Tag: rpg (Page 1 of 32)

Backers in the Dark

On May 30, 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.

A lot of people are up in arms about the BitD stretch goals. You can read about them here and here and here. Tl;dr:

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.

BUT

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.

StormHack A6 and the 8 page method

By Smiorgan

On May 29, 2018

In My Games, Roleplaying Games

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.

StormHack 2.0

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.

Beyond the Waves: relics from the last war

By Smiorgan

On April 8, 2018

In My Games, Roleplaying Games

For Beyond the Waves: ancient technology from the last war between the Haunted Empire and the Island States.

I. Ekranoplan wrecks

The airspace above the Archipelago is haunted. The Empire’s flyers would dive when they hit the Archipelago airspace, or curve in unpredicted trajectories. For decades the imperial scientists attempted to map that volume of air with its many loci and vortices and tunnels, but Sigma/Omega ratios could suddenly peak and vehicles would return decrepit, pilots bags of dust. Flying over the islands was too much of a risk even for a behemoth like the Empire who could throw steel and flesh and bone at any problem.

The ekranoplans were vast surface wing craft, much larger than any of the vehicles in service around the various island states. They were designed for carrying cargo, weapons and troops rapidly over long stretches of flat water for exploration or conquest.

Abandoned ekranoplan hulls can be found along the western shore of the land and on some islands.

1d12	Ekranoplan wreck points of interest
1	Wreck completely overgrown inside and out with several well preserved bodies inside
2	Coded military orders
3	A luxury fitted stateroom with Imperial memorabilia
4	1d4 active torpedoes of unknown payload
5	Several cubic meters of ancient computer
6	Disdended corpses and signs of bungled emergency egress
7	Maps of western ocean with expedition diaries
8	Leviathan tissue samples
9	Armoury with 1d3 lightning cannisters and other hand weapons
10	Neuronic interrogation equipment
11	Banks of cell samples, seeds and mature plants which have overwhelmed the vehicle interior
12	Human squatters who are either (1-2) inferior and afraid, (3-4) well-matched and hostile or (5-6) contaminated and infectious

II. Acoustic Mirrors

The obsolescense of aircraft that resulted in the ekranoplan in turn rendered radioetheric detection useless as the flyers were too low to resolve against the surface.

Sound mirrors were developed and many examples were installed on the shores of the eastern-most islands.

1d10	Acoustic mirror points of interest
1	Sound has attracted unusual animals or birds
2	Sheltering human settlement who have decorated the mirror
3	Mirror receives broadcast from somewhere out in the sea
4	Tribe bases religious observations, calendars and rituals around seasonal ambient sound from the mirror
5	Mirror contains a bunker underneath with telegraph room which is receiving a signal from somewhere
6	Mirror reflects leviathan song
7	Mirror has been damaged and tilts at an impractical upward angle, but is receiving transmission
8	Mirror has been broken down, moved and reconstructed to serve an unintended purpose
9	Local gravitational or spacetime distortion
10	Several imitation mirrors have been built up in the same area, and sing to one another

III. Targe hulls

Targe (“shield” or “border”) hulls are chains of either mobile floating or permanently anchored armoured platforms designed to interrupt assaults from ekranoplan vessels with poor manouverability and altitude control. Frequently installed close to sound mirrors.

1d10	Targe hull points of interest
1	Hull has been taken over by vast numbers of sea birds
2	Gigantic cannon, broken away from mounting and cannot be aimed
3	Remnants of a brutal skirmish; bones, damaged equipment, rusted firearms and cutlasses
4	Series of sophisticated signal towers line up with island mirror installations
5	Multiple stored drums of unknown chemical agent, some leaking into sea
6	Platforms severely damaged in collision, submerged ekranoplan wreck
7	Fishing settlement in former fortress with extended raft village anchored to fixed hardpoints
8	Suspended railroad connects network of artificial platforms strung between natural sea mounts and islets
9	Pirate hideout with livery
10	Bedrock collapsed under foundation revealing underwater natural structure

Image Credits and more images

Acoustic mirror by Paul Glazzard shared under CC BY-SA 2.0

Red sands forts by Russs shared under CC BY-SA 3.0

Ekranoplan art:

Bolt On

By Smiorgan

On March 5, 2018

In Roleplaying Games, Theory and Design

This was unexpected:

It’s a tweet from Sean Nittner from a series concerning submissions for Forged In The Dark. Weirdly the image comes from a two year old post from this blog concerning Dice Clocks.

(it made me wonder if he’d read what I wrote and this was some very, very oblique vaguebooking)

The opening tweet is a bit nonsensical: if you’ve created a rule for a new kind of action, then surely the system reflects that by definition. But I don’t want to take it out of context so here’s the whole text for this point:

Mechanics concern: Bolting on new tech. If you’ve got a rule for a new kind of action in the game, that is fantastic. If it’s core to the game that’s even better. The trick is to make the system reflect that, which might make for a deep (and possibly uncomfortable) dive.

If games looks like “Everything Blades has plus a random treasure table” or really “and plus anything” then chances are there is still to many Blades in your Dark! Consider these ideas (and I’d love to hear more):

Create your system from the fiction you want to see. Decide what you care about (that’s really important, this is your game, what YOU care about is what matters here) and build from there.

Consider your values and how they affect your design choices. They always are!

Question the narrative of play. Why the are the characters taking the actions they do? What is happening in your setting? How do those interact?

Leave spaces to fill in the details, but define enough of it that everyone knows the basic parameters they are working with.

Crucially Nittner is speaking as a publisher to a potential pitch, so his opinion is critical (in more than one sense): this is what he would like to see from a differentiating product. I’m not that audience, although I am an advocate for genre awareness (hence Fictoplasm). But I’d also say, why not bolt things on? A lot of games are modular by design, Blades included (along with PbtA, OSR, etc.).

The other interesting thing is this is Evil Hat, home of FATE, a system so generic and malleable that it should be simple to apply desired settings (a great strength, particularly if you’re developing games). But with FitD suddenly talking about baked-in mechanics which drive towards a particular genre. I’d be very interested to see how much the different Forged products differentiate themselves from the source and each other. I think I’m right to say the best PbtA games require incredible dedication and thought, plus engagement with the playtest base to achieve the creator vision.

Will company oversight help the differentiation, or will everything come out smelling of FATE?

Cthulhu Dark: Annihilation

By Smiorgan

On March 3, 2018

In My Games, Reviews, Roleplaying Games

Yeah, this is the first post for about three months. Short version is I took a break from social media to fix real life stuff, get well, re-evaluate what I want to do creatively, and make some resolutions.

One of those resolutions is to actually design and run some of the games we’ve talked about over on Fictoplasm; and one of those games is Annihilation/Southern Reach, using Cthulhu Dark.

One: Cthulhu Dark

The standalone Cthulhu Dark is a massive expansion on the original seven page appendix in Stealing Cthulhu. Not much has changed mechanically, but there’s a lot of added value in the Keeper’s section on writing and refining mysteries, how to play, and the new settings that make the bulk of the book.

Cthulhu Dark is a thoughtful product for a post-CoC RPG market. A lot of CoC successors colour the “trad” CoC experience via mechanics (Trail of Cthulhu, Cthulhu Hack, Savage Worlds versions, even Tremulus). Inevitably they also retread much of CoC’s content. Cthulhu Dark assumes the reader’s prior experience of Call of Cthulhu, the mystery RPG genre and the Cthulhu mythos. It’s a very self-aware product in that sense: it knows its audience, an audience that understands and runs free-form mysteries without the need for dictatorial mechanics. Here are the bits I particularly like:

Very simple mechanics (one die automatically, one die for expertise plus the Insight die if you risk your sanity). This is good; I don’t need the full gamut of CoC’s attributes and skills to run a one-shot horror game.
A very focused and concise Keeper’s section covering the essential elements of the mystery (Hook, Theme, who has the Power, what is the Final Horror)
Well considered tools on how to make the mystery the best you can make it. Some of these are iterative (for example, refining the Final Horror) and others are lenses through which to analyse your module by clarifying the key elements and asking whether they in isolation are enough (are the locations special? Do you telegraph the approach of the monster? Does the plot hold together logically? Can anything circumvent it?)
The notion of “creeping horrors”, recurrant motifs that underscore the horror
And finally, the section on Mythos threats with a couple of themes, creeping horrors, and locations for each. Unsurprisingly this feels a lot like a stripped-back Stealing Cthulhu (and that’s a good thing).

Two: Annihilation

I’ve been keen to cover Annihilation since we talked about it in S2E4 of Fictoplasm. Rather than recap here in detail I’d say listen to the podcast or better still read it first (it’s only a couple of hundred pages long). Also Alex Garland’s film of the same name will be out on Netflix this month, apparently.

I reckon Annihilation has a lot to offer Mythos fans, and more to the point it’s a great fit for Cthulhu Dark which in many ways is a successful return to the fundamentals source material of Lovecraft when the Call of Cthulhu RPG surpasses Lovecraft as its own, distinct genre.

The other nice thing about Area X is its ambiguity; it has a few loose principles expressed subjectively to the characters in the books, enough to work with in a game without choking the plot with canon.

I’m currently writing my notes for a one-shot that I hope to offer at Concrete Cow. When they’re done I’ll stick them up here as a pdf. For now, here’s a blurb:

This is the Southern Reach’s ninth expedition into Area X. You don’t know each other’s names, only vocations. Your equipment is outdated and careworn. Your memories are unreliable, and paper journals tell you where you have been. Some of you are studying the landscape, others are studying your team-mates. All of you are looking for answers in the wild coastline, and hoping you can get back without losing too much of yourself here.

Oh, and check out the Spanish translation’s cover of Aniquilación, from this article.

Castle Lysander: The Stolen Child

By Smiorgan

On October 23, 2017

In My Games, Roleplaying Games

A playbook for Castle Lysander

The Stolen Child

I met her in a forest glade // Where starbeams grew like trees // I did not take her for a witch // She wasn’t what she seemed // She turned the key of endlessness // And locked me in a dream // Infinity

Once upon a time you were a child, playing alone. Queen Antipathie approached you and asked you to be her knight, tempting you to shed your youth and become an adult in her Realm. Not knowing what you had given up until too late you became the protector of her Realm, loving its people as much as you hated her.

1d12	What was your first sight of the castle, and how did you enter?	Gain
1	You emerged on a balcony to a skyline of minarets, spires and bell-towers under a starlit sky.	+2 INT, +1 WIS, +1 CON, Skill: Astrology
2	You arrived at the Southern Gate and hammered your fist on the oak door until they allowed you in.	+2 STR, +1 CON, +1 CHA, Skill: Intimidation
3	You cut your way through a mass of ivy to locate a small archway in the Eastern Wall.	+2 CON, +1 DEX, +1 WIS, Skill: Spot Hidden
4	You nearly drowned wading through a mire to reach the North Gate.	+2 CON, +1 STR, +1 DEX, Skill: Swimming
5	You leapt a chasm to reach the West Gate.	+2 STR, +1 DEX, +1 WIS, Skill: Athletics
6	You climbed up the well in dining hall.	+2 DEX, +1 INT, +1 WIS, Skill: Climbing
7	You remember falling forever, then waking in an amphitheater surrounded by weather-worn statues	+2 WIS, +1 INT, +1 STR, Skill: History
8	You wandered through the arboretum until you found the Southern Gate.	+2 DEX, +1 INT, +1 CON, Skill: Navigation
9	You entered a submerged bunker in the desert and followed a rough-hewn passage to the Eastern Gate.	+2 INT, +1 DEX, +1 CHA, Skill: History
10	A portal in the temple by the lake carried you over a blue-starred causeway to the North Gate.	+2 WIS, +1 INT, +1 CHA, Skill: Legend Lore
11	Stones around your ankles dragged you down to the sea bottom, where you found the Western Gate.	+2 CON, +1 WIS, +1 DEX, Skill: Breath Control
12	You emerged from a sarcophagus in the mausoleum.	+2 CHA, +1 WIS, +1 CON, Skill: Sense Death

1d8	Upon entering the castle you were told that you were now in Lysander’s domain and under his protection. What happened?	Gain
1	Lysander addressed you in a booming voice from a balcony, his features obscured in shadow	+2 STR, +1 INT
2	Lysander entertained you in a grand room, offering you a jet-black wine	+2 WIS, +1 CHA
3	Lysander’s seneschal regretfully informed you that his master was occupied, and to enjoy the lavish meal laid in front of you	+2 CON, +1 WIS
4	You chased Lysander, a cloaked figure in a white mask, through a hedge maze demanding answers — but he was always just out of reach	+2 DEX, +1 STR
5	Old and kindly Lysander appeared at your bedside, asking if you had rested well and offering you bread and fruit	+2 CHA, +1 CON
6	Young and androgynous Lysander escorted you through a gallery of their ancestors’ portraits	+1 WIS, +1 INT, +1 CHA
7	You glimpsed Lysander, flanked by an entourage of armoured hyena warriors, as they passed through a grand colonnade	+1 CON, +1 INT, +1 STR
8	You crept into Lysander’s sanctum, and witnessed them converse with a living mist billowing from a brazier	+1 DEX, +1 INT, +1 WIS

1d8	Who else did you meet in the castle?	Gain
1	Prome, librarian	+2 INT, +1 CON
2	Fulker, mistress of owls and hawks	+2 DEX, +1 INT
3	Madame Zmeice, keeper of the observatory	+2 WIS, +1 CHA
4	Vain, steward	+2 CHA, +1 INT
5	Constable, castle security	+2 STR, +1 INT
6	Orville, fool in motley	+1 INT, +1 DEX, +1 CON
7	Elle, sitting in an apple tree	+1 CHA, +1 INT, +1 DEX
8	Durt, skulking pot-washer	+1 CON, +1 WIS, +1 CHA

As you sit down to eat with your fellow knights you recall your past life. Your armour and weapons leave no doubt that you’re a Warrior of some skill. You have the class abilities of knacks and weapon specialisation.

1d6	What were you doing when Queen Antipathie approached you in the forest glade?	Gain
1	You were daydreaming in that magical spot.	+3 WIS, skill: sense magic
2	You had enticed a doe into the glade.	+3 CHA, skill: animal ken
3	You were foraging for mushrooms.	+3 INT, skill: survival
4	You were swimming with your friends the Naiads in the river nearby.	+3 CON, skill: swimming
5	Intent on becoming a hunter like the adults in your clan, you had cornered and were facing down a wild boar.	+3 STR, skill: hunting
6	You were hiding, waiting to see who approached.	+3 DEX, skill: stealth

1d6	What weapon did your Queen give you?	Gain
1	A golden spear, with two scarlet ribbons twining from the spearhead.	+2 CON, weapon specialisation: Spear
2	A broad sword of ancient design that she said had been held by many heroes before you.	+2 STR, weapon specialisation: Sword
3	A long-hafted axe, struck with a dwarven prize-mark at the head.	+2 STR, weapon specialisation: Axe
4	A slender side-sword, nimble in your hand almost as if it knew your intent.	+2 DEX, weapon specialisation: Sword
5	A silver hammer, with a pommel shaped like a beetle.	+2 STR, weapon specialisation: Hammer
6	A short and jagged sword that seemed to pulse with a heartbeat as you held it.	+2 CON, weapon specialisation: Sword

1d6	The Queen brought you to her Realm to face an even greater evil. What was it, and where did you fight your battle?	Gain
1	A demon demanded the Queen lay down her life or it would blight the Realm. You slew it in single combat in the stone circle at Nearbury. The friend to your right has seen, heard of or read about a similar place; what do they know? They gain +1 STR.	+2 STR, knack: Great Strike
2	You uncovered a political plot against the Queen and slew her would-be assassin and the Vizier attempting the coup when their endgame played out in the Owl Spire. The friend to your right has seen, heard of or read about a similar place; what do they know? They gain +1 INT.	+2 INT, knack: Fleet
3	You hunted the Crone to its lair in White Marsh, and made an elixir of its brain and heart to cure the disease it had spread. The friend to your right has seen, heard of or read about a similar place; what do they know? They gain +1 CON.	+2 CON, knack: Resilience
4	You hunted for a colossal Wyrm in the Undermaze beneath the Realm. The friend to your right has seen, heard of or read about a similar place; what do they know? They gain +1 STR.	+2 STR, knack: Great Strike
5	You confronted the Lichling in the cyclopean Temple of Aan, and resisted its offer to unite against the Queen. The friend to your right has seen, heard of or read about a similar place; what do they know? They gain +1 WIS.	+2 WIS, knack: Resilience
6	You battled Antipathie’s twin sister in the Inverted Citadel. The friend to your right has seen, heard of or read about a similar place; what do they know? They gain +1 DEX.	+2 DEX, knack: Defensive Fighter

1d6	When you left the Realm and plunged into the surrounding Mists, what did you take with you?	Gain
1	Antipathie’s cartographer gave you a compass that might help beyond the Mists.	+2 INT, a compass
2	You took a golden mask from the theatre to remind you of the players there.	+2 CHA, a golden mask
3	A cobbler made you boots that would allow you to step between shadows.	+2 DEX, shadow-step boots
4	An alchemist gave you what she claimed is a bag of dragon’s teeth, hinting that it may help you on the road ahead.	+2 STR, a bag of dragon’s teeth
5	You took a mirrored shield from a statue of one of your predecessors in the Realm’s Hall of Heroes.	+2 CON, a mirrored shield
6	You found and stole Antipathie’s phylactery containing her true name	+2 WIS, Antipathie’s phylactery

Castle Lysander

By Smiorgan

On October 18, 2017

In My Games, Roleplaying Games

Castle Lysander

This is a playset/re-skin for Beyond the Wall.

Lysander’s castle lies at the centre of a magical wasteland. Those who dwell in the castle are citizens of Lysander, having taken their lord’s offer of sanctuary. Many have fled untold horrors. Many more are unsure of how they arrived here; they remember the castle gates, and the mists, and the sounds and scents of the outside, though as soon as they crossed the threshold into Lysander’s domain these melted away like a dream. Almost as if the memory were hiding from them.

The characters are Lysander’s knights. They each came here from elsewhere; they are given title and responsibility above the other citizens, and they venture beyond the walls to do their lord’s bidding, not knowing what they will confront in the external landscape.

They have a sense of self and an acute connection to a place, somewhere in their past. But their families, friends, political sides, even their names — these are less certain, and they change from day to day.

How this works

This is a playset for Beyond the Wall and the Further Afield supplement. It’s been created with Beyond the Wall’s core values in mind — namely a low-prep fantasy game about a group of characters striking out from safety into unknown danger. It uses the following concepts:

Playbooks
Major locations (from Further Afield)
Threat packs
Beyond the Wall’s specific colour including True Names, magic, etc.

It differs from Beyond the Wall as follows:

Characters are adults, or at least reasonably confident in their place in the world. Their ignorance of what lies beyond the wall comes from magical trickery rather than youthful ignorance.
There’s no reason this can’t use the BtW rules as written; however I plan to make this system work with StormHack, which is essentially level-less (but levels come from something else).
Level advancement then is about climbing the social ladder within the Castle, currying favour with the mysterious Lysander.
Playbook structure is similar but there are crucial differences. Like the core game the playbooks have three common tables, and four playbook-specific tables. See below.

Characters and their playbooks

The goal of the playbooks is to present a complete set of characters each with back-story in minutes, ready to drop into an adventure. Standard BtW does it by first talking about childhood via common tables and then moving on to a set of themed tables around the playbook’s premise.

In this version the character premise is a lone figure, an eternal champion or protagonist who has found themselves outside their own time. The first three tables are common to all playbooks and cover three things:

How they entered Lysander’s Castle
Their audience with Lysander
Someone else they met in the castle.

The next four tables describe the character in more detail. This should be imagined as if the characters, newly arrived in the castle, are sitting down together to their first meal and talking about their past. This exposition could be in-character, or it could be inferred (e.g. by the strange attire of the character, their mannerisms and other cues the other party members pick up on) or it could simply be internal monologue.

Normally in Beyond the Wall each playbook has a climactic event which also involves the player character to the right. In this case these events have been replaced with a strong sense of a location. This location will be of primary significance to the character but may have a completely different meaning to another character — their version may be a reflection, or be far in the future or the past, represent a diverging timeline, etc.

Over the next few blog posts I’m going to write some sample playbooks — the first one is at the end of this post.

Twists

One: Within the Castle

While the action game should take place outside the castle walls when running missions at the behest of Lysander (as directed by his various mouthpieces), in downtime the PCs may explore the labyrinthine castle and its many weird denizens. Consider using these relationship rules to develop relationships with the castle’s inhabitants. What do they know? What do they want?

What places are there to find in the castle? How does one’s level affect access to these places — as you go up a level and further into Lysander’s favour, are you invited to explore new and stranger sights within the castle?

Two: The Ladder

In place of, or as well as, individual character advancement levels there is a Ladder for social advancement within the castle. Advancing means access to better equipment, spells, libraries, and so on; so it means you will get the benefits of rising through your class’s levels. But in addition it grants access to new social circles, new places in the castle, more information, and even the right to ask Lysander questions directly (within a certain scope).

Three: Naysay the Cartographer

The characters have been recruited by Lysander. At the same time they have been contacted by Naysay, the secret cartographer. Naysay questions the mystery surrounding the castle; he asks why Lysander would limit information about the outside world, and not even provide a map. Naysay has therefore struck a deal with the characters: provide information about the places they visit, and he will in turn give them access to his maps.

His red-draped workshop and filing systems are a complete mess — the “map” is distributed over many pieces of paper and parchment stuffed into drawers, hung on walls behind other maps, and even cunningly woven into the rug in his room. Absconding with a map will do the characters little good. However giving him information means he will give them advice in return — in the form of Major Locations (see Further Afield).

Sample Playbook

Veteran of the Sonic Wars

The Sonic Wars: where both sides employ sonic weapons and sonic drugs which resonate key areas of the brain to control sleep and emotion; where years-old remnants of aural detonations still resonate in unexpected patterns, making any journey outside a soundproofed Dome hazardous; where the ultimate act of intimacy is to remove one’s ear pods and listen.

Starting ability scores: STR and CON of 10, all others at 8.

1d12	What was your first sight of the castle, and how did you enter?	Gain
1	You emerged on a balcony to a skyline of minarets, spires and bell-towers under a starlit sky.	+2 INT, +1 WIS, +1 CON, Skill: Astrology
2	You arrived at the Southern Gate and hammered your fist on the oak door until they allowed you in.	+2 STR, +1 CON, +1 CHA, Skill: Intimidation
3	You cut your way through a mass of ivy to locate a small archway in the Eastern Wall.	+2 CON, +1 DEX, +1 WIS, Skill: Spot Hidden
4	You nearly drowned wading through a mire to reach the North Gate.	+2 CON, +1 STR, +1 DEX, Skill: Swimming
5	You leapt a chasm to reach the West Gate.	+2 STR, +1 DEX, +1 WIS, Skill: Athletics
6	You climbed up the well in dining hall.	+2 DEX, +1 INT, +1 WIS, Skill: Climbing
7	You remember falling forever, then waking in an amphitheater surrounded by weather-worn statues	+2 WIS, +1 INT, +1 STR, Skill: History
8	You wandered through the arboretum until you found the Southern Gate.	+2 DEX, +1 INT, +1 CON, Skill: Navigation
9	You entered a submerged bunker in the desert and followed a rough-hewn passage to the Eastern Gate.	+2 INT, +1 DEX, +1 CHA, Skill: History
10	A portal in the temple by the lake carried you over a blue-starred causeway to the North Gate.	+2 WIS, +1 INT, +1 CHA, Skill: Legend Lore
11	Stones around your ankles dragged you down to the sea bottom, where you found the Western Gate.	+2 CON, +1 WIS, +1 DEX, Skill: Breath Control
12	You emerged from a sarcophagus in the mausoleum.	+2 CHA, +1 WIS, +1 CON, Skill: Sense Death

1d8	Upon entering the castle you were told that you were now in Lysander’s domain and under his protection. What happened?	Gain
1	Lysander addressed you in a booming voice from a balcony, his features obscured in shadow	+2 STR, +1 INT
2	Lysander entertained you in a grand room, offering you a jet-black wine	+2 WIS, +1 CHA
3	Lysander’s seneschal regretfully informed you that his master was occupied, and to enjoy the lavish meal laid in front of you	+2 CON, +1 WIS
4	You chased Lysander, a cloaked figure in a white mask, through a hedge maze demanding answers — but he was always just out of reach	+2 DEX, +1 STR
5	Old and kindly Lysander appeared at your bedside, asking if you had rested well and offering you bread and fruit	+2 CHA, +1 CON
6	Young and androgynous Lysander escorted you through a gallery of their ancestors’ portraits	+1 WIS, +1 INT, +1 CHA
7	You glimpsed Lysander, flanked by an entourage of armoured hyena warriors, as they passed through a grand colonnade	+1 CON, +1 INT, +1 STR
8	You crept into Lysander’s sanctum, and witnessed them converse with a living mist billowing from a brazier	+1 DEX, +1 INT, +1 WIS

1d8	Who else did you meet in the castle?	Gain
1	Prome, librarian	+2 INT, +1 CON
2	Fulker, mistress of owls and hawks	+2 DEX, +1 INT
3	Madame Zmeice, keeper of the observatory	+2 WIS, +1 CHA
4	Vain, steward	+2 CHA, +1 INT
5	Constable, castle security	+2 STR, +1 INT
6	Orville, fool in motley	+1 INT, +1 DEX, +1 CON
7	Elle, sitting in an apple tree	+1 CHA, +1 INT, +1 DEX
8	Durt, skulking pot-washer	+1 CON, +1 WIS, +1 CHA

1d6	How were you recruited?	Gain
1	Citizenship demands enlistment — you signed up thinking it was a way to climb the social ladder.	+3 CHA, knack: Fleet
2	You were conscripted along with the rest of your Dome.	+3 STR, knack: Great Strike
3	Your parents were career military, so you followed their example.	+3 CON, knack: Weapon Specialisation
4	You were abducted from a border village and illegally pressed into service.	+3 CON, knack: Resilient
5	You were idealistic and believed the recruiter’s propaganda.	+3 STR, knack: Defensive Fighter
6	The enemy hit your Dome and killed everyone you knew. You enlisted bent on revenge.	+3 STR, knack: Great Strike

1d6	What was your first taste of war?	Gain
1	You were patrolling a village, and without warning your whole squad was hit with a sonic weapon. You remember shooting desperately as your sergeant sounded the retreat.	+2 WIS, Weapon specialisation: carbine
2	You were waiting in a trench for the big push. Someone thrust a sword into your hand and pushed you over the top.	+2 STR, Weapon specialisation: sword
3	Your unit received a cavalry charge, and in the chaos you picked up a lance from a fallen cavalier and defended yourself.	+2 CON, Weapon specialisation: lance
4	In the middle of battle you fenced with an enemy lieutenant.	+2 STR, Weapon specialisation: sword
5	You and an equally green enemy soldier found yourselves fleeing into a maze of tiny passages under a ruined bunker, where you stalked each other in the dark.	+2 DEX, Weapon specialisation: pistol
6	You were forced to defend an undersupplied fort over several weeks. When the enemy finally broke in you had to grab whatever was to hand to defend yourself.	+2 STR, Weapon specialisation: club

1d6	Deep in the wasteland you found a place of peace. What was it?	Gain
1	An abandoned ballroom filled with holographic ghosts of party-goers. The friend to your right has seen, heard of or read about a similar place; what do they know? They gain +1 DEX.	+2 DEX, skill: Dancing
2	A ruined theatre full of abandoned set pieces and costumes, posters and flyers of past performances. The friend to your right has seen, heard of or read about a similar place; what do they know? They gain +1 CHA.	+2 CHA, skill: Acting
3	A dusty museum full of enormous displays depicting life in earlier times. The friend to your right has seen, heard of or read about a similar place; what do they know? They gain +1 INT	+2 INT, skill: History
4	A greenhouse of thriving and overgrown vegetation, fruits and vegetables. The friend to your right has seen, heard of or read about a similar place; what do they know? They gain +1 WIS	+2 WIS, skill: Plant lore
5	A gallery of white walls, wide open spaces and huge canvases of vibrant paintings. The friend to your right has seen, heard of or read about a similar place; what do they know? They gain +1 CHA	+2 CHA, skill: Art
6	A library of maze-like stacks with books on every imaginable subject. The friend to your right has seen, heard of or read about a similar place; what do they know? They gain +1 INT	+2 INT, skill: Trivia

1d6	What did you take from the battlefield?	Gain
1	A grenade.	+2 STR, grenade
2	A collection of letters from a fallen comrade.	+2 WIS, Letters
3	A pair of decent boots from an officer.	+2 DEX, Fine boots
4	Identity papers from an enemy combatant.	+2 CHA, Identity papers
5	A small white flower growing in the mud, which you pressed in a book.	+2 CON, a flower
6	An officer’s sight-glass.	+2 INT, Sight-glass

Man, Play and RPGs

By Smiorgan

On August 13, 2017

In Roleplaying Games, Theory and Design

This is a post about Man, Play and Games by Roger Callois.

I haven’t read Huizinga’s Homo Ludens, but Callois mentions his work directly in the first chapter and also challenges his fixation on the competitive nature of games (and I believe the exclusion of gambling. Callois’ theory on play is summarised here).

Note that I haven’t really touched on chapters 3 or 5, which are both good reads but relate more generally to the cultural need for and the sociology of games. I’ve also very much glossed over the second part concerning the interplay of simulation and vertigo (chapter 7) and competition and chance (chapter 8) because the main area I want to consider is the conditional relationship between AGON and MIMICRY.

The Definition of Play / The Classification of Games

Note: the first two chapters are reproduced in the Game Design Reader):

The Definition of Play includes the six core characteristics (free, separate, uncertain, unproductive, governed by rules, make-believe)
The Classification of Games covers the four categories (Agon, Alea, Mimicry, Ilinx) and the progression from chaos to order (paidia to ludus)

Mimicry is directly (and obviously) applicable to role-playing:

Mimicry. All play presupposes the temporary acceptance, if not of an illusion (indeed this last word means nothing less than beginning a game: in-lusio), then at least of a closed, conventional, and, in certain respects, imaginary universe. Play can consist not only of deploying actions or submitting to one’s fate in an imaginary milieu, but of becoming an illusory character oneself, and of so behaving.

The “closed, conventional, imaginary universe” is I guess the magic circle.

The interesting part of these first two chapters is the interplay between the four categories. One, Agon and Alea represent two ends of a spectrum; at one end is complete mastery and the other is complete surrender to chance.

Agon and alea imply opposite and somewhat complementary attitudes, but they both obey the same law — the creation for the players of conditions of pure equality denied them in real life.

The notion of equality is has always been the subject of hand-wringing with role-players; here it’s not game balance that matters but the ability to engage with the game on equal terms. Also game options may not be balanced, but if the freedom to make choices is there then equality is preserved. This is true if the game is largely random or has some strategic (i.e. skilful, competitive) element.

Two, there’s the interplay of Agon and Mimicry as pageantry accompanying sport:

In fact, bicycle races, boxing or wrestling matches, football, tennis, or polo games are intrinsic spectacles, with costumes, solemn overture, appropriate liturgy, and regulated procedures. In a word, these are dramas whose vicissitudes keep the public breathless, and lead to denouements which exalt some and depress others. The nature of these spectacles remains that of an agon, but their outward aspect is that of an exhibition.

This raises a question: where agon is present in the game, is mimicry always subordinate to it? I am not sure of the answer. But, let’s say you have two schools of RPG thought; one is based on boundaries and the consequences of action/reaction, and the other is based on narrative threads and the need to progress through a narrative arc, at any cost. If mimicry must be subordinate to anon, then the latter must by definition avoid all manner of competitive or strategic play. This leads us to…

Three, going from informal paidia to formal ludus, these four categories start becoming exclusive:

as soon as conventions, techniques, and utensils emerge, the first games as such arise with them: e.g. leapfrog, hide and seek, kite-flying, teetotum, sliding, blindman’s buff, and doll-play. At this point the contradictory roads of agon, alea, mimicry, and ilinx begin to bifurcate.

So, to unpack this in terms of our simulationist vs. narrativist argument, any game which purports to “maturity” (ludus) must choose one approach and not the others. It’s easy therefore to see how ideas like exclusionary Gamist (alea) / Narrativist (mimicry) / Simulationist (agon) emerge; and the need for conventions and techniques to steer the players in one direction or another becomes self-fulfilling prophecy.

Note that paidia and ludus are not exclusionary notations but form a continuum of unstructured/informal to structured/formal, and there are examples of both in the four categories, which Callois lays out like this:

	AGON (competition)	ALEA (chance)	MIMICRY (simulation)	ILINX (vertigo)
PAIDIA	Unregulated contests (wrestling, running, etc.)	Dice rolls and coin flips	Initiation, hazing, “games of illusion”	Dancing, horseback riding, “children whirling”
LUDUS	Regulated competitions/sports	Betting and lotteries	Theatre and spectacle	Skiing, skydiving, mountain climbing

Callois places “games of illusion” which might be our immersive, emotional roleplaying towards the unstructured and informal end of the spectrum.

In such an instance MIMICRY coexists perfectly well with AGON. The need to switch between roleplaying and competitive/rules based play is unspoken and in the mode of play I’m familiar with, the timing for the switch is tacitly appreciated by all players. There is no need for fundamentalist declarations of play towards one category or another; rather this mode switching is done on the fly by unspoken agreement.

Thus far from being an immature vs. mature relationship the relationship between PAIDIA and LUDUS is one of tacit vs. explicit knowledge. And with my knowledge management hat on, this leads to a pretty important idea, which is that attempts to formalise roleplaying games into different categories may be doomed to fail, due to the prevalence of the tacit in all learned activity — learned activity being a social construct.

The Corruption of Games

“Corruption of play” has a couple antecedents in roleplaying; the first is the need for immersion or verisimilitude:

Where the problem is to enumerate the characteristics that define the nature of play, it appears to be an activity that is (1) free, (2) separate, (3) uncertain, (4) unproductive, (5) regulated, and (6) fictive, it being understood that the last two characteristics tend to exclude one another. These six purely formal qualities are not clearly related to the various psychological attitudes that govern play. In strongly opposing the world of play to that of reality, and in stressing that play is essentially a side activity, the inference is drawn that any contamination by ordinary life runs the risk of corrupting and destroying its very nature.

Second is the need to remove “cheating”. From this we get all manner of GM advice, contingent rules to stop certain behaviours, etc.

The principle of play has become corrupted. It is now necessary to take precautions against cheats and professional players, a unique product of the contagion of reality. Basically, it is not a perversion of play, but a sidetracking derived from one of the four primary impulses governing play. The situation is not unique. It occurs whenever the specified instinct does not encounter, in an appropriate game, the discipline and refuge that anchor it, or whenever it does not find gratification in the game.

The dilemma is that the player is still playing within the rules as written, but not in the “spirit of the game”.

The cheat is still inside the universe of play. If he violates the rules of the game, he at least pretends to respect them. He tries to influence them. He is dishonest, but hypocritical. He thus, by his attitude, safeguards and proclaims the validity of the conventions he violates, because he is dependent upon others obeying the rules. If he is caught, he is thrown out. The universe of play remains intact.

The third is bleed which is a buzz-word du jour in narrative circles.

Superstition therefore seems to be a perversion, i.e. the application to reality of one of the principles of play, alea, which causes one to expect nothing of himself and leaves all to chance. The corruption of mimicry follows a parallel course. It is produced when simulation is no longer accepted as such, when the one who is disguised believes that his role, travesty, or mask is real. He no longer plays another. Persuaded that he is the other, he behaves as if he were, forgetting his own self. The loss of his real identity is a punishment for his inability to be content with merely playing a strange personality. It is properly called alienation.

There’s not much else to be said about corruption except that it is and will continue to be endemic. But the table at the end of the chapter is interesting:

	Cultural forms	Institutional forms	Corruption
AGON (competition)	sports	economic competition, competitive examinations	violence, will to power, trickery
ALEA (chance)	lotteries, casinos, etc.	speculation on the stock market	superstition, astrology, etc.
MIMICRY (simulation)	carnival, theatre, cinema, hero-worship	uniforms, ceremonial etiquette	alienation, split personality
ILINX (vertigo)	mountain climbing, tightrope walking, skiing, sky-diving	professions requiring control of vertigo	alcoholism and drugs

I wonder if (given its susceptibility for bleed and its otherwise tacit nature) roleplaying is unusually vulnerable to corruption, which is why we get so much contingency built into games.

Conditional, Fundamental and Forbidden Relationships

Chapter 6 covers an expanded theory of games, and starts with six relationships:

competition-chance
competition-mimicry
competition-vertigo
chance-mimicry
chance-vertigo
mimicry-vertigo

Competition-Chance and Mimicry-Vertigo are Fundamental Relationships; they are “parallel and complementary”. Competition-Chance relies on equality, and in games are regulated. Mimicry-Vertigo lies at the opposite extreme and “equally presume a world in which the player constantly improvises”.

Competition-Vertigo and Chance-Mimicry and Forbidden Relationships. This is self-evident — you can’t have a strategic game which at the same time destroys judgement and distorts truth; and you can’t have a game where reality is simulated based on internal logic, but at the same time random. BUT in the latter case you could design a game where one is subordinate to the other, e.g. the randomness creates a set of conditions in the illusion that the players respond to (which is a cornerstone of RPGs).

Last, and most interesting IMHO, are the Contingent Relationships of AGON-MIMICRY and ALEA-ILINX which “may be associated harmlessly.” Callois again goes back to the spectacle:

I have already had occasion to stress that every competition is also a spectacle. It unfolds according to identical rules, and with the same anticipation of the outcome. It requires the presence of an audience which crowds about the ticket windows of the stadium or velodrome just as at those of the theater and cinema.

On the Narrativist vs. Challenge (“OSR”) modes of design: logically if you characterise the aim of Narrativist games to induce sensation or vertigo, then this is incompatible with strategic, “challenge based” or “boundary based” design. Of course if we’re using these terms then the use of MIMICRY to denote simulation is going to cause some confusion.

Modern Revivals

I’ll finish this with a couple of quotes — which are interesting although not specific to roleplaying.

From Chapter 8, concerning Competition and Chance:

The reign of mimicry and ilinx as recognised, honoured, and dominant cultural trends is indeed condemned as soon as the mind arrives at the concept of cosmos, i.e. a stable and orderly universe without miracles or transformations. Such a universe seems the domain of regularity, necessity, and proportion—in a word, a world of number.

From Chapter 9, concerning “The Mask and the Uniform”:

modern society is scarcely aware of the two survivals of the sorcerer’s mask: the black mask and the grotesque carnival mask. The black mask, the mask reduced to its essentials, elegant and abstract, has long been associated with erotic fetes and with conspiracies. It characterises equivocally sensual intrigues and mysterious plots against the powers that be.

RPG Backwards Look: Daytrippers Core

By Smiorgan

On August 10, 2017

In Reviews, Roleplaying Games

I’m posting this today for a couple of reasons.

First, today’s #RPGaDay 2017 question is “Where do you go for RPG reviews?”.

Second and more important AsIf Productions the author and publisher of DayTrippers whose primary job is in web development has been struggling to get new clients and sent out a general message to the RPG community about the kind of services they can provide, and I want to boost the signal.

So, if you’re looking to hire a web developer they do small business sites as well as solutions for larger business, and they’re available for freelance writing and editing. Have a look at their website.

If you like the sound of the game you can support them by buying their books, or via Patreon donations for their ongoing content. Go to the DayTrippers RPG site for more information. They sell their content on a range of platforms including DriveThruRPG and RPGNow, where you can also order print copies.

Having read the core rules I’m going to pick up Golden Age Adventures which includes not only 16 adventures, but the fiction that inspired them (Jack Vance, Philip K. Dick and others) and sounds like a great deal.

Now, onto the post.

I am a terrible RPG reader, for the following reasons:

Signal to noise. I have so many pdfs (impulse purchases, Bundles of Holding, etc.) that they all blur into one.
Heuristics and bias. I’ve read a lot of RPGs and when I scan a book and mentally sort the sections into fluff, system, examples, adventures; then I’ll scan each section looking for familiar frameworks. This means I don’t read in detail, and instead make assumptions about the content of the bits I haven’t read yet.

I think my first read-through of DayTrippers core went like this:

“OK, a fluff section. I know how that works, I’ll come back to that later.”

“OK, a point-buy character generation bit. I know how that works, I’ll come back to that later.”

“OK, the combat section. Yeah yeah, I’ll come back to that later.”

“OK, bits on taking damage, vehicular combat, etc.”

“Oooh! Vector slipping. I’ll definitely come back to that later.”

“Dream worlds… survival suits… slipships… right. I’ll need to come back to those later.”

“Oh! And a mission section. That’s probably going to be useful. I’ll come back to that later, after I’ve read all the other bits I said I would come back to later. After I make dinner.”

The second time I read through I took a leaf out of Baz’s book and started reading from the back, which is a great technique because the first place you hit (skipping over appendices) will usually be a scenario or mission, and barring an actual demo play session that’s the place where you get the best first impression of how a game should play.

(this way you also get a good look at the character sheets first. They’re the windows into the soul of an RPG; a bad sheet won’t necessarily kill your enthusiasm but a good one certainly whets the appetite. Take a look at the sheet for Lacuna Part 1, or the toe-tag sheet for Hollowpoint)

DayTrippers, back to front

Here’s what we know from the website:

The time is shortly after the year 2100, the location is the first world. Massive megacorporations dominate the economic landscape and incredible advances in technology make the most miraculous things possible, from genetic modification to medical nanotechnology and microfusion power generators. But the most earth-shaking development of the 21st century is one we’re just beginning to see the ramifications of: As the 22nd century enters its second decade, the inner and outer realities of SlipSpace are opening up to human exploration. The Slip Capacitor, based on the groundbreaking work of Zayim Diaspora, is an amazing device that allows travel to other dimensions in vehicles known as Slipships. The bold explorers who pilot these vehicles face a multiverse of physical and psychological dangers to bring back priceless knowledge and powerful artifacts from far-flung dimensions and other realities. They’re called DayTrippers, and you’re one of them.

Now, content.

Mission Types (p37-39)

First, a taxonomy of mission types. From this we know that the characters will be taken out of their base, home or comfort zone and participate in an adventure: exploration, rescue, fact-finding, making diplomatic contact, etc.

Next, we find out that each mission type has a clearance level and the PC’s SlipShip (whether their own or borrowed) must be up to the mission. This is a nice way of gatekeeping or power-capping the adventure, or signposting the clearence level (Paranoia-style).

More tables and bullet points follow for different choices: the Node type, the Opposition, any Perks they get before the mission, Rewards, and Complications. Several of these are rolled beforehand. This looks like something right out of Sine Nomine’s offerings with a breadth of choice and random results, so I’m already loving it. Round that off with a sequence of scenes, from downtime accepting the mission, challenges, climax and return home.

Overall impression: this is a game with a strong format of mission, promise of reward, excursion and return. I already want to play it. Next!

Slipship construction (p32-35)

OK, we know that Slipships are important for getting about. They have a capacity, components, amenities, tonnage… I don’t feel the need to go into this now but I am interested that the ship is being created like a PC (it has its own character sheet). Possibly there’s shared ownership in mind — something I really liked in the point-buy base of operations in the Conspiracy X 2.0 (Unisystem) game.

I have one gripe with the ship sheet. Since I peeked ahead and know that the survival suit consumes kilowatts, does the Slipship really only consume milliwatts? I assume it should be MW not mW on the sheet. Unless of course there’s some Grant Morrison / In The Night Garden trickery with micro and macro-scale universes. In which case, having the power consumption of your encounter suit be one million times that of your Slipship is an interesting technical point.

Experience Points (p30-31)

A workmanlike section but very clear on what you get XP for and what you can spend them on (stats, skills, drama tokens if you use them, inventions, luxuries, fame, etc.). The most interesting part is the tracking of Total Character Value, XP Spent and XP Available. Why track both XP Total and XP Available? I’m hoping the answer is interesting.

Your Automated Survival Suit (p29)

Here’s what we know about the game from this section:

DayTripping is dangerous enough to need a suit
The suit has limited power: you get 100 kW from a full charge, and expend 1 kW doing certain tasks.

The scale is interesting because with 100 points to play with, people are less likely to quibble over spending a point here and there at the start — but the steady tick tick tick of the power meter going down will likely force some harder resource choices later into the game as the climax approaches.

Vector Slipping (p26-28)

This is the method of travelling to all different “Slip Nodes” in the multidimensional maestrom of the “Multiversal Chao”. OK. What we really have is a set of difficulties for travelling to different kinds of nodes (alt. Earth, Time Travel, Dream Worlds, etc.). There are consequences for failure, for missing the “Slip Window” and so on. There’s a whole page on Dream Worlds.

What this bit tells me is that this game is about travelling from a society that has somehow broken the barriers between many different levels of alternate existence; and that they probably lump different concepts of other times, other Earths, dreams, other planets all into one single category; as far as the DayTripping society of the 22nd century is concerned all of these can be written onto the same topological map provided the sheet of paper is big enough.

It’s also clear that the easiest jumps are the ones closest to home — alt Earths, time travel and known planets.

This gave me a few ideas already. All slips are conceptually the same but depending on classification, some may be locked down — depending on how the game world is run (corporations? A multiversal hegemony?). This also reminded me of the hyperspace navigation in Delany’s Babel 17 and the multiple gated realities of Ian McDonald’s Everness series.

Actions, Combat, Helping, Healing, Vehicles (p18-25)

This bit is the standard middle chunk of a RPG — a mix of rules for different circumstances, starting with taking actions. All you need to know is there are difficulty levels, you roll a bunch of dice and pick the highest, and there are a range of results depending on whether you make or miss the result. For example it matters if you hit your number exactly, miss or hit by 1 or more than 1. This granularity feels a lot like the results in FATE or Unisystem BUT I think I like the dice rolling here a lot more since it’s regular D6.

I particularly like the opposed rolling in theory with the “Yes, BUT”, “NO, and” style of results, and because the numbers are low the cognitive overhead shouldn’t be too bad. Everything else seems to work just like any other trad RPG — setting stakes before rolling the dice, interpreting afterwards. I’d need to play through it to see how smooth or crunchy it is.

Character Development (p14-17)

This is the bit that comes directly after Character Building but it’s frankly way more interesting; character generation is a hump that players just go through and this one, while simple, is still point-buy with options. More on that in a moment.

This bit looks very interesting because it talks about what happens to your PC during play. “Progressive Character Generation” is used to let the players “wear” their PC and defer actual backstory until later, by holding back Character Points to retroactively spend.

“LifeShaping” is a mechanism to mark dramatic character development, including motivations, personal problems, relationships, etc. I like the concept although I’m not entirely clear on the in-game process; nor am I clear on how (if) these relate to the once-per-session Character Development Scenes.

I guess this is partly where the claimed OSR-Narrative hybridisation comes in, and for me it provides opportunities for narrative expression of the PCs without stepping into the narrative-shaping role of the GM.

Character Building (p8-13)

This is another workmanlike section of point-buy setup, and it’s necessary but to be honest, this is an overhead I have to pay both to learn and play the game, rather than a bit I actually enjoy. I’m glad I read the book backwards. All I can say is there are lots of options for flexible skills, packages of skills and experience (“class advances”) etc. It’s not too crunchy.

I do like the way that skills are written on the same line as the Stat they apply to — this helps parsing the character sheet a lot.

The World of DayTrippers (p6-7)

Here we learn that the big movers and shakers of the 22nd century are corporate (rather than national/political) and the one thing they have in common is the disruptive technology that allows people to the Nodes. This is an important SF conceit — an extrapolated future based on a single scientific advance. The world is otherwise a blank canvas — there’s a half-page devoted to bullet points of technologies which might be available, but it’s up to you. The best description we get is the overview:

The world of DayTrippers is kinda dull, stupid and ridiculous, punctuated by spectacle, festooned with advertising and dripping with irony. It’s a place of technological progress and rampant global capitalism, complete with continuous media charades and enormous social inequity, somewhere between “2001” and “Idiocracy”.

This is followed by a laundry list of corporations. It doesn’t really matter who or what they are; as we’ve learned (by reading later sections) all that matters is you go on missions in slipships, those ships may be party- or corporate-owned, and the missions have classifications, and the people paying you to travel are mercenary capitalists.

The Introduction (p2-5)

Finally, the fiction which tells you how the world came to be the way it was. It serves its purpose; the most interesting bit is at the end where we read about SlipSpace and the five different kinds of slips (Cartesian, Paraterran, Temporal, Subjective and Compound) which map onto five kinds of Vector Slipping.

Final Remarks

DayTrippers feels weird and goofy, and not at all serious, and I’m not sure why that is — maybe it’s the New Wave SF surrealist sensibilities or the apparently disposable mission-based approach. Once I’m over that I can see a lot of depth and potential to be both superficial and lighthearted, or serious and deep. It could be a comedic franchised exploration company, contracting out to corporate clients a la Ghostbusters or InSpectres. It could be a serious, military SF style game if you replace the corporations with a military chain of command; it could take a conspiratorial tone if certain Nodes were classified or forbidden. I could see a mission focused game, or a sandbox where the PCs hire themselves to the highest bidder. I could see a game where the downtime drama scenes become as important as the missions.

By limiting the kinds of nodes you can tune the conceptual boundaries to make a game that’s only about alternate Earths, or space travel, or time travel, etc. And by tuning the power levels of the characters you could expand the scope further — I might fancy playing a superhero game like Planetary or Zenith (Phase III), sending supers to fictional universes using a fiction suit, or the Omnihedron’s alternate earths via. an Einstein-Rosen bridge. You can probably tell this is right up my street.

I can’t say what the system will be like yet, but it deserves a fair shout; the scale of results, the use of d6, the attrition of resources and the yes/and/no/but approach all sound like a really nice balance of “narrative” and “trad” — but then that’s exactly how we’ve played for years. But if you really don’t fancy it there are conversion rules for d20, PbtA and percentile.

So in summary: this is a smart and interesting game with an intriguing system and a very strong, yet adaptable premise. It’s not too long, and it’s good value for money.

Eight Drunken Gods

By Smiorgan

On July 26, 2017

In Roleplaying Games

In Drunken Master Beggar So’s art manifests through the Eight Drunken Gods (derived from the Eight Immortals).

These eight avatars are the expression of mastery not through principle but rather allegory and imitation. In the climactic final battle against Thunderleg, Freddie Wong (Chan) performs a variety of special moves, “spending” each god in turn during the battle, with varying success. This gives a couple of RPG ideas:

Gaining Levels

During character creation, ascribe one or more gods (avatars) to your expert skill. These represent your signature actions when using that skill.
As you gain levels, new powers, or more things to do with your skill, add a new god.

Using the Gods

Use these in the narrative by describing your skill’s action allegorically using your avatar/god.
Designers: use the gods as resources, such that each god can only be expended once per scene/session/adventure.

World-Building

Write your gods on index cards, and put them on the table. Have the other players and GM use them to build their characters using their own reflections of the gods. Have the GM represent the world and its pantheons using the same aspects. Share the pantheon of many gods, or many reflections of the same eight gods.

Tag: rpg (Page 1 of 32)

8 Page, Thousand Word RPG method

StormHack 2.0

I. Ekranoplan wrecks

II. Acoustic Mirrors

III. Targe hulls

Image Credits and more images

One: Cthulhu Dark

Two: Annihilation

The Stolen Child

Castle Lysander

How this works

Characters and their playbooks

Twists

One: Within the Castle

Two: The Ladder

Three: Naysay the Cartographer

Sample Playbook

Veteran of the Sonic Wars

The Definition of Play / The Classification of Games

The Corruption of Games

Conditional, Fundamental and Forbidden Relationships

Modern Revivals

Further Reading

DayTrippers, back to front

Mission Types (p37-39)

Slipship construction (p32-35)

Experience Points (p30-31)

Your Automated Survival Suit (p29)

Vector Slipping (p26-28)

Actions, Combat, Helping, Healing, Vehicles (p18-25)

Character Development (p14-17)

Character Building (p8-13)

The World of DayTrippers (p6-7)

The Introduction (p2-5)

Final Remarks

Gaining Levels

Using the Gods

World-Building

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