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<blockquote data-quote="(un)reason" data-source="post: 6187263" data-attributes="member: 27780"><p><strong><u>Dragon Issue 336: October 2005</u></strong></p><p></p><p></p><p>part 1/7</p><p></p><p></p><p>83 (132) pages. Just don't make clothes like they used too. Spend a few hundred years asleep, and then when you wake up, you're inadvertently turned into fanservice. Someone is definitely going to pay for this. As ever for the october issues, it looks like they're going to try and tell us something new about the undead. Since one of those is the long-neglected spawn of Kyuss, tying in with their Dungeon adventure path, they might well manage it. Let's stake a look at this issue and see if anything in it is worth using in a game without adaption decay messing everything up. </p><p></p><p></p><p>Scan Quality: Slightly fuzzy, indexed, ad-free scan. </p><p></p><p></p><p>In this issue:</p><p></p><p></p><p>Editorial drops the extra words, because really, who needed them? A little dictionary hunting will hurt no-one. Indeed, as we've said before, a little challenge in getting hold of and understanding the books will just add to the temptation. Lure your audience with shiny forbidden stuff, then challenge them and force them to think about and debate your work if you want them to be long-term fans and spread the word to their friends. This is also why trying to forbid things can turn out to be counterproductive, as you effectively wind up creating free publicity in the form of debate and rumours. So this editorial shows that more than one person came to D&D through the same kind of process, and courting controversy remains a good way to boost your profile. And on an artistic level, if you aren't pushing the boundaries in some way, are you actually even being creative, or just going through the motions? What's the benefit in giving the world something it already has plenty of? So let's hope they actually give us something challenging in the articles. </p><p></p><p></p><p>Scale Mail: We start off with a letter grumbling about family-unfriendly covers and too much setting material. Since people complained when they went the other way as well, this definitely seems like a case where I shrug and say from my perspective, the more variety the better. Swinging from one extreme to the other will be far more interesting than following basically the same formula every issue. </p><p></p><p>Next is a letter from someone who is planning on converting the Bloodstone adventures to 3e. In this system, getting to 100th level seems a lot more reasonable, curiously enough, as you never run out of suitable challenges when you can stack templates and class levels onto monsters. </p><p></p><p>As they reintroduce more complex backgrounds to the magazine, they inevitably face the complaint of someone who finds them hard to read. Once again, it's very much about maintaining a sufficiently high degree of contrast so both text and backdrop can be easily distinguished, without making it boring. A well calibrated monitor is definitely your friend when doing design work. </p><p></p><p>And finally, the last letter tempts Erik into talking a little more about his own city-centric campaign. It might have been set over a smaller area, but it still took plenty of preparation and used published adventures to bulk things out. Even (especially?) official writers don't have the time and energy to do it all themselves.</p></blockquote><p></p>
[QUOTE="(un)reason, post: 6187263, member: 27780"] [B][U]Dragon Issue 336: October 2005[/U][/B] part 1/7 83 (132) pages. Just don't make clothes like they used too. Spend a few hundred years asleep, and then when you wake up, you're inadvertently turned into fanservice. Someone is definitely going to pay for this. As ever for the october issues, it looks like they're going to try and tell us something new about the undead. Since one of those is the long-neglected spawn of Kyuss, tying in with their Dungeon adventure path, they might well manage it. Let's stake a look at this issue and see if anything in it is worth using in a game without adaption decay messing everything up. Scan Quality: Slightly fuzzy, indexed, ad-free scan. In this issue: Editorial drops the extra words, because really, who needed them? A little dictionary hunting will hurt no-one. Indeed, as we've said before, a little challenge in getting hold of and understanding the books will just add to the temptation. Lure your audience with shiny forbidden stuff, then challenge them and force them to think about and debate your work if you want them to be long-term fans and spread the word to their friends. This is also why trying to forbid things can turn out to be counterproductive, as you effectively wind up creating free publicity in the form of debate and rumours. So this editorial shows that more than one person came to D&D through the same kind of process, and courting controversy remains a good way to boost your profile. And on an artistic level, if you aren't pushing the boundaries in some way, are you actually even being creative, or just going through the motions? What's the benefit in giving the world something it already has plenty of? So let's hope they actually give us something challenging in the articles. Scale Mail: We start off with a letter grumbling about family-unfriendly covers and too much setting material. Since people complained when they went the other way as well, this definitely seems like a case where I shrug and say from my perspective, the more variety the better. Swinging from one extreme to the other will be far more interesting than following basically the same formula every issue. Next is a letter from someone who is planning on converting the Bloodstone adventures to 3e. In this system, getting to 100th level seems a lot more reasonable, curiously enough, as you never run out of suitable challenges when you can stack templates and class levels onto monsters. As they reintroduce more complex backgrounds to the magazine, they inevitably face the complaint of someone who finds them hard to read. Once again, it's very much about maintaining a sufficiently high degree of contrast so both text and backdrop can be easily distinguished, without making it boring. A well calibrated monitor is definitely your friend when doing design work. And finally, the last letter tempts Erik into talking a little more about his own city-centric campaign. It might have been set over a smaller area, but it still took plenty of preparation and used published adventures to bulk things out. Even (especially?) official writers don't have the time and energy to do it all themselves. [/QUOTE]
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