Denial, anger, depression, bargaining, and acceptance: the stages of grief. These also happen to be the stages that you will go through if you try to design your own roleplaying game!
Anyone who has enjoyed roleplaying as a hobby for long enough has had some variation of the following thought: there’s got to be a better way to... But before you embark on a journey to rewrite the rules of the roleplaying universe, prepare yourself by packing for these stages. Bring a healthy sense of humour, a pouch of resiliency, a whole bunch of paper and writing implements, a sackful of humility, and a helluvan aptitude for self-reflection. With all this, you still won’t ever stand eye-to-eye with Wizards of the Coast in terms of fan base, but you just might have the right set of ideas for a great Kickstarter! (In this article, I borrow some of the questions in Whitson John Kirk III’s 2005 draft article, “Design Patterns of Successful Roleplaying Games”).
“I love Dungeons and Dragons 5th Edition, but I don’t want to use 20-sided dice…”
“We could change that! How hard could it be?”
This stage could equally be called ‘naiveté.’ We’ve all been there. Your group is playing a great game, but there’s just this one set of mechanics that seems clunky or out of place in the setting, so you want to change it. Or maybe you’re imagining the same game, but in a completely different setting of your own creation. Perhaps you could make a house rule or two that fixes the problem… or maybe you could just make your own game? You have some pretty good ideas, after all.
Delusions of grandeur, fantastic ideas, fascination with rules systems
“I’m sure I can fix this game!”
“I want to make a game that does everything and is super simple to play.”
“What if we put this system and this other system together?”
Don’t be fooled! Roleplaying game design is a complicated task, usually involving teams of people working together to solve complex logistical problems. Setting, mechanics, artwork, playtesting, publishing… don’t expect to do everything yourself. Check out resources like the RPG Design Panelcast to get ideas about what goes into making your own game. Ask yourself: What are you trying to accomplish in making this game?
“What do you MEAN you don’t understand my recoil/damage/distance matrix?!? I JUST explained it to you!!”
If you have put any amount of time and/or effort into designing or re-shaping a game, then tested it on a group of friends (or even if you’ve just been the Game Master for a group), you have experienced this stage. The best laid plans and the best game design will inevitably fall apart once it comes into contact with a group of players.
High blood pressure, an obsession with charts, possible table flipping
“I am NOT going to change this. I’ve worked too hard on it.”
“If I tried this with a better group, it would work.”
Designing a game takes a lot of time and effort, then when you playtest it, it falls apart. Accepting and preparing for this fact can help you design a game that is easy for real players to understand, and robust enough to handle the highjinx that ensue when you put a group of nerds around the dining room table. Ask yourself: What mood are you trying to evoke?
What do the characters do? More importantly, what do the players do?
“Okay, I’ve solved how to balance a fireball spell in a combat situation. Only two… hundred… thirty… six… more… spells…….”
Once you have a basic mechanic scrawled on a few sheets of paper, it’s time to tackle that list of ‘to do’ items. Maybe you want a comprehensive equipment list. Maybe you want to flesh out a magic system. Maybe it’s time to expand the history of the game world’s thirty main locations. Whatever the list is made of, though, it’s daunting. It’s long. It will be hard to do. And now you’re not sure that you want to.
Lethargy, disinterest in the hobby, procrastination
“It’s impossible. I give up!”
Popular games like Dungeons & Dragons or other big franchise games have been around a long time. They have had many years to gather variations, exceptions, and expansions to the basic rules systems they originated with. Focus on the basic game: What kind of activities do you want to reward and what kinds of rewards do you want to provide? Do you envision a game that can be easily extended with numerous supplements or are you more interested in creating a single, self-contained book of simple rules?
“This other game already does almost what I wanted to do, but different….”
This is often the stage where our game design hero has an epiphany: Standing above the ruins of game after game, the charred remains of half-fulfilled ideas and failed attempts, staring at the desolation around her, she looks back to where she came from… and sees hope! With a fresh appreciation for the difficulty of designing a game, she approaches those old, familiar games with new understanding. Does she then return, happy to expand the library of work supporting other systems with her own creative contributions? Or does she press on, insisting that there is yet hope of a better design over the horizon? If she does, she recognizes that a workable system will usually sacrifice some good elements in order to prioritize others.
Glassy-eyed perspicacity, iron resolve, or capitulation
“I could make a module for another game…”
“Why would I reinvent the wheel?”
“I’ll have to give up a bit of realism to keep the story flowing.”
Whatever the flavour you are trying to achieve in your game, there are likely already many variations on similar themes. If you want to make something new, the greatest novelty will likely be in emphasis or perspective, not in the basic elements of a roleplaying game. If you decide to stick with making your own game, good for you! But remember that in roleplaying game design, trade-offs are inevitable. Also, it’s okay to play other games and enjoy them for what they are!
“Yes. This is what I wanted.”
Having delved deeply into the world of game design, the roleplaying game design hero surfaces. Whether it is in designing for another game, in creating a subtle shift of what behaviours are rewarded by a roleplaying system, or by creating a genre-and-world-specific game, he has emerged with a creative outlet that meets the goals he set out with at the beginning.
Relief, renewed interest in gaming, evangelistic zeal
“This game is amazing, and everyone should play it!”
“I am so happy.”
“Hmm… This other game prioritizes combat mechanics over story mechanics. It’s not what I prefer, but it’ll be good for a one-shot.”
With the advent of Kickstarter campaigns and sites like DriveThruRPG, more than ever it has become possible to find and sell games to a niche market. While you might never get Chapters to stock your book, you could use crowd-funding and -sourcing to find all the people in a given area who share your interest in, say, rules-light character-driven games about alien politics… or whatever your interest is! Roleplaying game markets now favour genre- and game-specific mechanics like these. Ask yourself: What literary genre corresponds to your concept? What age group does your game target?
We may not all be Gary Gygax, but I’m certain there’s a little bit of Jason Morningstar and Steve Jackson in all of us! Game design is hard work, but it is worth it. At best, it means you could be publishing the only game for a community that didn’t even exist until you came along. At the very least, delving into the details of game design will give you an appreciation for the hard work and precision that goes into making a roleplaying work of art. Regardless, take the plunge, and see how the experience helps you bring your games to the next level!
Landrew is a full-time educator, part-time art enthusiast. He applies his background in literature and fine arts to his favourite hobby (roleplaying games) because the market for a background in the Fine Arts is very limited. He writes this blog on company time under a pseudonym. Long live the Corporation!
Picture Reference: http://www.greenheartgames.com/app/game-dev-tycoon/
So you love writing RPG material, building worlds, and designing adventures for you and your players to explore. You may have even considered taking up the daunting task of writing at a professional level. This can seem very overwhelming to the uninitiated. It’s hard to know where to start and what resources to depend on.
When I began my journey as an independent game designer, I searched high and low for books that would help improve my writing and broaden my design philosophies. I was surprised at the kind of books that were readily available, as I greedily dove in head first. There is a lot of material to be covered, but the following list contains books that I have found useful, and should help get any beginning designer’s feet wet.
1) Design Patterns of Successful Roleplaying Games
A great way to design your own setting/game is to study others and see what makes them tick, and what makes them successful. Author Whitson John Kirk III takes this concept and runs with it, for 272 awesome pages. This ebook provides an in-depth analysis of what makes popular RPGs so great. Whitson is incredibly technical with his analysis, offering a lot of good information to those considering game design. The best part about this book is that it is free, and in the creative commons so it may freely be distributed.
2) The Complete Kobold Guide to Game Design
The folks at Kobold Press are constantly churning out useful guides for GMs and designers alike. Their game design guide covers a variety of topics, from core rules design to writing adventures. These essays are written by RPG veterans like Monte Cook, Wolfgang Baur, Ed Greenwood, and many others. Because this book has articles from so many authors, there is a wide variety of opinions and insight, giving the reader an array of perspectives.
3) The Kobold Guide to World Building
Now I know what you’re thinking, I have a book from the same company on this list. In my defense there’s a reason for that: both books are just that good. This guide contains essays that cover important concepts of setting design, such as what the players will be doing in the world, and what historical facts are necessary to flesh the setting out. This book is chock full of important concepts for world building, particularly if you want to sell that world to others for use.
4) Writing With Style: An Editor's Advice for RPG Writers
While you may be spending your time trying to figure out how to build a game, it’s also important to make sure you’re communicating with your readers properly. Ray Vallese has been editing RPG material for quite some time and was kind enough to put this experience to use for others. This book has tips on how to write for RPGs while making your writing style stand out. It also knows its readership well, it’s not simply writing style tips for just anyone. Mr. Vallese has been in the business long enough to see writing pitfalls common to RPG designers and how to avoid them.
Nathan Carmen is the founder and head writer of the Indie RPG company Tricky Troll Games. Nathan loves building worlds and improving his craft when he’s not busy parenting. Reach Nathan at email@example.com or check out the TTG website at https://nathanccarmen.wixsite.com/trickytrollgames
Image Source: Cover for Complete Kobold Guide to Game Design
World tendency, put simply, is the usual outcome for a situation most often in reference to video games, board games, and books (e.g. Fire-breathing dragons exist in your fantasy world. Most likely, nearby citizens will build their homes out of something non-flammable, like stone). World tendency has a lot to do with cause and effect, and it can play a huge part in either making or breaking a game, despite not being addressed often. This goes doubly so for world builders. As a world builder and DM, you are responsible for crafting not only a convincing world for your players to romp around in but also for making your world mechanically harmonic with the paradigms of that world.
Sorry, let me give you an example. Your human ranger is caught in the smoldering maw of a tower’s highest chamber as, below, a drake continues to spit lashes of flame in an unequipped town. You vault from the tower into a swan dive, and your DM asks you to make a DC 20 acrobatics check (since most world tendencies would state that leaping gracefully from a flaming tower would be quite difficult). Now you say that you intend to brandish your scimitar mid-fall and plunge it into the beast’s neck. You are asked to make an attack roll with some significant penalties because, again, doing this in most instances would be quite a challenge. You make the rolls, slicing through the drake’s scales and deep into its vertebra.
Congratulations: you are a badass. But what if that acrobatics check was a DC 5? Or you didn't take any penalties for attacking the monster mid-air? The easy payoff would not be nearly as sweet as the hard fought one, and frankly, it would seem a little contrary to how the world usually functions.
All this is to say two things. First, mechanical harmonics in world tendency is just a fancy way of saying, “Make how you work with the world compliment how the world works.” Second, I have 4 tips help you get closer to mechanical harmony.
1) “... Because Magic.”
Magic is an important pillar of any fantasy world, if not the most important. It’s what sets the general foundation for what can and cannot be done. A lot of roleplay engines handle the mechanics behind magic very generally, because there is so much possibility to unpack. As a world builder myself, I would determine the properties and rules of magic very early on. You can borrow Skyrim’s approach and think of magic as a latent power that most people can conjure up given the practice whether by study or natural ability. You can treat magic as something a bit more draconian, something mysteriously hidden from most of the population. Anything in between is a valid choice too, but the point is MAKE A CHOICE!
Recently, I was sent some info for The Dragon's Horde concerning a campaign about a kingdom plagued by dark wizards. According to the author, magic was a “pretty sparse thing” that was seldom seen and condemned when noticed, yet in the starting village the PCs had met a fortune teller, helped a pyromancer, sold an enchanted crystal, and had an alchemist infuse a potion with frost powers because the players thought it would be cool. The world tendency is laid out pretty clearly as being low fantasy, but mechanically, we see something completely dissonant from that idea. While you shouldn't deny your players things they like to engage with, there is nothing wrong with making them work for it. If you tell them, “Hey, not much magic in this world, buckos,” and they ask you for a frost potion, you are completely within your rights to remind them that they are playing in a world where you can't just pick up that kind of thing from Walmart… but you may have heard an old rumor of a witch who stashed a trove of potions in a chest deep within the forest. Harmonic, engaging; Gygax would be proud.
2) Death And Taxes
Death is something that has to be handled carefully in role playing games. Players get attached to characters, and it can be tough seeing them cross over to the other side. Some engines handle this very well; while others really fall short. Personally, I have a strong distaste for D&D’s “three strikes, you're out!” method of death saving throws. It feels so gamey, and it is completely inharmonious with world tendency. When your hero gets gored with a broadsword, in no universe would they lie there in a pile of their own intestinal tract and manage to survive by, what? Willing themselves to just not be dead three times? I hate to sound harsh, but it’s honestly a let down given how seasoned D&D is. Now of the flip side of that, let's look at Pathfinder’s death mechanics. Again, your hero has been gored on the battlefield. In Pathfinder, instead of concentrating your large intestine back, you war and roll against a slowly dwindling constitution score. Your constitution represents your hardiness, your physical ability to withstand blows, and your capacity for vitality. It has this beautifully evocative mood to it, and it is harmonic with world tendency! Hardier people (people with higher constitution scores) are going to be able to stave off the reaper for longer.
As odd as it sounds, it is for a similar reason that I feel the board game Monopoly is trite. Monopoly’s world tendency is congruent with its objective, that is: ride around and buy properties to make lots of cabbage. Why then are you punished with jail time, randomly, for following world tendency? You weren't breaking any in-game law. There is zero mechanical resonance. It's a tax, and it always feels contrived and undeserved. Now oppose that with Catan’s robber mechanic! A group of settlers struggle to raise a kingdom from the ground up, and they hoard their resources. In comes a robber, and they lose up to half of their goods, all on the roll of the dice. Both the robber and going to jail are a random tax that definitely aren’t enjoyable when they pertain to you, but one of them feels so much more intuitive. In Catan, the robber is a negative stimuli that encourages you to play the game intelligently by using your resources in a timely, efficient manner. Going to jail just feels like a slap in the face by Hasbro for buying their game. Death can feel very similar, if it isn’t handled with grace. Make it mean something narratively and mechanically; don't be a Hasbro.
3) Deus Ex
Another thing world builders have to contend with is determining the spiritual side of their universe. Deities play such a vital role in many fantasy worlds, and really nailing a pantheon down can be a huge boon to a DM. Determining world tendency concerning your god or gods will be your biggest aid in finding fitting mechanics. Are your gods meddlesome? Do they frequently make contact with mortals? Rolling percentile dice, to pray, fits that's world tendency very snuggly, and you, as the DM, can adjust the percent of success based on how likely you feel their deity is to say hello! Percentiles are also easy to understand mechanically by players as well. Sometimes D20s can feel arbitrary to newer players, and they may not really understand why they need to roll a 14 and to add 2 to their roll to contact Pan. However, if you say, “You're a religious guy, and Pan is definitely cool with how you have been rolling. You have a 40 percent chance that he will reply.”
Less involved deities may need a ritual to contact or summon them. Maybe your paladin needs to perform a certain act to garner attention from the spiritual force of her choice. It feels more fleshed out to have a player make supplication to a deity than to have them just dial their fantasy phone. Deities are not genies in a bottle, they are powerful spiritual forces and entities that are usually quite engaged with doing… god things.
4) Pearls (and a Kukri) Before Swine
Loot is great. Loot is fun. What’s more enticing than finding a glistening, golden sword stacked haphazardly on a mound of coins in a dangerous cave? Well, a lot actually, because people don’t really do that. Too often do DMs throw loot around like candy from a mentally incontinent geriatric on halloween without providing any context for it. Obviously, it would be safe to assume that it was placed there, but why? If someone was perhaps defending himself against cave dwelling baddies, why would he leave his sword behind? And if he died there, why is there no body? While questions like these may seem nit picky, little details (even explained in an implicit way) help to flesh out the world tendency. ANY TIME there is loot lying around waiting to be pinched by a player, you as the DM should know how and why it got there. I once knew a DM who had us running through a mountainous region as a sort of gauntlet, and along the way, we stopped in cave. While we rested, a few people decided to explore the small cavern, and what did they find? PEARLS AND A +2 POISON KUKRI! They promptly ran back to wake the party, and thus begins 4 real-time hours of searching for whomever discarded the opalescent orbs. Long story short, there was no person. There was no quest. There was no story. Afterwards the DM tells us how frustrated he gets when we go off on tangents every time he tries to give us the goods. What followed was a heated discussion on world tendency (someone had to have placed that perfectly good knife there) and the ecology of oysters…
Mechanically, the pearls make sense in that they are a valuable item that can be sold for in-game currency. That checks out. That’s definitely a great incentive for money driven characters, but it’s shallow. If a spade was just supposed to be a spade, why not have us find something more harmonic with world tendency like a clutch of crystals or even some small semi-precious stone? On the flip side, why not build a short quest from the pearls and the small knife, even if it is just a quick “find the body” kind of mission? Since rewarding your players with loadouts is an essential part of roleplaying games, you could use them as another tool in your belt to help bolster the game mechanically and narratively by diving into your world’s tendencies. Loot should always mean something in that way. If you keep throwing piles of gold coins on your players, eventually money just becomes a gilded burden. So to answer my previous question of, “what is better than a gleaming sword on a stack of treasure?”: forethought.
World tendency is probably a DM’s most valuable tool at their disposal. It allows one to create logical, universal consistencies that are easy for players to interpret. It also aids you in being able to predict their next move, which can be immensely difficult even for the most seasoned DM’s. When world tendency and game mechanics begin to harmonize, players and DM’s alike are more free to create and adventure since the understand how the world works and how to work with the world. In my (almost) ten years of experience, players stop asking for rule clarification as well, and gods know how quickly rule checking can halt the flow of the game. While this list is by no means exhaustive in ways you can synchronize game mechanics with world tendency, I hope you have found a couple ways to make your sessions a bit more harmonious!
Andrew Pendragon is the co-host and editor of The Dragon’s Horde where he puts over a decade's worth of role playing experience to work in his pseudo-narrative D&D advice podcast.
Image is courtesy of JESHIELDS: https://www.patreon.com/jeshields/posts
I’ve been playing D&D for a long time, including almost 3 years of 5th edition rules. In every edition, I’ve been tinkering and tailoring the rules to better suit my style as a Dungeon Master, along with the themes of the campaigns, and the types of players in my group. Included here are a handful of house rules which you may elect to use yourself.
1) Combat Attrition
Rule: Whenever you fall unconscious, you also gain one point of exhaustion, in addition to the normal effects.
I am currently running a dark-world campaign, and implementing this rule has really had a positive impact on my campaign. I’m not a fan of the fact that a hero can drop to 0 hp ten times a day, but after a goodberry they are up and ready for action in an instant. This rule adds an extra penalty for hitting 0 hit points. It also uses the exhaustion mechanics, which are otherwise barely touched by most dungeon masters. The only way to recover exhaustion is to eat, so rations come back into the fray too!
This starts to put a heavy weight on PCs who have sustained debilitating injuries in combat, which may impact their willingness and effectiveness for future combats before resting. Characters now worry about hitting 0 hp, even with some heals to get them back into the action, and this has made combat feel more thrilling and dangerous for my players.
2) Random Character Creation
Rule: Instead of choosing standard array, roll your stats IN ORDER. Then make your character based off where your good scores are.
This is an interesting setup that reminds me of the old days before D&D was even referred to by an edition number. With fixed stats stats, you might find yourself playing an interesting combination - salvaging what scores you rolled to build some unique race/class combinations.
Another variation of this rule with a similar result is to roll dice to determine race and class.
Rule: There is no longer a maximum number of spells that you can cast on your turn, provided that you have the required actions to cast them.
I know a lot of DM’s and players who didn’t even realise that there was a limit, but in my opinion this is one of those rules that just gets in the way, so I remove it. Remember, whenever a DM changes or removes a rule that causes the PC’s to have a higher amount of potential power, you may have to increase the difficulty of encounters to match! If I had a dollar for every time I hear the phrase “I’ve house ruled my game, but my level 5 party keeps beating my CR 5 encounters easily,” I’d be able to retire. Just keep in mind what you’re changing, rules-wise, and who it benefits. Then balance the scales accordingly.
4) Reverse Armour Class
Rule: Instead of the DM’s rolling to hit, the Players roll a “defence” roll, based on their armour class. They have to roll d20, and add their armour class to it. The DC is 20+ the monster’s attack bonus. So the players need to “beat” the monster’s attack threat DC in order to defend against the attack.
For example, if the monster has an attack bonus of +7, it’s attack DC would be a 27. A PC with a 15 AC would need to roll a 12+ to avoid the attack, while a PC with a 19 AC would only need an 8+. If the player rolls a 1, the monster gets a critical hit.
I personally don’t like this variant rule. However, I have heard that some groups enjoy it. For starters, it puts the players in a dice-rolling alertness during combat, and they really feel like they are getting attacked, even if they successfully defend against it. The physical act of rolling dice outside of the player’s turn can increase engagement in combat and decrease distractions. Finally, it also removes some of the work the Dungeon Master has to do.
Honestly I don’t mind rolling attacks for my players. But I appreciate that D&D groups do whatever they like in order to create the most fun game possible for their respective group.
5) Deadly World
Rule: All death saving throws are DC:15 instead of DC:10
This rule makes hitting 0 hp far less forgiving without magical/medical means at the ready. Under the standard rules, when a character falls unconscious there is roughly a 55% chance that the character can pull through. However, when you up the DC to 15 (succeeding on a 15-20 is a 30% success chance) a character has a much greater chance of bleeding out without medical or clerical assistance!
6) Modified Flanking Rules
Rule: Flanking no longer provides advantage, but instead provides +1d6 to hit, AND +1d6 to damage.
I mainly altered this rule so that flanking stacked with advantage - as there are at least 50 abilities or spells that confer advantage in D&D. Using this has made my combats much more fluid, and they rarely grind to a crawl now. It also makes swarms of enemies more dangerous. Goblin hordes will try and get into flanking positions, to get those juicy bonuses on to-hit rolls and damage. Being outnumbered is a very serious and realistic threat in medieval-themed combat (or any combat) and I find that this rule correctly illustrates this!
Just remember, as a DM, when you alter rules in favour of the enemies, take that into account when creating and balancing encounters.
7) Less-Swingy Initiative
Rule: Initiative rolls use a d10 instead of a d20.
Not a rule I use, but one that I’m interested in. A d20 has a large variation of numbers, meaning that even having a +5 bonus to initiative could have you going last a few combats in a row. By dropping it down to d10, it makes any flat bonuses more consistent, allowing the faster characters to be going first more often.
8) If You Miss The Table, You Fail.
Rule: If you roll your dice and it misses the table (and lands on the floor) then you count as rolling the lowest possible result.
Was it an attack roll? Counts as a 1. Rolling 2d6 damage and one dice falls off the table? That dice counts as a 1. I don’t mind this rule. Sure it’s a little silly, but I mean, how hard can it be? After all, if you can’t hit a huge table with a little dice from a 3-6 inch distance, what hope does your character have!?
Have you got any house rules that you use for your RPGs? Post them below in the comments.
Peter is an avid dungeon master, role-player, and story teller. When he's not running homebrew campaigns, he is creating new worlds, or he is reading and writing fantasy stories, forever immersing himself in the gaping black-hole known as the fantasy genre.
Image is courtesy of JESHIELDS: https://www.patreon.com/jeshields/posts
Fantastic Reality created a splash with their 5E compatible campaign setting and adventures, World of Asatania, and Darkness Surges. They recently launched a new product Kickstarter, In Darkness Delve vol 1, a series of adventures that can be used in any campaign setting. Fair disclosure, I wrote one of those adventures, Dealing with Your Demons for this product. Michael Cerny is the main behind the curtain of these really well developed products. I can tell you, he was a great editing resource, really pushing me to make the adventure I wrote reach its full potential. The adventures in this volume are going to be awesome, and I really think you should take a look. Before you do though, I wrote up some of the experiences I had writing this adventure, with advice you can take home when you are writing your own in the future.
Writing this adventure was a positive challenge for several reasons, I’ll list those below.
1) Here’s A Great Idea
When I pitched the core idea of Dealing with Your Demons, I was riffing off the ‘pitch-a-concept’ post that Michael had made. To be honest, demons aren’t really something I’ve ever used much in my fantasy RPGs so I wanted to take that pitch, and twist it toward something I do love. I pitched the concept of a two-act adventure, with the first act having the potential to be used as a flashback instead of running it first. This type of storytelling is something I’ve used with a lot of success in White Wolf games, so I thought it would be interesting to try and pitch something like that with a fantasy game. I was right: it was a great pitch and Fantastic Reality agreed.
Advice: Pitch what you know, because writing a pitch that sounds great but you can’t really grok will drive you insane.
2) Um, Great Idea, How Do I Write It?
One of the problems I ran into is I wasn’t sure where I wanted to even start. The first act was clear in my mind. It was going to be a classic dungeon crawl, but the second act was nebulous. I wanted there to be a red herring. The first act was going to set-up the idea that the party destroyed a fairly powerful demon for 1st – 4th level characters. However, that isn’t quite the case. Instead, the party destroys a being much more precious to a specific group of beings. In this case, Kobolds! By doing so, they put themselves in spiritual and physical jeopardy. That said, I couldn’t quite get the concept out on paper. I ended up running a version of the 1st act at BlerDCon as a way to figure out how the Act would unfold. Usually my Game Mastering is a mix of moderate planning and massive improvisation, so this worked well for helping me construct the sequence I wanted to use.
Advice: Find a way to play out the story if you are stuck during the writing process.
3) Here’s What I Wrote!
My first draft was not terrible, but it really wasn’t quite what I would have been proud to publish. Thankfully the editing on Dealing With Your Demons was full throttle. My sentence structure and grammar weren’t the only things critiqued and adjusted. The themes, specific elements, and outcomes were all noted where they were not clear, or where they weren’t the strongest they could be. This process was fantastic, it really allowed me to look at what I’d created and find a way to make the adventure work. Editing is essential to creating a great adventure.
Advice: Accept all editing help. You don’t have to agree with it all, or even follow all the advice, but you do need to have an editor look through your piece. You’ll thank yourself later.
4) Four More Adventures!
My adventure is awesome, and the other adventures in this compilation are the same high-quality. There is a dark humor adventure, set in a dwarven mine, by Brian Saliba. John Teehan has two adventures in the compilation that utilize the theme of Demons to tell some self-reflective and nuanced stories about power, betrayal, and family. Beyond the adventures, we’ve created new monsters to use, and a collection of compelling items.
Advice: Read other adventures. It will help you know what to avoid and what to use to make yours compelling. Also, create something eye catching that others will appreciate.
I can tell you this, Dealing with your Demons has a twist, one that your players won’t see coming. If you love Kobolds, you should back this product. If you love surprising your players, pushing them to really question their actions, and leave them with a story they will tell tales about for years after, then you should back this project just for that. All of the stories in this product are awesome, and you’ll really get your money’s worth.
Josh is the intrepid Chief Operations Officer of High Level Games. With 19 years of playing rpgs, Josh started with Mind's Eye Theater LARPs and loves the World of Darkness. He runs, www.keepontheheathlands.com to support his gaming projects. Josh is the administrator of the Inclusive Gaming Network on Facebook. He’s preparing a Changing Breeds game. He’s a serious advocate for inclusive gaming spaces, a father, and a graduate from the International Peace and Conflict Resolution graduate program at American University in Washington, D.C. You can also find Josh’s other published adventures here and here.
Image Owned by Fantastic Reality and Used as Promotional Material
My love for the Fate system is well known, and indeed, widely documented. Somewhere in the British Museum, there’s a Babylonian clay tablet in cuneiform that I’m sure says, ‘Rui is really into Fate. It’s a thing.’ Why? I like strangeness. I like strange characters. I like strange situations, and mostly, I like a system that ALLOWS me to do both. I have a couple of favourite RPGs, but I keep coming back to Fate. I’m not going to go massively into the mechanics of the system (although I’m giving a quick run-through), I’m merely going to present the six ways you can use Fate for the genre you love.
1) Naming those Skills
This is the easiest and more straightforward way to tune Fate for use in your game. Change the name of the skill. Or, indeed, what it covers. So if you’re running a fantasy game, Archery sounds like a good thing to have. But will archery cover bows AND crossbows, or do you need Archery (Crossbows)? Also, will this cover ALL small-and-maybe-sharp/pointy-objects-propelled-at-speed, or would throwing a well-aimed stone fall under, say, Throwing? The system suggests not going insane on the number of skills, but with a big, well-balanced party, I don’t see a reason why you couldn’t go deep into the rabbit hole.
2) Freestyling it
A simple idea, that sounds positively barking insane. ‘Allow the players to come up with their own skills’. What usually happens is that you’ll find that most players describe skills that make sense (melee, ranged, lore, streetwise), but one needs to be careful that everyone is on the same page, otherwise, some people might be describing skills, some professions, etc. Also, be careful no one gets as a skill like ‘Omnipotence’. All joking aside, the same skill might sound different on every sheet, but the players will know their own character and they will better fit the narrative.
3) Weaving the Character Aspects
No part of Fate is more characteristic of the system than Aspects. Simple small sentences that describe your character, and if invoked (using both a pool of points and an elaborate narrative accepted by the GM), will give you a bonus to your dice rolls. This is where you can weave your characters into the meta-narrative. Use them to describe places, NPC’s, you name it. ‘Can hold her ale’ is fine, but ‘Once drunk all the ale at the Orc and Dagger’ will not only say she can hold her ale, but also that there’s an inn called the Orc and Dagger. Is the landlord an orc? Is the landlord a sentient magical dagger? I don’t know, but the players might!
4) No skills. Wait, what?
This is possibly one of the most powerful suggested hacks I’ve come across. No skills, just aspects. So this is how it works, you get a name and a role, what you’re actually there to do. Then you get a number of motivations (goals, desires), abilities (skills, talents) and gifts (contacts, gear, magic). ANY of these that you can persuade the GM are relevant at that moment in the narrative gives you a +1 bonus. Boom. Done.
5) Using Thing-based aspects
And here is where a lot of more traditional RPG players will go ‘Whaa?’. Everything in Fate can have Aspects. Every. Little. Thing. And all of these can be invoked (see above) during the narrative, by anyone. Say you’re running a Fate Ravencroft game. I’d say a pretty good Environmental Aspect would be ‘Gothic, Dark, and Misty As All Heck.’ So a character might invoke it to hide in a gloomy forest that just happened to be right over there, and the GM might invoke it to give a penalty to ranged attacks (cos it’s dark and misty, you see where I’m going). This becomes a consistent back and forth storytelling exercise, which builds, deepens, and intensifies immersion.
6) Cool Stunts
Stunts help tell your character apart from others. If you had 10 characters, all with the same skills, they would play totally differently, because of stunts. Stunts allow for bonuses if certain conditions are achieved. Say, you’re an elf, and your Stunt is ‘What do your Elven eyes show you?’ which will give +1 to perception, if you’re perching on a high, unobstructed place. Once again, with little effort, these can be fine-tuned to your particular setting. (And allow you to steal a much abused Tolkien reference)
I came across Fate when it was suggested to me, when I wanted to play the most ridiculous character ever devised. Gell (Gell A’Tinn) is a sentient Gelatinous Cube, that consumed too many wizards and became self-aware. I couldn’t find a system that allowed me to play it, so I looked around, and lo, Fate popped up. I ran him No-Skills, and it worked beautifully. One of its abilities was ‘Made of Jelly’. So that was where my shape-shifting bonuses came from!
Have you used Fate (or another agnostic rule system) to fine tune a background? Let us know!
Rui is a Portuguese scientist that, after ten years doing strange things in labs, decided to become a teacher. Then, two years ago, like he was bit by a radioactive D20, RPG’s came into his life, and he’s now juggling teaching, playing and GMing quite happily. He lives in the UK with his partner Joana, an ungodly number of potted plants, 4 to 5 RPG’s at various stages of completion (and across as many rule systems), and maps, cursed idols, evil necklaces, and any other props he can get his hands on. He’s been writing for HLG for a few months, and is one of the resident vloggers. He can be reached at @Atomic_RPG.
After a certain amount of time involved in our wondrous hobby, many players and GMs will consider the prospect of creating their own game. It’s an enticing notion, to have a game with your name on it and born of your creativity. The best place to start is with a small game of limited scope, dubbed Micro RPGs by the community at large. What follows are four essential aspects of a Micro RPG to help you create your very own.
1) A Unique Take
While it’s not necessary that you reinvent the wheel with your small project, you must present your game in an original way. The game might be traditional fantasy, but perhaps all player characters are pixies. Maybe you’ve got a revised or simplified set of mechanics for an existing idea. Perhaps even you’re attempting to parody a well-known game series. Whatever your variant, fill it with your personality. Since you don’t have to create a perfectly balanced system that will appeal to everyone, feel free to make it wholly yours.
2) A Simple Mechanic
No Micro RPG should be too complex that it couldn’t be learned in a single sitting. Since most players will only turn to a Micro RPG once every so often (like so many board games), your game mechanics should be easy to grasp even by hobby novices. This doesn’t mean that you shouldn’t address holes in your system, only that not every aspect of life has to be given a stat and a dice roll. Keep your system focused on the reasons why you’re playing. Is it a game about space pirates? Give players a “plunder” skill that covers everything from raiding, to stealing, to leading a boarding party. Is combat a non-issue for your game? Eschew hit points entirely. So long as you keep everything simple, your game will be ready to be played at the drop of a hat (such as when your friends are sitting around thinking of something to do).
3) A Smattering Of Randomness
To keep things fresh, I recommend allowing the dice to dictate some of the lesser aspects of the game. You can create a table of outcomes people can roll, or a deck of wacky items that everyone contributes to prior to the game’s start. Part of the enjoyment of any roleplaying game is the drama of the dice roll. Will a player’s attempts to flee from a demon succeed or fail? Will that treasure horde hold something awesome or something hilarious? Whatever path you choose, you should certainly include an element of uncertainty in your game.
4) A Spark Of Life
Here follows the most important of the aspects listed. The energy that you bring to the game’s creation will be represented in its display. If you create it using your own creative methods and ideas, it will show at the table and your players will love it all the more. This spark can be anything from a wacky set of props that vary from game to game, the requirement of players to have shifting characteristics as the game progresses, or the spirit of competition (such as in the game Everyone Is John). Let that flicker of ingenuity guide your game and run with it. Sell it with your own enthusiasm, and your players will certainly jump on board.
I wholeheartedly believe that every gamer has a game inside them waiting to spill out onto the table. If you’ve had an idea that you’ve been busting to share, this is the best place for it. Let us know what you’re working on or what you want to create!
David Horwitz is a gamer and freelance writer with an obsession for exploring new forms of leisure. He’s currently creating a Micro RPG (tentatively) called Fame, wherein players take control of actors and their own characters in an under-budget film. If you’re looking for an inquisitive mind and a deft hand, or just want to chat about gaming, contact him at www.davidhorwitzwrites.com/contact
Picture reference: http://www.ebay.com/cln/xiagen/mini-dice/135436579016
I am become death, destroyer of worlds.