Apr 20 2018
There aren’t really any tools that are made with roleplaying games in mind, other than map makers.
For that purpose I tend to prefer to import things into photoshop and do it there where everything’s a lot more powerful and adjustable.
On a day to day basis I use many of the following, some of which you may also find useful in your work, in one way or another.
Some of these are websites.
Some of these are programs.
Some of them are just ways of working things out in rough before moving forward with them.
Working for yourself, you may also find various tips and tricks for motivation helpful, but everyone is different and what gets me motivated may not get you motivated.
- Text-to-Speech (helps with editing)
- Scratch paper and biros
- A Brother laser printer
- The power of imagination
- Social Media
- Reference Books
- Online dice rolling sites
#RPG – A Critique of ‘Privilege, Power, & Dungeons & Dragons: How Systems Shape Racial & Gender Identities in TTRPGS
Apr 20 2018
Apr 20 2018
One of the strengths of Machinations of the Space Princess was its wide open capability to create any kind of character – and also monster – that you wanted to. While there will be many of the usual fantasy staples, goblins, orcs and so forth, I want to give them my own spin. At the same time, the history that I have sketched out gives the opportunity for all manner of magical crossbreeds, mutations and strangeness…
Apr 19 2018
I don’t know that there is one particularly. There’s bits and pieces of all kinds of games but there’s no single game that I can point to. This is a bit like asking about influences again. Game design is also not purely mechanical, but can reflect aesthetics, goals, mood and so on.
Best answer I can give is my most played and openly influential games that I’ve done.
- Middle Earth Roleplaying
- Dragon Warriors
- Cyberpunk 2020
- Vampire: The Masquerade
- Mage: The Ascension
- Mind’s Eye Theatre
- Iron Kingdoms
- Lamentations of the Flame Princess
Apr 19 2018
Rather than ‘opposing evil and injustice’ I more want to explore the idea of youth, rebellion and change against calcification, order, age and tradition. This can be both good and bad. The typical adventuring party I would see as being young (in spirit at least), transgressive agents out for their own fulfilment but as a consequence of that self-indulgent quest, also tearing down the villains. You could frame this as morality versus ethics, or chaos versus order – if you wanted to get all academic about it.
Apr 18 2018
Well, the problem at the moment is that I’m not very inspired. When my ‘oomph’ comes back it could take off in any direction. There’s a few things I’ve been thinking on over the last couple of years though…
I’ve really gotten into the idea of team mechanics, rules that promote the players working together to solve problems, to give each other buffs, to think tactically and to ensure that all players can contribute to the action. I’ve experimented with this in the game Kagai! and I intend for it to be integral to a couple of other ideas I’ve been working on, a tribal/savage/barbarian game setting, and a survival/technohorror series. This isn’t something that’s really that well explored in game mechanics, other than fulfilling ‘roles’ in a team (Fighter, healer, rogue, magic user).
I’m interested in the aesthetic of all-out horror, not just splatter but hopelessness, death, decay, surreality and so on. I like the idea of horror, but horror films never really do it for me unless there’s something more cerebral or genre-bending going on. Not many modern horror films really do that for me, though short films focussed on ideas are interesting and there are gems amongst the dross when it comes to things like creepypastas. I’ve enjoyed The Void, the music of Primitive Knot and the aesthetic of games like Kingdom Death, Darkest Dungeon and Bloodborne while considering this.
The aesthetic and idea of a ‘green apocalypse’, life after a collapse, is appealing and integral to my post-apocalyptic game idea. I was first struck by the beauty of this aesthetic while playing Enslaved: Odyssey to the West, but a similar style has shown up in games like The Last of Us and, to an extent, in movies and TV like The Road, The Walking Dead, The Girl with all the Gifts and Revolution.
Apr 18 2018
This is the question all gamers dread, because it’s really hard to express to people what happens. What better place to start a series on roleplaying than with attempting to answer that question?
Apr 18 2018
It really depends who you are and where you are. The rich fear the poor, the poor fear the rich, The Comity threatens to overturn the existing social order and magicians and sorcerers are feared for their potential just as they, in turn, fear the torch-wielding mob. I think, perhaps, that this is referring more to those that are truly, irredeemably and absolutely feared and reviled, rather than those where it is more situational…
Apr 17 2018
OK, seriously now. Well, positive feedback is good, because people are much less likely to give you positive feedback than negative feedback. People who are upset, annoyed, disgusted or whatever else are far more likely to share their upset than others will share their happiness or satisfaction.
This is called negativity bias and it exists across just about everything from customer service to Facebook posts. It manifests as anywhere from 2-5 times more often that something negative is said and shared than something positive. So, if you’re tallying up good and bad reviews or comments, mentally multiply the good ones so you don’t feel so bad!
Other than positive feedback (because it’s rare and the proportions are out of whack) the best kind of feedback occurs when someone tells you WHY they do or don’t like something. That way you get something useful you can work into your next game or you can see that this person doesn’t get it, wasn’t the right audience or whatever else.
“Your game sucks.” Isn’t helpful.
“Your game sucks because the initiative system is broken, allowing slow baddies to go first.” Is, but shows that maybe they haven’t understood, or you have made a mistake.
“Your historically accurate game, set in medieval Bohemia, sucks because there aren’t any transabled, genderfluid people of colour in positions of authority.” Is helpful, because the person doesn’t appreciate the point of historicity, the freedom the make their own games or what you were trying to accomplish.
“Your game is rad.” Is great for the ego, but not helpful.
“Your game is rad, I love the way that one power allows me to kill any enemy in a single hit.” Even though the person is happy, either there’s a problem with the system or they’re interpreting it wrong, which is useful.
“Your game’s great. I love to fap over the picture of the succubus.” Is just… oversharing.
One of the best things you can do for any game maker whose work you enjoy is to spread the word and leave reviews and comments. This is possibly even more useful than direct patronage.
Apr 17 2018
I don’t want to make things as complex, and frankly silly, as happens in other games, with a multitude of different realities all impinging on one another. I also want to leave certain things in question in a way that they are not in other games. Are the gods real? Is there a heaven or a hell? Is there an afterlife of any real kind? Is there good or evil in any real, meaningful sense or is it all subjective and according to your own perceptions? At the same time I want there to be a ‘metaphysical’ basis to certain ideas and concepts, a reality – if a questionable one – to spirituality and an explanation of things like ‘level’ (why some characters are so much more powerful than others)…
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