Showing posts with label Light. Show all posts
Showing posts with label Light. Show all posts

Monday, 10 November 2025

Currencies of the Dark

Design concepts for money in VotE: ReDux



Light is the Currency


Light is often only way to find a path and stay alive. Light is a resource that is always being eaten away. Light must be carried, in the form of lamp and fuel. Light is literally a currency; the Lume.

Distance relates to time. There is no solar cycle down below. Seasons and cyclic calendars, are partial, conditional and strange. The most important aspect of travel is how long it takes to get somewhere; this is measured in a loss of Lumes; “eight lumes distant” means you will need eight hours of strong light to find your way there.

Prime Currencies of the Veins


The Lume = 1l



The ghosts of fireflies made extinct in a long-forgotten apocalypse. The pale wraiths are imperishable, distinct, and gather and gust through currents in the Veins, moving in swarms through ocean and stone. Only rarely are they accessible en-masse; the means of capture and containment are particular and queer.

The ghosts are held in little bags made from fine intestine; ‘glow bags’, or in little Lantern-pots of clay or bone. They are transferred with great care; sucked into pipes of silver, bone or reed, held at the end in clumps, or trapped on little honey-dabs held at the ends of sticks, then gentle ‘poofed out’; transferred to another’s ‘Glow Bag’. Merchants and settled peoples have scales for measuring the unweight of a Glow Bag so that the bags themselves can be exchanged.

The massless nature of the ‘Lume’ and the extreme difficulty of forging Lumes, helps to make them the base ‘physical’ currency of the Veins; they can be carried without impediment, but not without care. The fact that ‘Glow Bags’ can be damaged in combat, or opened, and the ‘Lumes’ set free, to float away into the stone, makes them difficult to steal. The slow and ritual nature of exchanging Lumes is favoured in the Veins as, in this careful breathing and depositing, both sides of become vulnerable to the other; to exchange is a matter of trust.

A Glow Bag of Lumes of a little bone or clay Lamp-Pot, gives out its own small ghost-light; a vague glow up to five or ten feet of clarity, if that, but enough to accomplish small tasks or to provide comfort in the dark. Veinslings may sleep, or do small deeds, lit by their purses glow.

The Lume as literal currency is paired with the ‘Lume-as-Concept’. A ‘Lume’ is worth one hour of strong light, in whatever form, though the most usual form of exchange is Whale-Oil. What counts as useful light varies enormously according to the buyer, the seller and local conditions, but the universality of this conception; One Lume = One Hour of Light, forms the pillar of stability in economy of the Veins. All is based on the Lume, counted in Lumes, and reduced back to Lumes. Even distances are given in Lumes as that indicates how many hours of light you will need to reach wherever it is.


Occultum = 10,000l




A massless shadowy disc, its edges blurred, the texture of Occultum is felt by the Soul, rather than material flesh, (Golems, like many Janeen Viziers, cannot use them directly).

No-one really knows exactly where Occultum Coins are made or found. Rumours say they are forged in some hell, or minted in a ‘House of Leaves’ where the substance of reality is strange. They come always from below.

Like ‘Lumes’ they weigh nothing like are impossible to forge. Occultum is magic-neutral, it cannot be picked up, manipulated, scried or otherwise altered via magic. The coin itself resists duplication. The black discs cannot be chopped, melted, cut or ground down; if chipped or ‘snapped’ they simply ‘burst’ collapsing into little static clouds and staining the area nearby with fluctuations in natural chance.

The one danger of owning too many Occultum Coins is that, if kept in large numbers, they are inherently uncertain, meaning the total value and number of the coins may fluctuate. The extent of this fluctuation increases the more you have. Usually if you get into triple digits, you can expect a variation of about 5% over time, with there sometimes being up to 105 coins and sometimes as few as 95. (In rare cases variations can be more extreme). Nevertheless, the variation itself tends to be stable over time, so many wealthy cultures maintain their core currency reserves in Occultum; they can eat the cost of temporary fluctuations, it all evens out over time.

Occultum has a heavy cultural weight which goes beyond the movement of economies and trade routes. Just as in our world, Gold is Gold, and signals and displays wealth, permanence and seriousness, regardless of the fluctuations of the times, in the Veins, Occultum is Occultum. Even the most high-toned merchants or Lords would not refuse payment in the Black Coin. Of all currencies, perhaps only Lumes themselves are more stable and only Cloudcradle silk of equal status.

Occultum is known to, and accepted by, supernatural and extra-planar entities. Demons, Ghosts, and Things from Beyond, all accept its worth and for some rare magical services Occultum is the only coin accepted; a disc equivalent to mortal souls.


Intermediate Currencies


The Veins has a massive and permanent problem with making change. The two most well-known, accepted and strongest currencies, the ‘massless two’; Lumes, and Occultum (which is still ultimately measured in Lumes), occupy the far ends of the value scale. What on earth do you do when you need to buy intermediate things? To some extent ‘Glow Bags’ can make up for this, but the Veins has developed a range of complex intermediate currency-equivalents to make up the difference.

None of these are ‘massless’ in the same manner as Lumes or Occultum, but all are very light and a great many are slightly luminescent themselves. While every culture will accept Lumes, Occultum and Silk, an exchange for these intermediate currencies is not universally guaranteed, you may have to chop and change to work things out.

Gleams = 8l




Also called ‘Gleamers’ or ‘Butane Gleamers’. These gems are blue as the flame. Their edges seem to shiver in the dark. Usually these are bagged up into ‘Bags of Gleams’ worth about 80l each.

Slave-Month Links (or just 'Links') = 31l (varies)


Usually made in chased and engraved silver. Each culture, (often Knotsman, Aelf-Adal and various Janeen Courts), engraves its links in a varied and highly distinct style. Each link represents a nominal month of particular labour owed. Often gathered into great linked chains and worn by potentates. Ray-Men and some other cultures with weird principals might refuse to take these.

Toxolucent Emeralds ('Greens') = 200l


Acidic and slightly poisonous to the touch, its widely thought these are cut from rare bezoars recovered from abyssal creatures of the Nightmare Sea. Olm will almost always refuse these.

Topaz Flames ('Flames') = 500l


These seem to glimmer and flicker slightly in the hand. Though they are utterly cold, when smashed, they reliably produce a burst of pure flame. Undead prefer not to deal in these.

Knotsman Debt-Threads ('Knots') = Variable & Bespoke


Knotsmen record their debts and contracts in what else, but knots? Formed in rare and precious materials depending on the depth of the debt. Neither immaterial nor magical, and sometimes frustratingly bespoke and weird, the strength of the knots as currency comes from the fanatical dedication of Knotsman culture to maintaining them. Knotsmen hate to be in debt to anyone from outside their culture. They are very eager to ‘gain knots’ as this gives them power over others from within their culture. All are utterly deranged in their pursuit of counterfeiters. Though a strong material currency, some cultures or groups just really hate Knotsmen and will refuse to deal with these. Also the nature of the exchange can just be weird; how much is a ‘Thirteenth-level Fundamental Humiliation” worth in real money?

Whale Oil  – Variable




Somewhere between a trade good and a currency, Whale Oil is useful, ubiquitous and has a regular rate of exchange. Compared to most Veins currencies, it is a bit heavy and difficult to use, but it literally burns to make a pure, bright, smokeless (important for Veins cultures who hate waste and staining the rock), flame. Usually sold in ‘day pots’ for 24 hours of clean-burning oil, (24 Lumes) or ‘watch pots’ for eight hours of light (8 Lumes). For some groups, traders or individuals who have solved their light problem by other means, the Oil is just not worth it as a medium of exchange. Olm find it useless but might take it at a reduced rate, Opal-Winged Chiropterae in particular tend not to like it.

Bank Notes = Variable


There are banks in the dark, often associated with the Great Cultures or with one or more of the Grand Coagulations (cities). Usually run by Vampires for their Aelf-Adal overlords, the worth of such a currency will often diminish the further into the Wastes you get. Though, if you can get to another Alef-Adal-run Coagulation, they will often accept these notes, more as a point of pride, since to refuse them would be an insult to another Aelf-Adal, (unless the Byzantine intrigues of that race means these Courts are currently opposed, in which case they may not only refuse, but also take offense.)

The nature of these Notes/Bonds/Certificates can vary from something like an exquisitely handwritten I.O.U, to something like an actual, printed note, though usually hand-printed on soft skin, rather than machine printed on paper. (Aelf-Adal know about various forms of surface money.)

If you are in an Aelf-Adals city-coagulation, it’s hard not to take payment in their bank notes. After all, they have the Aelf-Adals name and perhaps something like a face on them, and are signed by Vampire Banker. A whole sub-skill of ‘ritual excuses’ exists to allow Veinslings to attempt to get out of being paid in local notes.


Silks


Even cheap silk is light, resistant to decay, and compresses down deeply, allowing a large surface area to be transported in a relatively small ‘bale’.

Silk is heavily associated with the Aelf-Adal. A ‘Bale’ of silk is in most cases, much smaller and lighter than that transported on the historical silk Road in our reality. Even for ‘Rough Silk’ like Whipsilk, a ‘bale’ will only be two or three feet square and weigh 40 to 50 kilos. The highest value of silk is sold in ‘hands’; roughly thick envelope or small parcel sized packages, which, due to the incredible density of packed silk, can still weigh quite a lot; 5 to 10 kilos.





Whipsilk = 10c per bale


Silk given as a status symbol to slaves trusted to oversee their fellow slaves. An illusory boon. The silk carries the cultural taint of alien flesh and Aelf-Adal will never touch it once it has been used. A nominal advantage is that Aelf-Adal will tend to assume that anyone wearing Whipsilk is some kind of Slave Overseer, and ritually not-perceive them.

Stormsilk = 25l per bale


Colour of a storm sky and rough to the touch. A perfectly serviceable ‘commoners silk. Worn by the lowest members of a Coagulation, by normie Once-Men out in the sticks or by Aelf-Adal ‘hunting parties’ who want to make a point about getting out of the Spire and ‘roughing it’.

Chainsilk = 50l per bale


If braided can form a strong rope or chain. Practical. Carries a little cultural ‘cool’ as it is standard military gear for many cultures and coagulations.

ClipperSilk = 100l per hand


Tough, noted for its ability to survive long journeys. Not well respected. A bit of a Bourgeois upwardly-mobile low-rent social climber silk. The very top of the ‘middle class’ silks, but the bottom of the ‘upper class’ silks. Does anyone actually wear this stuff?

Maskmaker Silk = 500’ per hand


Valuable enough that if given as tribute one can be considered to have ‘made ones mask’ in Aelf-Adal terms – a sufficient bribe to be someone actually worth talking to. Makes up much of the ‘baseline wear’ for Aelf-Adal and other Volume Lords.

Cloudcradle Silk = 1,000’ per hand


Like folded smoke, flowing wearable steam. In most coagulations, this is either illegal to wear under direct sumptuary laws without being a member of the ruling class, or is simply culturally impossible to wear unless you are so.

Being gifted this silk, or given formal dispensation to wear it, makes you near-officially part of that rulers ‘Court’. Be careful; accepting this means that in a sense, the giver ‘owns’ you, and takes responsibility for you, which can be good or bad in many ways.

Cloudcradle silk is highly valued by traders as light, tough, high-value currency. It is probably used more as currency than as clothes; so few who live and breathe are willing or able to wear it.


Design Notes


Collapsing the concept of the ‘Lume’


In the original VotE, the ‘Lume’ was purely a concept, rather than a material thing, but I thought, people generally won’t understand this or grasp it, and also I thought ‘why not?’. There seemed to be little disadvantage to me in making ‘Lumes’ both a concept and an actual thing you could use in game, that way the concept and the physical item reinforce each other (though of course, in keeping with VotE aesthetic and world-scheme, they are not actually physical.

So now a ‘Lume’ is one of these tiny firefly ghosts you keep in a special little bag or pot. You can exchange one of these ghosts for one hour of strong (really 30 to 50 ft visibility or more, but you can negotiate that), light with most merchants and settled peoples.

The ‘Lumes’ themselves also make a little light eternally, but only enough to do close hand-work with, probably not enough to help you get around (though a last ditch possibility for those severely lost).

The difficulty and slowness of exchanging Lumes, and the kind of ritual behaviour it suggests, seems to me to fit the nature of the Veins, as does their weightless nature and the fact that, if lost or thrown away, they simply disappear into the stone without a trace.

If you think this was a dumb idea you can let me know in the comments.


Finding Treasure/Getting Paid


Generally players really like to find treasure and to get paid in weird, distinct and particular ways.

In most cases its more enlivening to find a curious artefact, or even a bag of jewels or bale of rare silk than just a pile of coins.

This works out more in the low to mid levels of a game, where the value of a particular treasure or gem or something as a trade item still has potency. As you get into the higher levels I have generally found that people stop caring as much.

Likewise, sometimes people actually want a little haggling sub-game where you have to try to get your hands on the kind of currency you want and avoid those less useful, but sometimes you really just want the whole thing over and done with so you can end the session. It depends on taste and circumstance.

This currency pattern is meant to be adaptable to both playstyles if needed. You can enliven and solidify it by giving players a bunch of weird currencies, each desired or disliked by different cultures under different circumstances, or you can just abstract the whole thing to ‘so many lumes’.

Hopefully, finding or being given Occultum should remain deeply interesting and exciting at any level. I wanted it to be, and to feel, special.

[Occultum has always been, and still is, based on the Obol, first invented by Mateo Diaz.]


Mixing Currencies/Using Money


For the silks and intermediate currencies I fell back on a lot of ideas I first used in ‘Deep Carbon Observatory’, though with somewhat altered values.

Most of the Gems are super easy to carry but have things that are slightly wrong with them (Emeralds mildly toxic, Topaz might actually set you on fire if it breaks). Others have moral issues (Slave-Links or Knotsman ‘Humiliations’), some are just a bit awkward (Whale Oil and Bank Notes).

The ‘Bales’ are meant to be fucking annoying to carry around, but still solid currency, better in the early game or perhaps moved en-masse by servants in the later game as part of a trading journey.


U.S orders are now open on the False Machine Store



I am going to Dragonmeet at the end of November



I don’t have a store or a talk or anything, and so far have no particular plans but I will be there.

Thursday, 23 July 2020

Binding and Combining

Two big problems inside the mind, neither of which I really understand.

'Binding' which I think is working out what objects are which, and 'Combination' which is about creating the matrix-like world-view which our little homunculus sits inside while riding the body around.

All of this started because I like Louise Sugdens painting style and because I like Dazzle Patterns on ships, and so I began a small investigation into colour, in particular, into colour and mass/shape...

After all, it’s only trying to understand how colour works, and how that combines with our sensation and understanding of mass.. how hard can it be?

Answer - INFINITELY HARD, for the very question opens the doorway to a crystalline dungeon of PRISMATIC MYSTERIES.

The search has taken me through Neurobiology (We Know It When We See It by Richard Masland), Ship Camouflage in WWI (Dazzle - disguise and disruption in war and art by James Taylor), and a deep cut into colour as used by artists (Interaction of Colour by Josef Albers).

We can also possibly add 'Through the Language Glass' by Guy Deushter, about a mild Sapier-Whorff effect in language and colour.


Alllbeeerrrs! HES LOOKING RIGHT AT ME



IS COLOUR THE MOST RELATIVE SENSE?


or just the most obviously relative?

So many scientists, art teachers, philosophers, messing around with coloured thread, coloured sheets of paper, swatches of colour, showing them to people of different nations, in classrooms, in laboratories, to rabbits while a hole has been drilled in their skulls to let the electrodes in, sailing around looking for rare islanders so you can show them the colours and write down what they say. More flags, shining lights, patterns of shade and texture.

Albers would remind us that our understanding of all these colours is massively shaped by context, types of light, (electric, dawn, dusk, passing clouds, albedo), by the arrangement of colours around and within each other, one colour on another, next to another, torn edges, straight edges, curly shapes, blocky shapes, texture on flat and so on and so on, so that he might regard these neurologists and cultural analysts running around as quite mad and pointless.

ALBERS - The most curious and unique of the minds I have witnessed through text. A man with the very tight, intense, highly disciplined brain of a laboratory scientist, a careful, systematic and procedural method to his teaching (learning about colour is *not about self-expression!*). And yet, with the least scientific aim and probably the greatest scepticism towards the systematising, totalising goal of science.

Albers is learning and teaching his students, through the medium of relentless attention and careful systematic analysis, about something he believes is very, very, highly relative. Fluid within perception and within the mind, to the extent that considering colour outside of its context, as an isolated quality, I think to him that would be utterly insane, since that is something it can never be.

Is it really the most relative of sensations? I think probably it is not, but that it is the most *observably relative* because it comes to us always alongside shape, objects and *DIVIDING LINES*, and I think the secret to the perceived relativity of colour is not that it is more relative than touch, smell or sound, but that it is more relative than objects and lines.

The mind is Binding and Combining the shapes of objects and dividing lines between things ("edge detection") all the time, and however it is doing this (we still don't really know), it seems to me that shapes, objects and lines are a lot less relative and debatable (both within the mind and beyond it) than the colours which always are sensed with and alongside them.

We might not all be seeing the same colours, and we can be certain, that in different lights and different times of day, things which register as always having the same colour in our minds, in fact have quite different colours, and that our brain is clearly fudging the issue, but *in comparison* to colour, we can be much more certain that the lines, shapes and objects we perceive, are both coherent to themselves and coherent when discussed and compared between individuals.

"That big rock, is it more yellow or green would you say?"

and never (ok, rarely)

"That big yellow-green thing, rock or sponge, would you say?"

And it is this, the evidently-relative-relativity, if you will excuse an awful phrase, which makes colour more obviously relative than sound or touch, because it lives along side and is always contrasted with, shape and line, which is very much less relative (probably more dominant, earlier maybe, in the binding & combining process).


Neurons! How do they work!


IS THE BLUE I SEE THE SAME AS YOURS


It’s likely. If it’s not exactly the same it’s probably pretty similar, unless you are at the far end of the curve, and most crucially, as Albers would tell you, IT DOESN'T MATTER!

For colour is RELATIVE and exists only relative to its context and therefore all that truly matters is if what you see as blue has the same relative relation to what you see as red green etc as everyone else which it probably does (though maybe not entirely).




COLOUR AND TIME, VISION AND TIME


While I know nothing about any of this I know even less about this part so beware, but it seems to me that vision and in particular the binding and combining of colour and form, and many colours, gives us access to a kind of island of no-time within our own minds.

As Albers would tell us, and here I'll bring in Ian McGilchrist of "The Master and His Emissary", sound is sequential, it can only happen in a row of information (though different sounds can be combined at the same time), touch is a bit less sequential, you can tough something with different bits of yourself, or be touched at once. Movement has a 'moment of movement' but is quite largely sequential, it happens in a row but vision, and the sensing of colour and shape, am I wrong in thinking that it has the least sequential elements?

McGilchrist would say that one part of the mind senses and 'sees' everything in one big burst and the other scans and sequentialises, so maybe sight, vision, has the most complex experience of time within the mind.

When I imagine the binding/combining process, I imagine something with a 'loose moment', a kind of drifting, or indistinct sense of the 'now'. The mind sees, absorbs, identifies, arranges and understands, all happening together. The big blurt of information from the all-at-once scan, the rapid sequential object scanning, the binding and combining shape colour, shade, light, fluid integration and re-integration with the imagined and re-constructed mind-state, both what 'just happened' (the part that makes us think the rabbit is still inside the hat) and the 'about to happen' (that lets tennis stars work out where the ball is *going to be*, all of this, binding and combining, looping and feeding back, continually, whenever our eyes are open.

And so, within the mechanisms of vision are many mutual but simultaneous *perceptions of time*. sequential, global, memory looking back and imagination/modelling looking forward, all happening "at once". The experience of vision is like a kind of time machine, a timeless, or looped moment within ourselves, which we can dip into and experience, slightly, a more or less time-powered moment, variations on what 'now' is.




WHY DO I GET A GIDDY FEELING WHEN PRESSING AGAINST THE EDGES OF THE IDEA?


Perhaps this presentiment of the complex nature of consciousness, vision, time, self awareness, is why when I reach certain points of Albers book, Maslands book and McGilchrists, I get a kind of giddy feeling. That feeling when you are just on the borders of a great idea, the moment before something complex, difficult and indistinct synthesises inside your mind into a coherent whole.

This might just be the borders of my own stupidity.

Or am I pressing against the edge of REALITY ITSELF????



More Albers, you and your GODDAMN SQUARES JOSEF


AM I SMART ENOUGH TO UNDERSTAND THIS STUFF?


Probably not really no.

Masland is pop-sci and at the deeper end I struggle.

Albers, god damn fucking Germanic Albers. First its a book of experiments really, that you are meant to perform, and I didn't. Didn't have the right stuff, time or will. And second he writes in this bloody art-school Germanic hyper-clear style, which because it is hyper clear and has only the correct info in it
is fucking hard to get through. There is no pulse of info/blather for you brain to take a moment to recombine, instead its infoinfoinfoinfo.

Its one of the most interesting books on colour that I have ever read, but again, I found it a struggle, especially towards the end. There were effects and ideas that I found it hard to perceive, model and consider, and so I ended up somewhat, sweeping over the words in a fearful rush. Back in secondary school maths again! fuck!


Ian McGilchrist being a WEIRD DUDE



COLOUR AND MASS, SHADE, SHINE, BRIGHTNESS AGGGHHHHHHH!


God fucking damn it brain, why you have to be so complex. All I wanted to understand was colour and mass.

Well, good news. Brain works out what shape and mass things are about 20 different ways at once. Edge detection and memory probably the most simple, though they exist at different ends of the binding/combining process (probably, we don't really know, and as I theorised above, 'different ends' likely doesn't make much sense in a temporarily fluid process with massive feedback loops).

Other ways - shade, light, texture, gleam, RELATIVE COLOUR. whoop de fucking do, all these things are changing massively, continually, always, depending on light, weather, perceptions, environment, background, movement between objects , movement WITHIN an object (which way will the Zebra jump - dunno as bunching muscles all fucked up by those dang stripes), and everything else.

False weathering patterns on 40k minis, showing you illusory mass one way, comic book style highlights on minis showing you mass another way, fake metal gleams in the non-metallic metal process showing you shape of imaginary metal, Blanchitsu style with decay and deep shadows, and the pale and nacreous skin which is good at showing those gothic shadows, showing you mass another way.

All somehow dealing with mass, or the delusion of mass, enhancing and re-creating the sense of 'shape' using false or simulated miniaturisations of aspects of the real(er) large scale world.

AND ALL DIFFERENT!!!

Especially when considered as different painting techniques, as in you literally need to do and think about a lot of stuff differently to employ each one.

Camouflage probably provides the key to entry to this subject but I have only read one book on it - stuff on 'Dazzle' (which seems like it didn't actually work, looked fucking cool though - raised morale, that counts!

But there are even different techniques and ideas behind kinds of camouflage. Camo for invisibility
for disruption of shape, of movement, counter-shading seems to have been invented, or re-invented by camo people (and oddly enough that is the exact opposite of a mini technique called zenithal highlighting).

Looking into the way camo destroys the understanding of mass and shape as a method for understanding how the eye and mind create and perceive mass and shape seems like a good idea.

More on this later perhaps.




Wednesday, 2 April 2014

This should see you off..



Some possible rules for the 12 Kinds of Dark

None of these darks will be found within what are commonly known as dungeons. (Except Dankscratch, a weak dark.) Darkness there is simply an absence of light. Only when players pass into the Underdark will they encounter these living darkness’s.

No dark can entirely disobey its own rules. It must hide those in its deeps and flee the light. But, on its margins, around the candles furthest reach, Darks make some choices on what they show or hide. If things have different relative visibility it comes into question mainly if the situation u a judgment. If a fleeing slave crouches next to a dropped coin at the end of a 40ft room, and the lamp has a 30ft range, but is inside the room, can thy be seen? Stippledark will expose the coin, Houndark will expose the slave.

Some darks have more extreme effects.


Dankscratch (Dungeon Dark)
- Likes exposing things in an over dramatic way, leaps away from exciting things and tends to expose rooms in one go.
- Hides behind door and corners, leaves the room illuminated but hides the corridor till the last moment.
- Flickers wildly by ten feet or more, more than the flame that casts it, even when that flame is still.

Stippledark
- Small precise things can be easily found, larger things, like monsters, may not.
- Always exactly the stated distance from the light, no more, no less. Never flickers.
- Magic looks petty passing through. Wild displays do not impress or shock morale.

Parlourdark
- Socially aware, those who speak well become more visible.
- The face of someone you are speaking to is almost always visible.
- Interested in clothing and accessories, you can see what others are wearing or carrying.

Umbraphillian
- Retreats and follows faster when you move. Direction of your travel has radius increased by ten, dark follows 10’ closer behind you.
- Loves depth and volume, retreats in fragments to expose great drops and vaults of stone.
- Loves beauty, Those with high CHA are seen first, and more easily., works of art visible at a distance.

Nefarshade
- Creeps closer when not observed, tendrils of shadow get to within a few feet of light without constant checking.
- Confuses size of things. PC may not be told if if small and near or large and far.
- Hides stolen or illegal things well, clings to them.

TerpsiFulgin
- The Beauty of Death, those dying, poisoned, downed or bleeding out, gain ‘Charm’  in its shade.
- Illusions designed to increase beauty slowly ebb away in it (Duration halved)
- Frauds are twice as easy to detect.

Aphelionbral
-Blurs its boundary, PC may not be told exactly where the light begins and ends.
- Reduces apparent distances, DM may subtract ¼ from estimations if they wish.
- Hides identities and distant shapes, even those illuminated may be unclear.

Obsidum
- Shows distance. Exact lengths easily estimated by anyone.
- Silent. All move as thieves within it.
- Always followed by something worse. They next Dark will be from below it on this list.


Houndark
- Advances and retreats only 1ft per second before the light, slower than a falling man.
- Hides the hunter and exposes the prey. Those who flee almost shine.
- Won’t hide the dead. Bodies and the undead crudely obvious.


Scardark
- Light radius can vary by up to 50% every round.
- Shadows writhe, never staying in one place for more than d2 rounds.
- Black Flame, accidental fires give out no light for the first 30 seconds, dropped flames tend to find fuel.


Carnacht
- Always alone and still, this dark stays in place, it cannot be commanded or removed.
- Damage and HP levels on all sides are clear to all.
- Saves vs Death always fail.
- Exposes size, weight and power.


Kosomicoscot
- Divine or Diabolic magic and planar gating only within pools of light. Never in the dark itself.
- Light pushes back its boundary but nothing can be seen beyond. Nothing. Ever, by any means.
- Retainers and slaves test morale to travel through. PC’s test Rapture on light loss.

Monday, 10 March 2014

Twenty Lamps


Type
STR

1
Whale Oil
35
Clear yellow-white light.  Oil from the psychic whales of the Nightmare Sea. Slight but continual whale-song from the flame. Hypnotic sorrow. If you stop, wait and do nothing, in the absence of any event, you must save vs paralysis to come to your senses and act. Once an hour till the lamp runs out.
2
Candle lamp
15
Flickering yellow. Safe, reliable, cheap, 1 in 6 chance it goes out if dropped or in high wind.
3
Carbide Lamp
40
Bright, soft, white flame. Duergar advanced tech. Creates toxic carbide sludge that must be disposed of every day. Makes tracking you easy and offends wilderness dweller a great deal.*1
4
Luminol Lamp
30
Eerie pulsing green. Looks like a tiny water-clock. Two pipes drip luminol and blood in an alternating rhythm, they mix and activate in a base of hydrogen peroxide.
5
Drow Candle Lamp
10/30
Dull barely-lit red in the visible spectrum. Much brighter  to those with infravison. Candles are black honeycombs formed into cones, hexagons filled with strange pungent chemicals.
6
Amincule Lamp
10
Blue-green sealight. Reliable, safe. Can be poisoned by ammonia to triple STR for 1d6 hours. Then dies.
7
Squidlamp

30
Crammed squid pules with regular patterns dependant on situation outside lamp. Strobes wildly during combats. Tap the glass to encourage squid to attack that side and the light becomes directional. Squid will attempt escape.
8
Dragonfish Lamp

35
Unlike every other kind of bioluminescence the Dragonfish bellies glow a deep dark red as they circle in their endless hunting pattern. Will cannibalise at rate of 1 per hour if not fed. STR=Number of fish.2
9
Cancer Fulgens

25
The most boring form of bioluminescence. Simple molluscs. In an emergency, can be eaten. Will ody and its emissions glow for a day.
10
Fungal

20
Many varieties, all with the same soft green steady glow. If lamp damaged the fungus will colonise any open wounds of the holder. The wounds will glow. Then the veins.*3
11
Light of Decay

15
An awful lamp. Bacteria growing on the flensed body of an animal or fish carried on a pole or hung from a chain. Often turned inside out, guts glowing. Stinks.
12
Scarab Lamp

10/25
The iridescent green of this cat-sized sleeping scarab glows softly. When aroused the scarab extends its wings, buzzes loudly and flies up to the end of its chain. The wings glow a bright gold. Must be fed.
13
Mondmilch Lamp

45
Moonlight. Heavy lead-bound prison-tank. Insanely dangerous. Forms itself into nightmares of those who look. Activates lycanthopy.*4
14
Ultraviolet Butterfly
40

A skull in carried belljar. At first a deep ruby-red, then liquid rainbow, then a deep blue that forces manic depression.*5
15
Archean Lamp
D50
Each utterly different works of art. All toxic. Must be carried on the ends of poles as contact causes 1hp damage each day. In a sealed environment users must save each hour or take 1hp damage from fumes. Fed metal to work. Cages usually wood. Very expensive.
16
Bound Fire Elemental

5-50
Varies from butane-blue to sun-yellow. Essentially like having a political prisoner. Wards must be continually renewed. All encountered fire creatures will be hostile. May shrink or grow to confound you. Can be punished. Reliability depends on negotiation.
17
Portal Lamp

30-50
Strange lights depending on plane or location reched. A fragmentary portal to another plane where the light is constant.  Only hand sized but can provide means of communication for creatures from that plane. They may have demands of you.
18
Demonic
40+
Unquenchable. Registers as evil (though this almost meaningless in Underdark) only ever traded for specific services and exchanges. Never money or material things. Never worth it.
19
Ghostlight

40
Tiny bound ghost. Ages whatever it touches, cage must be gold and renewed at times. If wards fail, will escape and magic jar its owner.
20
Lightning Jar
40
Bound micro-lightning in the copper-wired body of a Stromsheep. Tries to escape. Unreliable weapon. Carrier must be grounded for safety. Don’t break it. Cannot be turned off.


*1 A D&D character is unlikely to understand the chemistry of this lamp. They will not have a fundamental comprehension of how it works and will be unable to fix it. (Duergar have access to mirrored headlamps that work off this system but will not sell it or use it outside their controlled volumes. Using one is a sign that you killed one or stole from them.)

*2 Many an unfortunate adventurer has stumbled to safety by the light of a single remaining fat Dragonfish.

*3 Infection grows to infect one HD each day and subtracts one hp for each die affected each night. So if a player had eight hit dice and goes untreated for eight days, they will lose 8 hit points each night. It takes one heal spell per HD affected to cure the disease. The same player would require eight Cure Light Wounds spells in one 24 hour period to be safe. If they only get seven, the infection is still there and will re-grow as before.

*4. See Mondmilch entry.

*5 See Ultraviolet Butterfly entry

Other rumoured light scources

Quarts & Uranium Nitrate Maracas
Nightmare lamps
Psionic lamps
Light Knife – casues glowing wounds with STR equal to damage casued.
Holy Organs
Archean Flowers
Starlight Jug – pour this liquid out into a pool and it reflects the stars in a night sky.
Luminal Kojo Cigarette – Smoke from these glows like the dawn
Golden Mask – heavy and bloodthirsty
Skin of a golden snake - rare