Author: Beau Jágr Sheldon

Five or So Questions on Something is Wrong Here

Today I have an interview with Kira Magrann, talking about her new live action game Something Is Wrong Here, which is currently on Kickstarter! It’s a very different game, from what I can tell, and that makes it all the more interesting to me. I hope you like reading Kira’s responses!

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Kira, a dark haired nonbinary person with hair and clothing styled after a quintessential David Lynch character.

Tell me a little about Something is Wrong Here. What excites you about it?

Something Is Wrong Here is a roleplaying game inspired by the dark and uncanny work of David Lynch. It’s atmospheric, emotional, and personal, and THOSE are the things I’m most excited about in the game! A lot of Twin Peaks style games have been more like small town murder mysteries, which is great and fine, but my love of character relationships, dopplegangers, and personal horror is bleeding like, all over this game. I designed it to FEEL like a David Lynch gig more than follow the PLOT of one of his things. So its a pretty emotional experience, and I love that about it.

You talk about following David Lynch’s creative process in the Kickstarter video. What was the creative process? How did it affect the game in comparison to other processes you’ve used?


David Lynch’s creative process is very fine art and drawn from his subconscious. It’s so weird I love it, especially the fine art stuff. I’m a sucker for surrealist painters like Francis Bacon, who David Lynch’s uncanny films have often been compared to! He was a painter before a filmmaker, and he sees films like moving paintings. I see roleplaying games like fine art experiences, immersive and social performance art, so I really connect with this correlation of the cross contamination of art media. His ideas are drawn from meditation and dream images. He often says “Ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you’ve got to go deeper.” 
I thought I would experiment with this process while making a game inspired by his work, draw from my background as a fine artist as well as my own dreams and subconscious. I thought, what scares me the most in David Lynch things? What do I connect to the most? How can I make the narrative more from my queer non-binary perspective? I thought and dreamed and meditated on it for awhile. From there it was easy to focus on the identity issues that are so relevant in his work that I also deeply relate to. Issues that focus on multiple selves, and what we really need emotionally from relationships with people, and of course that feeling of creeping dread that I really do enjoy (I love being scared and always have).
Small cards with descriptive text on them, one titled "Optimistic innocent"
Character cards!
What is the structure of the game like, and how do players mechanically interact with the narrative?
The game’s structure is somewhat fluid in the plot sense, in that the plot isn’t the most important thing about the game. The characters are the focus, and the scenes that unfold are there just to focus on the each character’s personal feelings, and how their relationships with the other characters might influence their decisions in the final act. There are two acts basically, and the mechanics are card based, in addition to a Facilitator who helps frame scenes, keep time, and play music. The cards change and serve different functions as the game goes on. At first they are emotional prompts, then they are acting prompts that happen in scenes, and then finally they are cues to how to make decisions in a suddenly uncanny environment. The players are encouraged to dive deep into their character’s minds, and perhaps see correlations between those minds and their own. This, in addition to atmospheric props like a box and a mirror, create some deep emotional play. 

How did you playtest and develop a game with this kind of complexity – and how replayable is it, with playtest experience in mind?
I actually just playtested it as normal! It played excellent both at home, and at a convention. It’s oddly simple once it gets going actually, as the rules are easy and repetitive, like a ritual, and the facilitator really just needs to guide the scenes and the timing. It’s reasonably replayable, because the spoiler doesn’t reaaaaaaaally matter to the story, its more what happens to the characters and the decisions the players make that are the heart of the game. People could play different characters, or you could end up spending more or less time in different setting options, and I bet it would present a different emotional journey each time. Although it is designed to be a unique, one night experience!

How is Something is Wrong Here different from the works it reflects? I think you address this a little with looking for queer, nonbinary aspects – how do you think that shows most in the game?


Hahahaha well, I love David Lynch but he is an old white guy with some problematic ideas about gender and hardly represents people of color in his work, etc etc problematic faves. My work obviously attempts to diverge from those problematic aspects of his. This game doesn’t have representation in it per se… the character archetypes are very flexible and undefined so you can make them whatever you want them to be. The clearest setting elements are “America” and “a forest, a living room, a diner, a roadhouse” so you could imagine perhaps a small American town, but it doesn’t say where. SO really, the queerest and most non-binary parts of this game are about questioning dualities and pre-determined endings. Like, at the end, each character has a choice when they’re confronted by themselves. How can you confront yourself? Are parts of your identity different than other parts? Those are pretty essential to my personal non-binary thinking. My identity is complex, and made of fluid moving parts, and sometimes I analyze different parts of myself like different parts of a big whole, right. So those themes about the complexness of identity are really central to Something Is Wrong Here.
A box of cards labeled "Something is wrong here" with thematic art.
The mockup for the cards and box!
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Thanks, Kira, for the interview! I hope you all enjoyed the interview and that you’ll check out Something Is Wrong Here on Kickstarter today!

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Quick Shot on Legacy: Life Among the Ruins – The Next World

Hi all! Today I have a brief interview with Jay Iles about Legacy: Lift Among the Ruins – The Next World, a three book supplement for Legacy that’s currently on Kickstarter. Check it out!

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A group of people of varying sizes, genders, and identities in post-apocalyptically styled clothing crossing the frame.

What is Legacy: Life Among the Ruins – The Next World, both as a product and as your vision?

At its most basic, the new campaign is a collection of three supplement books for Legacy. Two of them – Engine of Life and End Game – combine new rules and options for Legacy with backer-created content made as part of the first kickstarter, while the third – Free From the Yoke – is a standalone setting hack of the original game transposing it into political fantasy rooted in Slavic folklore.

At a higher level, it’s our opportunity to really stretch our wings with the 2nd edition of the game. While we’re very proud of what we achieved with the 2e corebook, a lot of it was a revision and restatement of things created for 1e. With these new books, we’re bringing completely new options to the game that change up some key assumptions to the game: the Timestream Refugees don’t use standard stats but instead get better at moves the more they’ve helped others, while the Herald isn’t defined by their role in their Family but instead by the pre-apocalypse cultural icon they’re emulating. Free From the Yoke completely rewrites many of Legacy’s core systems, bringing in magic and chains of fealty and nation-scale logistics.

Beyond even that, these books give you the tools to decide the trajectory of your campaign: The Engine of Life gives ways to guide the wasteland towards a new flourishing and an eventual peace, while End Game presents final threats that might finish the world off for good and offers sacrifices you might make to push it back.

Finally, Free From the Yoke presents players with a newborn nation feeling the after-effects of generations of foreign occupation, and asks them how much they prize the communal health of the nation over their own wealth, prosperity and independence. It’s an opportunity for us to explore a more measured, large-scale kind of storytelling, and a way to return to some of Legacy’s inspirations – Reign and Birthright.

A person wearing armor with various badges and sigils who has an augmented prosthetic leg.
I love this picture so much.

What are some of the ways Timestream Refugees become better, more advanced? 

The Timestream Refugees are focused on stopping the future calamity they fled from, and to do that they need to guide the actions of others while avoiding being tied down by obligations. This is core, and so instead of the standard stats of Reach, Grasp and Sleight that have Momentum and Balance. They roll Momentum for most family moves, but it reduces by 1 each time they do. They get a point back each time they successfully help another family, but in addition you secretly write down your vision for each family at the start of each Age. If your vision comes to pass you gain more momentum, but otherwise the world slips closer to ruin. Depending on the player’s choices, they could gain Momentum from characters reaching a satisfying end to their arc, from great projects being completed, or from resolving systemic problems with the homeland. And building on that, their other moves let them do things like uplift a generic NPC into a legendary hero, predicting that a new age would provide a bounty of resources, appear when other players roll double-1s or double-6s to share in the glory or mitigate tragedy, or help other players better understand the world. They’re a playbook all about ‘striving to put right what once went wrong’, drawing on Quantum Leap, Terminator and Travellers, and I really enjoy how we’ve managed to make that work and draw you into the other Families’ stories.

Tell me about the magic in Free From the Yoke – how does it work? How does it change the way Legacy works?

Technology in Legacy is materialistic – it’s disposable, and self-powered, and tied to the physical device. In contrast, magic in Free From the Yoke is a story you tell the land to get it to help you. All magic needs a tutor – either a more learned sage, or the land itself. When you learn a ritual it triggers a new core move where you and your tutor negotiate what obligations you accept in return for power. Maybe you’re not allowed to teach the ritual to others, or must act virtuously to retain access to it, or must regularly perform a particular observance. 
Then, when you enact the ritual, that’s another negotiation – depending on how well you performed it, you can call on the land for extra power, control, healing, or insight into your tutor’s current state. In return, the GM picks costs, with more costs if you’ve broken any of those obligations you agreed to. These downsides might include a small sacrifice, a change in the weather, strange behaviour from animals and plants, or a cost to your health.
Finally, this is still a Legacy game, so this all shapes your family over generations. Every time the ages turn and you retire an old character, you may add one ritual they know to your House’s lore – gradually building up a corpus of knowledge that future characters will be able to call on as they adventure, but tying your House closer to the Land’s waxing and waning health in the process.

People in post-apocalyptic styled clothing on varying levels of tall structures and stairwells, carrying weapons and resources.

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Thanks so much Jay! I hope you all enjoyed learning some about Legacy: Life Among the Ruins: The Next World and that you’ll check it out on Kickstarter!


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Five or So Questions on Entromancy

Hi all, today I have an interview with M.S. Farzan about Entromancy: A Cyberpunk Fantasy RPG, which is currently on Kickstarter! I hope you’ll find something interesting in the responses below!

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An illustrated masculine appearing person with facial hair holding a gun

Tell me a little about Entromancy. What excites you about it?

I am super excited about Entromancy because it represents the realization of a dream: participating in a shared cyberpunk fantasy world with other fans of d20 tabletop games. When I wrote the first novel in the Entromancy series a couple of years ago, I was inspired by my experience playing and GMing for tabletop RPGs, and it’s been an amazing process translating that enthusiasm from the novel back into a game that we can all play.
How did you translate the novel into a mechanical structure like a game without sacrificing the narrative or overcomplicating things?

Great question! Building the world for the novel was a four-year process of scribbling notes, creating characters, and revising systems, in much the same way that one would approach making a game. It was important to me to have, for example, a magic system that was not only internally consistent, but that would also be plausible within the framework of a roleplaying game. Creating the RPG from the novel hasn’t exactly been “easy,” but a lot of things have translated well into mechanics because of that early structural decision. The core concept of magic, for instance, still draws from the same resource, a renewable element called “ceridium,” as in the book, but we’ve had to reconfigure most of the iconic spells that appear in the book (while building out a ton more) so that they make sense in a balanced, TTRPG imagining of the world.
character archetypes from the game in sketched illustration with bright colors overlaid
I love the idea of the Terramancer. What are they like in play? How do they function?

The Terramancer is based on Alina Hadzic, one of the main characters of the novel series and an all-around all-star. She’s a former baseball relief pitcher with powerful earth magic to boot, and represents another area in which we’ve had to work to build mechanics that make sense for a game, rather than just a book.

Like all other character classes in Entromancy, the Terramancer has two archetypes to choose from, which are specific advancement paths for their talents or spells. When you play as a Terramancer, you can choose to be either an Arcane Pitcher or a Nature’s Harbinger, and can add spells from your chosen archetype to suit your play style. The Arcane Pitcher is formidable at range and has spells to empower its returning projectile weapon, the ceridium orb, while the Nature’s Harbinger can support the group with buff spells, healing, and the ability to summon beasts. Both archetypes benefit from a shared Terramancer feat list that allows you to further enhance your character’s abilities and combat prowess.

a character dressed in heavy gear, carrying and reading a gadget shaped like a handheld system
What’s magic like in the narrative, and how do you make it happen mechanically? Is either particularly explosive, or can it be sly?

In the 2020s, green researchers discovered the ability to synthesize ceridium, a renewable energy source that, over time, was found to also power burgeoning schools of magic. These schools are collectively known as “mancy,” and ceridium, while stable, has been proven to expose a genetic mutation among certain populations. This mutation – the “underrace gene” – results in phenotypic variation among carriers of the gene, giving rise to new races of people known colloquially as “underraces” or “aurics.”

It’s posited that ceridium is a synthesization of “blue orichalcum,” a once naturally-occurring element that was depleted by humankind centuries ago. The connection between ceridium and blue orichalcum is unproven, but would explain why most civilizations have a cultural memory of things like magic, spellcasting, and fantastic races and creatures.

In Entromancy, most spells are dependent upon the availability and use of ceridium, and range from the infiltration-focused shadowmancy of the NIGHT Agent to the utility-enhancing spells of the Technomancer.

a character dressed in a cowboy hat and longcoat
What does a d20 system bring to the table to make this specific setting and playstyle flourish?
We love 5th Edition, and find it to be a wonderful springboard for the type of game that we want to share with everyone. We’ve done a lot to streamline the game systems to place an emphasis on meaningful action and storytelling, while building out other systems to support a cyberpunk world that incorporates intrigue, espionage, hacking, and cybernetics. So anyone who’s familiar with 5th Edition or other d20 systems will be instantly familiar with how the core mechanic works, and will also notice the areas in which Entromancy is different, in terms of character creation and progression, spellcasting, equipment, and more.
There are a lot of great game systems out there, and in fact, the first few iterations of Entromancy were based on a proprietary game system that we were developing. Early in the game’s development, we decided instead to utilize 5th Edition as a framework as it felt a natural fit for the game that we wanted to make. Over time, Entromancy grew into the d20 core mechanic and, through development and playtesting, we have been able to identify more and more areas where we’ve been able to streamline, make adjustments, and create our own game that feels authentic to the original fiction.

the Entromancy logo of a neon colored outline of a structure an the text "Entromancy: A Cyberpunk Fantasy RPG" above the text "funded in the first two days" and "available now on Kickstarter

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Thank you to M.S. Farzan for the interview! I hope you all enjoyed the interview and that you’ll check out Entromancy: A Cyberpunk Fantasy RPG on Kickstarter today!

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Five or So Questions on Domina Magica

Get to twirling, everyone! I have an interview today with Emily Reinhart on Domina Magica, a magical girl game that’s currently on Kickstarter! Check out the magic below!

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a magical girl spinning with bright lights, wearing a pink and white dress, surrounded by a colorful illustrated border

Tell me about Domina Magica. What excites you about it?

Hey!!! Domina Magica is magical girl RPG that myself and my team Third Act Publishing created!! It is an episodic game that emulates an episode of a Magical Girl Anime. It has a ton of unique mechanics to help facilitate the feel of some of the iconic anime tropes. There is the “cootie catcher” or “fortune teller” that allows you and your group of players to set the scene and tone of your game by filling out the “flaps,” it also allows the players to fill in “secret trials” that will activate later in the game. There is also a dual sided Character Sheet that allows you to build a School Girl character first and then when you transform your physically flip the sheet over and build your “Magical Girl!!!”

We are really excited for this Game!!! Our Kickstarter funded in 15 hours and we are sending out Slap Bracelets to backers as we speak!!! If you are in the US and fund at any level, even the $1 level we will send you a purple “Fight like a Magical Girl Bracelet” right away. Not when it is over, not when the books comes out…..now!!! Sending hundreds of Slap Bracelets in the mail and seeing them pop up all over social media is something we are super excited about!!!!

I LOVE the character sheet idea! Clever character sheets can make games more fun! So can transformation – is that a big aspect of Domina Magica?

Transformation was and still is a huge part of Domina Magica. The dual character sheets was a game mechanic that I wanted to implement from the very beginning and one of the very few things that have changed. I liked the idea that your magical girl, and your school girl would have different identities and I wanted to represent that at the game table. Double Sided character sheets fit that mechanic perfectly. We also created a way that the character sheets build off of each other so that what you do in your school girl person directly impacts what your Magical Girl looks like!!
The book and associated goodies including a wristband in purple and yellow.
Goodies!
How does the game work mechanically – what do players use to resolve conflicts, or to interact with each other and non-player characters?
The Game works off a “roll low” system. Your school girl will have 5 traits, and you as the player will have 5 die, D4 through D12. Your traits are Friendship, Strength, Honesty, Kindness and Persistence. Since it is a “roll low” system you want to roll as close to 1 as possible so your D4 is your highest die. You get to assign the 5 die to the five traits, picking what trait is your highest (d4) and what trait you still need to work on (d12.) When the transformation happens and you flip over your character sheet, you get to reassign your die to the same 5 stats, so your Magical Girl might not have the same strengths as your school girl persona. To confront a “bully” or “dark enemy” you will simply pick a trait you think represents what you are doing and it will be a contested roll against the target, whoever rolls closer to 1 succeeds the check.

After all she is the 1 Sailor Moon!!! After hearing that song for years I really wanted a system that made ‘1’ the best number and not 20. 

A winged heart with stars inside.
Tell me about the magical girls and school girls you play. What are they like? How are they presented? What do they do?
Ok, I will start with the School Girl because you build her first. At this point you can play any school girl you want. Schoolboy? Thats fine! Transgender? Great! You get to decide on her traits, stats and characteristics! The character sheet has the typical Likes/Dislikes and Blood type portions for you to fill out. You give her a name and then assign the dice to her stats. After you have filled all of that out, you get to present her and tell the table a bit more about your character. So the players get to choose literally everything about the School Girl!

Once the party has transformed you physically turn your character sheet over to reveal the Magical Girl Side. Here you can reassign her dice, and give her a name. Since she is a part of a team, the players have to decide what type of Magical Girls they are playing and describe the transformation process. So some of the Magical Girl traits are filled in by the table and some are filled in by the player! Then they fight the Boss that has been building throughout the course of the “episode.”

Share some of the highlights and challenges of this project. What has it been like playtesting and creating a game so femme focused? 

There were several challenges that we have run into even in the early stages of the game. I wanted this game to be Everything!!! I wanted it to have every theme, troupe, cliche and mechanic that I could cram in, but after playtesting it and looking back at it…….the game was a hot mess. We had to get rid of a few mechanics and tweak others to make play more smooth and the concepts to flow better.
Play testing has been a huge help! Most of my players are men who are so excited to get to play magical Girls!! Playtesting with different groups of people helped me see different things i could do to appeal to a wider audience as well. I changed the character sheets to include all body types and not just the stereotypical “Skinny Anime Girl” If we get to print off full color character sheets I would love to do different skin tones as well!!!
the Domina Magica cover with stylized metal and gold, a winged heart with stars inside, and the appearance of being chained.
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Awesome, thank you so much Emily for answering my questions! I hope you all enjoyed the interview and that you’ll check out Domina Magica on Kickstarter today!

Thoughty is supported by the community on patreon.com/briecs. Tell your friends!

To leave some cash in the tip jar, go to http://paypal.me/thoughty.

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Turn, Bigness, Mental Health, and “Different”

First off, I’m going to make a damn #TurnRPG hashtag, then we’re gonna talk about this precious gift of a game I have been working on since December 2013. And have I got some WORDS for you this evening, my friends, about Turn, and about large design projects, mental health, & “different.”

a yellow bird on a branch with its beak open with a bunch of As in the background like yelling

Turn is a slice-of-life supernatural roleplaying game about shapeshifters in small, rural towns who must find balance in their shifter identity and community with their fellows. I’m planning to Kickstart it at the end of October. tinyurl.com/turn-rpg-beta-2018

I’ve been really digging into it and I’m in the expand and explain part – I think the mechanics are solid, but trying to ensure people understand the mechanics is hard. I’ve been struggling through recovering from a brain injury, & until recently, sometimes my work was nonsense.

So a lot of this is revisiting old text, making sure it makes sense, revising it, and adding as much as I can to make it approachable to people who aren’t me. John helps with this – he’s my dev editor – but he can only do so much when I’m struggling personally with the work.

Turn is the biggest thing I’ve made and a large part of me *needs* it to succeed, to be appreciated. So I want everything to be perfect! Like, everything has to be exactly how it’s supposed to be written in my head. And that’s a pain in the ass, and doesn’t guarantee perfection.

A picture of Diana as a child in Wonder Woman with a tumblr post posted over it that says "me, logically: it's never gonna happen. the tiny hopeful goblin in my brain: but what if it did"

So like today I’ve been asking for help figuring out a new title for the facilitator role because facilitator sounds boring and what I was using, Storyteller, is too associated with White Wolf (not why I was using it, but no one cares) and also doesn’t describe the role well.

Now I’m trying out Meddler, because I tried a whole bunch in text and it’s the only one I like next to Busybody but is slightly more teasing than mean like Busybody tends to be. And I listened to a bunch of people’s input, too, and felt kind of “eh yeah?” and like COME ON.

See, one thing that I need to really tell you here is that the longer your project, the more likely you are to hit a wall of mental health issues, new or old. They will fuck you UP. I love this game. I love it SO much. And I find myself poking at it all like “I should trash it.”

I’m working on this big, meaningful project and I’m getting engagement with input from people and all my big stupid brain can say is “Well I dunno, people haven’t said it’s visionary or anything, and these other people aren’t interested, so maybe it’s just awful.” This project!

Keegan Key saying "I mean, I spent the majority of it in a deep fog, in a profound depression."

And part of it is because it’s a big project, a lot of time and energy with (to date) little to no returns. Most of my projects seem futile because I don’t exactly swim in recognition, reviews, or funds as a result of them. But I still do them, and I’m still doing this. I’m especially still doing this.

If I was working on something smaller I could be done and stop torturing myself with the maybes and the whys. But it’s big. It matters. And mental illness just wants to dig in its claws and remind me that I’m not doing good enough. But I also know it’s because Turn is different.

Jaylah from Star Trek Beyond yelling in preparation of a fight.

I said it, I mean it. When I play Turn, it always feels different than other games. When I’ve been designing it, it feels different than other games. I haven’t played all games, and I’m not fucking gonna, but I do know that compared to the games I have played, Turn is different.

Maybe it’s because of the angle? Or because it’s quiet drama? Maybe it’s because I took away failure, and focused on consequences? Maybe it’s because this game isn’t designed to play like an adventure, but instead like everyday life that gets hard and troublesome but also loving?

Mad Max pointing towards one of the bikers in recognition.

And like, the biggest thing I struggle with while designing this game is that I want to maintain that “different.” Some people have looked at the mechanics without playing the game and said it was just copied from a bunch of places, but it’s not. It’s different. So it’s rough!

How do I keep my snowflake of a game from melting or getting mushed together and ruined? How do I present it to people in a way that highlights the difference? Worst of all, what if I AM wrong and my game’s actually just a boring facsimile of other games I don’t want it to be?

It’s a lot. I just want this game to be good and succeed and I want this weird experience I have when I play it to be replicable for people. I want to do a Kickstarter and not have it fail because I want people to be interested in it and excited for it. But I’m also very tired.

If it was smaller, maybe I’d care less. I didn’t have a mental illness, maybe I’d struggle less. If it felt samey, maybe it would matter less. But none of those things are so. It’s a mattering struggling caring mess. I’m mulling over every design decision like it’s life & death.

My final real point, I suppose, is that all of these things: bigness, mental health, difference, they are important to the game and the design process I’m experiencing, and I have to overcome the challenges. I love Turn so much, and I can’t let it fade away, I can’t risk that.

So if I kind of sound like a pain in the ass a lot right now, & for the foreseeable future, I want you to know that it’s only because I’m trying my best. I want to do my best. I want the game that I put out to be one you can pick up & have an amazing experience with. I’m trying.

Andy Samberg as Jake Peralta on Brooklyn 99, in workout clothes. Someone asks " Are you crying?" and he responds "No. That's eyeball sweat."

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Five or So Questions on Free Spacer

Hi all, I have an interview today with Christoph Sapinsky, talking about his game on Kickstarter, Free Spacer. You can check out the Free Spacer website, or find info on Facebook, Twitter, YouTube, and Google+, and I hope you also dig the responses to my questions that Christoph shared below!

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an image of a burning sun in space with the text Free Spacer: A starship tabletop RPG.

Tell me about Free Spacer. What excites you about it?

Free Spacer is a sci-fi starship roleplaying game. You play the crew of a contracted starship. The Exploration Wars have recently ended due to outside intervention and a cold war has replaced it. Free Spacers are the tool of choice in this new conflict. You take contracts, perform operations, and hope that you can retire to rejoin society… someday.

To me, the most exciting aspect of Free Spacer is that is it feels like sci-fi. Everything from the way you modify rolls to the core setting stem from the science fiction. For example, while the tasks you perform depend on your crewmember’s skills and specialities, you can gain advantage from the situation and route additional charge to your tools to gain additional dice. In play, this feels like tweaking levels to get the output you want.

Character sheets with six and ten sided dice.
How do you take action in Free Spacer? What does an average resolution look like?
Free Spacer uses a task system, every task is a set of related actions that includes the appropriate movement. For each task, you as the player roll a pool of dice we call a Salvo. The Salvo is made up of d10s opposing d6s. 
  • The d10s are task dice primarily from your appropriate skill and specialty plus situational advantage; additionally, you can spend a Charge resource on a tool to gain its rating in dice. 
  • The d6s represent the threat faced, beginning with its difficulty and disadvantages. The Gamemaster can also spend their complication resource to add more threat dice.
When you roll the Salvo, you minus the number of d6s that roll 1-3 from the number of dies that roll 5-9 (0 is worth 2). The results determine the Outcome of the task, which the Gamemaster, uses to determine how you alter the scene.
  • 1 = a partial success
  • 2 = a complete success
  • 3 = critical, which gives you a charge resource and 5 a double crit!
  • 0 = a fail
  • -3 = Consequences
The bust of an alien with spiked brow and jawline and large eyes, and a protrusion of the back of their skull, and tan skin.
Tell me more about the science fiction. What’s different about Free Spacer from other media, and how does it remind us of sci fi we love?
  • Together, you and friends decide what sort of game you want to play by choosing a ship flag, each flag refers to a type of play:
  • Agent are social; think spies, negotiators, com artists, and assassins
  • Bounty Hunter bring rough justice to a frontier, like Killjoys or Cowboy Bebop
  • Courier is the rogue trader, they smuggle, speculatively trade, and run blockades. Think Firefly or Traveller.
  • Mercenary are military sci-fi. Your crew are space marines and fly combat ship. This is like Dark Matter or Space Above and Beyond
  • Scout is the exploration flag. You chart new systems and discover new worlds. The flag that is the most Star Trek.
  • Technicians are scavengers and tech experts. Think Farscape or shadowrunning. 
Free Spacer is my attempt to speculate on the future based on contemporary science. This future has the internet, biotechnology, and space-time folds. The societies of this future are unequal mixing of different alien Sophonts with many factions that struggle to control each sector of space. You have to deal with the difficulties of space, alien worlds, and the situations that come from faction conflict. Your most potent way to deal with these situations are projects. Projects are the advanced mechanics of the game, which use science to enable your crew to work together and get outcomes that you cannot get alone.
character sheets and a grid patterned map with some six and ten sided dice.

Beyond the type of flag you fly, what kind of characters do you play in Free Spacer? How do they fit into the world?

As the title implies, you play Free Spacers. Free Spacers are outsiders, they are set apart, above, and beyond the ordinary people. You are above the people—distant in space, advanced in technology, and legally superior. Conversely, this also separates you from local worlds; you do not fit on any world, you cannot participate in local culture, invest in a business, run for government, or live a normal life. Before you were a Free Spacer, you might have been anyone living through the Exploration Wars from an ordinary citizen, a drifter refugee, veteran soldier, or even a powerful leader.
How is space represented in game – narratively, mechanically, both? I’m curious how players interact with it.
Space is the central motif of Free Spacer. Space divides worlds from one another, isolates the crew from support, and delays communications. Conversely, space grants you independence for operations and self determination to distant settlements. Scientifically, Zero-point technology manipulates spacetime to forms shields, project blaster pulses, and fold space to travel between systems. Space is a danger, an empty void of exposure. Finally, Spaceflight is a type of Encounter in which you and your crew work together to operate your starship.
two body harnesses and radio headsets, 3-D modeled
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Thanks so much to Christoph for the interview! I hope you all enjoyed hearing a little about Free Spacer and that you’ll check it out on Kickstarter today!

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Five or So Questions on Your Best Game Ever

Hi all, today I have an interview with Monte Cook Games on Your Best Game Ever, a new project on Kickstarter that’s brought together a variety of consultants to develop guides for the best tabletop game experience. I asked questions about Your Best Game Ever of Monte Cook, Darcy Ross, Sean Reynolds, Tammie Webb Ryan, and Bear Weiter, and I’m sharing their answers with you!

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The Your Best Game Ever logo in red and orange tones
Tell me a little about Your Best Game Ever. What excites you about it?

Monte: This is a book that is for everyone, no matter what game you play. It’s a book that basically celebrates tabletop roleplaying. It talks about every aspect of the hobby, from hosting a game to finding a group to building characters and worlds for fun (and your friends’ fun).

Darcy: I’m thrilled that it will be a resource for literally anyone who is interested in RPGs. New folks just learning about RPGs, experienced players wanting to stream their game for the first time! One of my favorite things about RPGs is how many avenues of skills it brings together–there’s always room to become a better player, GM, and storyteller. Sometimes it’s hard to know where to start, however, so this book will make it easier by giving people hands-on tools and techniques to try out.

Tammie: As a relatively new GM, I’m excited about the concrete examples and recommendations that Your Best Game Ever will contain, which will help me–and all GMs, no matter their skill levels–be better at all aspects of creating and running a game.

Bear: As someone who gamed a lot during the 80s and early 90s, only to then step away from tabletop gaming for almost twenty years, I feel like there’s a big hole for me to fill to be where I should be as both a GM and player. And as the art director for Monte Cook Games, I’m extra-excited to work on this book and make it a beautiful item that people are proud to have on their bookshelves, coffee tables, and game tables.

An image with the Your Best Game Ever and Monte Cook Game logos that includes a list of all topics for players, GMs, everyone, and game designers
So many topics!

What are some of the awesome things we’ll see inside Your Best Game Ever? How is the book structured?

Monte: Basically, it’s divided into sections pertaining to everyone (picking the right game, finding a group, hosting games in-person and online, solving problems that can arise), players (creating an interesting character, working within the group structure, dealing with other players), GMs (building a world, creating an adventure, managing rules, running games) and aspiring game designers (making your own game, playtesting, marketplaces, selling and marketing your creation).

Darcy: A recent stretch goal just funded an accompanying video series, too, which will begin in early 2019! Multimedia goodness.

What are some qualities and bits of experience each of you are bringing to the project?

Darcy: I’m excited to bring to this project my experiences of being a relatively new gamer, a brand-new Twitch streamer, and my role as someone who works to welcome new people into the hobby. I’ve run 30-minute demos of Numenera for dozens of people who had never heard of an RPG before at a planetarium, and I’ve also brought acquaintances over for dinner parties to try it out. I can’t wait to make it easier for people to grow their local gaming community!

Monte: Well, I’m not exactly new to this. I’ve been writing rpgs for 30 years, and gaming for 40. I’ve written a lot of this kind of material, although most of it has been aimed at GMs, so I’m even more excited about the player-focused material, particularly because I feel like a lot of things that have traditionally been put on the GM, like dealing with player problems or conflicts. I think in actual fact such things are everyone’s responsibility.

Tammie: As I mentioned, I’m relatively new to GMing, so for the material dealing with running games, I bring a newcomers perspective.

Sean: I’m a few years behind Monte—gaming for almost 40 years, writing for about 25. I’ve played and run in many games with friends and strangers, at home and conventions and organized play, been the steamrolled player and done a little steamrolling, seen some great games and train wrecks, run games with published adventures and a ton of prep and completely off the cuff, and I’ve brought too many snacks and eaten the last of someone else’s favorite snack.

Bear: I can’t compete with most of my co-workers gaming experience in years, but I am a writer, and I know how to craft and pace stories. I’m also cognizant of some of my own bad habits, which I believe is important to look at and work on. And of course I’m bringing thirty-plus years of graphic design to the table to make sure the book is both beautiful and usable.

The Stay Alive! cover with the white silhouette of a person waving a torch in front of a large, multi-limbed dark and inhuman figure, and the text Stay Alive!, and the whole cover bordered by white silhouetted hands reaching in.

 The cover of The Stars Are Fire with the shape of a person in a space suit filled with illustrations of ringed planets and the stars.

I couldn’t choose between the Stay Alive! and The Stars Are Fire covers for which one is the best looking, so we’ll have to see which ends up the most useful!

What looks to be your personal favorite bit of the project, where you get to dig in and really see something you love about gaming shine?

Darcy: CHARACTER ARCS. Okay, deep breaths. One of my absolute favorite parts about running Invisible Sun has been the way it empowers, and in fact requires, my players to bring narrative to the table. One of the ways it does that is by linking character progression to Character Arcs that the player chooses, like Justice, Solve a Mystery, Romance, Finish a Great Work, or even Fall From Grace. As the character progresses along those arcs (whether successfully or unsuccessfully, for ultimate good or for ill), the player is rewarded with advancement currency for their character. I love that players come to the table with lots of ideas and momentum. Your Best Game Ever will include how to use this Character Arc system in any game system you might be playing!

Monte: I’m excited about a lot of it. I think the thing I’m most excited about it just approaching this from the point of view that rpgs are a group experience and so all the various issues and problems that might arise are for the group to deal with, not just the GM. Likewise, the understanding that a great player can have as much positive effect on the game as a great GM, and offering ideas and suggestions on how to be that great player.

Bear: The depth of the offering. This will be a significant book.

Significant books it looks like! There are now five books included when you back the I Want It All! level. If you have the funds, it’s a pretty impressive collection!

What are some of the challenges and some of the bonuses of working with other consultants on a project that might bring to light differing opinions?

Darcy: There’s no one right way to game, and Your Best Game Ever embraces that, leading you to a host of advice, ideas, and tools to curate for your specific best gaming experience. Even so, the text is going to be one cohesive piece, but we wanted to make sure we’re not stamping out the unique voices of our experts either! To balance this, each consulting expert will weigh in on the text as a whole, and will have a short section all their own.

Monte: I’m the main author, but I’m just one person. I try to look at games from different directions and different expectations and perspectives (that’s just part of being a good game designer), but if we really want this book to be for everyone–and we do–we want to ensure that we have as many different experiences and points of view represented as possible. I’m thrilled that not only do I have the whole MCG team helping with this, but that we’ve assembled a great team of consulting experts who all bring their own perspectives and backgrounds to the project. Everyone involved is incredibly intelligent and talented, and I’m positive that each person will make this a better book.

Sean: I love hearing different perspectives on gaming. I’m lucky in that my regular gaming group is people I’ve known for years and like very much, but other people don’t have that luxury and may be sharing a table with a stranger or someone they don’t associate with outside of gaming. Hearing from the consulting experts is like sitting at a table with a bunch of skilled gamers I don’t personally know, like at a convention game—there’s an anticipation and excitement to see how the individuals mesh together into a group.

Even if I disagree with another person’s playing philosophy, I like to understand what they’re thinking and how they got there. It’s quite possible they might change my mind about how I want to play or run games, or they’d at least give me some perspective about how to interact with another player who thinks like they do. The trick to incorporating their ideas is to present it as either a complementary or contrasting point of view to the other material in the book.

the Your Best Game Ever logo and images of the Cypher System and Your Best Game Ever book with the reminder of the dates July 24 through August 24, and the text "Your Best Game Ever is a resource for all players and all games. If you play or run roleplaying games, this book is for you."

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Thank you so much to the interviewees for answering my questions! I hope you all enjoyed the interview and you’ll check out Your Best Game Ever on Kickstarter today!

Thoughty is supported by the community on patreon.com/briecs. Tell your friends!

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If you’d like to be interviewed for Thoughty, or have a project featured, follow the instructions on the Contact page.

Five or So Questions on Prism

Prism is now on Kickstarter!


Hi all! Today I’ve got Whitney Delaglio back to talk about Prism, a project we discussed a long time ago that’s now coming up on Kickstarter! To keep up on what’s coming up while the project’s counting down to crowdfunding, follow Whitney on G+ and mind the Little Wish Productions site. I hope you enjoy hearing what Whitney’s got to say about this awesome project!

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The colorful Prism Kickstarter cover with symbols decorating the sides, a rainbow of colors at the top, and two figures handfasted together in the center
Tell me a little about Prism. What excites you about it?

Prism is a roleplaying game about relationships and conflict resolution set in an aquatic world. Instead of using dice, players will rely on predetermined levels of expertise to solve narrative conflicts, and interact with others. The rules rely less on crunch, and more on negotiations between players and the GM. I’m excited about it because in most games, characters are stuck on land, so it’s difficult to play characters that thrive in the water. I’m also excited about this project because it encourages sensuality and social combat.

What makes the aquatic environment different for characters, mechanically and narratively?

I am a huge fan of sealife, so it was important to integrate an underwater environment to Prism. I designed the game to give players an opportunity to play as merfolk, or humanoids that turn into tiny sea creatures. Since all six humanoids in the game are amphibious, it also means there can be unhindered underwater exploration. It also gave me the opportunity to draw plant folk with the attributes of a water lily, and merfolk with the qualities of a shark, wearing their own teeth as a necklace.

How do the negotiations work between players and the GM? What kind of power does each player hold at the table to influence the results of a conflict?

I’m not a huge fan of rolling dice with the exception being Lady Blackbird. I didn’t like how you could dump all your points into something you really want to excel at, roll poorly, and not get the results you want. So instead if a character doesn’t have enough expertise, the player can either agree to have their character succeed at a cost, or make a case that it takes more than one skill to resolve the conflict.

For example, a Chameleon (has the ability to cast cantrips) wants to impress someone with a lavish meal, but doesn’t have enough expertise to do so. They could make argument that a fire cantrip (which requires the use of another skill) could help them cook the food more evenly.

What techniques did you use for the art in Prism, and how did you conceptualize the designs – did you do drafts of the illustrations, get inspirations from playtests, etc.?
Most of the artwork in the book are pinups. My goal was to draw sexy people and not sexy objects. The rest is either revamped artwork from back when Prism was a video game concept, or inspired by the comic that preceded the game (such as the symbols that represent the six realms). The artwork in the game either started out as a pencil sketches, a sketch on my phone (S Note), or were started from scratch using Adobe Animate.

What’s the most challenging (but promising!) part of putting Prism out there for the public, and how do you feel about the final product? What parts of it stick out to you as your favorite?

I wanted to make a game about relationships emotional intimacy, but that presented me with the challenge of making a game where a player can feel safe being vulnerable. I’ve mentioned elsewhere how consent is sometimes conveyed as a rigid negotiation. Where you add and remove filling from the sandwich, until it’s a sandwich no one involved wants to eat anymore. I tried to make Prism a game where you discuss consent from the beginning, and it remains a fluid conversation that continues during play. So, the sandwich starts off on the table, and anyone at any given time can say…you know, I usually really like this to be in my sandwich, but today I don’t have the appetite for it…or, my friend and I really want to add this to the sandwich, but we can change our mind if either of us want to.

I think the final product looks gorgeous. My favorite part is the Tea Party (character generation). It really takes you gently by the hand and walks you through the process.

a merfolk couple, one darker skinned with dark hair and wearing a shark necklace, and one lighter skinned with red hair and biting the other's neck playfully
I love the art <3
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Thanks so much to Whitney for the interview! I hope you all enjoyed reading about Prism and that you’ll check it out when it’s live on Kickstarter!

Thoughty is supported by the community on patreon.com/briecs. Tell your friends!

To leave some cash in the tip jar, go to http://paypal.me/thoughty.

If you’d like to be interviewed for Thoughty, or have a project featured, follow the instructions on the Contact page.

Five or So Questions on Reign

Hey all! Today I have an interview with Greg Stolze on Reign, which is currently on Kickstarter! I asked Greg some challenging questions about the role of a game like Reign in modern day, which I hope you enjoy reading!

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The Reign Kickstarter banner showing the two book covers (labeled "funded!") and the text "funding now on Kickstarter."


Tell me a little about Reign. What excites you about it?

REIGN really was kinda my baby. UNKNOWN ARMIES was great, but that was me and Tynes, so REIGN was really the first thing I did that was all Stolze all the time. Also, it’s high fantasy sword ’n’ sorcery, which I love, and which I don’t get to do as much — somehow, between UA and all my WoD work and DELTA GREEN, I sort of got pigeonholed as a horror guy which is… not inapt. But REIGN is close to my heart.

On a less squishy emotional level, I liked the idea that REIGN took events that had always been matters of “Oh, the GM will hand-wave what’s happening on the wide-scope political scale” and bolted them to dice and stats so that the players can have a new arena in which to go nuts and wreak havoc. I remember in old D&D where, if… fighters, I think?… got to a high enough level they got a keep and I really thought that was interesting! But it didn’t give you any options to liberate peasants or go to war against your neighbors or any of the dramatic stuff of governance. I hadn’t played PENDRAGON or BIRTHRIGHT or gotten into the covenant stuff in ARS MAGICA, but maybe that’s just as well. Having not seen the way anyone else handled it, I built it myself from scratch. I just knew I wanted the collective your characters lead to be as important to the game as any individual PC.

And, well, I had this nifty set of rules I’d built for GODLIKE that seemed like they’d work just as well for castles and crossbows as they did for superheroes in WWI, so I built out from that. I think it worked pretty well.

What are some ways has Reign grown and changed between 2007 and today? What is new, what’s been refined? 

In those intervening years, I released a LOT of supplements online, after getting them collectively crowdfunded. Sixteen of them, in fact. Rather than burn all that to the ground and rebuild on the foundation, I thought what the game needed more than anything else was (1) better art in the supplements — that’s kind of the dark side of my “one man show” approach, (2) organization so that you can find what you want to use in a tangle fo optional systems and rules tweaks and (3) a nicer print version, since the hardbacks have been unavailable for some time.

It’s not a big reinvention, and the first two books don’t have a lot of new material, because I honestly didn’t think it needed a ton of work. I’m going through and making the language clearer, finding those decades-old typos and homonym errors, but mostly it’s taking this mess of parts and putting them in an order to be more useful. REIGN was written with the expectation that a lot of people would be using it to toolkit their own settings, and that hasn’t changed.

One change, though, is my willingness to let other people play with the toys. One reason I didn’t write anything for UNKNOWN ARMIES for a while was, quite simply, I didn’t have an idea I thought was really top notch, and I didn’t want to write something just to dump it on the market. Partly, that’s a matter of pride, but it’s also a matter of greed. I don’t want to serve lukewarm stuff because I don’t think that’s how you keep an audience. But when I got a bunch of new writers working on UA3, their new perspectives and experiences and approaches really pushed me to keep up. So I’ve gotten a bunch of fresh new voices and salty old wordsmiths to give me their takes for stretch goals.

How do you replicate leadership in Reign? What do players do when they’re leading? What is leading?

OK, these are three very different questions.

Leadership in REIGN is replicated with die rolls, the same way that mighty sorcery and deeds of martial renown are. One of the big pleasures of playing a game (as distinct from running one) is the opportunity to imagine myself as someone with very different skills and behaviors. Someone who’s not shy, for example, or someone who doesn’t get embarrased and uncomfortable with confrontation. Or, y’know, a ninja.

To take the third question second, leading seems, to me, to be a lot of listening to people and understanding them. Good leaders — and I’m thinking certain editors and developers here — inspire a sort of loyalty. You want to give them your best. It’s not just a paycheck. Good leaders draw the best out of you. They see you, not just as the role into which you’ve been thrust, but as the individual adapting to that roll. Good leaders know the strengths and weaknesses of their people, and put them where the strengths are leveraged, and where their weaknesses do the least damage. In real life, I’m a terrible leader. Not the world’s greatest listener, surprisingly dense about people’s feelings sometimes, something of a hermit. But the idea of playing someone who’s listened to and who can organize people into a greater whole… yeah, that’s my fantasy. One of ‘em.

What players do when they’re leading is that sort of organization, understanding and inspiration. Only instead of having to really get through to people with charisma, you can create a character who has that sort of compelling presentation. Your characters can be the kinds of people who make the St. Crispin’s Day speech, even if you yourself are plagued by podium paralysis.

I mean who hasn’t, at some point, fantasized about being listened to and obeyed? That’s the wish-fulfillment REIGN offers.

a blue book and a red book, both with a gold-foil stamped and embossed art of a warrior with a spear and armor, and what appears to be braided hair
The special edition covers are really beautiful!

I asked Greg two sets of questions and then I got a collective response:

Sixteen supplements is a lot! How do you keep all of these things connected and consistent – the fictional themes, the mechanical structures – when there is so much information? Does that amount of stuff end up paralleling to bookkeeping in game?

AND

You discuss modularity on the Kickstarter page, basically explaining options for different ways of playing. Tell me more about this! How does it work? 

Hah, the answer to these questions is really the same thing… the modularity from the KS is the solution to having the giant pile of supplemental rules and setting material. It’s like when you have a bunch of different LEGO sets, and you build them, and that’s fine, but eventually (if you’re like me) you take them apart and wind up with a giant bin of undifferentiated components. So then you sort them so you can make something new.
In this metaphor, the original supplements are like individual LEGO sets. You can get the sort of… pre-planned experience. The chaotic pile is where the material, as a whole, is now. The organization is what we’re going after with the KS, cross-referencing different stuff so that you can find the thing you were thinking of. Just as importantly, perhaps, we can also help you figure out what to exclude. Not every group needs every rule, so getting that clarified is a pretty high priority.

Why do you think a game about leadership and strategy like Reign has an important place in play in the modern era, during a time that’s so tumultuous for so many people?

Hoooo boy…

OK, I’ll start with something from Lynda Barry — I read her book WHAT IT IS, although it feels more like I should say I “witnessed” or “experienced” it? It’s this deep-dive art book about creativity and her intense personal history with it, and it’s very strong medicine. One thing she touched on was the idea of art as “escapism,” and she said she doesn’t think we create or engage with art in order to escape from reality, but to change our experience of it. She didn’t draw to get away from the sharp edges of her childhood, but to survive them.

So we’re in a tumultuous time and I’m writing a tumultuous elfgame. Am I just a little white ball on a golf tee, waiting for a driver labeled “accusations of frivolity” to come slamming down on me for a power drive? Eh, well maybe. Maybe for some people, playing a game where they’re the powerful bosses can be a distraction from doing the gloomy, necessary, unmeasurable work in the real world. But maybe, for some people, playing that game could let them (or help them) believe that change is possible, that individuals do influence these looming power gangs.

Or, maybe it’s OK to just have fun playing the game.

But our creations are always mirrors of our concerns. If roleplaying isn’t INEXTRICABLY creative, you have to work really hard to do it without any aspect of acting, or authorship, or imaginitive innovation. So your feelings about the villainies of modern politics are just about certain to make their way into REIGN, whether you do it deliberately or not. Maybe that’s also OK. Maybe the satisfaction of decapitating an imaginary evil king is just the catharsis you need to avoid screaming at a co-worker about politics until both of you cry.

I’ve thought a lot about why we engage unpleasant themes, intense stories, fictions of tragedy… After all, now more than any time in history, we can access genuine tragedy all the time. Why horror stories? Why make up more of it? Maybe it’s the relief of knowing that THIS awful thing isn’t real. Or maybe when an issue is painful to handle, putting a layer of fiction around it allows the mind to contemplate it more coolly. Consider the game RED MARKETS — it’s about zombies, but it’s REALLY about poverty. John Carpenter’s movie THE THING is about a gnarly space alien, but it’s REALLY about the dangers of trust and mistrust in a cold and uncaring universe. A lot of media that’s about X is REALLY about Y, and REIGN can certainly do that. This clash between the trade guilds of Uldholm while the Dindavarans sharpen their swords can be about how liberals persecute radicals while white-power revanchists snicker up their sleeves.

I don’t know. Maybe creativity shouldn’t teach lessons, but I think it almost always does. Maybe in an intensely political reality, an intensely political game can offer a framework for disentangling complicated feelings. Or, maybe it just promises some kind of paradoxical relief.

the blue book cover with full color art of a diverse cast of characters and the red cover with the same warrior, a dark skinned person in red and blue

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Thanks so much Greg for the interview! I hope you all enjoyed the interview and that you’ll check out Reign on Kickstarter today!

Thoughty is supported by the community on patreon.com/briecs. Tell your friends!

To leave some cash in the tip jar, go to http://paypal.me/thoughty.

If you’d like to be interviewed for Thoughty, or have a project featured, follow the instructions on the Contact page.

Five or So Questions on Iron Edda Accelerated

Hi all! Today I have an interview with Tracy Barnett on Iron Edda Accelerated, which is currently on Kickstarter! I hope you enjoy hearing what they have to say about the project and that you’ll give the Kickstarter a look.

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The Iron Edda Accelerated logo on black textured background. The words IRON EDDA are colored orange and red like lava and spitting off bits, and ACCELERATED is in hammered steel color.

Tell me a little about Iron Edda Accelerated. What excites you about it?

Ragnarok occurred in the form of 50 foot-tall, metal dwarven destroyers rising out of the ground. Humanity cried out to the gods for help, and Loki responded. “Here, take this thing (which I totally didn’t steal from the dwarves) and use it to bond the spirits of your bravest warriors to the bones of dead giants and y’all can make like Pacific Rim.” That’s the pitch I’ve used for Iron Edda since it first came out a few years ago. This new version uses the Fate framework found in Dresden Files Accelerated, meaning that every character is represented by a Destiny, a set of conditions and stunts which define what you can do in the world. It’s different than the previous version, and I’m thrilled with the design.

Iron Edda Accelerated represents a huge second chance for me. I Kickstarted the original Iron Edda game (War of Metal and Bone) about four years ago and I was never able to give it the time and attention it deserved. I mean that both as a game, and as a product. Last year around this time, I thought about what I could do to change the future of Iron Edda. I approached Encoded Designs, gave them the full rundown of the issues I’d had getting a marketing push for the original game, and pitched them the idea of a new version. They accepted and we started development. I got a chance to re-do things in a better way, with support from a publisher, rather than doing it all on my own.

Mechanically, this is the version of Iron Edda I’ve wanted to see all along. It’s funny, I was talking with a publishing friend at Origins last week and he was talking about how his games all have a five-year development cycle. I’ve unintentionally done that with Iron Edda Accelerated. The original draft which became this game was something I started five years ago for someone else’s Kickstarter. Now, five years on, I’ve learned enough about the world and I’ve improved as a designer to the point where I could make the game what I wanted it to be. That’s a lesson I’m going to keep with me.

What’s happening mechanically in Iron Edda Accelerated? What are the new fiddly bits?

The fiddly bits are legion with this design change. Fate Core is, in a lot of ways, an open template. You can make a lot of things happen by making new Extras and Stunts, which is what I did in the original Iron Edda. In the framework provided by Dresden Files Accelerated, everything is codified. Your core abilities are described by Conditions. Every condition has a finite number of uses before you have to undertake an action to recover them.

In mechanical terms, that means that you can’t, say, summon the bones of the dead giant who is bonded to your soul unless you mark a box of your Summon the Bones condition. In the original Iron Edda, there wasn’t anything like that. You called up the giant bones whenever you wanted. In Iron Edda Accelerated, you can do that five times (each time lasting a scene) before you have to indulge in your dead giant’s Worldly Desire to be able to recover boxes on your summoning condition track. If you want to push it, you can, but you then mark a condition called Abomination. You get the giant’s bones for a scene, then the giant takes over, using your body as it sees fit.

I guess the best way to say it is that everything has teeth now. There’s no use of power without a balancing influence or cost which you, as the player, have to be concerned with. Aside from making things mechanically more interesting, this also makes the fiction more interesting. Bonebonded have to content with their giants, Runescrbed with the power that will ultimately consume them, Seers with fate itself. There’s a push and pull for every destiny in Iron Edda Accelerated, and that’s so much more compelling to play.

That ties directly into your [next] question.

How has your path as a designer influenced the game in big ways – what are some places you can look at this new project and see the changes in you and the design?

When I wrote the first Iron Edda, there was a lot of stuff that I put in the game because it seemed to fit and because it seemed cool. Fate Core includes the idea of success at a cost, so I just left it in the hands of the players and GMs in the world to provide the negative sides of the fiction so playing a Bonebonded or a Seer would be interesting. As the years went by, I began trying to push for more of those complications in the games I ran because I thought it made for interesting fiction at the table.

When I read Dresden Files Accelerated it was around the same time I pitched a new version of Iron Edda to Encoded Designs. Something inside was telling me that the setup of conditions and linked stunts would be a great fit for Iron Edda and every time I’ve run or played it, that has borne out. I guess that speaks to the other side of experience as a game designer. There’s never a point where you need to stop learning. There is, however, a point at which I think it’s really valuable to begin to trust your design experience. I won’t ever claim I’m the best Fate designer or any BS like that. But I’ve got over fives years of experience working on Fate designs, and there are some designs that I know will work as I write them, playtest or no. That’s a huge thing to realize. So much of design work is fraught with insecurity. It feels really good to have moments where I see something work exactly as I intended it when I wrote it.

As a quick aside, one moment where I knew I’d gotten the flavor of the Seer right was during an online game a few months ago. The player who chose the Seer asked if they could summon a host of the dishonored dead to help them in a fight. There’s a stunt written for the Seer which does just that, but the player hadn’t seen it. Having someone new to the game and new to the rules ask to do a thing I’d already written was absolutely amazing. That’s what I call leveling up.

What was playtesting like with Iron Edda Accelerated? What were some of your better, and more challenging, experiences?

It’s funny; I think in a lot of ways I’ve been playtesting Iron Edda Accelerated ever since I made the first Iron Edda. By that I mean that I learned so much about how the game is supposed to run and how the world is supposed to be reflected from all of the sessions of War of Metal and Bone that I ran over the years. Iron Edda Accelerated is my best effort expression of that.

However, when I ran my first two sessions of the new system at Big Bad Con in 2017, they were near-disastrous. I was jet-lagged and sick, so when I got to the table, working with characters I’d written up on the flight out, everything just seemed off to me. It was like getting into a car you’re super familiar with and finding that someone has changed the location of all the controls. I tried to turn on the wipers and the headlights kicked on, y’know? But, those two sessions were necessary for me to learn the new layout and arrangement of things. A couple of months later at Acadecon I ran two of the best sessions of any Iron Edda game I’d ever run. I’d settled into the changes and everything worked the way I expected it to. Some of the mechanics needed tweaking, of course, but the game was what I wanted it to be. That felt good.

When you look at the work you’ve done, what are some of your favorite pieces of design, fiction, or even just experience had that you want to share with aspiring designers to show how good it can be?

Probably the best experience I’ve had in regards to gaming, especially running my own game, was at Origins in 2014. I was running the original Iron Edda at Games on Demand and I made the mistake I often made back then: I stayed up way too late, drank too much, and was hungover for my morning slot. I get there, and end up with a group of eight players. Six of them knew each other well and seemed to have good chemistry, so I just decided to roll with it. I explained to them how I was feeling and asked them to really bring it for that session. They did. It was a good, solid session with a lot of political intrigue and an honor duel to determine who the next Jarl would be. End of story, I thought at the time.

The next night, Saturday, I get to Games on Demand and the person organizing the tables asked me if I was okay with seven players. I looked at the table and the same group of six were sitting there, along with a friend of mine. I sat down with them and told them I was happy to see them. They asked me something I’ve not heard since at a convention: they wanted to keep playing the session from the previous day. They had their character sheets, I had all the notes I’d written, and my friend was happy to make a character to fit the continuing situation.

It was so gratifying to have an entire group of people want to come back and continue the story we’d begun the day before. I’ve had some amazing game sessions of Iron Edda since then, but nothing has topped that. Yet. I’m open to there being something even more gratifying in the future.

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Thanks so much to Tracy for the interview! I hope you’ll all check Iron Edda Accelerated out on Kickstarter today!

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