to go out treasure hunting? What of systems that define prior careers as part of characgter creation? It&#8217;s time for Dan and Paul to get to work! Employment is a relationship between two parties regulating the provision of paid labour services. Usually based on a contract, one party, the employer, which might be a corporation, a not-for-profit organization, a co-operative, or any other entity, pays the other, the employee, in return for carrying out assigned work. Employees work in return for wages, which can be paid on the basis of an hourly rate, by piecework or an annual salary, depending on the type of work an employee does, the prevailing conditions of the sector and the bargaining power between the parties. Researchers have also explored the relationship between employment and illicit activities. Using evidence from Africa, a research team found that a program for Liberian ex-fighters reduced work hours on illicit activities. The employment program also reduced interest in mercenary work in nearby wars. The study concludes that while the use of capital inputs or cash payments for peaceful work created a reduction in illicit activities, the impact of training alone is rather low. This description uses material from the Wikipedia article &#8220;Employment&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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		<title>Jobs in D&#038;D &#124; Gainful Employment for Adventurers &#124; Wandering DMs S06 E19</title>
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	<itunes:block>no</itunes:block>
	<itunes:duration>1:02:17</itunes:duration>
	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[The Wandering DMs tackle employment in D&#38;D. Do adventurers need day jobs? Does starting a business or pursuing a craft undermine the motiviation to go out treasure hunting? What of systems that define prior careers as part of characgter creation? It&#8217;s time for Dan and Paul to get to work! Employment is a relationship between two parties regulating the provision of paid labour services. Usually based on a contract, one party, the employer, which might be a corporation, a not-for-profit organization, a co-operative, or any other entity, pays the other, the employee, in return for carrying out assigned work. Employees work in return for wages, which can be paid on the basis of an hourly rate, by piecework or an annual salary, depending on the type of work an employee does, the prevailing conditions of the sector and the bargaining power between the parties. Researchers have also explored the relationship between employment and illicit activities. Using evidence from Africa, a r]]></googleplay:description>
	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/06/thumbnail-s06e19-1.0.1.png"></googleplay:image>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
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<item>
	<title>Skill Systems &#124; Cunning à la Carte &#124; Wandering DMs S06 E18</title>
	<link>https://wanderingdms.com/podcast/skill-systems-cunning-a-la-carte-wandering-dms-s06-e18/</link>
	<pubDate>Mon, 27 May 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=6859</guid>
	<description><![CDATA[Dan &#38; Paul discuss the role of skill systems in D&#38;D and other tabletop RPGs. Not part of the initial Original D&#38;D ruleset, they give PCs an opportunity to master individual skills in a fine-grained manner. Have they been beneficial to D&#38;D, or a distraction? Do they work better in other games, like sci-fi or horror? A skill represents the learned knowledge and abilities of a character. Skills are known by various names, including proficiencies, abilities, powers, talents and knacks. During character creation, a player character&#8217;s skills are generally chosen from a long list. A character may have a fixed number of starting skills, or they may be paid for using character points. In contrast to attributes, very few games fix a player&#8217;s skills at the start of the game, instead allowing players to increase them by spending experience points or during &#8220;levelling up&#8221;. Since some skills are likely to be more useful than others, different skills often have different costs. Skills usually influence a character&#8217;s chance to succeed by adding to the relevant attribute. In some games (such as GURPS), each skill has a specific base attribute to which it is always added; in others (such as Ars Magica), a skill can be added to different attributes depending on how the skill is being used. Some games (such as Feng Shui) add the base attribute to the skill at character creation time; after that, it is independent of the attribute and is used instead of the attribute rather than adding to it. Most games have a fixed penalty for attempting a task without a relevant skill; older editions of Shadowrun gave a complex network of penalties for using similar skills (such as attempting to pick an electronic lock by using the Computer skill instead of the Electronics skill). The text-based roleplaying game Avalon: The Legend Lives is noted for being the first text based multi user role-playing game to offer a developed profession and skills system. This description uses material from the Wikipedia article &#8220;Statistic (role-playing games)&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[Dan &#38; Paul discuss the role of skill systems in D&#38;D and other tabletop RPGs. Not part of the initial Original D&#38;D ruleset, they give PCs an opportunity to master individual skills in a fine-grained manner. Have they been beneficial to D&#38;D]]></itunes:subtitle>
	<content:encoded><![CDATA[Dan &#38; Paul discuss the role of skill systems in D&#38;D and other tabletop RPGs. Not part of the initial Original D&#38;D ruleset, they give PCs an opportunity to master individual skills in a fine-grained manner. Have they been beneficial to D&#38;D, or a distraction? Do they work better in other games, like sci-fi or horror? A skill represents the learned knowledge and abilities of a character. Skills are known by various names, including proficiencies, abilities, powers, talents and knacks. During character creation, a player character&#8217;s skills are generally chosen from a long list. A character may have a fixed number of starting skills, or they may be paid for using character points. In contrast to attributes, very few games fix a player&#8217;s skills at the start of the game, instead allowing players to increase them by spending experience points or during &#8220;levelling up&#8221;. Since some skills are likely to be more useful than others, different skills often have different costs. Skills usually influence a character&#8217;s chance to succeed by adding to the relevant attribute. In some games (such as GURPS), each skill has a specific base attribute to which it is always added; in others (such as Ars Magica), a skill can be added to different attributes depending on how the skill is being used. Some games (such as Feng Shui) add the base attribute to the skill at character creation time; after that, it is independent of the attribute and is used instead of the attribute rather than adding to it. Most games have a fixed penalty for attempting a task without a relevant skill; older editions of Shadowrun gave a complex network of penalties for using similar skills (such as attempting to pick an electronic lock by using the Computer skill instead of the Electronics skill). The text-based roleplaying game Avalon: The Legend Lives is noted for being the first text based multi user role-playing game to offer a developed profession and skills system. This description uses material from the Wikipedia article &#8220;Statistic (role-playing games)&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
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	<itunes:summary><![CDATA[Dan &#38; Paul discuss the role of skill systems in D&#38;D and other tabletop RPGs. Not part of the initial Original D&#38;D ruleset, they give PCs an opportunity to master individual skills in a fine-grained manner. Have they been beneficial to D&#38;D, or a distraction? Do they work better in other games, like sci-fi or horror? A skill represents the learned knowledge and abilities of a character. Skills are known by various names, including proficiencies, abilities, powers, talents and knacks. During character creation, a player character&#8217;s skills are generally chosen from a long list. A character may have a fixed number of starting skills, or they may be paid for using character points. In contrast to attributes, very few games fix a player&#8217;s skills at the start of the game, instead allowing players to increase them by spending experience points or during &#8220;levelling up&#8221;. Since some skills are likely to be more useful than others, different skills often have different costs. Skills usually influence a character&#8217;s chance to succeed by adding to the relevant attribute. In some games (such as GURPS), each skill has a specific base attribute to which it is always added; in others (such as Ars Magica), a skill can be added to different attributes depending on how the skill is being used. Some games (such as Feng Shui) add the base attribute to the skill at character creation time; after that, it is independent of the attribute and is used instead of the attribute rather than adding to it. Most games have a fixed penalty for attempting a task without a relevant skill; older editions of Shadowrun gave a complex network of penalties for using similar skills (such as attempting to pick an electronic lock by using the Computer skill instead of the Electronics skill). The text-based roleplaying game Avalon: The Legend Lives is noted for being the first text based multi user role-playing game to offer a developed profession and skills system. This description uses material from the Wikipedia article &#8220;Statistic (role-playing games)&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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		<title>Skill Systems &#124; Cunning à la Carte &#124; Wandering DMs S06 E18</title>
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	<itunes:explicit>false</itunes:explicit>
	<itunes:block>no</itunes:block>
	<itunes:duration>1:02:06</itunes:duration>
	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Dan &#38; Paul discuss the role of skill systems in D&#38;D and other tabletop RPGs. Not part of the initial Original D&#38;D ruleset, they give PCs an opportunity to master individual skills in a fine-grained manner. Have they been beneficial to D&#38;D, or a distraction? Do they work better in other games, like sci-fi or horror? A skill represents the learned knowledge and abilities of a character. Skills are known by various names, including proficiencies, abilities, powers, talents and knacks. During character creation, a player character&#8217;s skills are generally chosen from a long list. A character may have a fixed number of starting skills, or they may be paid for using character points. In contrast to attributes, very few games fix a player&#8217;s skills at the start of the game, instead allowing players to increase them by spending experience points or during &#8220;levelling up&#8221;. Since some skills are likely to be more useful than others, different skills often hav]]></googleplay:description>
	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/05/thumbnail-s06e18-1.0.0.png"></googleplay:image>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
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<item>
	<title>Rats! &#124; …and Other Vermin in D&#038;D &#124; Wandering DMs S06 E17</title>
	<link>https://wanderingdms.com/podcast/rats-and-other-vermin-in-dd-wandering-dms-s06-e17/</link>
	<pubDate>Mon, 20 May 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=6804</guid>
	<description><![CDATA[The Wandering DMs take on rats and other vermin in D&#38;D. From swarm enemies to wizard&#8217;s familiars, Dan and Paul will explore every way to delight and torment your players with everyday pests. The term &#8220;vermin&#8221; is used to refer to a wide scope of organisms, including rodents (such as rats), cockroaches, termites, bed bugs, ferrets, stoats, sables. Disease-carrying rodents and insects are the usual case, but the term is also applied to larger animals—especially small predators—typically because they consume resources which humans consider theirs, such as livestock and crops. Any species can develop into vermin if introduced into a region where there are favorable living conditions and few natural predators. In such cases, they are seen as an invasive species and humans often choose to fill the role of the predator to limit the danger to the environment. This description uses material from the Wikipedia article &#8220;Vermin&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[The Wandering DMs take on rats and other vermin in D&#38;D. From swarm enemies to wizard&#8217;s familiars, Dan and Paul will explore every way to delight and torment your players with everyday pests. The term &#8220;vermin&#8221; is used to refer to a w]]></itunes:subtitle>
	<content:encoded><![CDATA[The Wandering DMs take on rats and other vermin in D&#38;D. From swarm enemies to wizard&#8217;s familiars, Dan and Paul will explore every way to delight and torment your players with everyday pests. The term &#8220;vermin&#8221; is used to refer to a wide scope of organisms, including rodents (such as rats), cockroaches, termites, bed bugs, ferrets, stoats, sables. Disease-carrying rodents and insects are the usual case, but the term is also applied to larger animals—especially small predators—typically because they consume resources which humans consider theirs, such as livestock and crops. Any species can develop into vermin if introduced into a region where there are favorable living conditions and few natural predators. In such cases, they are seen as an invasive species and humans often choose to fill the role of the predator to limit the danger to the environment. This description uses material from the Wikipedia article &#8220;Vermin&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/6804/rats-and-other-vermin-in-dd-wandering-dms-s06-e17.mp3" length="88863743" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[The Wandering DMs take on rats and other vermin in D&#38;D. From swarm enemies to wizard&#8217;s familiars, Dan and Paul will explore every way to delight and torment your players with everyday pests. The term &#8220;vermin&#8221; is used to refer to a wide scope of organisms, including rodents (such as rats), cockroaches, termites, bed bugs, ferrets, stoats, sables. Disease-carrying rodents and insects are the usual case, but the term is also applied to larger animals—especially small predators—typically because they consume resources which humans consider theirs, such as livestock and crops. Any species can develop into vermin if introduced into a region where there are favorable living conditions and few natural predators. In such cases, they are seen as an invasive species and humans often choose to fill the role of the predator to limit the danger to the environment. This description uses material from the Wikipedia article &#8220;Vermin&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
	<itunes:image href="https://wanderingdms.com/wp-content/uploads/2024/05/thumbnail-s06e17-1.0.1.png"></itunes:image>
	<image>
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		<title>Rats! &#124; …and Other Vermin in D&#038;D &#124; Wandering DMs S06 E17</title>
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	<itunes:explicit>false</itunes:explicit>
	<itunes:block>no</itunes:block>
	<itunes:duration>1:01:43</itunes:duration>
	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[The Wandering DMs take on rats and other vermin in D&#38;D. From swarm enemies to wizard&#8217;s familiars, Dan and Paul will explore every way to delight and torment your players with everyday pests. The term &#8220;vermin&#8221; is used to refer to a wide scope of organisms, including rodents (such as rats), cockroaches, termites, bed bugs, ferrets, stoats, sables. Disease-carrying rodents and insects are the usual case, but the term is also applied to larger animals—especially small predators—typically because they consume resources which humans consider theirs, such as livestock and crops. Any species can develop into vermin if introduced into a region where there are favorable living conditions and few natural predators. In such cases, they are seen as an invasive species and humans often choose to fill the role of the predator to limit the danger to the environment. This description uses material from the Wikipedia article &#8220;Vermin&#8220;, which is released under the Creati]]></googleplay:description>
	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/05/thumbnail-s06e17-1.0.1.png"></googleplay:image>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
</item>

<item>
	<title>Mothers in D&#038;D &#124; Moms in Myth &#124; Wandering DMs S06 E16</title>
	<link>https://wanderingdms.com/podcast/mothers-in-dd-moms-in-myth-wandering-dms-s06-e16/</link>
	<pubDate>Mon, 13 May 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=6750</guid>
	<description><![CDATA[This Mother&#8217;s Day, Paul and Dan discuss the role of mothers in D&#38;D and mythology. From troll wives to Grendel&#8217;s mother to the spawn of all monsters, Tiamat herself, moms make an impact in our lives! Throughout history, mothers have been depicted in a variety of art works, including paintings, sculptures and written texts, that have helped define the cultural meaning of &#8216;mother&#8217;, as well as ideals and taboos of motherhood. The institution of motherhood in western art is often depicted through &#8220;the myth of the all-loving, all-forgiving and all-sacrificing mother&#8221; and related ideals. Examples include works featuring the Virgin Mary, an archetypal mother and a key historical basis for depictions of mothers in western art from the European Renaissance onwards. Mothers depicted in dominant art works are also primarily white, heterosexual, middle class and young or attractive. These ideals of motherhood have been challenged by artists with lived experience as mothers. An example in western contemporary art is Mary Kelly&#8217;s Post-Partum Document. Bypassing typical themes of tenderness or nostalgia, this work documents in extensive detail the challenges, complexities and day-to-day realities of the mother-child relationship. Other artists have addressed similar aspects of motherhood that fall outside dominant ideals, including maternal ambivalence, desire, and the pursuit of self-fulfillment. This description uses material from the Wikipedia article &#8220;Mother&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[This Mother&#8217;s Day, Paul and Dan discuss the role of mothers in D&#38;D and mythology. From troll wives to Grendel&#8217;s mother to the spawn of all monsters, Tiamat herself, moms make an impact in our lives! Throughout history, mothers have been d]]></itunes:subtitle>
	<content:encoded><![CDATA[This Mother&#8217;s Day, Paul and Dan discuss the role of mothers in D&#38;D and mythology. From troll wives to Grendel&#8217;s mother to the spawn of all monsters, Tiamat herself, moms make an impact in our lives! Throughout history, mothers have been depicted in a variety of art works, including paintings, sculptures and written texts, that have helped define the cultural meaning of &#8216;mother&#8217;, as well as ideals and taboos of motherhood. The institution of motherhood in western art is often depicted through &#8220;the myth of the all-loving, all-forgiving and all-sacrificing mother&#8221; and related ideals. Examples include works featuring the Virgin Mary, an archetypal mother and a key historical basis for depictions of mothers in western art from the European Renaissance onwards. Mothers depicted in dominant art works are also primarily white, heterosexual, middle class and young or attractive. These ideals of motherhood have been challenged by artists with lived experience as mothers. An example in western contemporary art is Mary Kelly&#8217;s Post-Partum Document. Bypassing typical themes of tenderness or nostalgia, this work documents in extensive detail the challenges, complexities and day-to-day realities of the mother-child relationship. Other artists have addressed similar aspects of motherhood that fall outside dominant ideals, including maternal ambivalence, desire, and the pursuit of self-fulfillment. This description uses material from the Wikipedia article &#8220;Mother&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/6750/mothers-in-dd-moms-in-myth-wandering-dms-s06-e16.mp3" length="83512137" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[This Mother&#8217;s Day, Paul and Dan discuss the role of mothers in D&#38;D and mythology. From troll wives to Grendel&#8217;s mother to the spawn of all monsters, Tiamat herself, moms make an impact in our lives! Throughout history, mothers have been depicted in a variety of art works, including paintings, sculptures and written texts, that have helped define the cultural meaning of &#8216;mother&#8217;, as well as ideals and taboos of motherhood. The institution of motherhood in western art is often depicted through &#8220;the myth of the all-loving, all-forgiving and all-sacrificing mother&#8221; and related ideals. Examples include works featuring the Virgin Mary, an archetypal mother and a key historical basis for depictions of mothers in western art from the European Renaissance onwards. Mothers depicted in dominant art works are also primarily white, heterosexual, middle class and young or attractive. These ideals of motherhood have been challenged by artists with lived experience as mothers. An example in western contemporary art is Mary Kelly&#8217;s Post-Partum Document. Bypassing typical themes of tenderness or nostalgia, this work documents in extensive detail the challenges, complexities and day-to-day realities of the mother-child relationship. Other artists have addressed similar aspects of motherhood that fall outside dominant ideals, including maternal ambivalence, desire, and the pursuit of self-fulfillment. This description uses material from the Wikipedia article &#8220;Mother&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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		<title>Mothers in D&#038;D &#124; Moms in Myth &#124; Wandering DMs S06 E16</title>
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	<itunes:block>no</itunes:block>
	<itunes:duration>58:00</itunes:duration>
	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[This Mother&#8217;s Day, Paul and Dan discuss the role of mothers in D&#38;D and mythology. From troll wives to Grendel&#8217;s mother to the spawn of all monsters, Tiamat herself, moms make an impact in our lives! Throughout history, mothers have been depicted in a variety of art works, including paintings, sculptures and written texts, that have helped define the cultural meaning of &#8216;mother&#8217;, as well as ideals and taboos of motherhood. The institution of motherhood in western art is often depicted through &#8220;the myth of the all-loving, all-forgiving and all-sacrificing mother&#8221; and related ideals. Examples include works featuring the Virgin Mary, an archetypal mother and a key historical basis for depictions of mothers in western art from the European Renaissance onwards. Mothers depicted in dominant art works are also primarily white, heterosexual, middle class and young or attractive. These ideals of motherhood have been challenged by artists with lived experi]]></googleplay:description>
	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/05/thumbnail-s06e16-1.0.0.png"></googleplay:image>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
</item>

<item>
	<title>Player Secrets in D&#038;D &#124; Achieving a Satisfying Dramatic Reveal &#124; Wandering DMs S06 E15</title>
	<link>https://wanderingdms.com/podcast/player-secrets-in-dd-achieving-a-satisfying-dramatic-reveal-wandering-dms-s06-e15/</link>
	<pubDate>Mon, 06 May 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=6670</guid>
	<description><![CDATA[Dan and Paul discuss how to play a character in an RPG with a dramatic secret. How can we include the rest of the players in the fun without giving away too much? When do we reveal the secret to create the most satisfying dramatic moment? Humans attempt to consciously conceal aspects of themselves from others due to shame, or from fear of violence, rejection, harassment, loss of acceptance, or loss of employment. Humans may also attempt to conceal aspects of their own self which they are not capable of incorporating psychologically into their conscious being. Excessive secrecy is often cited as a source of much human conflict. One may have to lie in order to hold a secret, which might lead to psychological repercussions. The alternative, declining to answer when asked something, may suggest the answer and may therefore not always be suitable for keeping a secret. Anagnorisis is a moment in a play or other work when a character makes a critical discovery. Aristotle was the first writer to discuss the uses of anagnorisis, with peripeteia caused by it. He considered it the mark of a superior tragedy, as when Oedipus killed his father and married his mother in ignorance, and later learned the truth, or when Iphigeneia in Tauris realizes in time that the strangers she is to sacrifice are her brother and his friend, and refrains from sacrificing them. Aristotle considered these complex plots superior to simple plots without anagnorisis or peripeteia, such as when Medea resolves to kill her children, knowing they are her children, and does so. This description uses material from the Wikipedia articles &#8220;Secrecy&#8221; and &#8220;Anagnorisis&#8220;, which are released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[Dan and Paul discuss how to play a character in an RPG with a dramatic secret. How can we include the rest of the players in the fun without giving away too much? When do we reveal the secret to create the most satisfying dramatic moment? Humans attempt ]]></itunes:subtitle>
	<content:encoded><![CDATA[Dan and Paul discuss how to play a character in an RPG with a dramatic secret. How can we include the rest of the players in the fun without giving away too much? When do we reveal the secret to create the most satisfying dramatic moment? Humans attempt to consciously conceal aspects of themselves from others due to shame, or from fear of violence, rejection, harassment, loss of acceptance, or loss of employment. Humans may also attempt to conceal aspects of their own self which they are not capable of incorporating psychologically into their conscious being. Excessive secrecy is often cited as a source of much human conflict. One may have to lie in order to hold a secret, which might lead to psychological repercussions. The alternative, declining to answer when asked something, may suggest the answer and may therefore not always be suitable for keeping a secret. Anagnorisis is a moment in a play or other work when a character makes a critical discovery. Aristotle was the first writer to discuss the uses of anagnorisis, with peripeteia caused by it. He considered it the mark of a superior tragedy, as when Oedipus killed his father and married his mother in ignorance, and later learned the truth, or when Iphigeneia in Tauris realizes in time that the strangers she is to sacrifice are her brother and his friend, and refrains from sacrificing them. Aristotle considered these complex plots superior to simple plots without anagnorisis or peripeteia, such as when Medea resolves to kill her children, knowing they are her children, and does so. This description uses material from the Wikipedia articles &#8220;Secrecy&#8221; and &#8220;Anagnorisis&#8220;, which are released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/6670/player-secrets-in-dd-achieving-a-satisfying-dramatic-reveal-wandering-dms-s06-e15.mp3" length="88868368" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[Dan and Paul discuss how to play a character in an RPG with a dramatic secret. How can we include the rest of the players in the fun without giving away too much? When do we reveal the secret to create the most satisfying dramatic moment? Humans attempt to consciously conceal aspects of themselves from others due to shame, or from fear of violence, rejection, harassment, loss of acceptance, or loss of employment. Humans may also attempt to conceal aspects of their own self which they are not capable of incorporating psychologically into their conscious being. Excessive secrecy is often cited as a source of much human conflict. One may have to lie in order to hold a secret, which might lead to psychological repercussions. The alternative, declining to answer when asked something, may suggest the answer and may therefore not always be suitable for keeping a secret. Anagnorisis is a moment in a play or other work when a character makes a critical discovery. Aristotle was the first writer to discuss the uses of anagnorisis, with peripeteia caused by it. He considered it the mark of a superior tragedy, as when Oedipus killed his father and married his mother in ignorance, and later learned the truth, or when Iphigeneia in Tauris realizes in time that the strangers she is to sacrifice are her brother and his friend, and refrains from sacrificing them. Aristotle considered these complex plots superior to simple plots without anagnorisis or peripeteia, such as when Medea resolves to kill her children, knowing they are her children, and does so. This description uses material from the Wikipedia articles &#8220;Secrecy&#8221; and &#8220;Anagnorisis&#8220;, which are released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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		<title>Player Secrets in D&#038;D &#124; Achieving a Satisfying Dramatic Reveal &#124; Wandering DMs S06 E15</title>
	</image>
	<itunes:explicit>false</itunes:explicit>
	<itunes:block>no</itunes:block>
	<itunes:duration>1:01:43</itunes:duration>
	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Dan and Paul discuss how to play a character in an RPG with a dramatic secret. How can we include the rest of the players in the fun without giving away too much? When do we reveal the secret to create the most satisfying dramatic moment? Humans attempt to consciously conceal aspects of themselves from others due to shame, or from fear of violence, rejection, harassment, loss of acceptance, or loss of employment. Humans may also attempt to conceal aspects of their own self which they are not capable of incorporating psychologically into their conscious being. Excessive secrecy is often cited as a source of much human conflict. One may have to lie in order to hold a secret, which might lead to psychological repercussions. The alternative, declining to answer when asked something, may suggest the answer and may therefore not always be suitable for keeping a secret. Anagnorisis is a moment in a play or other work when a character makes a critical discovery. Aristotle was the first writer]]></googleplay:description>
	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/05/thumbnail-s06e15-1.0.1.png"></googleplay:image>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
</item>

<item>
	<title>Matt Finch &#124; Swords &#038; Wizardry Expanded! &#124; Wandering DMs S06 E14</title>
	<link>https://wanderingdms.com/podcast/matt-finch-swords-wizardry-expanded-wandering-dms-s06-e14/</link>
	<pubDate>Mon, 29 Apr 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=6613</guid>
	<description><![CDATA[Paul and Dan get to bring back OSR guru Matt Finch to talk about his new Swords &#38; Wizardry: Expansions, Monsters, and More!, currently on Kickstarter. What new things has Matt cooked up? And what updates has he finally made to the revered Quick Primer for Old School Gaming? Swords &#38; Wizardry is the longest-standing retro-clone of Original D&#38;D, first published in 2008, and now there&#8217;s a whole set of expansions to make your game wilder, weirder, and more flexible! The Book of Options gives you 11 new optional character classes, new spells, new magic items, and much more. Now you can play a wily demon-hunter, a bard, a troubadour, an illusionist, and many others. Gnomes and Stygians are now playable ancestries in Swords &#38; Wizardry for the first time in a 16 years! Fiends and Foes offers more than 300 monsters (and doesn&#8217;t repeat the ones from the Complete Revised Rulebook). Encounter the bizarre plant-animal Ultharians on their plane-shifting flamingoes, the giant, foul-mouthed fey cats known as Bulgrimalkins, along with many old favorites from Monstrosities such as the Artificers of Yothri. All are updated with morale numbers and revisions to the Swords &#38; Wizardry Complete Revised rules. Back the Swords &#38; Wizardry Expanded Kickstarter]]></description>
	<itunes:subtitle><![CDATA[Paul and Dan get to bring back OSR guru Matt Finch to talk about his new Swords &#38; Wizardry: Expansions, Monsters, and More!, currently on Kickstarter. What new things has Matt cooked up? And what updates has he finally made to the revered Quick Prime]]></itunes:subtitle>
	<content:encoded><![CDATA[Paul and Dan get to bring back OSR guru Matt Finch to talk about his new Swords &#38; Wizardry: Expansions, Monsters, and More!, currently on Kickstarter. What new things has Matt cooked up? And what updates has he finally made to the revered Quick Primer for Old School Gaming? Swords &#38; Wizardry is the longest-standing retro-clone of Original D&#38;D, first published in 2008, and now there&#8217;s a whole set of expansions to make your game wilder, weirder, and more flexible! The Book of Options gives you 11 new optional character classes, new spells, new magic items, and much more. Now you can play a wily demon-hunter, a bard, a troubadour, an illusionist, and many others. Gnomes and Stygians are now playable ancestries in Swords &#38; Wizardry for the first time in a 16 years! Fiends and Foes offers more than 300 monsters (and doesn&#8217;t repeat the ones from the Complete Revised Rulebook). Encounter the bizarre plant-animal Ultharians on their plane-shifting flamingoes, the giant, foul-mouthed fey cats known as Bulgrimalkins, along with many old favorites from Monstrosities such as the Artificers of Yothri. All are updated with morale numbers and revisions to the Swords &#38; Wizardry Complete Revised rules. Back the Swords &#38; Wizardry Expanded Kickstarter]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/6613/matt-finch-swords-wizardry-expanded-wandering-dms-s06-e14.mp3" length="87882821" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[Paul and Dan get to bring back OSR guru Matt Finch to talk about his new Swords &#38; Wizardry: Expansions, Monsters, and More!, currently on Kickstarter. What new things has Matt cooked up? And what updates has he finally made to the revered Quick Primer for Old School Gaming? Swords &#38; Wizardry is the longest-standing retro-clone of Original D&#38;D, first published in 2008, and now there&#8217;s a whole set of expansions to make your game wilder, weirder, and more flexible! The Book of Options gives you 11 new optional character classes, new spells, new magic items, and much more. Now you can play a wily demon-hunter, a bard, a troubadour, an illusionist, and many others. Gnomes and Stygians are now playable ancestries in Swords &#38; Wizardry for the first time in a 16 years! Fiends and Foes offers more than 300 monsters (and doesn&#8217;t repeat the ones from the Complete Revised Rulebook). Encounter the bizarre plant-animal Ultharians on their plane-shifting flamingoes, the giant, foul-mouthed fey cats known as Bulgrimalkins, along with many old favorites from Monstrosities such as the Artificers of Yothri. All are updated with morale numbers and revisions to the Swords &#38; Wizardry Complete Revised rules. Back the Swords &#38; Wizardry Expanded Kickstarter]]></itunes:summary>
	<itunes:image href="https://wanderingdms.com/wp-content/uploads/2024/04/thumbnail-s06e14.jpg"></itunes:image>
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		<title>Matt Finch &#124; Swords &#038; Wizardry Expanded! &#124; Wandering DMs S06 E14</title>
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	<itunes:block>no</itunes:block>
	<itunes:duration>1:01:02</itunes:duration>
	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Paul and Dan get to bring back OSR guru Matt Finch to talk about his new Swords &#38; Wizardry: Expansions, Monsters, and More!, currently on Kickstarter. What new things has Matt cooked up? And what updates has he finally made to the revered Quick Primer for Old School Gaming? Swords &#38; Wizardry is the longest-standing retro-clone of Original D&#38;D, first published in 2008, and now there&#8217;s a whole set of expansions to make your game wilder, weirder, and more flexible! The Book of Options gives you 11 new optional character classes, new spells, new magic items, and much more. Now you can play a wily demon-hunter, a bard, a troubadour, an illusionist, and many others. Gnomes and Stygians are now playable ancestries in Swords &#38; Wizardry for the first time in a 16 years! Fiends and Foes offers more than 300 monsters (and doesn&#8217;t repeat the ones from the Complete Revised Rulebook). Encounter the bizarre plant-animal Ultharians on their plane-shifting flamingoes, the g]]></googleplay:description>
	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/04/thumbnail-s06e14.jpg"></googleplay:image>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
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<item>
	<title>Michael Moorcock &#124; Fantasy Master Chats &#124; Wandering DMs S06 E13</title>
	<link>https://wanderingdms.com/podcast/michael-moorcock-fantasy-master-chats-wandering-dms-s06-e13/</link>
	<pubDate>Mon, 15 Apr 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=6480</guid>
	<description><![CDATA[Dan and Paul are thrilled to chat live with the master of fantasy, Michael Moorcock. What are his current thoughts on the legacy of his writing Elric, the Eternal Champion, critiques of Tolkien, and so much more? Michael John Moorcock (born 18 December 1939) is an English–American writer, particularly of science fiction and fantasy, who has published a number of well-received literary novels as well as comic thrillers, graphic novels and non-fiction. He has worked as an editor and is also a successful musician. He is best known for his novels about the character Elric of Melniboné, which were a seminal influence on the field of fantasy in the 1960s and 1970s. As editor of the British science fiction magazine New Worlds, from May 1964 until March 1971 and then again from 1976 to 1996, Moorcock fostered the development of the science fiction &#8220;New Wave&#8221; in the UK and indirectly in the United States, leading to the advent of cyberpunk. His publication of Bug Jack Barron (1969) by Norman Spinrad as a serial novel was notorious; in Parliament, some British MPs condemned the Arts Council of Great Britain for funding the magazine. He is also a recording musician; he has contributed to the music acts Hawkwind, Blue Öyster Cult, Robert Calvert and Spirits Burning, and to his own project, Michael Moorcock &#38; The Deep Fix. In 2008, The Times named Moorcock in its list of &#8220;The 50 greatest British writers since 1945&#8221;. This description uses material from the Wikipedia article &#8220;Michael Moorcock&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[Dan and Paul are thrilled to chat live with the master of fantasy, Michael Moorcock. What are his current thoughts on the legacy of his writing Elric, the Eternal Champion, critiques of Tolkien, and so much more? Michael John Moorcock (born 18 December 1]]></itunes:subtitle>
	<content:encoded><![CDATA[Dan and Paul are thrilled to chat live with the master of fantasy, Michael Moorcock. What are his current thoughts on the legacy of his writing Elric, the Eternal Champion, critiques of Tolkien, and so much more? Michael John Moorcock (born 18 December 1939) is an English–American writer, particularly of science fiction and fantasy, who has published a number of well-received literary novels as well as comic thrillers, graphic novels and non-fiction. He has worked as an editor and is also a successful musician. He is best known for his novels about the character Elric of Melniboné, which were a seminal influence on the field of fantasy in the 1960s and 1970s. As editor of the British science fiction magazine New Worlds, from May 1964 until March 1971 and then again from 1976 to 1996, Moorcock fostered the development of the science fiction &#8220;New Wave&#8221; in the UK and indirectly in the United States, leading to the advent of cyberpunk. His publication of Bug Jack Barron (1969) by Norman Spinrad as a serial novel was notorious; in Parliament, some British MPs condemned the Arts Council of Great Britain for funding the magazine. He is also a recording musician; he has contributed to the music acts Hawkwind, Blue Öyster Cult, Robert Calvert and Spirits Burning, and to his own project, Michael Moorcock &#38; The Deep Fix. In 2008, The Times named Moorcock in its list of &#8220;The 50 greatest British writers since 1945&#8221;. This description uses material from the Wikipedia article &#8220;Michael Moorcock&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/6480/michael-moorcock-fantasy-master-chats-wandering-dms-s06-e13.mp3" length="97851083" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[Dan and Paul are thrilled to chat live with the master of fantasy, Michael Moorcock. What are his current thoughts on the legacy of his writing Elric, the Eternal Champion, critiques of Tolkien, and so much more? Michael John Moorcock (born 18 December 1939) is an English–American writer, particularly of science fiction and fantasy, who has published a number of well-received literary novels as well as comic thrillers, graphic novels and non-fiction. He has worked as an editor and is also a successful musician. He is best known for his novels about the character Elric of Melniboné, which were a seminal influence on the field of fantasy in the 1960s and 1970s. As editor of the British science fiction magazine New Worlds, from May 1964 until March 1971 and then again from 1976 to 1996, Moorcock fostered the development of the science fiction &#8220;New Wave&#8221; in the UK and indirectly in the United States, leading to the advent of cyberpunk. His publication of Bug Jack Barron (1969) by Norman Spinrad as a serial novel was notorious; in Parliament, some British MPs condemned the Arts Council of Great Britain for funding the magazine. He is also a recording musician; he has contributed to the music acts Hawkwind, Blue Öyster Cult, Robert Calvert and Spirits Burning, and to his own project, Michael Moorcock &#38; The Deep Fix. In 2008, The Times named Moorcock in its list of &#8220;The 50 greatest British writers since 1945&#8221;. This description uses material from the Wikipedia article &#8220;Michael Moorcock&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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	<itunes:block>no</itunes:block>
	<itunes:duration>1:07:57</itunes:duration>
	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Dan and Paul are thrilled to chat live with the master of fantasy, Michael Moorcock. What are his current thoughts on the legacy of his writing Elric, the Eternal Champion, critiques of Tolkien, and so much more? Michael John Moorcock (born 18 December 1939) is an English–American writer, particularly of science fiction and fantasy, who has published a number of well-received literary novels as well as comic thrillers, graphic novels and non-fiction. He has worked as an editor and is also a successful musician. He is best known for his novels about the character Elric of Melniboné, which were a seminal influence on the field of fantasy in the 1960s and 1970s. As editor of the British science fiction magazine New Worlds, from May 1964 until March 1971 and then again from 1976 to 1996, Moorcock fostered the development of the science fiction &#8220;New Wave&#8221; in the UK and indirectly in the United States, leading to the advent of cyberpunk. His publication of Bug Jack Barron (1969)]]></googleplay:description>
	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/04/thumbnail-s06e13-1.0.0.jpg"></googleplay:image>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
</item>

<item>
	<title>Mistakes in Original D&#038;D &#124; Critiques &#038; Corrections &#124; Wandering DMs S06 E12</title>
	<link>https://wanderingdms.com/podcast/mistakes-in-original-dd-critiques-corrections-wandering-dms-s06-e12/</link>
	<pubDate>Mon, 08 Apr 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=6417</guid>
	<description><![CDATA[Dan and Paul reflect on what we think are the biggest mistakes and errors in the first publication of original D&#38;D in 1974. What are the biggest blemishes that troubled the game for decades afterward? What are some of our top house rules to correct the largest problems? The original Dungeons &#38; Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; races (human, dwarf, elf, halfling); armor class; monsters and treasure; underground dungeons consisting of halls, rooms, and doors protected by tricks and traps; and magic items, such as intelligent swords. The set also presents rules for travelling through the wilderness by land and sea, hiring specialists as well as men-at-arms, constructing fortifications and establishing baronies. The set defines movement rates and areas are using inches, like that of the miniatures rules from which the system descended. This description uses material from the Wikipedia article &#8220;Dungeons &#38; Dragons (1974)&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[Dan and Paul reflect on what we think are the biggest mistakes and errors in the first publication of original D&#38;D in 1974. What are the biggest blemishes that troubled the game for decades afterward? What are some of our top house rules to correct t]]></itunes:subtitle>
	<content:encoded><![CDATA[Dan and Paul reflect on what we think are the biggest mistakes and errors in the first publication of original D&#38;D in 1974. What are the biggest blemishes that troubled the game for decades afterward? What are some of our top house rules to correct the largest problems? The original Dungeons &#38; Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; races (human, dwarf, elf, halfling); armor class; monsters and treasure; underground dungeons consisting of halls, rooms, and doors protected by tricks and traps; and magic items, such as intelligent swords. The set also presents rules for travelling through the wilderness by land and sea, hiring specialists as well as men-at-arms, constructing fortifications and establishing baronies. The set defines movement rates and areas are using inches, like that of the miniatures rules from which the system descended. This description uses material from the Wikipedia article &#8220;Dungeons &#38; Dragons (1974)&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/6417/mistakes-in-original-dd-critiques-corrections-wandering-dms-s06-e12.mp3" length="90595219" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[Dan and Paul reflect on what we think are the biggest mistakes and errors in the first publication of original D&#38;D in 1974. What are the biggest blemishes that troubled the game for decades afterward? What are some of our top house rules to correct the largest problems? The original Dungeons &#38; Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; races (human, dwarf, elf, halfling); armor class; monsters and treasure; underground dungeons consisting of halls, rooms, and doors protected by tricks and traps; and magic items, such as intelligent swords. The set also presents rules for travelling through the wilderness by land and sea, hiring specialists as well as men-at-arms, constructing fortifications and establishing baronies. The set defines movement rates and areas are using inches, like that of the miniatures rules from which the system descended. This description uses material from the Wikipedia article &#8220;Dungeons &#38; Dragons (1974)&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
	<itunes:image href="https://wanderingdms.com/wp-content/uploads/2024/04/thumbnail-s06e12-1.0.0.png"></itunes:image>
	<image>
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		<title>Mistakes in Original D&#038;D &#124; Critiques &#038; Corrections &#124; Wandering DMs S06 E12</title>
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	<itunes:explicit>false</itunes:explicit>
	<itunes:block>no</itunes:block>
	<itunes:duration>1:02:55</itunes:duration>
	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Dan and Paul reflect on what we think are the biggest mistakes and errors in the first publication of original D&#38;D in 1974. What are the biggest blemishes that troubled the game for decades afterward? What are some of our top house rules to correct the largest problems? The original Dungeons &#38; Dragons boxed set was the first published role-playing game, a fantasy game system modeled on medieval Europe. This set introduced elements which would become standard in later editions, including abilities (such as strength, intelligence, and dexterity); character classes (fighting-man, magic-user, cleric) and character levels; races (human, dwarf, elf, halfling); armor class; monsters and treasure; underground dungeons consisting of halls, rooms, and doors protected by tricks and traps; and magic items, such as intelligent swords. The set also presents rules for travelling through the wilderness by land and sea, hiring specialists as well as men-at-arms, constructing fortifications and]]></googleplay:description>
	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/04/thumbnail-s06e12-1.0.0.png"></googleplay:image>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
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<item>
	<title>Our D&#038;D House Con 2024 &#124; Playtesting Our Dungeons &#124; Wandering DMs S06 E11</title>
	<link>https://wanderingdms.com/podcast/our-dd-house-con-2024-playtesting-our-dungeons-wandering-dms-s06-e11/</link>
	<pubDate>Mon, 01 Apr 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=6376</guid>
	<description><![CDATA[Paul and Dan check in on their annual D&#38;D mini-convention with friends in a house on the Massachusetts shore, now in its 15th year. What went well, what could go better, what lessons will feed into our future gaming?]]></description>
	<itunes:subtitle><![CDATA[Paul and Dan check in on their annual D&#38;D mini-convention with friends in a house on the Massachusetts shore, now in its 15th year. What went well, what could go better, what lessons will feed into our future gaming?]]></itunes:subtitle>
	<content:encoded><![CDATA[Paul and Dan check in on their annual D&#38;D mini-convention with friends in a house on the Massachusetts shore, now in its 15th year. What went well, what could go better, what lessons will feed into our future gaming?]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/6376/our-dd-house-con-2024-playtesting-our-dungeons-wandering-dms-s06-e11.mp3" length="97143174" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[Paul and Dan check in on their annual D&#38;D mini-convention with friends in a house on the Massachusetts shore, now in its 15th year. What went well, what could go better, what lessons will feed into our future gaming?]]></itunes:summary>
	<itunes:image href="https://wanderingdms.com/wp-content/uploads/2024/03/thumbnail-s06e11.png"></itunes:image>
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	<itunes:explicit>false</itunes:explicit>
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	<itunes:duration>1:07:28</itunes:duration>
	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Paul and Dan check in on their annual D&#38;D mini-convention with friends in a house on the Massachusetts shore, now in its 15th year. What went well, what could go better, what lessons will feed into our future gaming?]]></googleplay:description>
	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/03/thumbnail-s06e11.png"></googleplay:image>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
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<item>
	<title>Irish Myths in D&#038;D &#124; Feats and Faeries &#124; Wandering DMs S06 E10</title>
	<link>https://wanderingdms.com/podcast/irish-myths-in-dd-feats-and-faeries-wandering-dms-s06-e10/</link>
	<pubDate>Mon, 18 Mar 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=6248</guid>
	<description><![CDATA[This St. Patrick&#8217;s Day, Paul and Dan discuss the rich history of Irish myths, legends, and stories in the D&#38;D game. From Druids and Bards to the Banshees and Firbolg, what are some of the best ways to spice up your game with inspirations from the Emerald Isle? Irish mythology is the body of myths indigenous to the island of Ireland. It was originally passed down orally in the prehistoric era. In the early medieval era, some myths were transcribed by Christian monks, who heavily altered and Christianised the myths. Irish mythology is the best-preserved branch of Celtic mythology. The main supernatural beings in Irish mythology are the Túatha Dé Danann (&#8220;the folk of the goddess Danu&#8221;), also known by the earlier name Túath Dé (&#8220;god folk&#8221; or &#8220;tribe of the gods&#8221;). Early medieval Irish writers also called them the fir dé (god-men) and cenéla dé (god-kindreds), possibly to avoid calling them simply &#8216;gods&#8217;. They are often depicted as kings, queens, bards, warriors, heroes, healers and craftsmen who have supernatural powers and are immortal. Prominent members include The Dagda (&#8220;the great god&#8221;); The Morrígan (&#8220;the great queen&#8221; or &#8220;phantom queen&#8221;); Lugh; Nuada; Aengus; Brigid; Manannán; Dian Cécht the healer; and Goibniu the smith. They are also said to control the fertility of the land; the tale De Gabáil in t-Sída says the first Gaels had to establish friendship with the Túath Dé before they could raise crops and herds. They dwell in the Otherworld but interact with humans and the human world. Many are associated with specific places in the landscape, especially the sídhe: prominent ancient burial mounds such as Brú na Bóinne, which are entrances to Otherworld realms. The Túath Dé can hide themselves with a féth fíada (&#8216;magic mist&#8217;). They are said to have travelled from the north of the world, but then were forced to live underground in the sídhe after the coming of the Irish. This description uses material from the Wikipedia article &#8220;Irish mythology&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[This St. Patrick&#8217;s Day, Paul and Dan discuss the rich history of Irish myths, legends, and stories in the D&#38;D game. From Druids and Bards to the Banshees and Firbolg, what are some of the best ways to spice up your game with inspirations from t]]></itunes:subtitle>
	<content:encoded><![CDATA[This St. Patrick&#8217;s Day, Paul and Dan discuss the rich history of Irish myths, legends, and stories in the D&#38;D game. From Druids and Bards to the Banshees and Firbolg, what are some of the best ways to spice up your game with inspirations from the Emerald Isle? Irish mythology is the body of myths indigenous to the island of Ireland. It was originally passed down orally in the prehistoric era. In the early medieval era, some myths were transcribed by Christian monks, who heavily altered and Christianised the myths. Irish mythology is the best-preserved branch of Celtic mythology. The main supernatural beings in Irish mythology are the Túatha Dé Danann (&#8220;the folk of the goddess Danu&#8221;), also known by the earlier name Túath Dé (&#8220;god folk&#8221; or &#8220;tribe of the gods&#8221;). Early medieval Irish writers also called them the fir dé (god-men) and cenéla dé (god-kindreds), possibly to avoid calling them simply &#8216;gods&#8217;. They are often depicted as kings, queens, bards, warriors, heroes, healers and craftsmen who have supernatural powers and are immortal. Prominent members include The Dagda (&#8220;the great god&#8221;); The Morrígan (&#8220;the great queen&#8221; or &#8220;phantom queen&#8221;); Lugh; Nuada; Aengus; Brigid; Manannán; Dian Cécht the healer; and Goibniu the smith. They are also said to control the fertility of the land; the tale De Gabáil in t-Sída says the first Gaels had to establish friendship with the Túath Dé before they could raise crops and herds. They dwell in the Otherworld but interact with humans and the human world. Many are associated with specific places in the landscape, especially the sídhe: prominent ancient burial mounds such as Brú na Bóinne, which are entrances to Otherworld realms. The Túath Dé can hide themselves with a féth fíada (&#8216;magic mist&#8217;). They are said to have travelled from the north of the world, but then were forced to live underground in the sídhe after the coming of the Irish. This description uses material from the Wikipedia article &#8220;Irish mythology&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
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	<itunes:summary><![CDATA[This St. Patrick&#8217;s Day, Paul and Dan discuss the rich history of Irish myths, legends, and stories in the D&#38;D game. From Druids and Bards to the Banshees and Firbolg, what are some of the best ways to spice up your game with inspirations from the Emerald Isle? Irish mythology is the body of myths indigenous to the island of Ireland. It was originally passed down orally in the prehistoric era. In the early medieval era, some myths were transcribed by Christian monks, who heavily altered and Christianised the myths. Irish mythology is the best-preserved branch of Celtic mythology. The main supernatural beings in Irish mythology are the Túatha Dé Danann (&#8220;the folk of the goddess Danu&#8221;), also known by the earlier name Túath Dé (&#8220;god folk&#8221; or &#8220;tribe of the gods&#8221;). Early medieval Irish writers also called them the fir dé (god-men) and cenéla dé (god-kindreds), possibly to avoid calling them simply &#8216;gods&#8217;. They are often depicted as kings, queens, bards, warriors, heroes, healers and craftsmen who have supernatural powers and are immortal. Prominent members include The Dagda (&#8220;the great god&#8221;); The Morrígan (&#8220;the great queen&#8221; or &#8220;phantom queen&#8221;); Lugh; Nuada; Aengus; Brigid; Manannán; Dian Cécht the healer; and Goibniu the smith. They are also said to control the fertility of the land; the tale De Gabáil in t-Sída says the first Gaels had to establish friendship with the Túath Dé before they could raise crops and herds. They dwell in the Otherworld but interact with humans and the human world. Many are associated with specific places in the landscape, especially the sídhe: prominent ancient burial mounds such as Brú na Bóinne, which are entrances to Otherworld realms. The Túath Dé can hide themselves with a féth fíada (&#8216;magic mist&#8217;). They are said to have travelled from the north of the world, but then were forced to live underground in the sídhe after the coming of the Irish. This description uses material from the Wikipedia article &#8220;Irish mythology&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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		<title>Irish Myths in D&#038;D &#124; Feats and Faeries &#124; Wandering DMs S06 E10</title>
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	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[This St. Patrick&#8217;s Day, Paul and Dan discuss the rich history of Irish myths, legends, and stories in the D&#38;D game. From Druids and Bards to the Banshees and Firbolg, what are some of the best ways to spice up your game with inspirations from the Emerald Isle? Irish mythology is the body of myths indigenous to the island of Ireland. It was originally passed down orally in the prehistoric era. In the early medieval era, some myths were transcribed by Christian monks, who heavily altered and Christianised the myths. Irish mythology is the best-preserved branch of Celtic mythology. The main supernatural beings in Irish mythology are the Túatha Dé Danann (&#8220;the folk of the goddess Danu&#8221;), also known by the earlier name Túath Dé (&#8220;god folk&#8221; or &#8220;tribe of the gods&#8221;). Early medieval Irish writers also called them the fir dé (god-men) and cenéla dé (god-kindreds), possibly to avoid calling them simply &#8216;gods&#8217;. They are often depicted as k]]></googleplay:description>
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	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
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<item>
	<title>How to Run a D&#038;D One Shot &#124; Tips and Tricks for Single Session Play &#124; Wandering DMs S06 E09</title>
	<link>https://wanderingdms.com/podcast/how-to-run-a-dd-one-shot-tips-and-tricks-for-single-session-play-wandering-dms-s06-e09/</link>
	<pubDate>Mon, 11 Mar 2024 16:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=6160</guid>
	<description><![CDATA[How does one run a successful dungeons and dragons one shot game? Dan and Paul discuss how to condense the D&#38;D experience to a single night of fun. They&#8217;ll share techniques they&#8217;ve developed over the years behind the DM screen, discuss which scenarios fit the one-shot format best, and advise would-be DMs on the best road to one-shot success.]]></description>
	<itunes:subtitle><![CDATA[How does one run a successful dungeons and dragons one shot game? Dan and Paul discuss how to condense the D&#38;D experience to a single night of fun. They&#8217;ll share techniques they&#8217;ve developed over the years behind the DM screen, discuss wh]]></itunes:subtitle>
	<content:encoded><![CDATA[How does one run a successful dungeons and dragons one shot game? Dan and Paul discuss how to condense the D&#38;D experience to a single night of fun. They&#8217;ll share techniques they&#8217;ve developed over the years behind the DM screen, discuss which scenarios fit the one-shot format best, and advise would-be DMs on the best road to one-shot success.]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/6160/how-to-run-a-dd-one-shot-tips-and-tricks-for-single-session-play-wandering-dms-s06-e09.mp3" length="86383507" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[How does one run a successful dungeons and dragons one shot game? Dan and Paul discuss how to condense the D&#38;D experience to a single night of fun. They&#8217;ll share techniques they&#8217;ve developed over the years behind the DM screen, discuss which scenarios fit the one-shot format best, and advise would-be DMs on the best road to one-shot success.]]></itunes:summary>
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		<title>How to Run a D&#038;D One Shot &#124; Tips and Tricks for Single Session Play &#124; Wandering DMs S06 E09</title>
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	<itunes:explicit>false</itunes:explicit>
	<itunes:block>no</itunes:block>
	<itunes:duration>59:59</itunes:duration>
	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[How does one run a successful dungeons and dragons one shot game? Dan and Paul discuss how to condense the D&#38;D experience to a single night of fun. They&#8217;ll share techniques they&#8217;ve developed over the years behind the DM screen, discuss which scenarios fit the one-shot format best, and advise would-be DMs on the best road to one-shot success.]]></googleplay:description>
	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/03/thumbnail-s06e09-1.0.1.jpg"></googleplay:image>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
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<item>
	<title>Performing Characters in D&#038;D &#124; Tips for Non-Actors &#124; Wandering DMs S06 E08</title>
	<link>https://wanderingdms.com/podcast/performing-characters-in-dd-tips-for-non-actors-wandering-dms-s06-e08/</link>
	<pubDate>Mon, 04 Mar 2024 17:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=6107</guid>
	<description><![CDATA[Dan &#38; Paul discuss tips for embodying a character in body and voice when playing D&#38;D at the table. When we compare ourselves to well-known D&#38;D performers, what are simple simple tricks anyone can use, even if we aren&#8217;t trained actors? Acting involves a broad range of skills, including a well-developed imagination, emotional facility, physical expressivity, vocal projection, clarity of speech, and the ability to interpret drama. Acting also demands an ability to employ dialects, accents, improvisation, observation and emulation, mime, and stage combat. Many actors train at length in specialist programs or colleges to develop these skills. The vast majority of professional actors have undergone extensive training. Actors and actresses will often have many instructors and teachers for a full range of training involving singing, scene-work, audition techniques, and acting for camera. One of the first known actors was an ancient Greek called Thespis of Icaria in Athens. Writing two centuries after the event, Aristotle in his Poetics (c. 335 BCE) suggests that Thespis stepped out of the dithyrambic chorus and addressed it as a separate character. Before Thespis, the chorus narrated (for example, &#8220;Dionysus did this, Dionysus said&#8221;). When Thespis stepped out from the chorus, he spoke as if he were the character (for example, &#8220;I am Dionysus, I did this&#8221;). To distinguish between these different modes of storytelling—enactment and narration—Aristotle uses the terms &#8220;mimesis&#8221; (via enactment) and &#8220;diegesis&#8221; (via narration). From Thespis&#8217; name derives the word &#8220;thespian&#8221;. This description uses material from the Wikipedia article &#8220;Acting&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[Dan &#38; Paul discuss tips for embodying a character in body and voice when playing D&#38;D at the table. When we compare ourselves to well-known D&#38;D performers, what are simple simple tricks anyone can use, even if we aren&#8217;t trained actors? A]]></itunes:subtitle>
	<content:encoded><![CDATA[Dan &#38; Paul discuss tips for embodying a character in body and voice when playing D&#38;D at the table. When we compare ourselves to well-known D&#38;D performers, what are simple simple tricks anyone can use, even if we aren&#8217;t trained actors? Acting involves a broad range of skills, including a well-developed imagination, emotional facility, physical expressivity, vocal projection, clarity of speech, and the ability to interpret drama. Acting also demands an ability to employ dialects, accents, improvisation, observation and emulation, mime, and stage combat. Many actors train at length in specialist programs or colleges to develop these skills. The vast majority of professional actors have undergone extensive training. Actors and actresses will often have many instructors and teachers for a full range of training involving singing, scene-work, audition techniques, and acting for camera. One of the first known actors was an ancient Greek called Thespis of Icaria in Athens. Writing two centuries after the event, Aristotle in his Poetics (c. 335 BCE) suggests that Thespis stepped out of the dithyrambic chorus and addressed it as a separate character. Before Thespis, the chorus narrated (for example, &#8220;Dionysus did this, Dionysus said&#8221;). When Thespis stepped out from the chorus, he spoke as if he were the character (for example, &#8220;I am Dionysus, I did this&#8221;). To distinguish between these different modes of storytelling—enactment and narration—Aristotle uses the terms &#8220;mimesis&#8221; (via enactment) and &#8220;diegesis&#8221; (via narration). From Thespis&#8217; name derives the word &#8220;thespian&#8221;. This description uses material from the Wikipedia article &#8220;Acting&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/6107/performing-characters-in-dd-tips-for-non-actors-wandering-dms-s06-e08.mp3" length="87861526" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[Dan &#38; Paul discuss tips for embodying a character in body and voice when playing D&#38;D at the table. When we compare ourselves to well-known D&#38;D performers, what are simple simple tricks anyone can use, even if we aren&#8217;t trained actors? Acting involves a broad range of skills, including a well-developed imagination, emotional facility, physical expressivity, vocal projection, clarity of speech, and the ability to interpret drama. Acting also demands an ability to employ dialects, accents, improvisation, observation and emulation, mime, and stage combat. Many actors train at length in specialist programs or colleges to develop these skills. The vast majority of professional actors have undergone extensive training. Actors and actresses will often have many instructors and teachers for a full range of training involving singing, scene-work, audition techniques, and acting for camera. One of the first known actors was an ancient Greek called Thespis of Icaria in Athens. Writing two centuries after the event, Aristotle in his Poetics (c. 335 BCE) suggests that Thespis stepped out of the dithyrambic chorus and addressed it as a separate character. Before Thespis, the chorus narrated (for example, &#8220;Dionysus did this, Dionysus said&#8221;). When Thespis stepped out from the chorus, he spoke as if he were the character (for example, &#8220;I am Dionysus, I did this&#8221;). To distinguish between these different modes of storytelling—enactment and narration—Aristotle uses the terms &#8220;mimesis&#8221; (via enactment) and &#8220;diegesis&#8221; (via narration). From Thespis&#8217; name derives the word &#8220;thespian&#8221;. This description uses material from the Wikipedia article &#8220;Acting&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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		<title>Performing Characters in D&#038;D &#124; Tips for Non-Actors &#124; Wandering DMs S06 E08</title>
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	<itunes:explicit>false</itunes:explicit>
	<itunes:block>no</itunes:block>
	<itunes:duration>1:01:01</itunes:duration>
	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Dan &#38; Paul discuss tips for embodying a character in body and voice when playing D&#38;D at the table. When we compare ourselves to well-known D&#38;D performers, what are simple simple tricks anyone can use, even if we aren&#8217;t trained actors? Acting involves a broad range of skills, including a well-developed imagination, emotional facility, physical expressivity, vocal projection, clarity of speech, and the ability to interpret drama. Acting also demands an ability to employ dialects, accents, improvisation, observation and emulation, mime, and stage combat. Many actors train at length in specialist programs or colleges to develop these skills. The vast majority of professional actors have undergone extensive training. Actors and actresses will often have many instructors and teachers for a full range of training involving singing, scene-work, audition techniques, and acting for camera. One of the first known actors was an ancient Greek called Thespis of Icaria in Athens. W]]></googleplay:description>
	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/03/thumbnail-s06e08-1.0.0.png"></googleplay:image>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
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<item>
	<title>Love in D&#038;D &#124; Roleplaying Romance Respectfully &#124; Wandering DMs S06 E07</title>
	<link>https://wanderingdms.com/podcast/love-in-dd-roleplaying-romance-respectfully-wandering-dms-s06-e06/</link>
	<pubDate>Mon, 19 Feb 2024 17:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=5967</guid>
	<description><![CDATA[For Valentine&#8217;s Day, Dan and Paul take a look at how romantic love is portrayed in Dungeons and Dragons. From NPCs with love-based plot lines to the infamous philter of love, we&#8217;ll cover ever instance we can think of in D&#38;D in which love plays a part. Love is considered to be both positive and negative, with its virtue representing human kindness, compassion, and affection—&#8221;the unselfish, loyal and benevolent concern for the good of another&#8221;—and its vice representing a human moral flaw akin to vanity, selfishness, amour-propre, and egotism, potentially leading people into a type of mania, obsessiveness, or codependency. It may also describe compassionate and affectionate actions towards other humans, oneself, or animals. In its various forms, love acts as a major facilitator of interpersonal relationships and, owing to its central psychological importance, is one of the most common themes in the creative arts. In the Middle Ages, extracts from nightshades were used as hallucinogens, and to make supposed love potions and flying ointments. Such plants may have included belladonna, angel&#8217;s trumpets, jimsonweed, black henbane, European scopolia or autumn mandrake, which contain alkaloids (atropine and scopolamine, which are hallucinogenic in higher doses) characterized by a narrow therapeutic index. Some attempts to create love potions have led to overdose or death where the preparations were not standardized for the content of potent compounds. This description uses material from the Wikipedia articles &#8220;Love&#8221; and &#8220;Love potion&#8220;, which are released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[For Valentine&#8217;s Day, Dan and Paul take a look at how romantic love is portrayed in Dungeons and Dragons. From NPCs with love-based plot lines to the infamous philter of love, we&#8217;ll cover ever instance we can think of in D&#38;D in which love ]]></itunes:subtitle>
	<content:encoded><![CDATA[For Valentine&#8217;s Day, Dan and Paul take a look at how romantic love is portrayed in Dungeons and Dragons. From NPCs with love-based plot lines to the infamous philter of love, we&#8217;ll cover ever instance we can think of in D&#38;D in which love plays a part. Love is considered to be both positive and negative, with its virtue representing human kindness, compassion, and affection—&#8221;the unselfish, loyal and benevolent concern for the good of another&#8221;—and its vice representing a human moral flaw akin to vanity, selfishness, amour-propre, and egotism, potentially leading people into a type of mania, obsessiveness, or codependency. It may also describe compassionate and affectionate actions towards other humans, oneself, or animals. In its various forms, love acts as a major facilitator of interpersonal relationships and, owing to its central psychological importance, is one of the most common themes in the creative arts. In the Middle Ages, extracts from nightshades were used as hallucinogens, and to make supposed love potions and flying ointments. Such plants may have included belladonna, angel&#8217;s trumpets, jimsonweed, black henbane, European scopolia or autumn mandrake, which contain alkaloids (atropine and scopolamine, which are hallucinogenic in higher doses) characterized by a narrow therapeutic index. Some attempts to create love potions have led to overdose or death where the preparations were not standardized for the content of potent compounds. This description uses material from the Wikipedia articles &#8220;Love&#8221; and &#8220;Love potion&#8220;, which are released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
	<enclosure url="https://wanderingdms.com/podcast-download/5967/love-in-dd-roleplaying-romance-respectfully-wandering-dms-s06-e06.mp3" length="88503749" type="audio/mpeg"></enclosure>
	<itunes:summary><![CDATA[For Valentine&#8217;s Day, Dan and Paul take a look at how romantic love is portrayed in Dungeons and Dragons. From NPCs with love-based plot lines to the infamous philter of love, we&#8217;ll cover ever instance we can think of in D&#38;D in which love plays a part. Love is considered to be both positive and negative, with its virtue representing human kindness, compassion, and affection—&#8221;the unselfish, loyal and benevolent concern for the good of another&#8221;—and its vice representing a human moral flaw akin to vanity, selfishness, amour-propre, and egotism, potentially leading people into a type of mania, obsessiveness, or codependency. It may also describe compassionate and affectionate actions towards other humans, oneself, or animals. In its various forms, love acts as a major facilitator of interpersonal relationships and, owing to its central psychological importance, is one of the most common themes in the creative arts. In the Middle Ages, extracts from nightshades were used as hallucinogens, and to make supposed love potions and flying ointments. Such plants may have included belladonna, angel&#8217;s trumpets, jimsonweed, black henbane, European scopolia or autumn mandrake, which contain alkaloids (atropine and scopolamine, which are hallucinogenic in higher doses) characterized by a narrow therapeutic index. Some attempts to create love potions have led to overdose or death where the preparations were not standardized for the content of potent compounds. This description uses material from the Wikipedia articles &#8220;Love&#8221; and &#8220;Love potion&#8220;, which are released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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		<title>Love in D&#038;D &#124; Roleplaying Romance Respectfully &#124; Wandering DMs S06 E07</title>
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	<itunes:duration>1:01:28</itunes:duration>
	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[For Valentine&#8217;s Day, Dan and Paul take a look at how romantic love is portrayed in Dungeons and Dragons. From NPCs with love-based plot lines to the infamous philter of love, we&#8217;ll cover ever instance we can think of in D&#38;D in which love plays a part. Love is considered to be both positive and negative, with its virtue representing human kindness, compassion, and affection—&#8221;the unselfish, loyal and benevolent concern for the good of another&#8221;—and its vice representing a human moral flaw akin to vanity, selfishness, amour-propre, and egotism, potentially leading people into a type of mania, obsessiveness, or codependency. It may also describe compassionate and affectionate actions towards other humans, oneself, or animals. In its various forms, love acts as a major facilitator of interpersonal relationships and, owing to its central psychological importance, is one of the most common themes in the creative arts. In the Middle Ages, extracts from nightshades w]]></googleplay:description>
	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/02/thumbnail-s06e07-1.0.1.jpg"></googleplay:image>
	<googleplay:explicit>No</googleplay:explicit>
	<googleplay:block>no</googleplay:block>
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<item>
	<title>Year of the Dragon &#124; Dungeons &#038; Dragons at 50 &#124; Wandering DMs S06 E06</title>
	<link>https://wanderingdms.com/podcast/year-of-the-dragon-dungeons-dragons-at-50-wandering-dms-s06-e06/</link>
	<pubDate>Mon, 12 Feb 2024 17:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=5906</guid>
	<description><![CDATA[Paul &#38; Dan celebrate the Year of the Dragon in New Year&#8217;s 2024! In this 50th anniversary year for original D&#38;D, we&#8217;ll look back to our best uses for dragons, new discoveries we&#8217;ve made, and how best to use unusual dragon types in your fantasy RPG. The Dragon, also known as Loong, (simplified Chinese: 龙; traditional Chinese: 龍; pinyin: lóng; Jyutping: lung4; Cantonese Yale: lùhng) is the fifth of the 12-year cycle of animals which appear in the Chinese zodiac related to the Chinese calendar. The Year of the Dragon is associated with the Earthly Branch symbol 辰, pronounced chen. It has been proposed by one academic researcher that the Earthly Branch character may have been associated with scorpions; it may have symbolized the star Antares. In the Buddhist calendar used in Thailand, Cambodia, Laos, Myanmar, and Sri Lanka, the Dragon is replaced by the nāga. In the Gurung zodiac, the Dragon is replaced by the eagle. In Old Turkic calendar it is replaced by the fish or crocodile. Early Persian translations of the medieval period change the dragon to a sea serpent although in current times it is generally referred to as whale. There are typically marked spikes in the birth rates of countries that use the Chinese zodiac or places with substantial Overseas Chinese populations during the year of the Dragon, because such &#8220;Dragon babies&#8221; are considered to be lucky and have desirable characteristics that supposedly lead to better life outcomes. This description uses material from the Wikipedia article &#8220;Dragon (zodiac)&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[Paul &#38; Dan celebrate the Year of the Dragon in New Year&#8217;s 2024! In this 50th anniversary year for original D&#38;D, we&#8217;ll look back to our best uses for dragons, new discoveries we&#8217;ve made, and how best to use unusual dragon types i]]></itunes:subtitle>
	<content:encoded><![CDATA[Paul &#38; Dan celebrate the Year of the Dragon in New Year&#8217;s 2024! In this 50th anniversary year for original D&#38;D, we&#8217;ll look back to our best uses for dragons, new discoveries we&#8217;ve made, and how best to use unusual dragon types in your fantasy RPG. The Dragon, also known as Loong, (simplified Chinese: 龙; traditional Chinese: 龍; pinyin: lóng; Jyutping: lung4; Cantonese Yale: lùhng) is the fifth of the 12-year cycle of animals which appear in the Chinese zodiac related to the Chinese calendar. The Year of the Dragon is associated with the Earthly Branch symbol 辰, pronounced chen. It has been proposed by one academic researcher that the Earthly Branch character may have been associated with scorpions; it may have symbolized the star Antares. In the Buddhist calendar used in Thailand, Cambodia, Laos, Myanmar, and Sri Lanka, the Dragon is replaced by the nāga. In the Gurung zodiac, the Dragon is replaced by the eagle. In Old Turkic calendar it is replaced by the fish or crocodile. Early Persian translations of the medieval period change the dragon to a sea serpent although in current times it is generally referred to as whale. There are typically marked spikes in the birth rates of countries that use the Chinese zodiac or places with substantial Overseas Chinese populations during the year of the Dragon, because such &#8220;Dragon babies&#8221; are considered to be lucky and have desirable characteristics that supposedly lead to better life outcomes. This description uses material from the Wikipedia article &#8220;Dragon (zodiac)&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
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	<itunes:summary><![CDATA[Paul &#38; Dan celebrate the Year of the Dragon in New Year&#8217;s 2024! In this 50th anniversary year for original D&#38;D, we&#8217;ll look back to our best uses for dragons, new discoveries we&#8217;ve made, and how best to use unusual dragon types in your fantasy RPG. The Dragon, also known as Loong, (simplified Chinese: 龙; traditional Chinese: 龍; pinyin: lóng; Jyutping: lung4; Cantonese Yale: lùhng) is the fifth of the 12-year cycle of animals which appear in the Chinese zodiac related to the Chinese calendar. The Year of the Dragon is associated with the Earthly Branch symbol 辰, pronounced chen. It has been proposed by one academic researcher that the Earthly Branch character may have been associated with scorpions; it may have symbolized the star Antares. In the Buddhist calendar used in Thailand, Cambodia, Laos, Myanmar, and Sri Lanka, the Dragon is replaced by the nāga. In the Gurung zodiac, the Dragon is replaced by the eagle. In Old Turkic calendar it is replaced by the fish or crocodile. Early Persian translations of the medieval period change the dragon to a sea serpent although in current times it is generally referred to as whale. There are typically marked spikes in the birth rates of countries that use the Chinese zodiac or places with substantial Overseas Chinese populations during the year of the Dragon, because such &#8220;Dragon babies&#8221; are considered to be lucky and have desirable characteristics that supposedly lead to better life outcomes. This description uses material from the Wikipedia article &#8220;Dragon (zodiac)&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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		<title>Year of the Dragon &#124; Dungeons &#038; Dragons at 50 &#124; Wandering DMs S06 E06</title>
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	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Paul &#38; Dan celebrate the Year of the Dragon in New Year&#8217;s 2024! In this 50th anniversary year for original D&#38;D, we&#8217;ll look back to our best uses for dragons, new discoveries we&#8217;ve made, and how best to use unusual dragon types in your fantasy RPG. The Dragon, also known as Loong, (simplified Chinese: 龙; traditional Chinese: 龍; pinyin: lóng; Jyutping: lung4; Cantonese Yale: lùhng) is the fifth of the 12-year cycle of animals which appear in the Chinese zodiac related to the Chinese calendar. The Year of the Dragon is associated with the Earthly Branch symbol 辰, pronounced chen. It has been proposed by one academic researcher that the Earthly Branch character may have been associated with scorpions; it may have symbolized the star Antares. In the Buddhist calendar used in Thailand, Cambodia, Laos, Myanmar, and Sri Lanka, the Dragon is replaced by the nāga. In the Gurung zodiac, the Dragon is replaced by the eagle. In Old Turkic calendar it is replaced by the fi]]></googleplay:description>
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	<title>What Do You Need to Play Original D&#038;D? &#124; Recommended Equipment &#124; Wandering DMs S06 E05</title>
	<link>https://wanderingdms.com/podcast/what-do-you-need-to-play-original-dd-recommended-equipment-wandering-dms-s06-e05/</link>
	<pubDate>Mon, 05 Feb 2024 17:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
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	<description><![CDATA[Dan &#38; Paul analyze the &#8212; sometimes surprising! &#8212; list of recommended equipment in Original D&#38;D. Sure, you should have dice, paper, and pencils. But is the 3-ring notebook and drafting equipment really needed for the referee and each player? How about the multiple other games you need, Chainmail and Outdoor Survival? And what does say about using miniature figures? The original Dungeons &#38; Dragons set, subtitled Rules for Fantastic Medieval Wargames Campaigns Playable with Paper and Pencil and Miniature Figures, was written by Gary Gygax and Dave Arneson, and was published by TSR in 1974 as a digest-sized boxed set in a brown wood-grain box. The set included three digest-sized books: the 36-page &#8220;Volume 1: Men &#38; Magic&#8221;, the 40-page &#8220;Volume 2: Monsters &#38; Treasure&#8221;, and the 36-page &#8220;Volume 3: The Underworld &#38; Wilderness Adventures&#8221;. The set also included six reference sheets of tables and charts. Advertisements for the game first started appearing in Spring 1974. This set features only a handful of the elements for which the game is known today: just three character classes (fighting-man, magic-user, and cleric); four races (human, dwarf, elf, hobbit); and only three alignments (lawful, neutral, and chaotic). The rules assume that players have owned and have played the miniatures wargame Chainmail and that they have used its measurement and combat systems. An optional combat system is included within the rules that later developed into the sole combat system of later versions of the game. In addition, the rules presumed ownership of Outdoor Survival, an Avalon Hill board game for outdoor exploration and adventure. This description uses material from the Wikipedia article &#8220;Dungeons &#38; Dragons (1974)&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[Dan &#38; Paul analyze the &#8212; sometimes surprising! &#8212; list of recommended equipment in Original D&#38;D. Sure, you should have dice, paper, and pencils. But is the 3-ring notebook and drafting equipment really needed for the referee and each p]]></itunes:subtitle>
	<content:encoded><![CDATA[Dan &#38; Paul analyze the &#8212; sometimes surprising! &#8212; list of recommended equipment in Original D&#38;D. Sure, you should have dice, paper, and pencils. But is the 3-ring notebook and drafting equipment really needed for the referee and each player? How about the multiple other games you need, Chainmail and Outdoor Survival? And what does say about using miniature figures? The original Dungeons &#38; Dragons set, subtitled Rules for Fantastic Medieval Wargames Campaigns Playable with Paper and Pencil and Miniature Figures, was written by Gary Gygax and Dave Arneson, and was published by TSR in 1974 as a digest-sized boxed set in a brown wood-grain box. The set included three digest-sized books: the 36-page &#8220;Volume 1: Men &#38; Magic&#8221;, the 40-page &#8220;Volume 2: Monsters &#38; Treasure&#8221;, and the 36-page &#8220;Volume 3: The Underworld &#38; Wilderness Adventures&#8221;. The set also included six reference sheets of tables and charts. Advertisements for the game first started appearing in Spring 1974. This set features only a handful of the elements for which the game is known today: just three character classes (fighting-man, magic-user, and cleric); four races (human, dwarf, elf, hobbit); and only three alignments (lawful, neutral, and chaotic). The rules assume that players have owned and have played the miniatures wargame Chainmail and that they have used its measurement and combat systems. An optional combat system is included within the rules that later developed into the sole combat system of later versions of the game. In addition, the rules presumed ownership of Outdoor Survival, an Avalon Hill board game for outdoor exploration and adventure. This description uses material from the Wikipedia article &#8220;Dungeons &#38; Dragons (1974)&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
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	<itunes:summary><![CDATA[Dan &#38; Paul analyze the &#8212; sometimes surprising! &#8212; list of recommended equipment in Original D&#38;D. Sure, you should have dice, paper, and pencils. But is the 3-ring notebook and drafting equipment really needed for the referee and each player? How about the multiple other games you need, Chainmail and Outdoor Survival? And what does say about using miniature figures? The original Dungeons &#38; Dragons set, subtitled Rules for Fantastic Medieval Wargames Campaigns Playable with Paper and Pencil and Miniature Figures, was written by Gary Gygax and Dave Arneson, and was published by TSR in 1974 as a digest-sized boxed set in a brown wood-grain box. The set included three digest-sized books: the 36-page &#8220;Volume 1: Men &#38; Magic&#8221;, the 40-page &#8220;Volume 2: Monsters &#38; Treasure&#8221;, and the 36-page &#8220;Volume 3: The Underworld &#38; Wilderness Adventures&#8221;. The set also included six reference sheets of tables and charts. Advertisements for the game first started appearing in Spring 1974. This set features only a handful of the elements for which the game is known today: just three character classes (fighting-man, magic-user, and cleric); four races (human, dwarf, elf, hobbit); and only three alignments (lawful, neutral, and chaotic). The rules assume that players have owned and have played the miniatures wargame Chainmail and that they have used its measurement and combat systems. An optional combat system is included within the rules that later developed into the sole combat system of later versions of the game. In addition, the rules presumed ownership of Outdoor Survival, an Avalon Hill board game for outdoor exploration and adventure. This description uses material from the Wikipedia article &#8220;Dungeons &#38; Dragons (1974)&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[Dan &#38; Paul analyze the &#8212; sometimes surprising! &#8212; list of recommended equipment in Original D&#38;D. Sure, you should have dice, paper, and pencils. But is the 3-ring notebook and drafting equipment really needed for the referee and each player? How about the multiple other games you need, Chainmail and Outdoor Survival? And what does say about using miniature figures? The original Dungeons &#38; Dragons set, subtitled Rules for Fantastic Medieval Wargames Campaigns Playable with Paper and Pencil and Miniature Figures, was written by Gary Gygax and Dave Arneson, and was published by TSR in 1974 as a digest-sized boxed set in a brown wood-grain box. The set included three digest-sized books: the 36-page &#8220;Volume 1: Men &#38; Magic&#8221;, the 40-page &#8220;Volume 2: Monsters &#38; Treasure&#8221;, and the 36-page &#8220;Volume 3: The Underworld &#38; Wilderness Adventures&#8221;. The set also included six reference sheets of tables and charts. Advertisements for th]]></googleplay:description>
	<googleplay:image href="https://wanderingdms.com/wp-content/uploads/2024/02/thumbnail-s06e05-1.0.1.png"></googleplay:image>
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	<title>Anachronisms in D&#038;D &#124; Where Fantasy Meets History &#124; Wandering DMs S06 E04</title>
	<link>https://wanderingdms.com/podcast/anachronisms-in-dd-where-fantasy-meets-history-wandering-dms-s06-e04/</link>
	<pubDate>Mon, 29 Jan 2024 17:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
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	<description><![CDATA[The Wandering DMs dig into the concept of anachronisms in D&#38;D settings. They will explore the historic roots of D&#38;D campaign settings, and where modern objects, events, or ideas have leaked in. Does the existence of anachronism break immersion, or is the very nature of the fantasy genre open to all forms of content? Where and how do we draw the line? An anachronism is a chronological inconsistency in some arrangement, especially a juxtaposition of people, events, objects, language terms and customs from different time periods. The most common type of anachronism is an object misplaced in time, but it may be a verbal expression, a technology, a philosophical idea, a musical style, a material, a plant or animal, a custom, or anything else associated with a particular period that is placed outside its proper temporal domain. Fantasy literature is literature set in an imaginary universe, often but not always without any locations, events, or people from the real world. The fantasy genre predominantly features settings that emulate Earth, but with a sense of otherness. Fantasy is distinguished from science fiction by the plausibility of the narrative elements. A science fiction narrative is unlikely, though seemingly possible through logical scientific or technological extrapolation, where fantasy narratives do not need to be scientifically possible. Authors have to rely on the readers&#8217; suspension of disbelief, an acceptance of the unbelievable or impossible for the sake of enjoyment, in order to write effective fantasies. This description uses material from the Wikipedia articles &#8220;Fantasy literature&#8221; and &#8220;Anachronism&#8220;, which are released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[The Wandering DMs dig into the concept of anachronisms in D&#38;D settings. They will explore the historic roots of D&#38;D campaign settings, and where modern objects, events, or ideas have leaked in. Does the existence of anachronism break immersion, o]]></itunes:subtitle>
	<content:encoded><![CDATA[The Wandering DMs dig into the concept of anachronisms in D&#38;D settings. They will explore the historic roots of D&#38;D campaign settings, and where modern objects, events, or ideas have leaked in. Does the existence of anachronism break immersion, or is the very nature of the fantasy genre open to all forms of content? Where and how do we draw the line? An anachronism is a chronological inconsistency in some arrangement, especially a juxtaposition of people, events, objects, language terms and customs from different time periods. The most common type of anachronism is an object misplaced in time, but it may be a verbal expression, a technology, a philosophical idea, a musical style, a material, a plant or animal, a custom, or anything else associated with a particular period that is placed outside its proper temporal domain. Fantasy literature is literature set in an imaginary universe, often but not always without any locations, events, or people from the real world. The fantasy genre predominantly features settings that emulate Earth, but with a sense of otherness. Fantasy is distinguished from science fiction by the plausibility of the narrative elements. A science fiction narrative is unlikely, though seemingly possible through logical scientific or technological extrapolation, where fantasy narratives do not need to be scientifically possible. Authors have to rely on the readers&#8217; suspension of disbelief, an acceptance of the unbelievable or impossible for the sake of enjoyment, in order to write effective fantasies. This description uses material from the Wikipedia articles &#8220;Fantasy literature&#8221; and &#8220;Anachronism&#8220;, which are released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
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	<itunes:summary><![CDATA[The Wandering DMs dig into the concept of anachronisms in D&#38;D settings. They will explore the historic roots of D&#38;D campaign settings, and where modern objects, events, or ideas have leaked in. Does the existence of anachronism break immersion, or is the very nature of the fantasy genre open to all forms of content? Where and how do we draw the line? An anachronism is a chronological inconsistency in some arrangement, especially a juxtaposition of people, events, objects, language terms and customs from different time periods. The most common type of anachronism is an object misplaced in time, but it may be a verbal expression, a technology, a philosophical idea, a musical style, a material, a plant or animal, a custom, or anything else associated with a particular period that is placed outside its proper temporal domain. Fantasy literature is literature set in an imaginary universe, often but not always without any locations, events, or people from the real world. The fantasy genre predominantly features settings that emulate Earth, but with a sense of otherness. Fantasy is distinguished from science fiction by the plausibility of the narrative elements. A science fiction narrative is unlikely, though seemingly possible through logical scientific or technological extrapolation, where fantasy narratives do not need to be scientifically possible. Authors have to rely on the readers&#8217; suspension of disbelief, an acceptance of the unbelievable or impossible for the sake of enjoyment, in order to write effective fantasies. This description uses material from the Wikipedia articles &#8220;Fantasy literature&#8221; and &#8220;Anachronism&#8220;, which are released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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		<title>Anachronisms in D&#038;D &#124; Where Fantasy Meets History &#124; Wandering DMs S06 E04</title>
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	<itunes:author><![CDATA[Wandering DMs]]></itunes:author>	<googleplay:description><![CDATA[The Wandering DMs dig into the concept of anachronisms in D&#38;D settings. They will explore the historic roots of D&#38;D campaign settings, and where modern objects, events, or ideas have leaked in. Does the existence of anachronism break immersion, or is the very nature of the fantasy genre open to all forms of content? Where and how do we draw the line? An anachronism is a chronological inconsistency in some arrangement, especially a juxtaposition of people, events, objects, language terms and customs from different time periods. The most common type of anachronism is an object misplaced in time, but it may be a verbal expression, a technology, a philosophical idea, a musical style, a material, a plant or animal, a custom, or anything else associated with a particular period that is placed outside its proper temporal domain. Fantasy literature is literature set in an imaginary universe, often but not always without any locations, events, or people from the real world. The fantasy]]></googleplay:description>
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	<googleplay:explicit>No</googleplay:explicit>
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	<title>Ice Age Animals &#124; Cold School D&#038;D &#124; Wandering DMs S06 E03</title>
	<link>https://wanderingdms.com/podcast/ice-age-animals-cold-school-dd-wandering-dms-s06-e03/</link>
	<pubDate>Mon, 22 Jan 2024 17:12:00 +0000</pubDate>
	<dc:creator><![CDATA[Wandering DMs]]></dc:creator>
	<guid isPermaLink="false">https://wanderingdms.com/?post_type=podcast&#038;p=5728</guid>
	<description><![CDATA[Paul &#38; Dan dig into the buried fossils of original D&#38;D &#8212; like the hidden encounter table for Ice Age adventures in the original boxed set. Where else can you get to use Cave Bears, Woolly Mammoths, and Saber-Toothed Tigers in your fantasy RPG? Pour a cup of hot cocoa and bundle up for this one. In the Late Pleistocene, both marine and continental faunas were essentially modern but with many more large land mammals such as Mammoths, Mastodons, Diprotodons, Smilodons, tigers, lions, Aurochs, short-faced bears, giant sloths, species within Gigantopithecus and others. Isolated landmasses such as Australia, Madagascar, New Zealand and islands in the Pacific saw the evolution of large birds and even reptiles such as the Elephant bird, moa, Haast&#8217;s eagle, Quinkana, Megalania and Meiolania. The severe climatic changes during the Ice Age had major impacts on the fauna and flora. With each advance of the ice, large areas of the continents became depopulated, and plants and animals retreating southwards in front of the advancing glacier faced tremendous stress. The most severe stress resulted from drastic climatic changes, reduced living space, and curtailed food supply. A major extinction event of large mammals (megafauna), which included mammoths, mastodons, saber-toothed cats, glyptodons, the woolly rhinoceros, various giraffids, such as the Sivatherium; ground sloths, Irish elk, cave lions, cave bears, Gomphotheres, American lions, dire wolves, and short-faced bears, began late in the Pleistocene and continued into the Holocene. Neanderthals also became extinct during this period. At the end of the last ice age, cold-blooded animals, smaller mammals like wood mice, migratory birds, and swifter animals like whitetail deer had replaced the megafauna and migrated north. Late Pleistocene bighorn sheep were more slender and had longer legs than their descendants today. Scientists believe that the change in predator fauna after the late Pleistocene extinctions resulted in a change of body shape as the species adapted for increased power rather than speed. This description uses material from the Wikipedia article &#8220;Pleistocene&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0. Cover image by Mauricio Antón from an article by Caitlin Sedwick (1 April 2008): &#8220;What Killed the Woolly Mammoth?&#8221;. PLoS Biology 6 (4): e99. DOI:10.1371/journal.pbio.0060099 2008 Public Library of Science. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.]]></description>
	<itunes:subtitle><![CDATA[Paul &#38; Dan dig into the buried fossils of original D&#38;D &#8212; like the hidden encounter table for Ice Age adventures in the original boxed set. Where else can you get to use Cave Bears, Woolly Mammoths, and Saber-Toothed Tigers in your fantasy R]]></itunes:subtitle>
	<content:encoded><![CDATA[Paul &#38; Dan dig into the buried fossils of original D&#38;D &#8212; like the hidden encounter table for Ice Age adventures in the original boxed set. Where else can you get to use Cave Bears, Woolly Mammoths, and Saber-Toothed Tigers in your fantasy RPG? Pour a cup of hot cocoa and bundle up for this one. In the Late Pleistocene, both marine and continental faunas were essentially modern but with many more large land mammals such as Mammoths, Mastodons, Diprotodons, Smilodons, tigers, lions, Aurochs, short-faced bears, giant sloths, species within Gigantopithecus and others. Isolated landmasses such as Australia, Madagascar, New Zealand and islands in the Pacific saw the evolution of large birds and even reptiles such as the Elephant bird, moa, Haast&#8217;s eagle, Quinkana, Megalania and Meiolania. The severe climatic changes during the Ice Age had major impacts on the fauna and flora. With each advance of the ice, large areas of the continents became depopulated, and plants and animals retreating southwards in front of the advancing glacier faced tremendous stress. The most severe stress resulted from drastic climatic changes, reduced living space, and curtailed food supply. A major extinction event of large mammals (megafauna), which included mammoths, mastodons, saber-toothed cats, glyptodons, the woolly rhinoceros, various giraffids, such as the Sivatherium; ground sloths, Irish elk, cave lions, cave bears, Gomphotheres, American lions, dire wolves, and short-faced bears, began late in the Pleistocene and continued into the Holocene. Neanderthals also became extinct during this period. At the end of the last ice age, cold-blooded animals, smaller mammals like wood mice, migratory birds, and swifter animals like whitetail deer had replaced the megafauna and migrated north. Late Pleistocene bighorn sheep were more slender and had longer legs than their descendants today. Scientists believe that the change in predator fauna after the late Pleistocene extinctions resulted in a change of body shape as the species adapted for increased power rather than speed. This description uses material from the Wikipedia article &#8220;Pleistocene&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0. Cover image by Mauricio Antón from an article by Caitlin Sedwick (1 April 2008): &#8220;What Killed the Woolly Mammoth?&#8221;. PLoS Biology 6 (4): e99. DOI:10.1371/journal.pbio.0060099 2008 Public Library of Science. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.]]></content:encoded>
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	<itunes:summary><![CDATA[Paul &#38; Dan dig into the buried fossils of original D&#38;D &#8212; like the hidden encounter table for Ice Age adventures in the original boxed set. Where else can you get to use Cave Bears, Woolly Mammoths, and Saber-Toothed Tigers in your fantasy RPG? Pour a cup of hot cocoa and bundle up for this one. In the Late Pleistocene, both marine and continental faunas were essentially modern but with many more large land mammals such as Mammoths, Mastodons, Diprotodons, Smilodons, tigers, lions, Aurochs, short-faced bears, giant sloths, species within Gigantopithecus and others. Isolated landmasses such as Australia, Madagascar, New Zealand and islands in the Pacific saw the evolution of large birds and even reptiles such as the Elephant bird, moa, Haast&#8217;s eagle, Quinkana, Megalania and Meiolania. The severe climatic changes during the Ice Age had major impacts on the fauna and flora. With each advance of the ice, large areas of the continents became depopulated, and plants and animals retreating southwards in front of the advancing glacier faced tremendous stress. The most severe stress resulted from drastic climatic changes, reduced living space, and curtailed food supply. A major extinction event of large mammals (megafauna), which included mammoths, mastodons, saber-toothed cats, glyptodons, the woolly rhinoceros, various giraffids, such as the Sivatherium; ground sloths, Irish elk, cave lions, cave bears, Gomphotheres, American lions, dire wolves, and short-faced bears, began late in the Pleistocene and continued into the Holocene. Neanderthals also became extinct during this period. At the end of the last ice age, cold-blooded animals, smaller mammals like wood mice, migratory birds, and swifter animals like whitetail deer had replaced the megafauna and migrated north. Late Pleistocene bighorn sheep were more slender and had longer legs than their descendants today. Scientists believe that the change in predator fauna after the late Pleistocene extinctions resulted in a change of body shape as the species adapted for increased power rather than speed. This description uses material from the Wikipedia article &#8220;Pleistocene&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0. Cover image by Mauricio Antón from an article by Caitlin Sedwick (1 April 2008): &#8220;What Killed the Woolly Mammoth?&#8221;. PLoS Biology 6 (4): e99. DOI:10.1371/journal.pbio.0060099 2008 Public Library of Science. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.]]></itunes:summary>
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	<title>Original D&#038;D Adventures &#124; Jaquays Legacy &#124; Wandering DMs S06 E02</title>
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	<pubDate>Mon, 15 Jan 2024 17:12:00 +0000</pubDate>
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	<description><![CDATA[Dan &#38; Paul take a look back at published adventures for D&#38;D in the 70&#8217;s &#8212; at the time, a revolutionary and controversial idea! And also take a look back at the pioneering contributions of Jennell Jaquays (creator of Dark Tower, Caverns of Thracia, and many more), and our other favorite early adventures. The first published Dungeons &#38; Dragons scenario was &#8220;Temple of the Frog&#8221;, included in 1975&#8217;s Blackmoor Dungeons &#38; Dragons rules supplement. This scenario was later developed into the stand-alone module DA2 – Temple of the Frog for the D&#38;D Expert set rules (TSR, 1986). The first stand-alone Dungeons &#38; Dragons adventure module, Palace of the Vampire Queen, was published in 1976 by Wee Warriors. Although TSR did not produce this module, the company did distribute the first three printings on behalf of Wee Warriors. The adventure was described as a &#8220;Dungeon Masters Kit&#8221; rather than a &#8220;module&#8221; or an &#8220;adventure&#8221;. Also in 1976, the adventure Lost Caverns of Tsojconth was distributed by Metro Detroit Gamers as the tournament module for the gaming convention Wintercon V, but was not published for general distribution at the time. The adventure was later re-written for the first edition Advanced Dungeons &#38; Dragons rules and published as module S4 – The Lost Caverns of Tsojcanth (TSR, 1982). Additional unpublished adventures were distributed at gaming conventions during this period, including Steading of the Hill Giant Chief, used as a tournament module for Origins &#8217;78. Later in 1978, Steading of the Hill Giant Chief became the first stand-alone Dungeons &#38; Dragons module actually produced and published by TSR. TSR Hobbies published a series of six adventures in 1978 that had been used previously only in tournaments. The company initiated its practice of assigning a code to each module published at the time, assigning the &#8220;G1&#8221; code to Steading of the Hill Giant Chief. TSR&#8217;s practice of coding modules into various series would continue into the 1990s. This description uses material from the Wikipedia article &#8220;Adventure (Dungeons &#38; Dragons)&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[Dan &#38; Paul take a look back at published adventures for D&#38;D in the 70&#8217;s &#8212; at the time, a revolutionary and controversial idea! And also take a look back at the pioneering contributions of Jennell Jaquays (creator of Dark Tower, Cavern]]></itunes:subtitle>
	<content:encoded><![CDATA[Dan &#38; Paul take a look back at published adventures for D&#38;D in the 70&#8217;s &#8212; at the time, a revolutionary and controversial idea! And also take a look back at the pioneering contributions of Jennell Jaquays (creator of Dark Tower, Caverns of Thracia, and many more), and our other favorite early adventures. The first published Dungeons &#38; Dragons scenario was &#8220;Temple of the Frog&#8221;, included in 1975&#8217;s Blackmoor Dungeons &#38; Dragons rules supplement. This scenario was later developed into the stand-alone module DA2 – Temple of the Frog for the D&#38;D Expert set rules (TSR, 1986). The first stand-alone Dungeons &#38; Dragons adventure module, Palace of the Vampire Queen, was published in 1976 by Wee Warriors. Although TSR did not produce this module, the company did distribute the first three printings on behalf of Wee Warriors. The adventure was described as a &#8220;Dungeon Masters Kit&#8221; rather than a &#8220;module&#8221; or an &#8220;adventure&#8221;. Also in 1976, the adventure Lost Caverns of Tsojconth was distributed by Metro Detroit Gamers as the tournament module for the gaming convention Wintercon V, but was not published for general distribution at the time. The adventure was later re-written for the first edition Advanced Dungeons &#38; Dragons rules and published as module S4 – The Lost Caverns of Tsojcanth (TSR, 1982). Additional unpublished adventures were distributed at gaming conventions during this period, including Steading of the Hill Giant Chief, used as a tournament module for Origins &#8217;78. Later in 1978, Steading of the Hill Giant Chief became the first stand-alone Dungeons &#38; Dragons module actually produced and published by TSR. TSR Hobbies published a series of six adventures in 1978 that had been used previously only in tournaments. The company initiated its practice of assigning a code to each module published at the time, assigning the &#8220;G1&#8221; code to Steading of the Hill Giant Chief. TSR&#8217;s practice of coding modules into various series would continue into the 1990s. This description uses material from the Wikipedia article &#8220;Adventure (Dungeons &#38; Dragons)&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
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	<itunes:summary><![CDATA[Dan &#38; Paul take a look back at published adventures for D&#38;D in the 70&#8217;s &#8212; at the time, a revolutionary and controversial idea! And also take a look back at the pioneering contributions of Jennell Jaquays (creator of Dark Tower, Caverns of Thracia, and many more), and our other favorite early adventures. The first published Dungeons &#38; Dragons scenario was &#8220;Temple of the Frog&#8221;, included in 1975&#8217;s Blackmoor Dungeons &#38; Dragons rules supplement. This scenario was later developed into the stand-alone module DA2 – Temple of the Frog for the D&#38;D Expert set rules (TSR, 1986). The first stand-alone Dungeons &#38; Dragons adventure module, Palace of the Vampire Queen, was published in 1976 by Wee Warriors. Although TSR did not produce this module, the company did distribute the first three printings on behalf of Wee Warriors. The adventure was described as a &#8220;Dungeon Masters Kit&#8221; rather than a &#8220;module&#8221; or an &#8220;adventure&#8221;. Also in 1976, the adventure Lost Caverns of Tsojconth was distributed by Metro Detroit Gamers as the tournament module for the gaming convention Wintercon V, but was not published for general distribution at the time. The adventure was later re-written for the first edition Advanced Dungeons &#38; Dragons rules and published as module S4 – The Lost Caverns of Tsojcanth (TSR, 1982). Additional unpublished adventures were distributed at gaming conventions during this period, including Steading of the Hill Giant Chief, used as a tournament module for Origins &#8217;78. Later in 1978, Steading of the Hill Giant Chief became the first stand-alone Dungeons &#38; Dragons module actually produced and published by TSR. TSR Hobbies published a series of six adventures in 1978 that had been used previously only in tournaments. The company initiated its practice of assigning a code to each module published at the time, assigning the &#8220;G1&#8221; code to Steading of the Hill Giant Chief. TSR&#8217;s practice of coding modules into various series would continue into the 1990s. This description uses material from the Wikipedia article &#8220;Adventure (Dungeons &#38; Dragons)&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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	<title>RPG Form Factors &#124; Examining the Shape of the Text &#124; Wandering DMs S06 E01</title>
	<link>https://wanderingdms.com/podcast/rpg-form-factors-examining-the-shape-of-the-text-wandering-dms-s06-e01/</link>
	<pubDate>Mon, 08 Jan 2024 17:12:00 +0000</pubDate>
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	<description><![CDATA[Paul &#38; Dan kick of season 6 with an examination of the physical shape of RPG books. How does the choice of number of books, size, binding, and layout impact the overall design of the game? How did the three book format of D&#38;D come to be, and why is it the one design aspect that has persisted throughout every edition? The layout and binding of a role-playing game are integral aspects that significantly influence its overall design and user experience. A well-thought-out layout enhances readability, guiding players through rules, character creation, and gameplay mechanics seamlessly. Consistent and intuitive page organization can reduce the learning curve for players and game masters alike, fostering a more enjoyable and accessible experience. Additionally, the visual presentation in the layout plays a vital role in setting the tone and atmosphere of the game, contributing to the immersion of players in the fantasy world. The choice of binding determines how well the book holds up to frequent use and reference. Regardless of whether a book is bound with a hardcover or bound with a paperback cover, the binding of the signatures determines the durability of the book-as-artefact. The binding affects how the book lays open on the table, impacting the practicality of referencing rules while playing. The spine of the book is an important aspect in book design, especially in cover design. When the books are stacked up or stored in a shelf, what is on the spine is the only visible information about the book. In a bookstore, the details on the spine are what initially attract attention. The combination of thoughtful layout and appropriate binding in an RPG not only enhances the visual appeal but also contributes significantly to the overall functionality and usability of the game system. This description uses material from the Wikipedia article &#8220;Bookbinding&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></description>
	<itunes:subtitle><![CDATA[Paul &#38; Dan kick of season 6 with an examination of the physical shape of RPG books. How does the choice of number of books, size, binding, and layout impact the overall design of the game? How did the three book format of D&#38;D come to be, and why ]]></itunes:subtitle>
	<content:encoded><![CDATA[Paul &#38; Dan kick of season 6 with an examination of the physical shape of RPG books. How does the choice of number of books, size, binding, and layout impact the overall design of the game? How did the three book format of D&#38;D come to be, and why is it the one design aspect that has persisted throughout every edition? The layout and binding of a role-playing game are integral aspects that significantly influence its overall design and user experience. A well-thought-out layout enhances readability, guiding players through rules, character creation, and gameplay mechanics seamlessly. Consistent and intuitive page organization can reduce the learning curve for players and game masters alike, fostering a more enjoyable and accessible experience. Additionally, the visual presentation in the layout plays a vital role in setting the tone and atmosphere of the game, contributing to the immersion of players in the fantasy world. The choice of binding determines how well the book holds up to frequent use and reference. Regardless of whether a book is bound with a hardcover or bound with a paperback cover, the binding of the signatures determines the durability of the book-as-artefact. The binding affects how the book lays open on the table, impacting the practicality of referencing rules while playing. The spine of the book is an important aspect in book design, especially in cover design. When the books are stacked up or stored in a shelf, what is on the spine is the only visible information about the book. In a bookstore, the details on the spine are what initially attract attention. The combination of thoughtful layout and appropriate binding in an RPG not only enhances the visual appeal but also contributes significantly to the overall functionality and usability of the game system. This description uses material from the Wikipedia article &#8220;Bookbinding&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></content:encoded>
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	<itunes:summary><![CDATA[Paul &#38; Dan kick of season 6 with an examination of the physical shape of RPG books. How does the choice of number of books, size, binding, and layout impact the overall design of the game? How did the three book format of D&#38;D come to be, and why is it the one design aspect that has persisted throughout every edition? The layout and binding of a role-playing game are integral aspects that significantly influence its overall design and user experience. A well-thought-out layout enhances readability, guiding players through rules, character creation, and gameplay mechanics seamlessly. Consistent and intuitive page organization can reduce the learning curve for players and game masters alike, fostering a more enjoyable and accessible experience. Additionally, the visual presentation in the layout plays a vital role in setting the tone and atmosphere of the game, contributing to the immersion of players in the fantasy world. The choice of binding determines how well the book holds up to frequent use and reference. Regardless of whether a book is bound with a hardcover or bound with a paperback cover, the binding of the signatures determines the durability of the book-as-artefact. The binding affects how the book lays open on the table, impacting the practicality of referencing rules while playing. The spine of the book is an important aspect in book design, especially in cover design. When the books are stacked up or stored in a shelf, what is on the spine is the only visible information about the book. In a bookstore, the details on the spine are what initially attract attention. The combination of thoughtful layout and appropriate binding in an RPG not only enhances the visual appeal but also contributes significantly to the overall functionality and usability of the game system. This description uses material from the Wikipedia article &#8220;Bookbinding&#8220;, which is released under the Creative Commons Attribution-Share-Alike License 3.0.]]></itunes:summary>
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