Friday, 10 August 2018
Thursday, 26 July 2018
And now for something completely different, because I can never work on just one project (in fact this is what was bugging me as I was trying to finish the last post).
The picture is low res but the vector pdf is here. Haven’t tried printing it yet.
Now, about the deck.
Cosmology and the Fortune Deck
The 36-card Lenormand deck has four Aces, twelve Court cards and twenty numbered cards. These represent three tiers of reality:
- The Aces are the Primes, which are universal cosmic principles.
- The Court cards are the four Courts of magic. These are the twelve schools of magic available to PCs (at the start). Kings are static, Queens are dynamic and Jacks are mutable. When I run this game I plan to make extra cards and give them to the players as table artefacts.
- The numbered cards represent Gates between each tier of occult society. These correlate with the ratings in each element.
The Gates have a kind of informal hierarchy. No one card is necessarily stronger than another, but they represent a transformation of magical awareness.
- The sixes represent the first step; gifts, opportunities, guidance and crossing thresholds.
- The sevens are all about connections and networks in occult society.
- The eights are about gathering, consolidation, thoughts and ideals, symbols and membership.
- The nines concern themselves with legacies, remnants, plans, deep impressions, future vision, truth and falsehood.
- Finally the tens are about evaluation, power, transformation and territory.
As magicians gain strength in each of the suits they will transform according to the level they’ve achieved. At a rating of six they become an attractor, becoming visible to occult agencies. At seven they will start to notice their peers. At eight they will acquire a mark that identifies them to their peers, and may choose to enroll in a College. Nine and ten are very uncommon and usually involve specialisation in the chosen College.
That will do for now. Time for bed.
Wednesday, 25 July 2018
The character history method from part 2 should produce interesting, three-dimensional characters with a bit of mystery and personal plot hooks.
By comparison, demons are cartoonish, one-dimensional, one-trick ponies — which is intentional. Demons are all about a character’s singular purpose in life and how it’s both a path to power and damnation. Whereas the human side of the character should feel “real” with believable professions, the Demon side is much more like a character class.
I. Brief notes on demons
A demon represents a character’s drive. What I mean by this is that the demon is essential for the character’s heroic aspect. A superlative warrior unmatched in combat owes their ability to their demon; their identity is the demon, the two are inseparable.
There are six Demon Realms that define six dimensions of activity.
A Demon Realm has associated lesser and greater suits, or petitions which may be made for magical aid. A demon can access the lesser and greater suits from its realm, as well as the lesser suits from two adjacent realms.
A demon always seeks to transgress against its master. It achieves this goal by accumulating power through its master’s over-reliance on its services.
When a demon successfully transgresses, it undergoes metamorphosis.
II. Generating the demon character
To generate the demon half of the PC you need to decide on Drive, Demon Realm and Seeming.
Drive is a lot like a Character Class. It’s a direction for the character’s life, something they’re supernaturally good at. The basic fantasy tropes of fighter, magic user, thief and so forth work here; in fact I really encourage thinking in these terms. The demon is all about power and exceeding human capability, and the powers it bestows fit into these particular classes. In fact, it’s probably not possible to think about Drive without thinking about your demon’s Realm at the same time — so we’ll cover that next.
The Realm of Violence defines warfare, causing harm and injury. Its demons are demons of combat, demon weapons. It borders the Realms of Durance and Majesty. It is almost always associated with martial Drives, i.e. fighters and soldiers.
The Realm of Durance concerns surviving pain, disease and injury, and superseding the limits of the body. Its demons are armour, shields, wards and pacts. It borders the Realms of Violence and Flux. It will be associated with martial pursuits as well as the wilderness, for example scouts and rangers, barbarians, and possibly some priests or druids.
The Realm of Flux concerns movement through and perceptions of space and time, and its demons are transporters, teleporters and gates. It borders the Realms of Durance and Contrivance. It is often associated with athletic and/or larcenous Drives such as thieves, acrobats, or assassins.
The Realm of Contrivance is about satisfying desires and needs. Its demons are lovers, seekers and procurers. It borders Flux and Voyance. Its drives are frequently arcane, including illusionists and sorcerers.
The Realm of Voyance deals with knowledge of past, present and future. It borders Contrivance and Majesty, and its demons are scryers, seers and ledgers, and its drives frequently involve priests, oracles and sages.
The Realm of Majesty controls minds. Its demons are possessors, controllers and parasites. It borders the realms of Voyance and Violence. Its drives are politicians, leaders and enchanters.
Last, have an idea of what the demon looks like — to the PC, and to the external observer. Many demons, especially low level ones which are only beginning their metamorphosis, appear as some kind of motif on the character. A fighter might have a particular sword, for example. It could be clothes, body art, a piece of jewellery. It could be something large and immobile, for example a hotel, but this would limit the scope of the game to in and around the hotel (which wouldn’t play easily with a hex crawl).
Perhaps more interesting is the PC’s internal perception of their demon. If you go with the idea of the player to their left playing the demon from time to time, that player will be helped by knowing how the PC actually sees their demon. Is it a voice in their head, a long shadow from behind a tree, a reflection, a speck of dust in the corner of their eye? Or is it more overt, like a goblin that sits at the end of their bed?
III. Example: Kayl’s demon
We know a lot about Kayl’s past from part 2, but what about their ambition?
The obvious choice is to follow Kayl’s background and make them some kind of witch or mystic. Perhaps when the adventure starts they’re just on the cusp of awakening; they have realised their potential and manifested their own demon.
For Kayl’s Drive we simply write Fane Witch. That’s nice and punchy; it’s direct in the description with just a little hint of the connection to their backstory.
If Kayl’s a witch, the more obvious Realms for their demon are Voyance, Contrivance and Majesty. Contrivance would make them some kind of conjurer or illusionist, and a very physical kind of magician. Majesty would make them a kind of social manipulator, and confrontational with it. The middle ground is Voyance, which would make them a seer and able to connect with other worlds. Note that they will access minor powers from Contrivance and Majesty as well.
What is this demon’s Seeming? Kayl’s player decides that they have taken to wearing makeup outwardly, great black smears over each eye which makes them seem strange and ferocious despite their youth. Inwardly their demon mostly manifests in their dreams; it is the voice of the matriarch interred at Aelfa, speaking from the threshold of her tomb under a sky like ash.
And that’s all for now. I’ll come back to StormHack with actual mechanics in the near future. But the next post will be something a bit different.
Monday, 23 July 2018
Part 1 was an overview of the Human and Demon sides of StormHack characters. In this post I’ll make an example of character generation for the human half of the characters.
I’m going to combine with an idea I had for the Beyond the Waves setting, and use this to also generate the archipelago around the character’s home island.
Each character has 3 backgrounds or roots:
- Growing up is about experience, skills and family connection
- Tradition is about inherited knowledge, customs and connections from the family’s past
- Legend is about the family’s secrets and ancient hQistory from long in the past
In general these are written on the character sheet as this sort of thing:
My family are reef-fishers. I was taught by my mother who came here from the island of Aenesi to the north.
This establishes a couple of anchors (the island of Aenesi, the character’s mother), and their trade (reef-fishing). We’ll generally use this format for each character.
II. Mapping the Archipelago
We’re going to establish the play group’s home island and then trace each character’s family past and the roots in other parts of the archipelago.
We’re going to generate three layers of surrounding islands based on migrating families. The first immediate layer will be the people who settled the home island (0-2 generations ago), the second layer will be ancestors 3-6 generations removed, and the last will be earlier generations. As you might expect, each layer affects inherited skills, knowledge, culture and/or legends — which will be expressed as roots (q.v.).
I’m drawing the map on a dot grid using a scale of 5 miles to 1 cm. Note that the viewing distance to the horizon from sea level on our planet is about 3 miles, and from 30m up this extends to 12 miles. Sailing craft probably travel between 5-8 miles per hour and rowboats around 3 miles per hour.
I prefer the home island to be small (by the definition of the Island Generator, 1-5 miles across), small enough that the PCs will have explored nearly all of it as children and the coastline forms the effective “wall” of the village. By contrast any other island — even one which is settled and apparently friendly — is beyond the wall.
i) home island and settlers
First, draw the home island roughly in the middle of the paper, bearing in mind the proportions of 1 cm = 5 miles.
The character’s family migrated here from a nearby island. How long ago? Roll 1d6: on a 1-2 it’s 0 generations (i.e. the PC came to this island as a child), on a 3-4 it’s 1 generation (parents), and on 5-6, 2 generations (grandparents).
Where did they come from? Roll a d8 to pick a compass point (e.g. with a 1 meaning North, and counting clockwise). Then roll 2d6-2 for the distance in cm on the paper. Treat a result of zero as \<3 miles, i.e. close enough to see from the beach of the home island. The maximum distance is therefore 50 miles.
It’s up to you how big the island is or what shape. You can use use the island generator although a note of caution — I tried using those tables and they all tended towards much larger islands than the home island, so I intend to revise the tables in the near future. Still, it could give you some ideas.
Whatever method you choose, draw an appropriately sized island on the map.
Name the island.
Since this island is both near and has recent family on it, unless there’s a good reason the PC has probably visited it more than once. Pick at least 3 of the questions below to answer:
- What trade, skill or knowledge did your family bring from this island to your current community? (you could use the growing up tables in the Beyond the Wall playbooks for this one)
- How did children play on this island?
- Where did children play on this island?
- What well known food or drink is found on this island?
- What is the biggest natural hazard or enemy found here?
- What is the biggest human threat found here?
- What does it mean to be wealthy on this island? (clothes, trappings, housing, social position, etc.)
- Tell us about someone you know who’s about your age on the island. Who are they to you — a friend, an enemy, a rival, a sweetheart?
- Tell us about someone who’s considered old on this island. How does the community treat them? Are they wise, powerful, mysterious, dangerous?
- Tell us about something unresolved that your family left behind when they left this island. Who is involved? What is the focus of the problem — love, money, land, a birthright, an old injury or feud?
- An object from the island hangs in your family home. What is it?
- Tell us about a magical experience you or someone close to you had on the island.
Additionally answer these questions about how your family fits into the home island:
- What is their trade? (if you answered question 1 above, the answer will be the same)
- Who are their neighbours? (describe up to 2 other families)
- Besides the other PCs, who did you grow up and play with? (name and describe one other NPC)
At the end of this, write your character’s Growing Up root like this:
My family’s trade is… We/my parents/my grandparents came here from the island of… (any other details)
ii) ancestors and traditions
The second island is placed like this:
- Pick a direction by rolling 1d4-1d4, which will give you a result of -3 to +3. Take the original direction from the home island to the previous one, and use this number to move that many compass points away from that direction. For example if the original heading was north west and you rolled -2, the new heading will be south west from the new island.
- Roll 2d6-2 for the distance as before.
- Choose (randomly or otherwise) the island’s size and shape as before.
This island differs from the last in that the PC will have no living relatives, but they’ll have ancestors, roots and traditions. Answer 2 of the following questions:
- Your ancestor’s tomb sits on this island. What does it look like? What are the burial customs?
- Your ancestor is known for a particularly heroic, impressive or egregious deed. What was it?
- Your parents have a habit of a small social gesture, phrase or mannerism at the dinner table, that you’ve not seen anyone else in your community make. What does it mean, and what connection does it have to this island?
- Your ancestors are known for a particular talent. What is it?
- The island has a distinctive natural feature that you’ve never seen elsewhere. What is it?
- The island has a unique human-made feature. What is it?
(Naturally these can be expanded into lists or tables if/when one has time or inclination)
Once you’ve done that, answer the following questions:
- Your ancestor was part of an organisation, fraternity, guild, bloodline or other group. What were they?
- What skill, knowledge or art did your ancestor practice?
- How did this information come to you? An object, a scroll, word of mouth?
- Did anyone hide it from you? Did anyone go out of their way to give it to you?
Place the third and last island as you did the second one.
Here’s the twist. Your PC has never been here; this is only where you think the island is. It’s up to the GM to decide how close the island is to the spot.
(Note to self: write GM advice for when it’s ok to lie to players and when it isn’t)
This is a place your PC has only heard of in fragments of diaries, the cryptic allusions of elders, whispers at the cradle. You have an inexorable connection to this place. It may represent your destiny.
Some thoughts on how to write destinies:
- They should be about something the character might do, not just something they might see, acquire etc.
- They should have a cause and effect as in when PC does X, Y will happen
- X should be cryptic
- Y should be ambiguous
Writing character destinies will probably be fun, but unless you’re planning a long campaign they may be a waste of time.
Of course, if you want to drive the action towards a character’s destiny, then you could do worse than signpost it like crazy so the Pcs come into contact with it. Destinies may be obscure and uncertain but they should also be kind of obvious.
This brings us to legends.
Associated with this third and final island is a family legend. Choose one or write your own:
- Hidden treasure.
- A powerful weapon.
- A gate to somewhere else.
- A sleeping god or monster.
- A temple or place of power.
- A secret society.
Once this choice is made, the player should answer a couple of questions:
- how did you find out about this place? Was it written down, told to you, do you dream about it?
- what’s the connection with your family? Did they discover it, did it cross their path, did they steal it?
- who else is involved or interested? An individual seeking power, an organisation with a prophecy, the original owner?
The GM should consider a things as well (in secret, natch):
- how far is the island from where everyone thinks it is?
- how is the island different today from the description in the legend? What one feature still stands out?
- what powerful, independent NPC or group is really interested in this legend? How might they get entangled in the PC’s business?
- The legend the PC knows is only half the story. What’s the other half?
III. An example
The home island is called Beq. It’s a small island with numerous cliffs and beaches. Its partner Ourd sits to its north across a trecherous strait, and is accessible by rope bridges and cable cart.
Kayl is our first PC. Their stats are STR 12, CON 9, DEX 13, INT 11, WIS 15 and CHA 10. They’re physically capable but also uncommonly wise and insightful for their age.
We roll the dice for Kayl’s Growing Up root: 3 for number of generations, 8 for direction and 7 for distance in cm. They’re second generation migrants from an island 25 miles to the north-west of Beq called Three Knives, and Kayl has visited there many times to see their cousins. Kayl’s player answers a few questions:
- We know that iimpa is brewed on the island and each island family guards its own recipe
- Kayl’s family are brewers and horticulturalists, and have successfully cultivated iimpa floss of high quality on Beq
- It’s an open secret that the family settled on Beq after a falling out between their father and his sister, who disapproves of the family trade being taken outside Three Knives
- All the families move in merchant circles and adults display lip-rings specific to their bloodline
We roll the dice a second time for the second island, concerning Kayl’s ancestors. Aelfa is located south-west of Three Knives. Kayl’s player answers a couple more questions:
- Aelfa is perpetually surrounded in mist and the surrounding waters are rocky; the folk on the island maintain a beacon to warn nearby boats.
- Kayl visited the place once when they were very young, to inter the bones of a matriarch from the families of Three Knives. It was a weird ceremony and they were warned not to make any noise or draw attention to themselves. They were made to wait outside with the other youngsters when the adults went into the tomb.
- Kayl’s mother told them that Aelfa means “cradle of the witch”, and that the power of natural magic runs in their blood. Aelfa was once the seat of a coven of magicians called The Fane, and Kayl is named after one of their order.
Finally we roll the dice a third time and we learn about Kurst, a land to the west of Aelfa beyond a turbid stretch of water called The Shoal.
Kayl found out about it when the family was unexpectedly visited by a mysterious relative. Most of the time they sat with Kayl’s parents and made small-talk as they partook of their hospitality, but when they were alone the stranger turned to Kayl and told them in a cracking voice that it was time to return to Aelfa and seek The Fane, who would open the way to the Eye at Kurst.
Write the character like this:
Kayl, apprentice brewer and latent magician
STR 12, CON 9, DEX 13, INT 11, WIS 15, CHA 10
Growing up: mercantile family of brewers and horticulturalists (trade), father (anchor), lip ring (motif) Ancestry: latent magician (skill), ancient magical society The Fane (connection), family tomb at Aelfa (place) Legend: opening the Eye of the Fane at Kurst (prophecy)
IV. Last words
This is the map in progress. With a group of four characters you’ll generate 12 islands already; expect the GM to fill in the map with a few others, including major antagonists like island city-states, etc.
One thing I didn’t cover was how individual histories interact. If you draw a path tracing back each character’s history through the archipelago, there’s a chance that some of the paths will intersect.
What happens when two PCs’ histories cross? How do you create the shared history in the group? I’d suggest to go back to the questions — maybe pick a couple that the player didn’t answer, and invite the other player to answer.
One other remark: the typical adventurer templates are covered well by the D&D standards — fighter, mage, thief, etc. These are the archetypes of competence we think of for heroic fantasy.
However, the skills implied by the character history will frequently be domestic, rarely heroic (e.g. Kayl is a brewer). This makes sense because the village is a settlement at peace, and most inhabitants are defined by domestic careers such as farming. These work for villagers, but aren’t very sexy or useful for adventurers.
Note how Dungeon Crawl Classics starts off characters with a non-adventuring profession and sees who survives the funnel; at the end of that ordeal, the one survivor may pick an adventuring class.
Characters are started off in this way to underline their mundane nature, and thereby draw attention to the threshold they cross when they go off adventuring. It should be the same case here; the skills implied by personal history are only marginally useful a lot of the time, and the real “adventuring persona” emerges with the character’s demon, their ambition. This is what I’ll cover in the next post.
Thursday, 19 July 2018
Ages ago I had the idea for a “community phase” for Beyond the Wall. Here are a couple of posts:
TL;DR these are an idea for a two-part character. One half of the character is the adventurer and exists “beyond the wall” i.e. when they’re off adventuring. The other half exists “in the village”, or when they’re at home and interacting with friends and family. I still like the idea and it fits certain genres (anime comes to mind, where characters who are brave adventurers risking their lives still get into domestic capers when back at home).
Later I wrote this into StormHack: see here (note that I re-wrote the A6 booklet here, but that later version doesn’t mention the Drama Game). But truth be told something’s always bugged me about this approach. The two sides are more or less entirely separate, which creates a kind of cognitive dissonance as players switch from one phase to the other. What I really wanted was for the PCs to have those relationships but for those to tie back into the adventure and for their emotional components to have an effect on (or at least be present in) the adventure game.
StormHack characters do have a dual nature. The human is all about human experience, family, history and emotions, whereas the demon is about power, ambition, expertise and magic. The premise has always been that the human side has no levels, does not gain experience or power; but demons on the other hand have levels and it’s entirely up to the player how high those go. A higher level demon will give a lot of power but when it transgresses, it will really screw up the character’s life.
And that turned out to be the solution. The human side has all the connections to family and place. These give the character some capability (skills and experience) which can be used directly in the adventure game. However, it’s these connections — Roots — which get attacked, tainted, corrupted by the demon when its power finally comes back to bite its master. Thus there’s this cycle:
This integrates the human side and the demon side. I’ll go into the mechanics of how this works some other time, but for the rest of this post I want to discuss the two sides to each character.
I. Being human
The human side of the character is all about their past and ancestry, the life they had growing up, and the influence of friends and family.
The standard 6 ability scores (STR, CON, DEX, INT, WIS, CHA) belong to this side of the character, and you can generate these any way you like — as a point-buy, rolling randomly, using playbooks as in Beyond the Wall, etc.
The accompanying roots are influenced by Whitehack’s groups. They’re sort of broad statements about vocation and cultural experience, and you can leverage these in-game for an advantage on a d20 roll (i.e. roll twice and pick the result you like).
Each character has three roots:
- The first and most recent is growing up. It’s all about the skills and experiences you got from your family and friends. If the family business was fishing, or milling, or brewing, that’s something you know how to do. It manifests in parents or other people of the same age who have been an influence as you grew up.
- The second root is tradition. This is something cultural about your family; it indicates belonging to an ethnic group, a race, or a tribe.
- The third and oldest root is legend. This is something like a rumour, family story, or connection to something very old that began long before you were born.
All roots have an anchor-point. This is the person or place strongly associated with the root, and this is something the character will keep coming back to. Parents or friends will often be an anchor for growing up, grandparents or the community for tradition, and places or heroic stories for legends. These roots extend back in time. Often you might want
Roots don’t have to be beneficial all the time. A tradition (which could be a religion, ethnicity, etc.) might be useful but at the same time bring the attention of bigots. A legend could be exciting and inspiring, or it could be a dark doom that follows the character around.
II. Being a demon
“Demon” can be anything from strange otherworldly creatures summoned and bound to the conjurer’s will, to psychic self-actualisation and manifestation of latent talents. The definition of “demon” can be very literal (as in Chaosium’s Stormbringer) or allegorical/metaphorical (Ron Edwards’ Sorcerer) depending on your game. The key points about demons are:
- Their apparent power that they exercise on behalf of their master has a real in-game effect: destroying things, enabling the character to fly or walk through walls, conjuring stuff out of thin air, seeing into the future, controlling other people’s minds. All of these effects go beyond what normal people can do.
- If the PC gives the demon permission to act, they risk the demon transgressing. That transgression also has a real in-game effect: destroying relationships, tainting reputations, attracting enemies.
- The act of transgression gives the demon power, and causes it to grow. This is a metamorphosis.
- When the demon is stronger it can tempt the PC with more powerful effects, but its transgressions will be similarly worse.
And there you have it. Demons could be a metaphor for pursuit of power, ambition or dedication to something at the expense of humanity and human relationships; or they could be really, really evil beings which latch onto humans and tempt them to use too much power and wreck their relationships and leave them as an emotionless, hollowed-out husk. Your choice.
Demons have an associated drive. This is an expression of what sets the character apart from their peers. For example a character’s drive might be to be a great warrior or knight. That drive directs the demon’s power (in this case, in combat). In general Drives look a lot like careers or vocations; and in a lot of cases they function just like roots do as skills and experience. Thus if the character called themselves “Knight of Leopards” they might get an advantage when fighting, when conversing at court, when ordering commoners about, etc.
Whether or not the world believes that demons exist, they definitely talk to their master. They tempt their master to use their power, and then introduce thoughts of how they might transgress. In-game you might want to give the job of roleplaying a character’s demon to the player on the left of the player in question. That player might have fun ideas on how the demon will next transgress if it gets enough wriggle room.
Coming up: I’ll provide an example of generating the human characters in the Beyond the Waves archipelago setting. Shortly after, we’ll do an example of the demonic side of a character.
Friday, 6 July 2018
In 2000 we carried two kittens through the flood in a cardboard box. Over the years to come they brought us great joy and were better companions than we ever imagined they could be.
Today we said farewell to Puck. He survived his sister by a few weeks but we’re not sure he ever got over her loss. He was thin and looked tired, and hadn’t eaten or drank anything all day today.
But for most of his life he was a bruiser. He liked his dinner and he liked to be out. He definitely got into fights, showing off his torn ears. Also when he was a kitten he’d pounce right on my crotch while I lay in bed.
And now we have no cats, which is a peculiar and melancholy sensation.
This was the puckster:
Wednesday, 30 May 2018
My POD of Blades in the Dark arrived! I finally got around to redeeming the at-cost code sent out to backers (though to be fair it was a year late by the time it was sent, so my interest had waned a fair bit). It’s a great POD — nothing fancy, just right for getting dog-eared and creased at the table.
I will now talk about my subjective views on the BitD Kickstarter campaign.
- Some of the goals were promised as favours to Harper, unpaid, yet appeared against monetary stretch goals — but the KS funding levels were simply irrelevant because those goals weren’t being funded by the cash
- Swapping favours with each other’s KS is what was done “back in the day” between indie RPG authors
- Harper hasn’t been very communicative about the stretch goals until now
- The stretch goals are late… but as some people have said the timing for these should really be from when the game was finished, rather than when the campaign started
- There’s some debate as to whether the stretch goals are a deliverable, or just an added complementary perk (like airline food)
My thoughts are (1) why shouldn’t Harper monetise return favours for work he’s done for other authors, (2) there’s no reason swapping favours shouldn’t be fine these days either as long as Harper remains accountable, (3) maybe annoying but I stopped reading the comments a year ago anyway, (4) yeah, okay… (5) no idea.
I have no doubt that Harper intends to eventually make good, the contributors are quite happy to be doing an unpaid return favour.
I also think that even though BitD has been way off the original delivery estimate (Nov 2015) it’s also been really great value for money with 8 major releases before the final PDF. I ran using version 4 or 5 and it was already excellent. I would like to see the stretch goals realised (especially Jhereg) but I can wait.
But here’s the interesting thing. Half of the focus on the KS is the amount of money pledged — nearly $180k. This has lead to all kinds of comments re: whether or not people should be paid since this is clearly a successful commercial venture. At the same time the other half is around the handshake agreement, quid-pro-quo, barter system that exists between indie designers. I see zero conflict between these two areas but it’s obvious why it’s a source of confusion and tension.
And here’s the other thing: I anticipated this would be the case last year when the partnership with Evil Hat was announced. It was an obvious move from indie into corporate territory (and yes, Evil Hat is a corporate entity — at least, no less of a corporate entity than Chaosium or Pelgrane or other mainstream houses). That in itself didn’t bother me, it’s a natural progression for such a wildly successful campaign and the BitD brand.
The thing that did tick me off at the time was the upselling of the hardcover. From Feb 2017:
(Sean Nittner, with whom I interacted with more recently here)
Unfortunately I don’t have the “discounted” cost of the printed hardcover, but I do remember shipping costs — $25 dollars to UK. The book itself was probably around the same price. I also got the option to pay for the special edition instead for something like $75 total. Now for the record my POD copy cost me less that £10 delivered. It’s not nearly as nice, but it’s between a third and a fifth of the HC cost.
I’m cool with people trying to upsell and make money. At the same time I resent being upsold when I’ve mentally already set my price, especially with the limited time offer, act now approach.
And the thing is, this is an inevitability where indie designers are brought into contact with corporate entities — KS, Evil Hat, whoever — who will upsell to and exploit their fanbase for every last dollar. That’s not a criticism, even though it sounds like it. It’s exactly what corporations do and should be expected to do. The only difference is the brand and quantity of lubricant they use.
Tuesday, 29 May 2018
18 years ago we carried two kittens through a flood in a cardboard box.
Part of a litter of five born to a ginger queen, Cobweb was one of two tortoiseshell kittens. Their faces were a mirror image of the other. I don’t know who took the other kittens; I think the other pair of male-female kittens went to another couple and the last one, a big dopy ginger tom, went to a child. I’m sure they loved their cats every bit as much as we love ours.
Cobweb’s speciality was sitting. She was the main reason for the I Have A Cat rule for tea and booze conveyance. She would sit on laps, on pillows, on chests and backs and heads of sleeping humans, on important documents, on anything that would gather cat fluff.
When I was away in another country my other half would send me pictures of herself with Cobweb on her lap.
She was the rumblecat. Her purr was audible across the room.
And we’ll miss her.
I go back and forth between writing tools and methods (rich text, outliners, markdown, mind mapping) and those are all useful but also terrible for procrastination. This made me think back to my first A6 version of StormHack which by strange coincidence was posted exactly a year ago today.
8 Page, Thousand Word RPG method
Two nice things about the 8-page pamphlet format:
- It forced me to draw boxes around the system elements which really focused me on what I wanted to say to players
- It also forced me to be economical with writing
The word count is at most 135 words per page, so 8 pages is just over a thousand words — call it a 125 word-per-page target for a nice round number. This is just for one side of A4 paper folded into an 8-page booklet, not counting the other side.
Now although people have risen to the 200 word RPG challenge (hey look, the deadline is tomorrow) I think for me even 1000 words will be a stretch to fit everything in; so instead I need to think about what my little booklet will do. It should be something I can hand out at the table that explains everything people need to know about the system.
What about the other side of the page? Maybe a map, setting detail, or a character sheet. But that’s for some other time.
For now, here’s version 2 of A6-StormHack. Print it, cut and fold where it tells you and you’ll have the booklet. I’ve taken a knife to some of the sections in the previous versions; it’s much more mechanic focused. See if it makes sense.
Thursday, 24 May 2018
I love my fountain pens, but recently I started using my stash of Field Notes for individual RPG projects and since Field Notes have (mostly) terrible paper, a pencil was the way to go. I’ve really liked the results — the little notebook gets creased and scuffed, the pencil gets worn down. It feels like progress. I then discovered I liked using pencils on nicer paper. I trade pencil ghosting for ink smudges and overall it’s a sideways move, but pencils are erasable and resistant to spilled tea.
A couple of weeks ago I spent the weekend in New Jersey, and spent my Saturday walking around NYC looking for RPGs (the Compleat Strategist) and stationery (C.W. Pencils), then drove out on Sunday looking for pizza and more stationery in Chester, NJ (The Pen Thing), which by the way is lovely and green and nowhere near the NJ turnpike and fantastic drive for soaking up Chuck Tingle’s podcast.
At C.W. Pencils I scored some Baron Fig Archer pencils and their Lock limited edition notebook as well as a selection of other US and Japanese pencils:
The Archer pencil is fairly thin and light, and it feels an awful lot like the Leuchtturm pencil I’ve been using. Since the Archer is apparently made in Portugal (by Viarco?) perhaps the Leuchtturm is as well. Its dimensions are very similar — no eraser, fairly narrow, light, rounded painted end, silkscreen (as opposed to imprinted) printing.
The ones I really wanted to try are the Mitsubishi 9850 and the General’s Semi-Hex which are basic Japanese and American office/school pencils respectively. General’s is made in Jersey City, and one of only three manufacturers left in the US apparently (I also scored a Musgrave test pencil which is very interesting).
Just as a vibrator can’t replace a good man but a man can’t replace a good vibrator, a pencil won’t replace my fountain pens but the reverse is equally true. The way the pencil gets consumed by the act of writing is very satisfying, and I enjoy making little screaming noises as I sharpen them at my desk in the open-plan office.