I’m playing Alien: Isolation on PC right now. I’m not very far in, but I’ve found some stuff I wanted to talk about (which I recorded the audio of while playing but the file corrupted or something).
I want to make a horror tabletop RPG at some point. This is something I have been interested in for a while but have not had the capacity to do as I don’t have a ton of experience with horror games. I’ve played some tabletop horror RPGs – Don’t Rest Your Head, Black Stars Rise, and a fantastic game by +Nick Wedig that should be published if it isn’t already (I’m a little behind on Nick’s work.) (ETA: I’ve also played Dread, very late at night at a party, and it was pretty great). These games are good, but they require two things: good, experienced players, and a great GM. The systems do some of the work, but I feel like they wouldn’t work as well without the support of the players and GM. I want to make a game approachable to new players, which is challenging for me in the first place, but I also want something compelling.
There are a few things I want to avoid that I have found to be way to common in various horror media (games, television, movies, etc.): boredom and sexually predatory themes. The former is just wasting time, but the latter actually kind of pisses me off. I feel like I should be able to avoid that kind of trigger in horror instead of being constantly confronted with it, so I’ve tasked myself with aiming for the kind of horror – maybe dread? – that avoids that specific trope.
Things I want to include: suspense, vivid descriptions, and the ability to run and play the game without tons of tabletop experience. Much harder than it sounds.
Part of me wants to interrogate the people I know who are good about horror, but at the same time, I feel like I need to focus on what makes me scared in order to satisfy what I want.
One of the feelings I want to incorporate is that feeling of “I know what’s going to happen, I can’t stop it, and it’s terrible,” that dread. One of the movies I was unable to finish because of how distressing and dreadful was Buckets of Blood (1959). Part of this is because I for serious cannot handle harming animals in film (we shut it off before the first icky part, admittedly), but part of it is that kind of dread just shakes me up. I would love to capture that in a game, but how do you do that? I feel like there needs to be a script, so I’m wondering how you include three things:
The illusion of free will
Freedom of description
Compelling story
I mean, part of it is that I’m just not a super experienced writer or designer. Part of it is I need to consume more horror media, but I don’t want to consume too much and lose my focus, you know? I think video games are a really good place to focus because I am learning a lot about games and interaction from them (I’ll eventually write another post about some of the games I’m playing now).
Avoiding boredom is suuuuper hard. This is my biggest problem with horror movies and games. If the suspense isn’t done right, or things are too repetitive, I totally lose focus and interest. Sometimes this is useful because there can be jump scares, but jump scares are not only hard in RPGs but can be kind of silly. I don’t want players to be uninvolved enough that they want to start checking their phones or having side convos.
That’s where I am right now. I’d appreciate your thoughts!
Discovery is a project I’ve been working on since last year. Part of my requirements for it was that I could describe the game in less than 10 minutes, on a video, have no book, and use only a single character sheet. I think I succeeded!
Hi, I’m Brie Sheldon, and this is Discovery.
To play Discovery you need one six-sided die per player, six different-colored markers, up to six players, and a guide.
Discovery starts with an accident. It might be small, it might be big, but most of all, it’s important. This is the moment when lives are changed.
Players define the accident through discussion. It must affect all characters, and they need to give reason enough to the guide that this accident might have the desired effect: to give them all super powers.
Once the accident is defined, character creation begins.
The players will write the name of their character in the center of their sheet. They will conceive a character and physically describe their characters to other players.
The players define the six emotions available as a group. This helps set the tone for the game. Players will discuss which color marker or which pattern will represent each emotion for their character and mark it on their sheet. They will choose a six-sided die to be their own.
To begin play, the guide describes a situation where the characters can encounter challenges or have interesting interactions. Players interact by asking questions, taking actions, or experiencing emotion.
When players encounter a question they cannot answer or challenge that seems difficult without effort, they will choose an appropriate skill. There is no skill list because the skills are created as they are discovered. Skills can include simple things like talking, or complicated things like telekinesis. When the skill is named, the player will write it onto their sheet in one of the hexes with either a plus one, minus one, or zero.
Before proceeding, the guide will ask the player how their character feels. The player will respond with a description of their emotional state, and then draw a line from the center hex to the skill hex with the appropriately colored marker. When rolling with this skill hex, if this emotion is active in the character, a plus one is added to the roll.
The player will roll a six-sided die and add the number in their skill hex to the die roll. If the result is zero, the guide will describe a result that makes things worse. If it is one or two, the guide describes how they fail. If it is three to five, the action succeeds at a cost, defined by the guide. If it is a six, the guide describes how the character succeeds. If it is a seven or above, the action succeeds with dramatic results, as defined by the guide.
The story continues as led by the guide until at least one character has filled their grid with skills. Play may continue past this point. However, at that point, the characters have been discovered.
I wanted to talk a little bit about some work I did in the past on a game setting called A Deadly Affair. It was a game run by my husband +John Sheldon, originally in a modified D&D 3.5 system, then later a modified Pathfinder system. One of the biggest elements of the game was that players were able to build parts of the setting – species, religions, cultures, historical events. It was really cool! I got to be really involved in setting creation and John allowed me to build one of the religions for the game.
The religion was called the Nord. You can read some about it on the Deadly Affair wiki page on Obsidian Portal. In the religion, there are five gods. “Norric the cruel god of ice and cold, Eitne the chaotic god of the winds and herald of change, Shima the benevolent lord of the earth representing growth and life, Raer the demanding deity of fire and warmth, and the Unnamed – a treacherous god of magic, spirits, and deceit.”
I spent a long time while I was growing up reading myths and legends about Norse and Greek polytheistic religions. I was a huge fan of them. This is part of why I wanted to create a religion specifically for A Deadly Affair.
One of the first things I did was determine whether I wanted to do a polytheistic religion, or stick with a single god, or something different. I was most familiar with the myths of polytheistic religions, so I picked that. I then wanted to pull from something recognizable to begin the definitions of the gods, and I picked a compass. Norric was the North, Raer the South, Shima the West, the Unnamed the East, and Eitne as the center, ever changing.
Once I had that down, I spent a lot of time on my own just thinking about it. I wish I’d taken the time to write down everything I thought of. Hindsight, you know? If I had written it down, though, there would have been a lot about the behaviors of the gods, the rituals of the priests, and the habits of the followers. There would have been descriptions of the avatars of the gods, and of the symbols carried by the followers.
I guess, I regret not writing them down. And I’m hoping to play the game again, so maybe I can get my stuff together and write down some new information to put in the Wiki, or on here. I hope that people enjoy whatever I choose to share when the time comes.
Here is a link to the Kickstarter! https://www.kickstarter.com/projects/edara/the-travelers-guide-to-edara-a-steampunk-renaissan Tell me a little about your upcoming Kickstarter. What’s exciting about it?
It is a follow up to the successful launch of Edara: A Steampunk Renaissance. This campaign companion delves even deeper into the world we created, offering more maps, adversaries, background and historic information, NPCs, and plot hooks so that GMs can bring their parties deeper into the world.
What did you do to develop this new material – what kind of preparation did it take? Well it took a lot of work to develop, honestly.
We had to really study the cultures we wanted to base our world on. We worked with an Economist to figure out how money would work passing between nations in a world like ours. I teamed up with a latin and classical cultures major to fully flesh out the details of the culture, down to the histories, traditions, politics, and day to day lifestyle.
But mostly I studied the Renaissance. One of the biggest criticisms of the Core book is that it didn’t dive fully into the Renaissance themes that are present in the world. I wanted to closely resemble the movement in Edara to that of Italy during the Renaissance so it required a lot of intense study and reading, and I learned more about Renaissance italy than I ever would have 🙂
Tell me a little about the plot hooks. What were you looking for in the plot hooks? So this ties in a lot to the plot hooks. The biggest themes of our game are the conflict between science vs religion, renaissance vs steampunk, and the inherent racism that comes with a mult-racial fantasy world. In the corebook, we basically said here are the themes, you can build your games around these. But the plot hooks dig deeper into that. We focus on each realm individually (and some of the bigger realms are divided into regions, or even down to cities) in order to provide these hooks. They aren’t fully fleshed out ideas or adventures, just hooks to help the GM build a campaign. The types of adventures that one might go on. For example, in the human kingdom of Kuria, which is broiled down in political disputes, the plot hooks have to do with one house playing the party against the others. There is also a racist movement inside the kingdom that might attempt to use the party to act out against the other races, which puts the party in a tough position as they have to decide what is more important to them: appeasing their employers or breaking the cycle of racism that has built up in the kingdom after years of war. Meanwhile, in the Dwarven kingdom, the plot hooks are more adventurous; exploring new tunnels and ruins to find lost dwarven treasures, or escorting merchants while they sell their wares above ground.
Tell me more about the cultures you based the world on. What kind of characters and cultures will we see? Well we have several cultures spread across the world. The humans are actually based on medieval culture with Italian Renaissance flavors. Then we have the orc mountains which is based more on nomadic Mongolian aspects with a high focus on honor. The elves are rooted more in Tolkienesque fantasy and an almost pure socialist society. So there is a lot of variety!
Is this the last we’ll see of Edara, or is there more to come? If there is more – what should we be excited for? And no this is not the last! We plan on offering future books in this line focusing on parts of Edara that we haven’t seen yet. There will be this same amount of focus and death on the areas beyond the mountains and forests, which we will talk about more as time goes on! This book will lead right into the future timelines of Edara.
The Nefertiti Overdrive Kickstarter hits today! Keep an eye out.
Tell me a little about Nefertiti Overdrive. What excites you about it? While I can sometimes be more interested than is good for me in the specific details of a historical setting, I can also really appreciate a story that purposefully disregards the facts and focuses on the fun. I am unapologetic in my love for the movie the 13th Warrior and happily sit through the Scorpion King. These movies take historical settings but then don’t sweat too much in favour of presenting a fun and exciting story.
That’s what I’ve done with Nefertiti Overdrive (first clue: it’s not even set during the time of Nefertiti, I just though the title sounded cool). Then I added physics-defying action with mechanics that reward exciting and detailed narratives of character actions. In Nefertiti Overdrive, you can still say “I punch him in the face,” but you won’t get rewarded for that and could easily fail. If you say “I leap up, flipping over my opponent and landing behind him. I then swing back with my elbow, cracking him in the side of the head.” That will not only make it easier to succeed – because it’s pretty cool – but you can also earn Luck – a kind of Hero Point/Plot Coupon/Benny – from other players if you do something they really enjoy.
This all excites me because it amps up the energy at the table, players trying to outdo other players with their descriptions. It rewards creativity and creates a really strong, cooperative table dynamic that has always led to a really fun game in my experience. This is the kind of game I love to run or play.
What sort of mechanics do you use in the game?
Any time the dice hit the table in Nefertiti Overdrive, it’s called a Test. PCs have four attributes that provide dice. Each Attribute has two Qualities – a descriptive word or short phrase like ‘Protector’ or “Loyal to the House of Kashta.’ Each Attribute also has two die-types associated with it, the lower being the base die and the higher being the max die. If you can apply one of its Qualities to the scene, the Attribute provides its base die. If you apply the Quality in a narratively exciting or interesting manner, you can use the max die.
Dice are compared for Initiative (which character is active and which is passive), Target (does the active character overcome the passive character for a Triumph), and Effect (can one of the character’s impose a penalty – known as a Condition – on the other). Each Challenge has a number of Triumphs required to overcome it.
Tell me more about Luck. What can you do with it?
With Luck, you can add an extra Quality – meaning you can roll five or more dice in a Test and use them all – re-roll a die, or remove some or all of a Condition – a penalty that can be imposed during a Test. Luck is provided by players to other players, and there is a limited supply. When a player uses Luck, it goes to the GM, who can use it to buy a natural 1 rolled by a player and add that die-type (though not the die itself) to a Threat Pool. The GM can add any die from the Threat Pool to any Test, but it can be rolled only once and is then removed from the Pool. When the GM spends Luck, it returns to the pot, available to be distributed by the players to other players.
When a player or GM has extra dice, she can apply those in whatever fashion she feels is best, to increase Initiative, Target, or Effect. This generally means an amazing result, which might lead to more Luck from players. It’s the circle of life!
How are you preparing for the Kickstarter, and what kind of cool stretch goals will we see (if any)?
I have an agreement with Magpie Games to facilitate shipping, which takes a huge load off my mind. Magpie Games fulfilled my last successful Kickstarter, Centurion: Legionaries of Rome, and it makes a huge difference in regards to the period between having the book printed and getting it into the hands of our backers.
The text for the game is 75% finished, and we have about half of the artwork in hand.
The first stretch goal is going to be maps for the included adventure. I’m trying to present a very realistic goal for the Kickstarter, but that means I won’t be able to afford maps. The plan is similar to what was done in the Quickstart – suggestions for image searches and a link to an existing map or illustration available on the internet at the time of publishing. I would really like to provide maps for the included adventure, but I believe $3,000 Canadian is more realistic than $4,500, but if I can get the latter, the adventure will get maps.
The next stretch goal is a port of Nefertiti Overdrive to Fate Accelerated written by none other than Jason Pitre of Genesis of Legend Publishing, the man behind Spark and Posthuman Pathways (and a pretty awesome guy – but let’s keep that between us, it might go to his head). I am a fan of Fate Accelerated but did not feel comfortable hacking Nefertiti Overdrive. Thankfully, Jason is more than ready to oblige. This would happen at $6,000
After that, at $7,500, we’ll include another setting I’m calling Daredevils of the Water Wastes. Part of Nefertiti Overdrive is a scenario creation system that can either be done as a kind of game or just as a framework for brainstorming. It allows the players to create the kind of campaign and setting in which they want to adventure. Daredevils of the Water Wastes is a product of that system, and uses the same mechanics as Nefertiti Overdrive, but with slightly altered Attributes for the player characters.
We have other stretch goals planned, and will reveal those as we knock these one’s down.
Yes, I am exactly that insanely optimistic. It could happen!
Lately I have been working on a project called Discovery. It’s a teenage superheroes game. It’s pretty simple, system-wise and concept-wise. The dilemma for me is my intentions for the game.
I want the whole game to be able to be explained in a less-than-10-minute video and be supported by a single-page character sheet. I mean, so far, not so hard, right? If it’s super simple, someone can explain a game in 10 minutes (Archipelago, The Quiet Year, etc. – good examples of super low social footprint games with easy explanations – even Apocalypse World is pretty easy to explain in a few minutes). However, I have a combination of problems I’m working on.
It has to be a video with sound. Why? Because some people can’t see. The video has to have subtitles. Like, absolutely has to. Why? Because some people can’t hear well or process audio well. There has to be an accessible transcript so that people can translate it easily. These are all things I can easily manage with the help of my in-house video editor.
The character sheet has to be available in an easily-downloadable format. This is not an issue. However, the BIGGEST problem I have is the character sheet itself. It’s purely visual. It requires someone to explain it. It can’t be used by someone who can’t see. I have no means of getting around this roadblock. I was tasked with finding a way around colorblindness, and I figured that letting people use their own color markers would work. However, I have not found a way around having a visual character sheet for a game that is about making a visual presentation of skills and emotions. Is it even possible? Is this a way I will fail in making my game accessible? Is it even failure?
One of the keys of this project is also for it to be free. This means that I can’t do anything with it if I don’t have +John Sheldon able to work on the video, which means I have to work around his schedule. It means I need to make sure to have a place to host it where downloading it for free is not an issue, where you don’t have to sign up for membership.
So, I guess, my question is: where do we stop on accessibility? How much responsibility does a designer have to their consumers? How can we make games more accessible, and what does accessible really mean? There are boundaries that some people cannot cross due to accessibility issues, including comprehension issues, physical disability, and even financial limitations. How do I make my games meet those expectations?
Let me know your thoughts in the comments or on G+. I look forward to hearing them!
Season 3 of Standard Action goes live TODAY! Check out the webpage at http://www.watchstandardaction.com/.
Sorry for posting so late – illness and such got in the way.
Tell me a little bit about Standard Action Season 3. What excites you about it? Answered by Rob Hunt, director, cinematographer and editor for Standard Action:
Season 3 joins our heroes a few months after season 2 has ended. First and foremost we answer the question everyone has been demanding to know.. What happens to the Efreeti head in a bucket after the party abandoned it in the forest?
Season 3 has a lot of interesting things going on in it. We can look forward to many guest stars from other web series including Transolar Galactica and Journey Quest. We will get to see a few old faces from season 1. We also get to find out more about Ikosa and who she is. The Rogue, Gary joins the party to help them on their quest to find Martin the Druid as he has been lost in another realm of existence.
I’m really excited to be launching the card game and Pathfinder module for Standard Action. Both projects help expand the Standard Action world and are part of our season 3 Kickstarter. The card game is a simple party building game where each player builds a party of heroes and goes on adventures. Torvel can betray his party every round! Slay baby eating kobolds! The Pathfinder module explores the adventures of the party between season 1 and 2. As they try and identify a magic bracelet and how it ended up becoming a taxidermied squirrel by season 2. Take your role playing to new heights with encounters like, the fashion show! A taxidermied zombie shark with a wand of magic missile on it’s head! Kobolds!
Finally, as post production guy, I really enjoyed doing different looks for some of the different alternate realities they visit. I started that a bit with the office portions of season 2 being silvery and desaturated. I got to do looks for a dream world, a musical world and a science fiction world. It was a lot of fun working on that.
What characters are we going to see the most of this season, and why? Answered by Joanna Gaskell, producer, writer and actor for Standard Action:
Well, we ended Season 2 with Edda, Fernando and Wendy whizzing off into the planes to go looking for Martin, and taking a very surprised Rogue with them – Gary, played by David Pearson. We’re definitely going to be seeing a lot of those four characters, but fans will be pleased to know that they certainly haven’t seen the last of Martin the Druid, who has been with us since the beginning. We’re also coming full circle a bit on this season, so fans will see a lot of the faces they saw back in first season reappear. Jaina the Bartender will show up again, for instance, as will Cedric the Wizard, who has always been a fan favourite.
What did you have to do to prepare for the new season using the Kickstarter funds? Answered by Joanna Gaskell, producer, writer and actor for Standard Action:
This season has certainly been our biggest yet. The script was a little more ambitious, including five different sets that had to be built in the same small space. We had a lot more cast to deal with as well, all of whom had to be costumed, and some of whom were special guests being brought in from out of town. We upgraded equipment and added a slider and some better tripods to the mix, as well as a better sound recorder. The musical carried a few of its own expenses, developing the songs and lyrics, and booking the studio time needed to record. As always though, our biggest expense is labour, so we put aside a lot of that Kickstarter money to fund the actual production. We had to bring a few more people to set this year to deal with the complexity of our stories, and we try to pay everyone as best we can.
Tell me about the music for this new season. Who all do you have on the project?
Answered by: Kersten Tennert, sound and music for Standard Action –
The music for the new season is a wonderful concoction of both effects-driven samplers & synths with big delays, reverbs, and even reverse effects, and recordings of acoustic instruments. The fantasy element of “Standard Action” allows us to bend the rules of classical orchestration, leaving the opportunity to build an assortment of instruments that are processed in unconventional ways, such as tribal drums, glockenspiel, or celeste with heavy reverse delay & reverb, or even ring-shifters.
That being said, it is still important to incorporate acoustic elements that play an important role in the show’s setting, and overall mood. I’m using a fair bit of mandolin, acoustic guitar, acoustic-slide guitar, and even banjo for this season’s score. Yes, even banjo! It is also important to change orchestration based on setting, and circumstance in a scene. For example, in Episode One, the team is aboard a space vessel in another plane, in a galaxy far, far away. So you’ll hear that classic, familiar sound of a theremin in there. In more-comedic scenes with Cedric, for example, staccato notes, chromatic runs, and instruments with short decay may help push the goofy mood along. The writing is strong, and a huge part of the score is also knowing when the dialogue can speak for itself, and not being too obvious or suggestive that the audience “should” feel a certain way, by shoving music in their face.
Lots and lots to consider with score! This season’s post-production schedule has been arranged to have enough time to really polish each episode off, down to every last little detail, so I’m really thankful to be granted the opportunity to experiment. Joanna has been pretty good about making sure that I’m on the right track. Like with any collaboration, things can be up for interpretation, so it’s fun to find out that we’ve had different takes on what certain scenes might need for music. For example, the first scene of Episode Two was intended to be dramatic with a darker tone, but wacky, maniacal, lighter music actually really sold the scene.
There is a musical episode this season! Our cast did vocal training with Camille Johnson, who wrote a number of songs for the musical episode. She laid down a piano scratch-track and we worked out what the tempo would be for each section, and where all the pauses would be, and then we brought everyone into the studio for one massive vocal session. It was amazing. Everyone had such a fun time and really shone. Some of the cast came from a musical background – even opera trained! – and others hadn’t had much experience at all. Camille & and the cast did SUCH a great job. After all the vocals were edited & mixed, the scratch tracks were then built into these large orchestrations to sound totally Disney-esque. That episode is a standalone, for sure.
This season is the biggest, by far. Everyone has grown, professionally, and people are constantly upping their game; more complex writing, more elaborate costume design, more sophisticated visual effects, longer episodes, more tools and toys. It is so amazing to be part of a team of such eager, hard-working and friendly folks. Joanna is such a strong leader who fully understands that this is entirely a team effort. She knows how to step back and trust people to handle things, and allow them the space for their talents to shine, while also being able to pull things together and be our general.
Season 3 Episode 1 launches on Nov.18th – Get ready for it.
What was your inspiration for The Astounding Antagonists?
In comic books and films, people with superpowers commit violent acts in the name of justice. A while back, I started thinking about heroes, and how they might be designated as criminals or villains if their idea of ‘justice’ differed from the status quo. And the novel emerged from that idea.
Are these characters antiheroes, true heroes, or just freakin’ awesome superheroes, and why?
In the novel, they’re referred to as villains, and they embrace the term, because they steal, destroy, and kill. However, they believe that their actions are justified, so they do see themselves as heroic.
Tell me a little bit about Helen Damnation!
She’s an blue-skinned extraterrestrial who wears a suit of high-tech armor developed by Dr. Agon. It turns out that the armor doesn’t do what everybody thinks it does. Helen is somewhat contemptuous of any society that values material wealth. She likes dogs. She enjoys sweets. She’s fiercely loyal to the people that she loves. Though she will not kill, she enjoys combat, and is quite proud of the scars that she has earned.
Your RPG work is known for being a little gore heavy. Is it the same with this work?
It’s not particularly gory. Like my previous novel (Hexcommunicated), this is a fast-paced adventure. There’s some violence, and if it were a movie, it’d be rated R — but it’s nothing like the splatterpunk work I do in RPGs.
What’s up next for you, post-Astounding Antagonists?
I’m working on the second book in the Agent Tepes series; it’s called Hextermination, and it features shoggoths, ghouls, and witches. Should be fun! Also, I’m nearly finished with my kickstarted monster manual, Lusus Naturae. Very excited about that.
Thanks so much for the interview, Brianna! The Astounding Antagonists is available here:
Answered by: Kersten Tennert, sound and music for Standard Action –