The title of this article is intentionally inflammatory, because there is honestly only one big reason we are going to hit another RPG Industry extinction event. In Designers and Dragons, Shannon Appelcline lays out the major developments in the RPG industry, and the one recurring rockslide is a series of what I’m going to call extinction level events. These are crises that cause the industry to implode and cause us to lose company after company that has built up during boom times in the industry. The last one of these happened at the end of the 90s into the early 2000s, which coincided with the d20 boom and bust, with the bust being caused by two things: a glut of product serving one dominant game system and an increase in the cost of paper. The paper cost increase made printing costs a major factor and since this industry is already built on small margins, small adjustments to production costs have a devastating impact. We’re about to head into another of these moments unless, you, the creators, and you, the consumers, help us do something about it.
How is this about to happen?
While this blog is Canadian, the integration between Canada’s and the United State’s economic systems is strong and this means that actions by one government have major economic effects on the other country. President Donald Trump, and the United States Trade Representative are calling for a 25% tariff on toys, games, and dice, as well as on paper printed products, like books. Hearings begin on June 17th to discuss this issue. I encourage you to tweet to https://twitter.com/USTradeRep to let them know about how this will impact you. I’m going to lay out a few of the reasons this is going to have a major, harmful impact to our industry below. If you live in the US, like I do, I also encourage you to contact your Representatives and Senators expressing your frustration about these tariffs. What am I talking about? Here’s an article on the topic.
Why is this about to happen?
2) Production Costs
You might think I’m engaging in hyperbole. But here’s the thing: RPGs are a very low margin industry. If you go on DriveThruRPG or look through a FLGS you’ll notice that most books cost between $20-50, with small press books usually being on the lower end of that scale. Having been involved with the creation of 70 products over the last three years, I can tell you that making a profit on these books is very hard. With most $20 books you are lucky to have net margin between $6-8, if you’re lucky. That’s not profit, that’s money that you get in hand after publication and marketing efforts. With the costs of writers, art, layout, etc, you’re lucky to make a profit at all, and usually only do so with sales exceeding 100 individual products. If you increase the cost of making physical copies of these books? You’ve wiped out the profit margin for nearly all small to medium publishers.
3) Digital Will Save Us?!
Digital/PDF options will mitigate this issue to some degree. The increase in PDF production happened when the cost of paper increased during the D20 Bust era. That’s something, and it does provide hope. However, it will not totally prevent this from being an issue. Most companies that are mid-sized have just begun pushing back into selling their books to stores, and pushing for regular bookstores to carry their games again. Many have been tentative about this move because it is fiscally risky and it has only just become profitable enough to do this again. Guess what? These tariffs will ruin that margin and will make a lot of companies step back and end distribution to FLGS and bookstores. This limits the industry, it limits the market, and it will hurt gamers.
The way this proposed tariff is currently being floated, it will have the biggest impact on game accessories like dice, miniatures, etc. While 3D printing will help to some degree it will not mitigate this issue completely. Manufacturing in China is so much cheaper, and it is still expensive to make quality board games that require a lot of miniatures. While I’m all for moving industrial production, it will cost more and it will not be a quick process to develop the infrastructure to do this in different places. While we don’t HAVE to have these things, a lot of gamers find them incredibly useful, and this will increase the cost of entry into our hobby, which is already perceived to have a high barrier to entry by new folks that don’t know if they want to invest in all the books and accessories to play these games. Do they need them? No, but it is the perception of cost that will push people away.
These proposed tariffs will reduce the ability of new talented and creative folks to publish products and kill the renaissance of gaming that we are experiencing right now. . While this will not destroy High Level Games right now, it makes it much harder for us to move from very small press to small press as we’ve planned over the next 2-3 years. We won’t be able to produce traditional print runs in the way we hoped. We are hardly the only company that will find this to be a major issue.
Please contact the USTR: https://twitter.com/USTradeRep
There are many issues for us to fight in today’s world, but this one is deeply personal and we need to strike now or watch our industry burn again.
Josh is the intrepid Chief Operations Officer of High Level Games and he organized the first HLG Con. With 20 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 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.
Editor's Note: New Gamemaster Month is technically in January, but it's never a bad time to share insight and advice to new GMs. Happy gaming!
There is a natural order to roleplaying games, in which players and gamemasters coexist sharing wonderful tales between each other, and at some point during this magical connection a player will declare themselves worthy enough to run their own game. Most meet with success, while some others fall sadly short of their own expectations. The memory of this defeat either leads the charge into the next attempt, or becomes the final blow into retreating back behind a character sheet. My initial foray into running a game was disastrous, but I didn’t let that stop me from pushing through and trying again. The next few attempts were better, but not by much, so I figured what better way of explaining how bad things got with a few regrets from my first swing at this GM thing.
1) Reading The Rules
My very first attempt was at D&D 5th Edition, using the starter set. I had a copy of the rulebook and read all the character creation rules and set about getting the group together. Eight people made characters, only six played my version of Mines of Phandelver. No one really knew what was going on or how anything worked; play was broken up by the rulebook being pulled out and a 20 minute section took the whole evening. No one enjoyed it. What I really needed was a small group to help playtest the rules first using the provided pre-generated characters.
2) Not Reading The Whole Adventure
Getting so far through the adventure on my second attempt, I realised I had no idea what was coming next: a huge embarrassment. I had read what I thought would take the whole session but the players had whipped through to a point that I was unprepared for, and I had to fudge a few details to keep the flow. This would have been fine if I had any idea where the story was leading afterwards.
3) Over Preparing
I decided, after my blunder with not having read the whole story of Phandelver, to give writing my own adventure a shot. I spent a month meticulously planning an adventure in my own kingdom, created multiple storylines around various decision points, and populated the setting with a variety of NPCs who I built from the ground up, each for specific reasons. The players blasted through it in two sessions. The best advice I have ever been given with regards to preparation is to have a good story in the background running its course and improvise everything else.
4) Accepting Anyone
Looking back, a few of my non-D&D attempts were sunk by one or more players not really ‘feeling’ the setting or style of gameplay. Had I vetted my players better and communicated what I was expecting more effectively, I would have been running a game for a group who wanted to play the game I was offering. This kind of thing should definitely be established before you ask people to join your game to ensure everyone enjoys what you are trying to create, together.
5) Trying To Change Mid Game
The one huge thing that comes to mind is the intent behind the game. I tried running a light-hearted game with a player who wanted to bend the rules to their will and destroy all who stood before them. So I tried to change the mood of the game to suit them, which in turn alienated the rest of the players.
These were just five of my regrets from my starting years. I have since learned from my mistakes and try to create fun and enjoyable games whether or not I'm running a game. I always try to add to the enjoyment of the players. I still make errors when running games, but usually I can iron them out quickly. My one big recommendation for any newcomers to the realm of game mastering is to ensure you and your players are on the same page: know what you and they want from the game to maximize enjoyment.
Ross Reid is a roleplayer of many characters and has enjoyed many a good story, currently only running a game for his children, he plans a grand return in play by post format. His system of choice is FATE but will dabble in anything that looks interesting.
Picture Reference: https://www.montecookgames.com/new-gamemaster-month-is-coming/
Everyone has their own idea of what a gaming experience should be. However, one of the more popular defenses that comes up whenever a player points out that there’s unnecessary racism or sexism in a setting, or how certain themes or tones aren’t what they’re looking for, is simply to say, “Well, that’s just the way things were back then.”
This is a colossally stupid statement. Let’s break down some reasons why, shall we?
1) Back When, Exactly?
The biggest reason this defense falls flat on its face is that most of our games aren’t taking place in a real history (or even a real future, for the sci-fi players out there). They’re drawing on historical elements and weaving them together into a fantasy narrative. Just because there’s knights and lances along with crossbows and feudalism, though, that doesn’t make Westeros a realistic depiction of medieval England anymore than it makes a leopard the same thing as a leopard seal.
Comparing the reality of your game world (a game which often has dragons, magic, and dozens of sentient races in it) to, say, Germany in the 1300s is nonsensical. You need to take the game world as it exists on its own merits, rather than justifying why things exist by comparing them to a completely different planet and saying they’re somehow comparable. Because they aren’t.
2) The Game World Is What You Want It To Be
Unless you play with absolute purists, most groups are willing to alter the rules of a game in order to make it better fit with what they want. They’ll ignore this feat, or toss out that restriction, or change the damage die this particular weapon deals, until everyone agrees this version of the rules better suits them.
Altering the rules of the world so they’re amenable to everyone at the table is no different.
Some time back, I wrote a blog post titled Authors, Every Awful Thing That Happens in Your Book Really is Your Fault. The point of that post, which definitely applies here, is that a thing exists in your game world because you choose for it to exist, and because everyone at the table, in some capacity, agrees that it should be there. If you all mutually agreed that you didn’t want dragons in your game, or the ability to resurrect the dead, you could mark it out with a single stroke of your house rules pen. You could do the same for prejudices, abhorrent behaviors, or things that make your players uncomfortable, too. There is literally nothing stopping you.
3) History is Likely WAY Different Than You Think It Is
Something I’ve noticed is that the more often someone raises a defense of historical accuracy, the less often that person is deeply learned in the history they’re talking about. As an example, the article Vikings Were Never The Pure-Bred Master Race White Supremacists Like to Portray, talks about how there was a surprising amount of diversity among Viking crews. And why wouldn’t there be? They’re pirates after all! One man dies in a raid, you don’t sail all the way back to Scandinavia to find a replacement; you recruit whatever local talent is around who can do Einar’s old job.
Examples of stuff like this are all over when history is used to defend the negative aspects in a setting; from intolerance to a refusal to allow migration (in case you wanted to play someone who was the child of immigrants, as an example) it’s the same tune over and over again. Yet at the same time, we forget just how gay the Spartans were, or how Japanese mercenaries warred with the Dutch when that enemy was half a world away. For every example of prejudice, othering, and violence we find in the history books, there are equal examples of cultures where certain ideas we consider fringe, radical, or just uncommon were a part of the everyday; like how Native Americans respected trans identities in ways that seem like a utopia compared to what we often see in today’s world.
Take Inspiration From History, But Responsibility For Your Game
History is full of cool stuff, unusual personages, lost empires, and strange legends. It makes for great reading, by and large. However, it’s important to remember that the game you see in front of you is your responsibility, and no one else’s. If something is upsetting your players, or people object to a certain kind of content, you don’t get to shrug your shoulders and duck the blame.
It’s your game, so make it the best it can be.
For more gaming insights from Neal Litherland, check out his blog Improved Initiative, as well as his Gamers archive. Alternatively, to take a look at some of his books, head over to his Amazon Author Page!
Picture Reference: https://geekandsundry.com/song-of-swords-the-historical-fantasy-tabletop-rpg-with-gritty-tactical-combat/
I love building and exploring weird worlds, and there is no medium better suited to this than tabletop RPGs. There is no limitation based on art, or programming, or computational power; the world can be anything and everything your imagination can bring to the table. Given how important worldbuilding is to me, and many others involved in the hobby, I’m surprised by how few tabletop RPGs have settlement building as a major conceit. As someone whose imagination runs at a mile a minute, I get the appeal of going on adventures, of new places and new things always around the corner. But I think there’s something to be said for depth in world building as well. If your city, or spaceport, or hub location of another kind isn’t deep enough and interesting enough to set a whole campaign in, then what does it amount to, other than a wondrous novelty? So let’s talk about how to do interesting things with settlements in tabletop RPGs.
1) An Argument For Settlement Building Mechanics
If you’re like me and prefer games with as few mechanics getting in the way as possible, you may question whether we even need mechanics for settlement building. Of course you don’t need them, but I do think that having at least a few mechanics is a good idea. For starters, it serves as a signal to your players. Having some mechanics for settlement building in your game tells the players “this is a thing you can do, and can be a priority in this game”. The fact that there aren’t codified mechanics for settlement building in D&D (or at least, they’re often supplemental) is I think part of why we don’t consider this to be a major trope of tabletop RPGs along with adventuring and dungeoneering. Mechanics for settlement building also facilitate the process, compared to a free-form approach. Players can often be aimless and indecisive, but having mechanics for how to build a settlement gives players the direction they need to keep the game moving and keep the players engaged. It also gives GMs a framework to integrate settlement building into a campaign.
2) A Framework For Settlement Building
I like to keep games rules-light, so this is a simple framework for settlement building intended to be translatable to various systems. I’ve recently been reading Numenera Destiny, which was a major inspiration for this post, so my ideas are loosely based on their mechanics, but streamlined. Building resources should be separated into two categories. Mundane resources are things that can be found or bought fairly easily, like wood or metal in most fantasy settings. These resources should be abstracted to some combination of regular currency value such as gold and/or time to get the resources (or pay someone to get them). The second currency should be resources that are precious, difficult to acquire, or in such high demand that they cannot easily be bought. This currency should be specific to building (or maybe crafting more generally) and should not normally be able to be purchased with regular currency. As an example of how this would work, we can imagine a fantasy setting where the party wants to build a magic lightning turret to protect a village plagued by undead fiends. The construction will be mostly wood and metal (some gold value), but the magic lightning will require some magically conductive materials (our secondary resource). Assuming they have the resources, they can either spend time to build the construct, hire laborers, engineers, and artificers to build it, or if the settlement has attracted a sufficient number of specialists already, the city budget may already account for labor costs. If they want to add additional features, like multiple magical lightning rods to target multiple enemies, or a longer rod for longer range, or some enhancer to give it an area of effect, this will increase the secondary resource cost, whereas just making it better fortified may be a simple gold cost increase. It may help to give the structures levels, where the level determines some range of gold cost and secondary resource cost (and possibly also the time cost). There are, however, other things we need to consider when it comes to adding settlement building into a campaign.
3) The Practicalities Of Settlement Building
As stated above, construction takes time, and managing downtime is always tricky in tabletop RPGs. One option is to hire builders, as suggested above. Another option is to roleplay out “vignettes” of various activities that the party gets up to periodically during the course of construction (a construction accident where somebody may be in danger, a necessary schematic has gone missing and is believed stolen, etc.). This “vignettes” idea could work as a general mechanic for dealing with downtime, but given that downtime may be more prominent in a settlement building campaign, it’s especially important to think about how to make it fun in this context. The mechanics for settlement building in Numenera Destiny require a series of rolls to determine how successful the building process is, where the failures may add time to the construction, or add a defect into the structure, but I’m not a fan of this approach. First, multiple rolls for a single outcome is cumbersome. Second, adding time to the project just delays the thing the outcome (and by extension game progression) without adding any value to the game. Third, given the time and cost of building, ending up with a defect seems unsatisfying. I think the building process should be treated more like a “take 20”, where it’s a guaranteed success unless it’s at some critical moment where it would create tension (the enemy army will be here in two days and we haven’t finished the wall!), or where a defect would make the game interesting (the teleporter accidentally sent the party to an alternate universe!), and then it can be reduced to a single roll like any other skill check.
4) Progression In A Settlement Building Campaign
The settlement can be thought of as a character. A level 1 settlement will have a small population (relative to the setting), access to few resources, at most one advanced structure (a structure that would require the secondary resource to build or repair), and would have only mundane shops. There would be few settlers (or travelers) of note, and the quest board or NPC quest-givers would be few and simple. The settlement may have some needs, like a wall or other defenses, a road, a grainery or some other resource-related structure. To advance from level 1 to level 2 will require a few mundane structures that cost a decent amount of gold, and one advanced structure that costs a secondary resource. If you also used a level-system for structures, you could have a cap like a level 1 settlement can only have level 1 structures, and a settlement levels up after some number of structures have been produced or upgraded. The resources (mundane or advanced) may be found in a nearby forest, or would be more available if they could cut a deal with the neighboring village, giving the players a justification to explore and go on quests and adventures. Once the settlement reaches level 2, new and more interesting NPCs move in, or old NPCs gain new skills or have resources that allow them to do more interesting things, like the blacksmith being able to make better weapons and armors, and higher level structures can be built. My OSR Weapon Hack, where a base weapon is given added qualities of different cost values, may be a good basis for filling out these shops as the settlement advances, and I may at some point design a similar generator for settlement building as part of a larger crafting system. In addition to new and improved shops and more or more interesting quest-givers, the settlers may be able to build certain mundane, lower-level structures at a lower cost, or without assistance from the party (besides resources). The players are rewarded for investing in the settlement, both in a quantitative sense, like leveling up their own character, but also because the settlement will grow and change, partially in ways they designed, but sometimes in interesting and unexpected ways.
5) Settlement Building Campaign Seeds
I wrote a settlement building campaign scenario for my current campaign in my Aquarian Dawn setting, but there are all sorts of possibilities:
After crash-landing on the planet, the crew of the starship must find a way to integrate into the nearby village while they work on their repairs. Normally they have strict rules about interfering with less advanced civilizations, but while they’re stuck here, how can they sit by while they watch people suffer due to inadequate knowledge, poor infrastructure, and external threats? Also, without processing facilities, how will they repair their ship?
In the near future, global warming and the subsequent series of wars and economic disasters has devastated the planet. A coalition of peoples from throughout the world have united to send a generation ship into space, to colonize a distant world and give humanity a second chance. The crew will have to maintain order on the ship for generations, maintain its systems, and eventually terraform and colonize the distant world. Very loosely based on my Antikythera Nova setting, which could also be used for a settlement building campaign.
A group of wandering warriors / adventurers find themselves resting in a small, peaceful village, far removed from the wars and plights of the kingdoms. However, no peace is everlasting, and various bandits and warlord “tax collectors” exploit the hard-working villagers, taking more of their crops than the village can sustain. The villagers beg the wanderers to help them, but the wanderers won’t be able to do it alone. They’ll need to train the villagers to defend themselves, and build traps and fortifications to defend against the marauders who vastly outnumber and would otherwise overpower them.
Settlement building as a mechanic and campaign premise deserves as much recognition as a core feature of tabletop RPGs as adventuring and dungeoneering, and I hope this framework inspires more people to try it out. As my current campaign progresses, I will likely flesh out this system in more depth, and I hope people will be interested to see how this develops. As a worldbuilder, this is a fun way to add depth and to bring a collaborative worldbuilding element to your campaign: by allowing the players to determine how the settlement progresses. If you have thoughts on how to add settlement building mechanics to tabletop RPGs, or how to run a settlement building campaign, please leave a comment!
Max Cantor is a data engineer, whose love of all things science fiction, fantasy, and weird has inspired him to build worlds. He writes a blog called Weird & Wonderful Worlds and hopes to spread his worlds across the multiverse of imaginations!
Picture Reference: https://www.drivethrurpg.com/product/240655/Numenera-Destiny?affiliate_id=657321
In any creative medium that lasts long enough, there’s bound to be stretches where it seems like everybody is just copying what everybody else is doing. (In art history, they refer to these periods as movements.)
Tabletop roleplaying games are no exception. An acquaintance of mine once lamented that so many games were using Powered By The Apocalypse, but not really doing anything to really make their game unique, and made the leap in logic that they were just doing so because everybody else was making a game that used PbtA.
I remain largely unimpressed if a game bears a logo signifying that it uses a certain ruleset. However, I have also witnessed a few instances of people reacting strongly to such labels, both favorably and not. I try to remain dispassionate whenever I notice a trending game engine or game style in our hobby. I’ve seen it happen numerous times before. More often than not, it’s just that: a passing trend that in time, will be mostly forgotten.
In light of that sentiment, for your reading pleasure, I present you with “5 Creative Movements In The RPG Fandom” so as to celebrate the unique inventions of our hobby.
1) The Fantasy Heartbreakers
A term coined by Ron Edwards of the web forum The Forge, Fantasy Heartbreakers is a type of game that Edwards identifies being prominent in the 1990s. They were independently published games of the fantasy genre that seemed to be products of people trying to bring their own take on what Dungeons and Dragons could be.
He describes many of them as having great ideas, but being trapped behind the shortcomings of D&D, for one of three reasons. They don’t play to what truly makes them unique, they make some minor adjustments to some of the apparent problems D&D had at the time, or they just flat out keep some of the absurd themes that D&D was stuck with.
The reason these are titled Fantasy Heartbreakers is twofold: they were obviously fantasy games, but more importantly, this was a considerably more difficult time to self-publish. The internet was budding, and some of these games did take advantage of having websites, but DriveThruRPG didn’t quite take off till some years after 2000. This meant the cost of self-publishing was considerably higher, to the effect of thousands of dollars just to print. (The cost of commissioning artwork, if you could even afford it, would compound the issue.)
And so, a fantasy game designer’s dream of being the next Gary Gygax would often end in a broken heart -- so much effort, so much investment, all to be forgotten in a market too small for them.
2) There’s A GURPS Book For That
Generic Universal Roleplaying System is the flagship RPG of Steve Jackson Games, the company that may be better known for the Munchkin franchise. While now typically scoffed at as having way too much math to be enjoyable, there was a time when GURPS addressed issues of contemporary games. Issues such as character creation being too rampant, or playing in a different setting requiring learning a completely new game.
In the 90s, GURPS was all the rage, and much like how Steve Jackson now licenses out Munchkin whenever he needs to pay the rent, he did the same with GURPS during its heyday. While both Steve Jackson’s own web-store and Drive Thru RPG boast staggering collections, this isn’t the complete library.
There were numerous books published that bore the GURPS logo, including the now out of print Vampire: the Masquerade GURPS sourcebook, and even a few Japan-only exclusives such as GURPS Runal. The heyday of GURPS may be over, and large swaths of its library may now be difficult to find, but it’s hard to deny that it’s an important artifact of tabletop gaming history. (Especially since the Secret Service once seized all of Steve Jackson Game’s equipment over one of their GURPS sourcebooks!)
3) D20 System
After the Fantasy Heartbreakers bled out, but before the weight of GURPS’s massive library collapsed on itself, Wizards of the Coast acquired the remains of TSR, and brought us Dungeons and Dragons 3rd Edition, and with it, the Open Gaming License and the moniker d20 System.
With the freedom to use the rules to D&D to make one’s own supplements and games came a deluge fan made splat books, along with officially licensed games. Some of these were good, or at least well received, such as Mutants and Masterminds, or Blue Rose by Green Ronin publishing.
I’ve read through Blue Rose; frankly, this was much like one of the Fantasy Heartbreakers opined upon by Ron Edwards close to two decades ago. It added a few new mechanics and a different setting, but at the end of the day, it was Dungeons and Dragons 3rd edition with a different coat of paint.
Most games either fell into the above category, or showcased some of the flaws of Dungeons and Dragons’ core mechanics. Big Eyes Small Mouth d20 is one such example of the latter. It tried to include the freedom of a point buy game with the structure of a level based one, and failed pretty miserably at both with a kitchen sink setting.
The surge of the d20 system died down some the flop of Dungeons and Dragons 4th edition, and the revival of D&D in the public eye with 5th edition. Though somewhere between the 4th and 5th edition being released, a new movement gave way.
4) Powered By Fate (Or The Apocalypse)
Sometime before Dungeon and Dragons 5th edition being released, FATE and Powered by the Apocalypse picked up in popularity. I remember some of the ways friends of mine initially described FATE when its 4th edition was released in 2013. They described it as being “easier to understand” and “letting you do anything.”
Which brings us to where we stand now. We’re in the middle of a movement marked by narrative games using FATE or Powered by the Apocalypse cropping up, either as fan made games like the numerous Star Wars FATE games, or as independent publishing, such as a Nahual, a Mexican game about urban fantasy, set in (surprise) Mexico.
Social movements have a strange way of not being all encompassing, though. The Fantasy Heartbreakers were happening at roughly the same time GURPSmania was, which dragged on sometime into the era of the d20 System’s reign. Moreover, with Dungeons and Dragons having some of its rules released under the Open Gaming License, we’re seeing a second wind of extra Dungeons and Dragons material during our current age of FATE and PbtA, including High Level Games’s own addition to this canon: Snow Haven.
5) Bonus! Standard Roleplay System
To illustrate that this isn’t exclusively a trend in the English speaking roleplaying game community, I’d like to touch on something similar that’s happened in Japan. The game publisher Far East Amusement Research is one of the big names in publishing RPGs in Japan. They’re known for two things: having published Tenra Bansho Zero, as well as creating the Standard Roleplay System.
The Standard Roleplay System is exactly what its name implies: a standard set of rules that FEAR’s games use, creating a similar wave of games in Japan as we’ve had in the West. One of the most bemoaned examples from Western fans of Japan’s RPGs is a game called Monotone Museum, which was designed to prove a point about SRS: anybody, even those who don’t have much experience in RPGs, can make one.
The rules deviate very little from the SRS document, and shares a lot of common themes with other FEAR Games, including Tenra Bansho Zero and Double Cross. Themes such as stacking multiple archetypes to make your character, having a cosmic force that both empowers and corrupts your character, and having to take steps to avoid being lost to said force.
I’ve initially bemoaned how similar so many different RPGs can all be the same, but as I wrote this article and took the time to organize my thoughts on the matter, a few things did dawn on me. The first is that every so often, something truly new does come around and shake things up. The other is that even within a familiar framework, there can still be room for something interesting to be made.
After all, despite basically being a clone of JRPG video games of the time, Earthbound is still one of the best games of its kind.
While Aaron der Schaedel has been in the RPG fandom for a very long time, he’s spent most of that time in the fringes of it, where he’s found all kind of wonderful, bizarre, and even horrifying things. You can (and should) ask him questions about the things he’s found via twitter: @Zamubei
Picture Reference: https://www.drivethrurpg.com/product/224851/GURPS-Fantasy
All blog materials created and developed by the staff here at High Level Games