Baby Bestiary – Behold, Products!

Hey all!

In a new feature, hopefully to continue, I want to draw attention to products I have enjoyed or products I think look cool, or even just products I’ve worked on and loved (regardless of my level of involvement). One of those projects is the Baby Bestiary, which is currently Kickstarting its Volume 2, and for which I am signed up to write for both the Kraken and the Satyr so I’m really hoping to see it kick. In the meantime, let me tell you a little about it!

The Bestiary is a lore book, not really a book full of rules and charts, but instead instructions on how to care for baby beasts, their history, and their habits. When I wrote for the first volume, I wrote for the Minotaur Calf and the Hippocampus Fry. For the Minotaur Calf, we learned of the importance of the constellations for the Minotaurs, and about their diets and the risks of being a beast with horns in a world that loves trophies. The Hippocampus Fry discussed mating habits of the grown Hippocampi, and the difference between Hippocampi from different climates. The new volume will include even more exciting creatures, like Gargoyles!

The project team is amazing, too. I’ve had the opportunity to work with them before, and again I’m impressed by the creativity of the writers on the new creatures. Not only will the new volume include the Satyr and Kraken that I’m working on (which I am incredibly excited about!), but it will include Ben Woerner’s (World of Dew) work on the Dragon Turtle, Gargoyle (seen above), Pertyon, and Enfield. There is also Elizabeth Chaipraditkul (WITCH) working on Lightning Lizards, Bugbears, and Orcs! The list of authors involved is incredible, and the art is fantastic.

Right now you can find the original Baby Bestiary, Volume 1 for sale on DriveThru RPG, and the Kickstarter for Baby Bestiary, Volume 2 (including a reprint of Volume 1) is still ongoing. Here’s to hoping that the product gets funded so I can write more about little critters for all of you to enjoy!


This post was supported by the community on patreon.com/briecs.

Five or So Questions with Kira Magrann on RESISTOR

I interviewed Kira Magrann about her upcoming zine, RESISTOR, which is being co-created with Elissa Leach. It sounds like a fantastic project, and you can check it out on Kickstarter now!

Tell me a little about RESISTOR. What excites you about it?
Elissa and I have been wanting to collaborate on a project for awhile, and we just weren’t sure what themes we wanted it to have. The second she said “let’s do something cyberwitchy” I jumped out of the chair I was sitting in and nearly spilled the bourbon I was drinking. YES. CYBERWITCHES.

The cool thing about this project is that it’s remixing a bunch of ideas, communities, and people in one place. That’s a very cyberpunk thing in and of itself. It’s featuring games, art, and fiction, in a zine format, which is very popular in current queer and social justice circles. We wanted a diverse set of creators so we’ve got trans, non-binary, women, and POC working on it. And we wanted it to have that gritty feel, like something you could find next to some fliers at a punk bar. I’m excited about the aesthetic, and the stories we’re telling!

Zines have a long history with social justice, queer culture, and a lot of divergent subcultures. What are you bringing that’s new to the format, and what inspirations did you have for the types of materials you brought together?
Elissa and I kinda wanted to remix a bunch of ideas, communities, and people in one place. It’s a super cyberpunk idea, taking the old “zine tech” of rough edges, collaboration, personal politics, and making it new. It’s featuring games, art, and fiction, in a zine format. We wanted a diverse set of creators so we’ve got trans, non-binary, women, and POC working on it. And we wanted it to have that gritty feel, like something you could find next to some fliers at a punk bar. So like, easy to pick up, engage with, and get sucked into our world with no prior knowledge of the themes or how to play these games.

What are a few of the challenges you’ve encountered creating a niche project like RESISTOR, and what good things surprised you?
I think the biggest challenges so far have just been logistics, really! This is my first Kickstarter, and Elissa’s second, so figuring out how all that works and how to coordinate with a partner on a project like this has just been a little trial and error. Mostly we just hung around with Elissa’s cats, listened to some records, and like, made headers and bios for the kickstarter page.

We’re both visual artists, so creating images and finding collaborators on that end wasn’t too hard. I’ve been really inspired while this kickstarter is running, it’s hitting the reward centers of my brain and motivating me to create new stuff! I think that sometimes its easy to see creating things and making Kickstarters as difficult, stressful obstacles, but I’ve really enjoyed organizing everything, and coming up with ideas that are cyber-witchy to write about. Working with these amazing people has been really maybe the best part. Banana Chan’s game is gorgeous, Elissa’s art is phenomenal, my game ritual has been super inspiring, it’s really easy to get into the setting and thinking of this zine and create a whole lot of things for it, because its basically everything that I love. Funny how that works out, making things I love is easy!

Cyberpunk and social justice are two things I absolutely love. Coming in from that angle, what are the two things that you would say to someone with my interests to get me to invest in the project?
I like to think of RESISTOR as a kind of tool to inspire people to think more about these ideas. Not really a manifesto, but something that someone can pick up and read and say, yea, I wanna go talk about this class issue, or this neat ritual way of thinking, or apply this to my every day life. We want it to be accessible to a bunch of different communities, so not just the queer, punk, music, comic communities where zines are popular now, but also gaming communities and fiction communities. My black heart would grow three sizes if women and trans and non-binary and POC people in comics started playing roleplaying games by picking up this zine. It’s also hella styish and woke af. Cyberpunk often is about awesome chrome cyborgs and fighting the corporations in this real rebellious uplifting way, and we kinda want it to be like that but, less guns and simple binaries, more witchy rituals and complex cultural nuances.


Finally, if I were a cyberpunk dystopia, and you were a witch, if you took out our hearts, what would they be in RESISTOR?

I mean, we’re already living in that dystopia. So basically, they’d be right where they are, but like, connected by deep black ghost tunes of all the other hearts around us trying to make this world a little better with our glitched-rituals, metallic hymnals resonating in tiny screens that sit next to us every day. Our hearts are all connected even outside of our bodies in machines where we make them vulnerable.

I don’t know about you, but those black ghost tunes are throbbing in my heart right now. RESISTOR sounds like an awesome product and I’d love to see it out and available. Check it out on Kickstarter and consider becoming a backer!


This post was supported by the community on patreon.com/briecs.

Five or So Questions with Elizabeth Chaipraditkul on WITCH

Today I am super lucky because I got to interview Elizabeth Chaipraditkul about WITCH! You’re super lucky, too, because I have some pictures and her awesome answers here for you to enjoy! AND, guess what? WITCH is on preorder for release in February in the Angry Hamster Publishing shop. Let’s get to it!

Tell me a little bit about WITCH. What excites you about it?

So, WITCH: Fated Souls is a modern dark fantasy role play game where you play a member of the Fated, someone who has sold their soul to a demon for power. When I started to write WITCH it was something I just had to do, when I started writing I figured even if no one else read the game at least it would be out of my head. I always loved dark games – gothic horror, haunted exploration, anything occult. Games that allowed me to make a character I could fall in love with, that haunted me, even when I was awake. I wanted to make a game based on the heroine in every one of my dreams. A setting where she could live, flourish, and fight her demons (internally and externally). I wanted to make a game that everyone could play who felt the same way, who had formed similar people in their minds – stretching them, shaping them over the years. When I see my game it’s not as horror-filled as I thought it would be, but there is still something about it that’s mysterious, dark, and filled with adventure. I feel I accomplished my goal, that is exciting.

The crunchy mechanics side of me is excited about the magic system for WITCH. I am always frustrated with games that limit my magical power in odd numeric ways. Like only having five spell slots or only having enough mana for three spells. Realistically, in these games the idea is that there is a point where your character is tried and can’t cast any more. But I never found that much fun and the idea that my power was capped (even if that meant I was just tired) bothered me. In WITCH you can cast your magic as much as you’d like. However, each time you do your chance to critically fail/botch increases. So, out of character, you get to live that exhaustion with your character. Are you going to gamble casting another spell, you can do it, but what if you botch? Worse yet, what if you have cast your magic so many times that you cause an Eternity Chasm (extra horrible botch), a catastrophic event that rips through all space & time.

What sort of inspiration did you use for the horror and occult imagery and feel of the game?
When I was thinking of how I wanted my game to look and feel I wanted it to be like Charmed, if it had met Hellraiser early on and was corrupted by it. American Horror Story: Coven, while it came out after I was almost done development for the game, definitely captures the look and feel I was going for.

I am a very visual person. So, from the moment I started writing I was pinning images that fueled my writing. Art gives me energy. Images can tell such an amazing story and were endless inspiration for me.

I am also a huge fan of buying crappy old books from the thrift store. There are a lot of random occult tidbits I was able to pull out of the books to weave into my game. It was important that WITCH, was far enough removed from reality as to be its own thing, but still have recognizable elements. For example, we have rituals in the game, rituals are an important part of any type of occult game. Saying that, they are totally made up and I’ve tried to stay away from anything that is practiced. I did make sure though that there was enough symbol for them to feel real and give a good play experience.



I want to know, what happens when you create an Eternity Chasm – what can be the impact of this rip?


Pretty much anything that is end-game horrible. For example, you could open a hole into an alternate dimension filled with evil replicas of yourself who invade the world looking to kill you. It could also do something like write every trace of you out of existence. So you have to play through the moments of your life as they are erased one by one. When an Eternity Chasm happens, it normally means your character is going to die or become unplayable (it is almost impossible for one to happen unless you are insanely reckless). However, like with all things in WITCH, it should be an excuse to further the story. I feel huge events like this should never be an excuse to just kill a character. It needs to add drama and play to the game. Having a strong, player driven story is so important, especially in WITCH.

What kind of encounters could players find in WITCH?

Exploration and adventure are huge themes in our game. Sure, you sold your soul and it sucks, but your life isn’t over. One huge trade-off is that you get to explore a magical world, which is pretty damn amazing. In our world there are different forces at work that Fated will meet. There is the Quiet, an all encompassing nothingness that is eating away parts of reality. As you get close to the Quiet you’ll hear voices, voices asking you to follow them. There are also hunters to contend with. People who hate you for the simple fact that you have sold your soul. And much more! 

We also have a lot of adventures that players can stumble upon by mistake, opening the wrong door, or messing up with their magic. For example, in our Planar Guide you’ll find a plane totally inhabited by puppets whose strings stretch high into the sky. Or you can visit a plane with no land and an ever expanding ocean. Dark finned figures lurk just below the surface of the water waiting for you to succumb to exhaustion.

How do you approach more sensitive topics in WITCH – do you have realistic, or possibly intimate, horrors?

There is a lot of different ways to represent horror in our game. In WITCH a lot of horror comes from the character realizing what they are capable of and willing to do for power. How they cope with the deals they make with their demon and how they (hopefully) triumph. Demons play a huge role in our game, because each Fated has so much interaction with theirs. While every demon is different there are some that take sincere delight in emotionally torturing their Fated, that is not for everyone.

What affects people is very personal to each person and group you are playing with. In WITCH we advise GMs, in the GM chapter, to speak to their players about what they are comfortable with before the game begins. I personally feel this makes playing fun and safe for all players.

In the text itself, while we do have a few grisly scenes, I have stayed away from sexual violence. I preferred to have intimacy and sex shown in a positive light. Likewise, we have some nudity in the book and our Devil’s Deck. I feel being naked is pretty natural and normal, it doesn’t have to mean sex (or violence).

Awesome! Thanks to Elizabeth for the excellent interview and for the gorgeous art to share! You can find find more about WITCH on Angry Hamster Publishing’s WITCH page and preorder options in their shop.



This post was supported by the community on patreon.com/briecs.

Women with Initiative – Wendy Gorman




Hi all!

Welcome to my new feature, Women with Initiative! I am hoping to make this a monthly feature, but we’ll see as time passes whether the interest is there. Today I’ve interviewed Wendy Gorman, creator of Still Life, which won in last year’s Golden Cobra design contest. 

Wendy shares a little about her here:

My games are mostly WIP right now, but I co-wrote one of last year’s Golden Cobra winners, Still Life, and I’m currently working on two games, one called The Things She Carried, which I wrote for the Warbirds anthology contest, which won, and is a game about Japanese American women in the US during WWII, and Shemesh, which is a solarpunk utopia game that I’m working on with Different Play, and that is probably my game that I’m most excited about. I’ve also written a DramaSystem setting called “Game On” about the women’s baseball league in the US during WWII, and I have a million tiny baby game ideas that I’m working on with my favorite codesigner, Heather Silsbee.


Here are some questions I asked Wendy!

You have written some really amazing things. One of the previous cons I attended, many people played Still Life and said it was amazing. How did you find inspiration for such a unique game, and what kind of experiences do you think uninitiated players would have?

It’s funny you should ask about Still Life, because it has really been a huge surprise to me. Still Life is a mystery! My friends and I were play testing Jon Cole’s larp design work shop, Larp Jam, and our prompt was “pebblestone lifestyle.” I desperately did not want to write a Flintstones larp, and we were on the shore of a lake, with rocks surrounding us, so I guess it was easy to run with the rocks/nature theme. As for the uninitiated playing it, I’m sure experiences will differ! It’s a very low-key larp, with lots of sitting and quiet time, so if someone went in expecting to run around hitting people with foam swords, it would probably be a disappointment. That said, I’m told it’s a great game to play when you’re tired, because you really don’t have to move around very much at all!

In your work for The Things She Carried, how have you been gathering information and historical reference for it? What made you choose that particular subject?

For The Things She Carried, I was inspired by an amazing memoir, Farewell to Manzanar, by Jeanne Wakatsuki Houston and James D. Houston, about Jeanne’s experience with being relocated to internment camps in her youth. In particular, there’s a scene in the book where her grandmother is trying to sell some family heirloom plates that the family has had for years, and the buyer is refusing to give her what she considers a fair price, because the market is flooded with similar items from other Japanese American families who are also leaving. The grandmother gets so mad that she smashes the plates, one by one, rather than sell them. It’s a powerful book, and a powerful scene that stuck with me, especially since so many of these families lived in Washington, which is where I grew up. It’s a side of World War II that doesn’t get talked about enough, but it’s all I could think about when I saw there was a contest for WWII games about women. I’ve been reading articles, I reread the first inspirational memoir, and have been looking at photos on historical archives to try and get a better feel for Japanese women in the 40s.

I am so excited about your solarpunk game! I have been delving into it – tell me more about solarpunk, and about Shemesh!

Shemesh is probably the game I’m most excited about! Solarpunk is an emerging genre that focuses on ecofriendly, sustainable living with an art noveau flair. I love the aesthetic, I love the message, and I love the chance to explore positivity and hope. My game focuses on a city, Shemesh, that envisions a new way of living. I was interested in games about utopia, and couldn’t find any that I felt really fit, so I decided to design my own! The game is about exploring a solarpunk utopia in a diverse city, with a focus on aesthetics, which I love, and working through differences without resorting to conflict and anger. The question I’m inviting players to answer with this game is “What does it look like to approach misunderstandings in a utopia?” To top it all off, I have a backdrop of a bunch of funky fantasy peoples, including giant rats with a hive mind, human-sized sentient butterflies, fae, humans, and sentient robots, who all live alongside each other. I’m really, really in love with the setting and the game, and I can’t wait to release it. It’s sort of an amalgamation of a bunch of my favorite things, such as Microscope, the works of China Mieville, and beautiful, brightly colored stained glass. I’ve had a ton of fun writing it, play testing it, and I sincerely hope that others will enjoy it as much as I have!

What do you do outside of gaming, hobbies &etc.?

Outside of gaming, I’m a cat enthusiast, aspiring writer, and earring fanatic. I’m currently living in Spain for a year, teaching English, which I love. I am a big fan of feminist discussion, and trying to figure out how to make myself a more socially conscious human being. I also love to cook, and to bake, although I lack an oven here in Spain, so it’s put a huge damper on my culinary escapades.


Thank you so much to Wendy for sharing with us! You can find Wendy online on Google+!




This post was supported by the community on patreon.com/briecs.

Sweet Valley Hell – MONSTERS!

This is the draft Monsters section of Sweet Valley Hell. It’s in raw text form for now. Check it out!

MONSTERS AND YOU


There are tons of monsters in the Valley thanks to the Hellhole. This section goes over how they work, a little of their history, and then tells you what happens if one of your players gets the Hellhole treatment? Oh. My. God. Yes, it’s true, sometimes the monsters you see are like, the monsters you know, or something.


How the skill blocks work:

Name of Monster
Description
What they do: This is what the monster’s primary goal or action is.
How they do it: Their method of killing or whatever.
How to kill them: Pretty self-explanatory – how the player characters can kill the monster.
Powers: Any special abilities the monsters have.
Hit Points: How many hits it takes to kill or socially dominate the baddie. These are often variable – the number here is an average, and can change with the specific NPC monster.
skills: What die type they have in each skill, Fight and Sosh.


Dead-walkers

Ugh, gag me with a spoon. Not really, tho – you won’t need to, because these guys are grody to the max and totes unchill on top of that. Dead-walkers are literally dead people? They are the spirits of the idiots who got sent to Hell for doing like, bad stuff, and they kind of find a body of some variety when they crawl out of the Hellhole. Usually they’ll just grab like, a dead guy or something from a cemetery? But sometimes they get fresh meat, push the Granny outta Granny and go grocery shopping for more than just prune juice, and start murdering as soon as their body starts rotting because it doesn’t have a clean soul in it anymore.


What they do: Eat people. Ew.

How they do it: Biting, and like, tearing off limbs.

How to kill them: Headshots, and not the modeling kind. Oh, burning them works, too. Or a woodchipper.
Powers: None.

Hit Points: 5 Body, 0 Mind.

Skills: A regular dead-walker comes in at Fight: d6, Sosh: null. These aren’t the brightest bulbs in the closet. Tougher ones have a Fight of d8 or d10. If it’s like, a serial killer guy’s soul in a dead-walker body? They sometimes have a Sosh up to d8, but never higher. Groups of dead-walkers happen sometimes – see the Mob rules later on.


Vamps

“See ya later, suckers!” Yeah, the vamps are tired of hearing that joke, too. They’re sometimes super old, they spread like the plague, and they really, really like blood. Vamps are your garden variety vampire, with the same needs as any old creep: blood. Humans or animals, it doesn’t really matter, but most of the jerks always want to have like, live human blood or whatever, while the practically vegan vamps stick to critters – and they totally recycle, too. They have retractable pointy teeth, can turn into bats, and they can get a tan.


What they do: Suck blood and sometimes making new vamps.

How they do it: Tricking or capturing their victims, then getting their slurp on.

How to kill them: Stake to the heart, decapitation, or cremation.

Powers: 

Entrance – If a Vamp has a Sosh encounter with a player character and they win and have more successes than half of the player’s available Mind hit points, they can Entrance the player and give them one Sosh-based command. Example: Laurel (vamp) Entrances Hilary, a player character, and has her tell another character, Todd that his girlfriend Allie is totally cheating on him, and it stirs up conflict in the group.
Fly – Vamps can fly, but only when they change into a bat. This makes them much sneaker, and obvs much more, uh, flighty, but they can’t use their Sosh skill at all when they do it.
Regeneration – Unless the players stake the vamp’s heart, cut off their head, or burn them to ashes (after reducing them to zero Body hit points), vamps regenerate all of their hit points after a fight is over, even if they’re reduced to zero. Basically, don’t leave their bodies laying around.
Immortality – Vamps never die, and never age past the point they’re turned, unless they’re killed in the three ways listed above.
Super-senses – Vamps all have advanced senses, so they all can hear better, see better, smell better, and pretty much anything else. Kinda icky, but really useful.
Turning – Vamps can turn a human into a vamp, too, and it just takes one bite and a quick stab to the heart. No, seriously, like, they bite a person? And then they stab them in the heart! That person then dies and wakes up as a vamp, pointy teeth and all.

Hit Points: 5 for standard vamps, 8 for tough guys, and 10 for serious baddies in Body and Mind each.

Skills: Standard vamps run Fight: d8, Sosh: d6. Some of the smoother cats will go Fight: d8, Sosh: d8. Queens like Laurel would be hitting Fight: d10, Sosh: d10.




Demons

Hell hath no fury like a woman scorned… except it kinda does. Mostly in the like, hundreds of demons that hang around in the Hellhole, some of which have managed to climb out and be like, human looking and stuff. Demons don’t possess people initially, they make their own bodies from the ether. This means they’re typically pretty hot, and not just in the Hell way? They can possess people, though, and often do, but it’s really taxing. They have a wide range of agendas, and some could even be allies to the player characters? Some want power, some want love, some just want to watch the world burn. Like, literally, they want to make Hell take over the Earth.


What they do: Possess people, manipulate people, and pursue agendas.
How they do it: Using their demonic powers and their charming personalities.

How to kill them: Capture their soul and toss it back into the Hellhole. Capturing a demon’s soul requires an incantation (any priest should know it), a vessel (a jar, bottle, locket, etc.), and the demon’s Mind hit points to be at 0.

Powers: 

Regeneration – Unless the players capture their soul (after reducing them to zero Mind hit points), demons regenerate all of their hit points after a fight is over, even if they’re reduced to zero. Basically, don’t leave their bodies laying around.
Immortality – Demons never die, and can appear in a body of any age. They can only be stopped if their souls are captured, and even then, they might someday rise again from the Hellhole.
Possession – if a demon reduces someone’s Mind hit points to zero, they can possess their body. While in possession of the body, they can do like, basic stuff? But they can’t perform anything huge like, killing other people or whatever. Simple tasks, man.
Mind over BodyA demon can never be knocked out until their Mind hit points reach 0. Even if they’re completely physically disabled, they can still talk and stuff.

Hit Points: Body hit points can range from as little as 3 to as high as 10. Mind hit points never go below 5 and can go as high as 12. Demons are like, totally rad.

Skills: No demon will have a Sosh of less than d6. Like, ever. The sky’s the limit, too, with that. Fight skills for demons range between d4 and d10.




Were-beasts

Have you ever heard of like, a menagerie? It’s kind of like a bunch of animals, and that’s what there are roaming the streets of the Valley. Well, kinda. were-beasts, or shapeshifters if you want to be fancy, include run of the mill werewolves to stealthy werecougars, but just about any kind of creature works. There are two types of were-beasts: ones who were animals first, called like, therians, and ones who were humans first, called anthros. were-beasts are the result of a magical infection, kind of like, chicken pox or something? It’s totally bichen for the humans who get infected. For the animals, though, it’s more like punishment. The infection is spread by bites and exchange of bodily fluids – basically anything hotter than a kiss will spread it, so cover up.


What they do: Honestly? They just wanna be left alone. But sometimes they eat people, or maim them.

How they do it: Gnashing teeth, grody claws, and crazy serious strength.

How to kill them: Silver bullets do okay – heart and brain only, and cutting off heads only works if you, like separate the pieces? They might still get chatty, though. The hardest, but most effective method, is (like so many things) to just light it up.

Powers: 

Regeneration – Unless they are torched to ashes, decapitated, or shot in the head or heart by a silver bullet (and reduced to 0 Body hit points) were-beasts regenerate all of their hit points after a fight is over, even if they’re reduced to zero. In the case of were-beasts, they will even regrow limbs and reattach heads if there’s nothing keeping them apart.
Strong Body, Strong Mind – All of the were-beasts are like, super smart or strong. The Principal decides, based on the type of animal, whether the were-beast gets a bonus d6 to add to their dice pool for Sosh or for Fight. For example, a werewolf might get a bonus d6 to their Fight, while a wereraven (no joke!) might get a bonus d6 to their Sosh.
Super-senses – Were-beasts all have advanced senses, so they all can hear better, see better, smell better, and pretty much anything else. Kinda icky, but really useful.
Transformation – Any were-beast can appear as a human, a specific animal, and a hybrid form. Most newer were-beasts experience involuntary transformations, particularly around the turning of the moon, either new moon or full moon. Extreme emotion can also result in transformation.

Hit Points: Were-beasts are pretty much the heavy-hitters of the supernatural world, and they have the hit points to show it. Every were-beast, no matter how small, starts with at least 6 Body hit points. They can have up to 12. Mind hit points have the same range for anthros, but therians are typically an average of 2 Mind hit points lower than average, so they’d run from 4 Mind hit points to 10.

Skills: Were-beasts have different specialties, so like, they do different stuff? And like, depending on what kind of animal they are, they’ll have different skills? So the Principal can be super creative here. To toss examples out a werewolf would be like, Fight: d10, Sosh d6. A wereraven would be like, Fight d6, Sosh d8. Keep in mind that therians are often more vicious and less sociable.




Archons

So like, you know when you think of beings of light and energy and people call them angels? Yeah, well, angels exist, but those beings? Not angels. Archons are these totally cool beings that kind of transcend reality, and like, they’re basically untouchable. They come from beneath Hell and above Heaven and they’ve always been here, just as elements of the universe. They are super rare, but when they do show up, they bring either a lot of good or a hell of a lot of bad. The only way to beat them if they’re gunning for you is to basically convince them the world is worth saving. Good luck with that.


What they do: Grant grace or destruction.

How they do it: Self-sacrifice.

How to kill them: You can’t.

Powers: 

Apocalypse – They either temporarily boost the Mind hit points of everyone in the surrounding 30 miles by 2, or they temporarily lower their Body hit points by 3. This effect lasts for one session (if it happens at the end of one session, it would be effective for the whole of the next session). There is no roll, they just do it.

Hit Points: Body is irrelevant. Mind is between 5 and 10.

Skills: Yeah, dude, you can’t even imagine going toe-to-toe with these guys, so let’s just pretend that their Fight is like, infinity. Sosh, though, ranges from d6 to d10.




Ghosts

They clang, they howl, they shake chains. Spooky! Ghosts are, in general, pretty chill. They’re just spirits who spirited out of Hell and didn’t grab a body on the way. They’re undead, not deadly, and basically like your second cousin Lenny who won’t stop leaving his gym shoes in the hallway – kind of a pain the ass, but like, mostly harmless. If they do cause trouble, like, by causing car accidents, disrupting the peace, that kind of thing, they can be exorcised. Call your local priest!


What they do: Cause a nuisance.

How they do it: Haunting.

How to kill them: It’s more like, you know, banishment? But yeah, exorcism. Good ol’ fashioned Latin prayers.

Powers: 

Dead – They aren’t alive, they don’t have a body, they kind of wisp around and are generally immaterial. Oh, and they can’t be killed. Again.
Washington’s Curse – If you think they might have useful info, just ask them – ghosts cannot tell a lie.
Hit Points: Null and null again. To get rid a ghost, seriously, just pray in Latin.

Skills: None.




Cherubim

The holy host has no clue if there is a god, but they def want to be righteous, dude. The cherubim are one of the types of angels, and the only ones you’re likely to meet. The archangels don’t make visits to Earth, so the cherubim do the dirty work. The dirty work being Hellhole crowd control. Almost every cherubim is on the side of the good, or at least the mostly-good. One or two might have delusions of grandeur, though, so like, look out? Oh, also? When you see one, you’ll know it – cherubim have a body like Bessie the cow and faces like Janus, with a couple of sets of wings to go ‘round.


What they do: Defend the righteous.
How they do it: Angelic grace.

How to kill them: Silver cross made into a sword. In the heart. Ouch.

Powers: 

Regeneration – Unless the players stab them in the heart with a fancy sword (after reducing them to zero Body hit points), cherubim regenerate all of their hit points after a fight is over, even if they’re reduced to zero. Basically, don’t leave their bodies laying around.
Mind over BodyCherubim can never be knocked out until their Mind hit points reach 0. Even if they’re completely physically disabled, they can still talk and stuff.
Immortality – Cherubim never die, and only appear as their totally rad winged form. They can only be stopped if they’re killed, and even then, they are only sent to Heaven again, and might come back someday.

Hit Points:  Body hit points can range from as little as 3 to as high as 10. Mind hit points never go below 5 and can go as high as 12.

Skills: Cherubim rarely have Fight skills of less than d6, and can go up and up from there. Sosh skills for cherubim, however, are like humans – d4 and up.




Void

Void are the depths of Hell, the darkest of nights, the deepest of seas. Epic, yeah? They’re super creepy little guys – typically the size of children or teens but not kids at all. They are literally Hell beasts who have crawled up to devour souls. They have these wicked big mouths with sharp, pointy, needle-like teeth. Too many teeth. Ugh. They’re not super sociable, and mostly speak in the tongues of Hell, but they’re quick and stealthy.


What they do: Devour souls.

How they do it: Bite, suck, slurp. Soul be gone.

How to kill them: They die like mortals, so you can mow ‘em down.

Powers: 

Devour – they literally eat your soul. If they get a bite on you, they’ll suck Mind hit points out of you by the minute, getting an extra bonus d6 to add to their Fight that always counts as a success so long as they get at least one success in their roll, including that die.
Stealth – They’re creepy, they’re crawly, and they blend into the shadows like… uh, like a shadow.
Speed – Void are totally fast. It takes one additional success to get the first hit in on them in a fight.

Hit Points: They average around 5 Body and Mind hit points, just like humans.

Skills: Void have no higher than Sosh: d8, and average around Fight: d6.


Mob Rules

When monsters get together in groups of 3 or more, they’re called a mob. So, like, when this happens? Treat the monsters as one unit, where the stats are equal to the most powerful monster, but raise their die type for their stats by two ranks. As an example, if you have six dead-walkers, and the like, strongest of the deadwalkers is at Fight: d6, the mob as a whole would be at Fight: d10. Their hit points will still be equal to the highest hit points.

It’s important to keep in mind that major NPCs should not be part of mobs and should have their hit points and rolls monitored individually. Basically, like, if they are important enough to have a name? Like, they aren’t totally mob mooks.

PLAYERS AS MONSTERS


It would be like, totally uncool if they players couldn’t be like, monstrous. Here’s the way that works.


Players get the powers of all of the monsters applied to their character, so they can transform, possess, all that. If the monster has higher hit points and/or skill rank dice than them, they gain one hit point in each hit point set that is higher and/or one skill rank die in each skill that is higher. If it is the opposite, where the hit points or skill rank dice are lower, then the player character would lower their hit points and/or skill rank dice by one. For example, if a vampire bites a player character, and the vampire’s hit points are Mind: 6, Body: 7, and their skill ranks are Fight: d8, Sosh: d10, while the player character’s hit points are Mind: 5, Body: 5, and skill ranks are Fight: d6, Sosh: d6, then you would adjust the player’s stats to be Mind: 6, Body: 6, and Fight: d8, Sosh: d8.





This post was supported by the community on patreon.com/briecs.

Musings on Horror Games

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!

Five or So Questions with Avonelle Wing on Convention Organizing

Tell me a little about what you do as a convention coordinator. What’s exciting about it?

What do I do? that’s a very complicated question, because I wear many hats, and the list of things I do could read like a resume.
From the practical and very concrete perspective, my job is to make sure the resources are available for the convention staff to provide the most satisfying convention experience possible to the broadest segment of our population. Among the things I do are:
  • Remembering to buy the right envelopes (peel and stick, #10), card stock, poster board, tape, packing tape, duct tape, and knowing which brand and why.
  • Keeping track of ridiculous things, like remotes, wires, plugs, components – making sure everything gets packed to and from every con, and I know where each important piece is. all the time. 
  • Refreshing our extension cord supply. 
  • Counting bed spots accurately so senior staff and guests all have a place to sleep.
  • Soliciting and tracking prize support and library copies of games.
  • Keeping track of special guests and making sure they have satisfying experiences at the con. 
  • Maintaining a social media presence so the conventions are people, not faceless corporate entities to attendees. 
My brain holds a million vital little details that mean we don’t ahve to reinvent the wheel. and we never have to deal with the experience of buying the wrong duct tape again. (the whole Big Board system fell off the walls at DEXCON. Within hours of putting it up. It’s my job to remember that horror and to make sure we avoid it in the future. 1,000 events on the ballroom floor. oi.)

I talk to game masters. I help piece the schedule together (my husband does the lion’s share of the scheduling and I still get a little swoony when I look at the sheer magnitude of the task he takes on every convention.). I coordinate staff.

On a more ephemeral level, I get to be part of the magic of our community. I am the welcome wagon – I notice when somebody is looking a little lost and I loop them into something exciting. I forge connections, solve problems. When somebody is in the middle of a devastating breakup and needs to hide, they end up in my room, because that’s a safe place to hide and I always feed you after I scrape your sobbing self up off a hallway floor. Our conventions are described by lots of people in our community as “giant family reunions” and I get to make that magic happen. It’s akin to being the eccentric aunt who rents the pavilion, hires the magicians and buys 100lbs of charcoal. The difference is that our community has chosen to be here. and I love them for that.

I get to facilitate our evolution. When somebody comes to me and says “freeform. it’s a thing. we need more of it” I get to say “ok! fill out the form and let’s do it!”

When somebody says “gender. It matters in gaming and we need to talk about it.” I get to say “OK! space, exposure, attention. let’s go.”
18 months later, somebody said the same thing about race. “Great. Let’s talk. Let’s talk long and loud and let’s get angry and let’s do positive things to change our world. Let’s go!”
We hear “old school roleplayers feel lost. we want a home too!” and we launch a convention within a convention to serve them too.
Our job is to be responsive and supportive and encouraging. and I think we do a decent job of it. It’s exciting to me to hear somebody say “I want to…” and to be able to say “and I can help make that happen. I’m excited! let’s go!”

I am often humbled, watching our community support each other. and I get to know that they’ve come together because I’ve given them the venue and the opportunity and the reason to do so.

What is the biggest challenge to hosting a con?
The biggest challenges of any convention lie in the unknowns – will the air conditioning be able to keep up? how many bottles of soda will we blow through this year? The system and process stuff? We’ve got that down, and it’s entirely on us. Once you set the machine in motion, you become dependent on other people to see things through, and on the universe to cooperate.

I drove all the convention badges, the printer and all the other registration materials to a convention once through a storm system that spawned tornadoes. As I drove down the highway, I watched trees falling behind me – it felt cinematic and not as terrifying as it should have been. Those things, you can’t plan for. You just have to keep your head screwed on straight and keep moving.

What do you think is the most valuable advice you could give someone starting their own event?
Talk to other local events. Make sure you’re not crashing their party. Ask them about venues – sometimes there’s a reason an event moved suddenly. Schedule so you’re not stepping on anybody’s toes. Ask for help – Double Exposure is always happy to help a small even negotiate for space and sometimes we even help staff for your first couple of years.

Figure out a reasonable budget and double it.

Carry the best insurance you can possibly afford. Wait. what? insurance? Yes, insurance. Trust me, it’s worth it.

Don’t run by committee. Take personal responsibility for things that go wrong and be generous in sharing the credit for things that go right.

What are your goals with Maelstrom and DEXCON, which are two wildly different cons?

Maelstrom is an experiment, and I’m still sorting out my goals. I need to go back to my brain trust and discuss what worked and what didn’t, and to set community-guided goals.

DEXCON’s goal is, always, to provide the most action-packed, diverse, intense, intimate five days of gaming anywhere. We’ve got the excitement of one of the mega-cons with the comfort and friendliness of a local con.

What’s big for the next year for Double Exposure?
Big… I’m not sure we are ready for much bigger than 2014! We’re up to four conventions a year of our own, plus we’re doing the First Exposure Playtest Hall at Gen Con.

I’m just getting my feet under me when it comes to talking about the importance of social justice – of advocacy and representation. That has become a bigger part of Double Exposure’s program over the last several years, as I’ve realized that we were above the curve, but had more we could be doing. the rest of 2014 and likely most of 2015 is going to be continuing to present the best possible product to our community while refining and advancing our approach to outreach, education and representation. I have so much to learn, and so many brilliant people to learn it from.

I have a still-flickering hope that we will be able to do a larp-oriented project in 2015, but that won’t be decided until we’ve gotten home from Gen Con, at the soonest.

Why do you run these conventions?
Riding home from Gen Con last year, I found myself pondering the fact that these conventions – even with their stress, financial exposure, physical toll, worry and effort – are as close to worship as I come. We create a thing that is ephemeral. It’s temporary, like a play, and when we’re done, we strike the set and we go home. But while they exist, we create something that is as close to a Divine act as possible.

Conventions connect people in a very tangible way. We step outside of our daily lives and enter a space outside of time. We storytell – one of the most human and most sacred of acts. We trade pieces of ourselves. We laugh. we cry. We see friends we only see a couple of times a year, and we pick back up right where we left off. There’s an emotional resonance to conventions that is unlike anything else I’ve experienced.

Also, it’s safe place to be a nerd – to love My Little Ponies. to know the dialogue to every Star Trek movie. to remember every model number of every Terminator to show up on screen, ever. There’s very little fear of mockery or disdain. As somebody who was vexed for being a reader, for being a nerd, for having a grown-up vocabulary, sometimes it moves me to tears to watch folks (often younger folks) come in – a little awkward, a little wound up, a little too much – and to see them unwind, slow down, find their own unique pace. We create a space where we protect each others’ weirdnesses, and share them. It gives folks who find themselves on the fringe at school, at work, in their daily life, a chance to be in the middle of the puppy pile – to be respected, to acknowledged and seen and known.

It’s a calling, and I’ve known that since I first walked into a Double Exposure convention in 1997. I welcome each new face like a companion on this path to carve out a spot of acceptance, creation and joy every few months.

Five or So Questions with Steve Radabaugh on Dungeon Marauders

Tell me a little about Dungeon Marauders. What’s exciting about it?

Dungeon Marauders is a dungeon delving digital card game for iPhone. A deck of cards represents your hero, and you go through short dungeons that are represented by five cards. You also get to create your own dungeon that people go through.

What I find exciting about Dungeon Marauders is that it’s trying to focus on people challenging each other face to face. The only way to go directly to another person’s dungeon is to scan the QR code from their phone. I’ve also taken that a step further to have special dungeons that companies can post at their booth at conventions as a Booth Beast.

What did you do to test Dungeon Marauders?

I started out by printing up some physical cards on my home printer and bringing the concept with me to Metatopia. I did a fair amount of ninja-playtesting there (There weren’t any official events, just a handful of games with various people at the bar). After Metatopia, I knew that I had a solid concept. During development, I had a group of 25 or so testers that I frequently sent builds out to and solicited feedback from.

What was your inspiration for Dungeon Marauders?

It started out with the concept of a game that could be played at conventions. I wanted to make Booth Beasts that were QR codes that companies could put at their booth for an exclusive something. I was working with some other projects with QR codes, and had them on the brain. So I had the meta game kind of planned out before I had any actual game mechanics thought up. As far as the card game part of it, I’m not sure that I had a direct inspiration.

What suggestions would you have for people new to the app design industry?

Create the things that you want to have for yourself, don’t create things just because you think that they’ll make you rich. Also, keep your day job until you are making enough money to support yourself.

What’s up next for you?

I’m actually really excited about the game that I did for GameChef, so I’m probably going to start doing more playtesting and development on that. I’m also going to start figuring out Dungeon Marauders as a physical card game. I’m hoping to playtests of both of those things over the summer and see where that takes me. I have some contract work lined up both in the RPG realm and in the app realm. Maybe when things quiet down I’ll start working on that SHMUP game I’ve been wanting to make for years.

Five or So Questions with Wade Dyer on Fragged Empire

Tell me a little about Fragged Empire. What excites you about it?
There is a lot about my project that excites me. But most of all, is the dream of having my book completed & being enjoyed by others. I have a real ‘artisan’ approach to my work, pouring all of my skill, time & passion into this project. But I long for it to be completed, for people to not only hold it & read it, but for it to be used. I want it to be sitting at peoples gaming tables, in their bookshelves & being discussed on obscure RPG forums.

Before we talk about the game – your website and art are bangin’! Tell me a little about the artist selection, art direction, and overall feel you were going for with the art.

Ha ha, love the word ‘bangin’!

I’m a freelance graphic designer (who also dabbles in illustration) by trade, so I made the website myself & have a lot of experience working with other creatives.

I’m very passionate about working with emerging artists, you will intentionally see no big names in my books credits. I must have went through almost 200 hundred (no joke) different artists galleries. I then sent emails or DeviantArt notes to those who met my criteria. While I have artwork from almost a dozen different artists in my book, most of it will be done by 4 particular artists who demonstrated a passion for not only my project, but for their own trade. Clonerh Kimura, Fyodor Ananiev, Alexandrescu Paul & Niam. These guys & gal have been fantastic to work with, so full of passion & dedication, they really get what I’m trying to do.

I really want the art in my book to show 2 things. Firstly, it needs to convey the tone of the setting; beautiful, modern, detailed, subtle depth, but vibrant & fun. That mix of energy & grit. Secondly, it needs to convey the passionate craftsmanship that has gone into this book. Visual art is so easy & fast to consume, reading stories & non digital game mechanics can take a lot longer to grasp. Its my hope that people will look at the art & the website, & see that I & my team have really poured our passion & skill into this project, in every way.

On to the game! Tell me a little about the different character types in Fragged Empire. What makes them unique?

Characters in this setting are not defined by a class, they are a person. Able to draw their identity from anything they choose. Which could be as straight forward as their profession or weapon, or it could be through their relationships with other characters. Each choice they make, is also a choice to not be other things.

Each character will also carry a certain amount of baggage, primarily from their race & culture. Prejudice, regret & hope run deep through every race, but in dramatically different ways.

What kind of mechanics did you use to emphasize the game’s aesthetic?
This is quite a big question, so I will focus on just two examples.

Cultural tension; when you choose a race, you automatically gain prejudice from at least one other playable race. By default, that race will be suspicious of you, possibly even violent towards you. Who you are, not just how good you roll, will often define how other characters respond to you. You will also have a number of game options (Traits) that will be opened to you, while others will be closed to you, simply because of your race & cultural upbringing. It is not possible for one person to completely overcome their racial baggage.

Post-apocalyptic; a lack of readily available civilized infrastructure & self reliance are two major themes of the setting. This is highlighted through a Spare Time Points system, where each character only has a certain amount of spare time to spend on their personal hobbies & side interests. Including: Research, Trading, Modifying their Weapon or exercising. How your character spends their spare time is important, as time is a valuable resource. Are you a practical or theoretical engineer? Do you spend all your time modifying, maintaining & upgrading equipment, or do you spend your time researching ancient mechanical artifacts & exploring theoretical ideas?

What players do you think would most enjoy Fragged Empire?

If you like long, sandbox games with miniatures, then this game system is ideal for you.
If you like culture & art (both visual & narrative), then you will enjoy this setting.
If you like science fiction, you will love this book.

Five or So Questions with Moyra Turkington on Fastaval

Tell me a little about Fastaval. What’s got you excited about it?
Fastival is a roleplay and boardgame festival that takes place yearly on the Easter weekend in Denmark (since 1987). New scenarios and board game designs are premiered there, and it is also a friendly competition. This year there were about 700 participants in attendance, playing 34 scenarios and 13 board games that were making their debut.

It was very exciting to have our own game on the program, and to travel there to see it live. They have a phenomenal culture of service and feedback happening in the Fastaval community – I’ve never seen anything like it. Every single person who lays eyes on a game – from the players to the GMs to the Jury who select the nominations for the Otto (Fastaval’s golden penguin equivalent of the Oscar) take the time to provide plentiful, constructive and really remarkably articulated feedback to the designers. They have whole subcultures of support staff that work tirelessly to make the venue happen: maintenance crews, Food and logistics volunteers. informational squads, and a fleet of translators for us international folks.

And the games were phenomenal!

What did you find most valuable about Fastaval’s feedback process?
So many things! Because it is a place where giving feedback is an integrated part of the process, a lot of the feedback was extremely articulate and thoughtful. Because there was so much of it at once we could easily identify trends that would indicate a systemic issue vs. a place where one individual play style didn’t work with the game. Most importantly because there were so many runs happening in so short of a time, it really allow you to measure the breadth of the game and understand how many different stories it could tell, and how reliably. It’s definitely a design process that gets me excited and that I would like to explore again.

What game did you take to Fastaval? Tell me all about it!
Run Them Again is a scenario for five players and a GM. It’s a science fiction space drama about the indifference of the systems we live under, and the cold equations of life within their grasp. Essentially, it is a labour drama; It came out of a conversation Brand and I had when driving through rural Newfoundland, a place that was devastated in economic collapse once in the 70’s and again in the 90’s when the Atlantic northwest cod fisheries bottomed out.

We talked about fishers and farmers and miners and labourers. We talked about my dad working high steel and his dad having to pick up work as a janitor for a while. We discovered we both had mining in our blood: one of his great granduncles died in a cave in. My grandfather went into coma after three tons of rock ruptured his spleen and stayed there for three days till he was dug out. My grandfather’s cave-in resulted in safety reviews, Brand’s granduncle’s death resulted in union strikes and a resulting massacre. We talked about how random that felt. And we made this game.

The characters are long haul space miners, working much like deep sea crab fishers do… going on long dangerous runs to mine valuable minerals from asteroids on ships that have seen too many runs for wages that are shit but the best they can hope for. They wake from cryosleep to find something has gone wrong with the ship, and they have four hours to help right the course and save their lives as the universe gives not one fuck about them.

I was very nervous about designing a new style of game (Danish freeform) for an audience that I had never met before. It was also the first fully co-operatively designed game together. I was worried with all those unknowns that the Fastafolk might look at us like crazy North Americans (that we are), but the game was a hit! The players really enjoyed it, we scored two nominations (Best Storytelling and Jury’s Selection), and took home an Otto (Fastaval’s answer to the Oscar)!

I’m still blown away.

What did you find useful about the logistics at Fastaval?
It was a well run machine – there was always an answer in support of a game or event… and it seemed that no one minded pitching in on the work. Some came just to be part of the work! A side note on our logistics is that the Østerskov Efterskole made itself available for people to stay and we got to take a tour. This is a high school who’sentire curriculum is based on roleplaying! They play everything from steampunk to historical re-enactment to crime dramas and learn all of their math, natural sciences, languages, ethics, history… all of it through larps. They have a full medieval town on the school grounds! It was phenomenal. I can’t imagine what life would be like now had I been able to attend a school like that.

Are you planning to go back? What are you looking forward to doing next time you’re there?
Yes! I hope so. It was amazing fun and full of creative energy and I met so many amazing people doing so many amazing things. I’d look forward to seeing them again, and having the chance to be part of that community for another glimpse in time. I didn’t feel like I had enough time to talk to anyone!