Hello all! In this new feature, What Makes a Good Player?, I’ll be covering the experience and practices of good players nominated by their fellows and GMs. All of the players were asked the same questions, but it’s interesting to see where those vary. The first interviewee is Ariana Ramos!
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What do you try to do most often while playing games to enhance your experience and the experience of others?
This varies from game to game and also the frequency of how much I’ve played it. If it’s a brand new game, I will go with a class/skin I am excited for after maybe figuring out the setting the GM is aiming for and trying to get a feel for the players. A lot of times when new players come into play I will play more of the aggressive player or the one who tries to push others by taking the lead or prodding them into action, and this is more or less to let them know it’s okay to jump up with ideas. Other times I tend to like playing the outsiders, the characters that for some reason don’t belong but at the end don’t seem to care and continue with the challenge despite all odds stacked up against them. I also like making sure that the relationships/bonds characters have with do mean something beyond what is written and explore them as much as possible.
Do you use any specific play techniques (narrative tools, improv tools, etc.) in your play sessions?
A lot of improv, I try to use ‘yes and’ as much as possible in the game to give a good flow between players. My significant other and I listen to a lot of improv comedy, so that’s been a huge inspiration in where it’s okay to let games become silly or strange. I also do listen to music and secretly have themes for characters or try to shape their backgrounds in my head. Say the GM will make an item of great importance to my character I will ask myself why beyond just it being a thing of power, what sentimental value does it hold? All characters should have a drive, a reason to be there no matter how silly or small it may seem to someone who isn’t them it’s something that motivates them to continue.
How often do you like to game, and what is most comfortable for you to maintain good energy in games?
It depends on what’s going on in my real life. I’ve got two to three games per weekend or spread out during the month. I’ve had one game every other week or now I have a game every weekend, it’s knowing I am gaming with good people, and I can ultimately be myself. I only did Con gaming last year, and so far I was relatively lucky that I didn’t feel uncomfortable during my two visits to Origins. I have had uncomfortable situations over hangouts with people arguing over rules, forcing relationships or just being rude in general. You have to know when to cut your loses because gaming is supposed to be fun although it can be used as a learning and therapy tool. I never force myself to game with people I feel uncomfortable with, and I’ve learned to listen to myself in case feelings do come up and approach it calmly as possible. I also make sure that if by chance we’re touching hard themes that do come up that the other players are fine because although the X-card does exist when you have a personal relationship with someone, the automatic response is to laugh off any awkwardness that could harbor into bigger feelings. Just make sure people are okay, give it time and be open to conversations.
Also play games you’re excited for. Try new things!
What kind of games do you feel you are most comfortable with and enjoy the most?
I feel like every game is a good game with a good GM and good people. I don’t enjoy games that are solid combat, but I also am not a fan of games that are pure emotion. I do play a lot of Apocalypse World hacks because it’s the quickest system I can get into but there have been games I thought ‘no, thank you’ but have surprised me because the GM had an amazing way of sucking me in. I love world building with the players at hand; I love the feel of something being ours and it’s something we’re all exploring together.
Can you share a special experience in a game where you felt like you did a good job playing your part in the overall story and game?
There are so many. From my Flame Princess mourning the loss of her Dead Knight and in that pure platonic love and not romantic. I think my favorite was we were playing FATE in a joky horror setting with kids going to camp. This was my second time playing ‘Heather Sweets aka Sweets’ who is still one of my favorite characters and the GM had said someone had intercepted her care packages from her parents, and so she was out of candy. In a complete meltdown, I had my character laying on the floor claiming her parents didn’t love her anymore as I was trying not to laugh it made me sound like I was sobbing as I was asking for just one piece of candy. In the game, the monster is Big Foot, after having stolen some candy and shared it with a camper my character needs sugar to run fast to get away and so I reach for my friend’s hand and LICK IT to get some sugar off of it.
— Thanks so much to Ariana for agreeing to the interview and for sharing her experiences! I hope all of my readers find the interview enjoyable and useful, and hope you like those that come along soon!
Today’s interview is with Nathanael Cole about his new game Gattaibushido, which is a story-driven mecha-pilots game! It’s currently on Kickstarter and sounds like a great time. Check out the interview, and then click-thru to the Kickstarter if you’re interested!.
Full disclosure: My volunteered voicework is included in the Kickstarter video for Gattaibushido.
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Tell me a little about your project. What excites you about it?
Gattaibushido is my personal RPG love letter to a number of old cartoons and animes that own permanent crash space in my heart. I grew up watching shows like Voltron and the Power Rangers, but honestly the biggest inspirations came from two anime series called Gunbuster and Vandread. When I first saw those series, I immediately wanted to game in those worlds. Once I realized that I had a good foundation for teamwork games with Motobushido, I got ridiculously excited about finally getting to write my own person Gunbuster game using those mechanics.
What mechanical inspirations did you have for Gattaibushido?
From the very beginning, I wanted a way to involve Colors in every aspect of play. The first obvious step was basing the team roles off of the classic color roles in Super Sentai shows. But beyond that, I wanted more of a focus on colors than just numerical stats all over the place. Turns out this was already easy enough to do. Motobushido had a heavy focus on threes and sevens as part of its thematic core, and porting that over to a “Roy G Biv” color scale was a cinch. By this point in the design process, almost the entire system has some aspect of the rainbow scale within it, and I’m pretty happy with the way that part has turned out.
However, probably the biggest of the more recent inspirations came from a video game called Chroma Squad. For weeks and weeks I had tried to nail down the Final Form Fight mechanics, and went through dozens of iterations. I kept working the “natural extension to the core fight mechanics” angle, but nothing was working, nothing felt right. Finally I took a long break to chill out and play some video games, one of which was Chroma Squad. I don’t want to spoil that game (it’s amazing!), so I’ll just say that when the first “season” of its story ended, there was a sudden change in mechanics that came out of nowhere, a whole new kind of battle sequence that had not even been hinted at before. And then suddenly it all made sense: if I really wanted to showcase the difference in scale netween the normal battles and the final form battles, I needed a whole new approach, something totally different than the core mechanic. Two design jam session later and the current “Rumble” mechanic was born.
How did you come up with flavor of the game including themes and associated mechanics?
The basic “combining robos vs space monsters” originally came to this project as just a nifty idea for a spin-off “hack” of the core Motobushido rules. Once I started re-immersing myself in the source genre, I grew more and more inspired, and likewise the hacked text grew more and more complicated. Eventually I realized that it needed its own spotlight, and decided to make it an entirely new stand-alone game.
But specifically, two animes deeply inspired the core themes of teamwork. The first was Gunbuster, which was in fact the original kickstart my brain needed to get moving with this project in the first place. The team relationships within that show were so intense and conflicted and _real_ that I felt that those characters could very well have been created using the previous Motobushido rules, just needing a few tweaks to fit the material. Later on I was introduced to a newer series called Majestic Prince. While not actually a “gattai” show, it might as well have been for all the ways that the themes of teamwork and intra-team conflict guided every aspect of that show. I wanted my game to play just like that and I think I’ve done a good job so far bringing out that team dynamic in the playtests.
Coming from your inspirations, what choices did you make to ensure the game is approachable for all ages, genders, etc.?
Specifically, in order to deal with certain old sexist tropes inherent in the classic super sentai genre character roles, I’ve tweaked the colors a bit to make them more versatile. This has had a positive effect with my current test groups, and although a handful of people were expecting more traditional SS color roles, they adapted to the alterations pretty easily enough.
Additionally, I made a few conscious-but-not-overt design choices very early on in the art and writing process. I chose to show only women and girls in the vast majority of the artwork and text (there is one, singular character exception, and it is a bit of an homage to Gunbuster). There’re no outright statements in the book saying “you have to play women,” but if you follow the artwork and the text, it’s pretty much assumed. Additionally, I specifically requested that the majority of the girls in the art be non-Caucasian, and of a variety of body types. I have been pretty pleased with the stuff Juan’s done so far, and I hope my readers will be too.
As for ages? Ah, this might not be a good game for kids, as the themes can be pretty violent and I don’t really hold back with some bits of language here and there.
What do you think are the core elements of Gattaibushido that you want players to see when playing the game, and how do you think the mechanics and flavor help make that happen?
Hands down, teamwork is the absolute number one core element that I want to be ever-present throughout the entirety of play. Everyone has a “Harmony” track, which keeps them in sync with the team spirit. It’s front and center in the gaming space, and integrated into almost every action and component. The characters can of course function on their own, but they truly excel the most when working in synch with the rest of the team. The core fight mechanics heavily involve teamwork combos, including an “Uno” like rotation and reversal mechanic that encourages the players to strategize and synch their abilities together. And of course, the Final Form Rumble fights are pretty much impossible without a well-synched team. =)
This post was supported by the community on patreon.com/briecs. Tell your friends! If you’d like to be interviewed for Thoughty, or have a project featured, email contactbriecs@gmail.com.
As most people know, I am rarely a game master in tabletop games. More often than not, I play games exclusively as a player, and sometimes I even just spectate! To me, players are just as essential to the games as the designers and the GMs, for a number of reasons. Here’s a bit about that!
This post marks the start of a new series on Thoughty called What Makes a Good Player? where I’m interviewing gamers nominated by GMs and fellow players for being known as good players who help make games more enjoyable for everyone at the table. This series will run through December, with weekly posts on Wednesdays, 10AM Eastern. This series is also funded in part by my patrons at Patreon.com/briecs, where your support is very welcome and appreciated!
I really loved reading the interview responses from players about their style and preferences, and what’s important to them as a player. I hope through the interviews, you’ll learn more about what some people enjoy as players, how players can behave to enhance gameplay, and a few new things about the people you might know, or might get to know!
For me, tabletop games without players are not really a thing! You can have GM lonely fun creating worlds that aren’t played in, but the moment a GM starts participating in the mechanical reactions to the world, they become a player, too. Designers are often inherently players, testing their own game against itself, and telling stories that the final players also have the chance to retell in their own ways.
While I’m sure there have been endless posts from sites around the world talking about player skill, I didn’t want to talk as much about skill in this series. I wanted to see how players interact, what they thin is important, and what they get out of playing, because I think that what we get out of games reflects back on what we put into them.
The questions I posed to the interviewees are:
What do you try to do most often while playing games to enhance your experience and the experience of others?
This question is to get an idea of what the players think they do that influence the game. It’s very interesting reading the responses when you start asking how players think they influence other players, because we have pretty subjective concepts of how we change the scene.
Do you use any specific play techniques (narrative tools, improv tools, etc.) in your play sessions?
I wanted to see how many players are using formal tools, if any of them have unique tools or habits, and if they can see the direct impact of those or not. You’ll see in the responses how many people referenced improv tools, which is something I may expand upon soon.
How often do you like to game, and what is most comfortable for you to maintain good energy in games?
Behind every good player is a good night’s sleep. Even the most amped up player can burn out if they’re playing more games than they can handle time- and energy-wise, and it can impact play. I wanted to see what kind of schedules most players find comfortable for having a good time playing without burnout.
What kind of games do you feel you are most comfortable with and enjoy the most?
If we’re talking about good players, we’d be missing important information if we didn’t ask what they play that they’re so good at, and see whether they think their enjoyment or their interaction with others is negatively impacted by specific games.
Can you share a special experience in a game where you felt like you did a good job playing your part in the overall story and game?
Finally, I wanted to give the players a chance to share their stories (a major part of the point of this blog) and to see what experiences modeled their subjective concepts of doing a good job, and I think it was a really fascinating read for every one of these interviews. The players really have a lot of thought put into their own play and enjoyment!
With all of this in mind, I hope that you’ll all enjoy this new series on Thoughty. Remember to check out the Patreon to support the series if you’re interested or drop a few bucks in the Paypal.me/thoughty tip jar if you like what you see. Let’s play!
This post is an unpaid post announcement in preparation for a series of blog posts supported by the community on patreon.com/briecs. Tell your friends!
If you’d like to be interviewed for Thoughty, or have a project featured, email contactbriecs@gmail.com.
This post was supported by the community on patreon.com/briecs. Tell your friends! If you’d like to be interviewed for Thoughty, or have a project featured, email contactbriecs@gmail.com.
Hi all! Today I have an interview with Brandon Williams about the new game from Arcanum Syndicate, Demon Gate, which is currently on Kickstarter with a little over a week left! You may recognize Brandon’s name from the cyberpunk RPG Chaos 6010 A.D.Demon Gate is an apocalyptic fantasy RPG with survivalist elements. Check out the interview below!
Tell me a little about Demon Gate. What excites you about it?
Demon Gate is an apocalyptic dark fantasy RPG that places the players into a very harsh and dangerous world that really forces players to survive together. There are no alignments and all characters begin the game with the bare minimum of gear that is primarily established depending upon what your character class is. I try to let GMs know that it is very important to keep track of the mundane things in this game like food and provisions and warmth, for surviving in a hostile wilderness should be just as tough as the monsters you may encounter.
Everything about it excites me realistically, but if I had to choose a couple it would be the combat system and the setting. It is kind of meant to start out very fantasy lite where all these things, monsters and such are supposed to be scary stories you heard around the campfire at night in your village but as you start to explore the dark world you find out the stories are all real. There are these prophesies about the end of the world where the demons and devils from the Black Plane (Hell) will eventually enslave our world, and you will begin to realize that this can really happen unless you band together and try to stop it.
The combat system uses resisted rolls so you roll a d20 to hit but you also roll a d20 to defend by trying to match or beat your attacker’s roll. There are also cool talents and abilities that help you out in the midst of combat where you can sometimes spend legend points to activate them. If you roll a natural 20 to defend an attack you gain an immediate riposte at your enemy, there are a lot of fun things like that which makes rolling against one another a good time.
What inspired you with your design of Demon Gate, including games, other media, and your own interests?
I originally created the idea back in the 90s working on another RPG called Chaos 6010. So back in the day I really loved the setting for Forgotten Realms during 2nd edition. Yet since then I have taken a lot more inspiration from the art in other games like Diablo, or the Necronomicon, Call of Cthulu. I also took a great deal of influence from a really old rpg computer game called Darklands, a game about medieval Germany. Inspiration from movies like the Hell scene in Constantine. Even many of my own nightmares have been a great inspiration, while very frightening they were also inspirational and I had to jump up and write them down. I have always been fascinated by the idea of Hell in many religions so it takes a lot of inspiration from real world religious beliefs as well and I tried to tie the storyline into our world’s history in a way. For instance how to explain how entire civilizations or villages just vanished in the past. Hellraiser was also an inspiration to me and series of books on the Lesser Key of Solomon, Ars Goetia, as well as goetic art and symbols.
For a survivalist game, tracking gear and rations can be complex. How does Demon Gate handle that mechanically and fictionally?
When you are traveling the GM rolls a chance for random encounters each day (optional but recommended) and due to the planet’s harsh climates at times bad weather conditions can pop up effecting your chances of survival. So it is good to have survival skills to help out. Players are allowed untrained skill checks for those who do not possess the proper skills even though it is much harder to succeed. Since each character skill is based off of an attribute you make an attribute check for an untrained skill check and your target number is raised. The GM has the option to use the random encounter tables for all different types of locations or they can simply make situations up of course. Due to the planet having two suns, a broken moon, and many close planet’s during parts of the year, the climate and gravity shifts can sometimes cause some strange anomolies.
When keeping track of provisions you are allowed a certain amount of days for your water skin to deplete so you just make a little tick off for each day on a scrap paper. For food there is a very helpful hunting and foraging table that lets you make one roll to pretty much figure out how many meals you gain from the hunt and also how many hides and bones you are getting from the kill determined by the result of your hunting skill result.This works the same when foraging or fishing. The roll will determine if you catch anything that night at all, how many portions, and units of leather, bones, scales, etc. These can be saved and traded on the road or sold at a town, or if one of the characters possessed the proper skills can be used during crafting. For long adventures across the wilderness it is always good to pack your provisions so that you do not have to worry if you will eat that night, for starving will begin to degrade your stats as will freezing to death.
When players encounter challenges in the game, are they more likely to be physical in nature and if so, how? What mechanics are in place to address physical and social or mental challenges?
In the game master chapter I talk about making sure all NPCs (non- player characters, just in case someone doesn’t know), aren’t just brutes who care nothing about living and just wish to kill you and take your money. Some may have starving families, some may even end up helping you. I think that this might depend on the GM and players but in Demon Gate there are rules for social engagements, and very many mental afflictions. Travelling to the Veil or Shadow Plane, or Hell even, as some may do at times in quests to forever kill a spirit’s soul can have repercussions. Characters must also have a good Willpower attribute to be strong in mind. Having a high willpower will grant you fortitude which is like armor for your mind. Armor in this game soaks damage so if a character has a high willpower they might have +2 to defend mental attacks and a fortitude of 5. This if hit with 20 mental damage the fortitude soaks 5 of it letting you take only 15 damage.
Charisma is your social skill. This is not how pretty you are, there is a physical beauty rating for that. Charisma is how well you do in social engagements. I did this because I’m sure many people have met a very pretty person with a really bad charisma. A high charisma will alter your reputation points which are great to have when trying to seek an audience with a local magistrate or lord, etc. There are resisted rolls in most cases if it comes down to having to roll. I say this because some game masters would prefer you use words but Jon the player might not be very good with them while Arun who is Jon’s character might have a high charisma so he would make his charisma check by rolling the dice and trying to either reach a target number or another character’s resisted roll.
There are a great deal of physical alterations of course, so I put a lot of rules within the combat mechanics as if you are playing a mix between an rpg and a miniature battle game. I love using miniatures to show fight scenes of course it isn’t necessary but I believe it adds a whole new level of fun to the game. You do not have to use miniatures but the rules are explained with them in mind. I love the combat system being resisted d20 and it has proven to be a good time for many years.
The Black Plane sounds cool! Could you talk about the fiction of the game a little, and share any of your favorite flavor bits?
I have written a great deal of lore about this world but I do wish to keep much of it a mystery and hope to unleash more and more of the story in future books. I will say that it is meant to start as if all these prophesies and legends are just fairy-tales but as adventurers begin to explore the world they find the remnants of an ancient alien race called the Void Gods who once ruled this world and inhabited it for it’s metallic resources. There is a few metals on this planet that can glow and channel energy and magic very well, these mertacullum weapons that are found can do some powerful things. I still keep it all within the medieval fantasy genre though so you never find a ray gun, but a lance that can retract and fire lightning out of it is a little more on point. The ancient alien tech that is found is primarily thought of as “magic items”.
The demons once ruled this world, it was theirs because many of them were the criminals of the void gods. They were the most foul and wicked of their kind, so bad that they left them imprisoned on this planet within dungeons. A very powerful demon lord who is from a little planet called Earth is the one who started to set them free when he was banished to this world long ago by the God of Earth. These demons were able to reconstruct the powerful gates of the Void Gods that they made using the mertacullum. These gates could travel to other worlds and even other planes of existence. They would use these gates to bring creatures from the surrounding planets and enslave them, forcing them to mine the metals of this world, to serve them, to force them to worship them as their new gods, and to use them for their suffering. Well once the gods of the Forgotten Worlds found out about this, they united and brought angels and nephilim to the planet through the gates and fought the demons in what is called the Thrall War. The demons were defeated and locked away in prisons in the Black Plane, or Hell. Each world has its own planes of Heaven, Purgatory, Shadow, Hell, even Elemental ones. Hell has a special prison called Tartarus, where the demon god Baal was locked within and sealed up forever. Until the seals began to break and fantatical cults a thousand years later sought to unleash the ancient lord Baal upon the world. Now the Age of Falling, the Pale Plague all of the signs are coming true, and now everyone is afraid.
Thanks to Brandon for the interview, and definitely check out Demon Gate on Kickstarter! It only has a little bit of time left but has some great art and seems like a cool time for survivalist, apocalyptic fantasy fans.
This post was supported by the community on patreon.com/briecs. Tell your friends! If you’d like to be interviewed for Thoughty, or have a project featured, email contactbriecs@gmail.com.
Hi all! Today’s Women with Initiative feature is with Elsa Sjunneson-Henry, a well-known writer, designer, editor, and creator, as well as a accessibility coordinator and consultant for conventions. She is a huge advocate for disability accommodation, representation, and accessibility in gaming and fiction arenas, and has started doing educational programs like the Writing the Other Master Class, Writing Deaf and Blind Characters coming up September 10th (spots are still open!).
Elsa blogs regularly on Feminist Sonar, talking about everything from feminism on screen to her personal experiences and how they impact her and the world around her. She’s worked on a number of fiction and RPG products including writing Elizabeth Bathory for Dracula Dossier, and her current game DEAD SCARE, a tabletop RPG of zombies and 1950s housewives that Kickstarted last year. I asked Elsa a few questions about her work on DEAD SCARE.
What were the most important things you found you had to focus on while designing DEAD SCARE in terms of inclusivity, accessibility, and staying true to the fictional goals you had for the game?
I wanted to write a game about zombies that wasn’t actually about the zombies. At its core, DEAD SCARE is about communities, and how they react under pressure. In order to do that, I needed to pay attention to how women differentiate themselves from each other, while still making sure that each and every single playbook could be played by a woman of any race, class, ability or age. It was important to me that racism not play a part in the way in which the game read to players.
DEAD SCARE can include some very scary and intense situations. How do you design the game to help GMs and players navigate you, and do you have an example of an experience at the table where you thought your efforts in that regard showed fruitful results? DEAD SCARE has a section on what I call the tone dial. Essentially, you can play DEAD SCARE any number of ways, from it being a LEAVE IT TO BEAVER episode where zombies just happen to show up and ruin the church bazaar, to a game where everyone engages with the social and political struggles of the 1950s. It’s a game where you opt in to the difficulties, not a game where you force players to engage with them. I like to run Dead Scare as a story about community, but some players want it to be a dungeon crawl through suburbia.
What lessons have you brought from your work on Dead Scare as you move forward with more RPG products, and what projects are on the horizon for you?
DEAD SCARE taught me that I shouldn’t be afraid of mechanics, which is something that I have brought forward to my work on the FATE ACCESSIBILITY TOOLKIT. In the next few months, though, I am focusing on teaching writers and how to write disabled characters. I’ll be teaching a course with Writing the Other on writing D/deaf and Blind Characters. I’m currently working on a book which I’ll be querying to agents hopefully this fall, and many short stories. I’m working to diversify what I write, moving to do more fiction, because I love it.
Hey all, I have an interview today with Slade Stolar about The Indie Hack, which I really enjoyed checking out. Have a good look at his responses below.
Tell me a little about The Indie Hack. What excites you about it?
I was really inspired by The Black Hack. It’s a thin volume–just 20 page–and it cuts to the core of old-school dungeon delving. You’ve got four classes, you roll d6s, d8s, d20s, etc., you face monsters with HP, and you hope to pass your skill check vs. poison. But all of that can be done in just 20 pages once you’ve got roleplaying figured out (4 or 5 years in, maybe). I wondered whether something that was more story-focused could work in the same way (I’m not claiming a strong dividing line between Old-school/OSR and Story/Indie/Post-Forge gaming here, I like a mix of both sides in nearly all of my games).
The Indie Hack is my fantasy heartbreaker, which Ron Edwards will tell you to go out and write, if nothing else, just to get it out of your system. I’ve had notebooks lying around for years with little tidbits of adventures, settings, and mechanics. Recently, I’ve been playing a lot of games that are Apocalypse World adjacent. I’ve been watching and listening to people play on YouTube and podcasts. I’d started work on a huge game, maybe 200 pages, called 100 Clones of Hitler!!. Lots of setting stuff. I had a big pack of beautiful, pulpy artwork done up for it (for a fair price, but more than I was used to spending on my own projects). I took 100 Clones to Forge Midwest (Madison, WI) in the spring of 2016 to playtest, and to my great shock, no one wanted to play the Hitler game. I started to question everything: Maybe these people weren’t as transgressive as I had hoped. Maybe the title causes such visceral disgust that no one can get past it. Maybe I should have pitched it in a different time slot. Maybe I should have called the game what it’s now called, specifically, Might Makes Reich: Stop the Nazi Menace!!, to make it clear that you’re fighting against (not with or as) the clones of Hitler. So, that’s where I’m coming from.
I took the core dice mechanic out of 100 Clones and polished it up a bit. I started thinking about minotaurs. I started writing a fantasy rule set. I had some new and different and beautiful art commissioned. I took the religion system that I’ve been sitting on for a few years and mechanized it. I think that these three things are the most exciting to me: the dice-and-details-and-allies-contributing mechanic, the art, and the Goddesses.
In essence, it’s 28 pages of dungeon-delving without HP or d4s or XP. There’s a stronger focus on players saying how they do things and what happens because of it, rather than saying what they do.
You have a number of games cited in the front of the book as inspirations or as places you borrowed from (the best designers know how to borrow & recontextualize, imo, as much as do something new). What about these specific games really wormed into your design concept?
I borrowed aspects of many different games. Of course, The Black Hack was the main impetus; I was drawn in by the extreme minimalism of it.
I love the statistics of the dice rolling in Apocalypse World, but almost everyone retains the 10+/7 to 9/6- results and I didn’t want to do that; I made each result have a different effect, such that rolling a 2 and a 6 is slightly better than rolling a 2 and a 5. Naturally, I liked the deadliness, and the fraught relationships, trading in Barter/Jingle, and the only-ever-hinted-at setting.
I really like Dungeon World, as a game and as a text, and it has a high place on my shelf. I’d run it over 5e or Pathfinder any day. The approach to relationships between the characters is great. Ranged combat (all combat, really) is great. It takes a few steps down the path toward minimalism, whereas The Indie Hack runs.
Into the Odd helped me to re-think monsters and magic items. Monsters aren’t really monsters, they’re more like magical or strange animals; they become monsters when we have tales of them biting the heads off adventurers. And I’m guessing that the adventurers started it.
I debated what to do with alignment. I think it’s usually done poorly in games. And players often use it as an excuse to be jerks. Why would you want to look down at your character sheet and be reminded that you should be at odds with the goals and desires of the other characters? I’d been reading the PDF of My Life with Master and figured a good way to get people to reluctantly do good (or evil) was to give them bosses.
In a lot of fantasy games, you can run into issues of repetition, so what differentiates The Indie Hack? What would players find in this game that they wouldn’t find in, say, D&D or Pathfinder?
Yes, there are thousands of fantasy games out there. The Indie Hack is novel in a few ways.
Character creation for three players who have never played takes about 30 minutes, including the time in which they form relationships and tell the GM some facts about the world. This isn’t novel, just rare.
The dice mechanic is really neat: you have degrees of success, some of which ask your fellow players for input. Once you roll successfully, you did the thing you were trying to do, and you spend “details” to enrich the fiction: I didn’t just hit the Skeletal Soldier, I shattered eight of his ribs, the GM writes “Eight missing ribs” on the monster’s sheet, so that the players and the GM can work that fact into the story later if they wish. Details like this count towards defeating the creature.
In terms of time at the table, unlike 5e and Pathfinder, no one has their nose in a book for more than a few seconds. Nearly all of the information used in play is written down somewhere on a sheet or index card on the table, usually written in pencil, and usually written by one of the players. The GM doesn’t need to shuffle through a lot of books and papers or hide dice behind a screen. Don’t even give the GM the dice.
Regarding the question of repetition, as it’s the players who enrich the narrative, it’s only repetitive if the players give out the same details time and time again. My bet is that the players will get more and more confident and creative.
I personally love gear in games, but it often can get a little cumbersome – literally and figuratively. Can you talk about how The Indie Hack handles gear and how it might appeal to people who like the concept of gear, but get burnt out with doing complicated math to see how many candles they can accommodate in their haversack?
Gear is lovely, as is the wordplay in this question. In most games, I get a lot of enjoyment out of selecting gear, and a lot of pain out of managing it. When adventuring in The Indie Hack, you’ll probably have between 5 and 10 items. For all of the fiddly stuff, you can get ‘kits’. If you’re playing an Occultist, take “Flasks of Foul Liquids”, which contains “Acid, poison, ether, lye, etc.” And if you want to have some glue, grease, fertilizer, bat fur, or snake bile for your evil rituals, there’s probably some of that also. The candle (one big candle or a bundle of little candles) can take 3 ‘narrative damage’ before it’s out, which can be from a long time spent burning or being dropped in a puddle. You can watch as it slowly takes these points of ‘narrative damage’ and plan out your packing for next session, assuming your characters survive the catacombs. You might take “1 Candle” or “2 Candles”, but you absolutely will not have to figure out how many pounds of candles to take.
Finally, can you tell me about some of your archetypes and how they interact with both the setting/fiction of The Indie Hack and the mechanics themselves?
The classes were really fun to write. I took the standard fantasy archetypes and give each one a slight twist. The classes are Veteran, Exorcist, Hunter, Scoundrel, Elementalist, Occultist, and Outlander.
The characters provide information about the fictional world. For example, the Scoundrel might tell us a little bit about the economy and crime of the world. The Veteran might tell us about a great battle (and thereby, the nations or factions of the world). The Outlander is an enigma, here are some of his/her questions: “You can hear them too, can’t you (what do they say)? What lies buried deep beneath these hills? Where can you never go? Where must you always return?” You don’t have to answer all of them, just a few. Just enough to get the GM’s mental gears turning.
The players want a very different type of game if they answer “Where can you never go?” by saying “The Blood-splashed Crags of Southern Tybis, where I can hear their time-hollowed bones whistle in the wind” versus “The bawdy house where I let my second cousin die of tuberculosis four winters ago”. The players establish locations and personages in the fiction and set the initial tone. The initial skills and spells should be familiar to those who’ve played the classic fantasy RPGs. Typically, the spell gives a guide on writing the “details” that are created by the effect. In essence, spellcasting is little different from combat or diplomacy or stealth or navigation.
I just love the classes. Certain players might have favorites, but I’d be equally happy to play as any one of them.
Thanks so much to Slade for talking with me about The Indie Hack. You can check it out on DriveThru and hopefully take it to the table!
Good news everyone! I’ve been lucky enough to interview Monte Cook of Monte Cook Games about his new game on Kickstarter,Invisible Sun. Invisible Sun is a new tabletop RPG with a flexible play function and some fun bits and pieces that can round out the experience, which promises an escape to surreal fantasy and secrecy. Check out Monte’s responses to my questions below!
I love this piece so much, the colors and structure are so good.
Tell me a little about Invisible Sun. What excites you about it?
Invisible Sun is a new RPG of surreal fantasy, where player characters use magic to discover the secrets of the world, and the world beyond the world. There are many, many things that excite me about the game. If I had to pick, say, two, I’d say the surreal nature of the setting–a place where not only can anything happen, but does–and some of the new gameplay elements. In Invisible Sun, we have something called Development Mode (as in, character development), where players get time away from the table to really focus on their own, personal story arcs. Everything in the game is story-based, and even a character’s advancement is based on progress through one or more story arcs that they player has set up. Development mode gives players a way to interact with the game and with each other even when the whole group can’t meet. It’s great for everyone, but particularly for those of us who sometimes struggle to make our schedules all mesh.
Both of these aspects of the game are really about the same thing: escaping the demands of the real world to escape–at least for a time–into a realm of imagination and wonder. Invisible Sun is about escape in both setting and mechanics.
I really like combining nature and humanity, so this image is right up my alley.
For Development Mode, outside of the flexibility, what do you think about that option really opens up the experience for players – is it just lonely fun, or do you think it’s more of an exploration, or more?
I’m not sure what you mean by “lonely fun.” Development mode allows a player or players to interact with the GM–either indirectly or directly, as they desire and as is convenient–to play out side-scenes involving only some subset of the group. So the GM and players can have personal storylines going as well as group stories, or a single character can break off and do their own thing in between sessions. Or maybe the side-scene is a flashback, and just enriches a character’s background (or, like in good fiction, maybe something that happens in that flashback then directly affects the present storyline). It’s also a great way to give players who are a bit quieter in a large group a way to shine on their own–that is to say, it’s great for introverts.
Shhhhh.
Invisible Sun has a lot more going than just a book. What components come with the game, and what do they do? With that, what do you personally enjoy about integrating them into Invisible Sun’s play? Now that we’ve unlocked the “Whole Box Upgrade” stretch goal, the game comes with dozens of player handouts, in-depth 4-page character tomes, a pad of grimoire sheets for keeping track of spells and secrets, a GM notebook filled with creative prompts and ways to manage all the various story arcs in the campaign, hundreds of tokens (some specific to certain character orders), and over a thousand cards, ranging from spell and artifact cards to the 60-card divinatory Sooth Deck that figures into every aspect of play. And that’s still not everything.
The point here is that Invisible Sun is a game that recognizes the challenges of getting the group to gather around a table and so it celebrates it with all sorts of fun visual and tactile enhancements to play the game. For example, Vance characters manage their magic in a way that restricts the number of living spells they can have ready in their mind at once. They will have cards that have their spells written on them in different sizes and shapes. If they can fit some combination of those cards into the diagram that represents their mind, they can ready that many spells. Weavers, however, use magic in an entirely different way and have game bits that help them keep track of that.
There are all kind of board games with glorious boxes filled with fun stuff to help play the game. I think RPGers should have that option if they want it too.
The little curlicues in here and the snail are so cute but spoopy.
Escapism is a huge part of tabletop RPGs, and it often seems like there’s more to escape than ever. What do you think about the surreal setting of Invisible Sun makes it compelling, and accessible, for people who have so many realms to dive into already?
The stranger and more surreal a setting is, the easier, rather than harder, it is to escape into it. Because in a setting like that, you don’t ever have to say no. You never say, “no, that can’t work,” or “that’s not realistic.” You don’t have to be a history scholar or a science expert or really know anything other than how to use your imagination. It’s not a free-for-all, of course. It’s still an rpg, and rpgs have rules, but it takes away restrictions that would be purely setting-based. It’s a deep-dive into fantasy, to be sure, but it’s appealing to people who maybe sometimes want something beyond the standard genre tropes. The game, of course, will come with all manner of creative prompts (first and foremost, the aforementioned Sooth Deck) to help generate ideas for all of this. Sometimes “anything is possible” is hard, at least at first. So the game gives you a hand.
Multiple eyes like that freaks me out but I still like the kitty.
What have been some of your favorite parts of designing and playing Invisible Sun, the kind of moments and concept realizations that you really found valuable as a creator? For more than two years now, I’ve kept a set of notebooks of just every weird idea that I came across. Things too out there for anything else. “A thief who literally steals ideas.” “Armor made out of protective words and a weapon constructed of dangerous ones.” “A monster that feeds on the concept of starvation.” Things like that. That’s my favorite part. In the end, I read, I watch television and movies, I play games, and I write all for the ideas. Ideas are my passion, and the freer I am to let my imagination soar, the happier I am.
Beyond that, I’m really enjoying thinking about the things that keep us from playing games and trying to overcome them. There’s where Development Mode came from. That’s why Invisible Sun treats character death in a way that doesn’t force a player to stop playing. That’s why there are specific aspects of the game to handle both introvert and extrovert players. That’s why player absences are worked right into the conceit of the setting. And so on.
As an rpg designer in 2016, I think we need to start thinking about these things. Playing a game as adults in the modern world isn’t like gathering in the basement back when we were 13. It’s simply harder now. Some other designers will come up with different (and possibly far better) solutions to these issues, but it’s something we need to be thinking about.
Note: for others unfamiliar with the term “lonely fun,” it’s typically referring to solo roleplay or the game time spent creating characters and setting elements for group games that is done alone or away from the group. Lonely fun is essentially self-propelled roleplay and creation or design.
Tell me a little about Rockalypse. What excites you about it?
I’ll start with my usual tagline: Rockalypse is the post-apocalyptic game of musical conflict. The quick high concept is “Scott Pilgrim meets Mad Max,” but it is every movie, comic, or TV show you’ve ever seen where someone pulls out an instrument or takes to the stage and fights someone with nothing but the power of music (or dance). One of the things that continues to excite me about this project is just how many inspirations keep showing up in media. Just this week I’ve watched The Get Down and Kubo and the Two Strings, both of which present different but equally evocative representations of the musical-battle motif. This is a concept that is ripe for play. It seems to be something most people can wrap their minds around fairly easily, simply because of how much source material is ingrained in our pop culture.
Tell me about the system for Rockalypse. What are the basic mechanics, and their inspirations?
Rockalypse is built on Fate Core and is specifically designed to tap into the strength and uniqueness of that system. In particular, collaborative combat and non-physical damage are essential to the feel of the game, and Fate does those things better than just about any other system. The first thing you’ll notice is that I’ve removed Fighting, Shooting, and Provoke, and added in Melody, Harmony, Rhythm, and Rhyme. Melody and Rhyme are now the two main attacking skills, Rhythm and Will are the two main defending skills, and Harmony is an especially powerful support skill. I’ve also built in a bunch of new stunts for those skills and for many of the regular skills for use in combat. Athletics has a stunt that allows dance to be incorporated into the conflict just like the other musical skills, Crafts becomes the main representation of offstage technical work, and even Stealth and Deceive have uses within a performance.
The other key difference is how combat is structured. I really wanted to emphasize the collaboration, so I broke initiative into different “counts” divided by types of actions. The first count is for Overcomes, the second for Creating Advantages, the third for Attacks, and the fourth for any Defends that happen because of those attacks. This encourages the group to really talk through and plan how they’re going to approach each round (or “phrase”). Cooperation is heavily encouraged by the structure and by the stunts attached to the various skills. For instance, a sound and lights technician can use Crafts to create advantages that provide a +3 instead of a +2 when used by their bandmates, but only if they themselves are not performing on stage. Meanwhile, a Rhythm player with the Perfect Time stunt can defend on behalf of her bandmates when they are attacked.
All of the new mechanics are designed around the idea of getting people to engage first with the things that make Fate awesome – aspects, collaboration, narrative positioning, and so on – and second with the fun of describing a musical performance spectacle. Because of the way everything works together, it also makes the Attack and Defend rolls much higher than those in most other Fate games once you get a few phrases into a combat. That helps to give it even more of an epic feel that’s appropriate to the themes.
What would a typical session of Rockalypse play out like?
I strongly recommend a solid session zero at the beginning of your campaign, but assuming you’ve already created your game and you’re into the story itself, Rockalypse resembles many other roleplaying games in how it plays. There’s still adventuring to be done with the usual amount of exploring, talking, and puzzle solving. But when there’s any kind of throw-down, it happens with music instead of fists or guns. I generally aim for a 50/50 split between conflicts and story-driven adventuring. Like most games, that exact balance will vary from session to session, but overall that should be about where you end up.
How did you come up with the concept and what made it fun for you?
This game emerged out of a thought experiment I started a couple years ago. At the time, I was working exclusively on my Steamscapes setting for Savage Worlds, and every once in a while people would ask me if I planned to convert Steamscapes to Fate. My answer was and still is no, because I feel that Savage Worlds is the right fit for that game. But those conversations got me to ask the question, “If I were to design a game that HAD to be run in Fate, what would it be?” After a few months of thinking, I hit on the core idea for Rockalypse, and I’ve been developing it ever since.
Part of the fun in development has definitely come from the great players I’ve had in all my demos and playtests. I love seeing all the different approaches they take to their bands, their characters, and their settings. Both Fate in general and Rockalypse specifically help to bring out the creativity in players, and it’s been a joy to be a part of that.
The other thing that’s been entertaining about the process has been the research. I always enjoy my historical research for Steamscapes, but Rockalypse has allowed me to approach research from a very different angle: watching cheesy movies from couch. And while some of that has still felt like work – I am much more familiar with the Camp Rock oeuvre than I ever wanted to be – I have still managed to find some surprising gems. My more obscure recommendations would include Bandslam (probably the most emotionally genuine teen band movie I’ve seen), Wild Zero (J-Pop stars vs. zombies with a trans-positive romance), and Equestria Girls: Rainbow Rocks (some may scoff, but it has even better band battles than Scott Pilgrim).
One last thing – you said that this game fit for Fate and that’s where you started. What did you do research-wise to design a Fate game, and how do you think your experience designing Rockalypse has influenced your design style?
When I first started, I did a combination of reading, listening to actual plays, and playing a few pick-up games with people who know the system well. I am also very fortunate to live in a city where I can meet up with other prominent game designers such as PK Sullivan and Tara Zuber, and I get to have conversations with them about the things that they have done with Fate and seen others do with Fate. PK in particular came on very early to help me playtest Rockalypse and give me feedback on the mechanics. He really helped me work out some of the early kinks.
As far as my own design style goes, one of the things I did with Rockalypse was to pull myself away from the heavy setting focus of my other work. Steamscapes is extremely setting-dependent, but I knew I wanted more flexibility with this game. I have enjoyed the challenge of writing a game where the setting is created by the players every time you play, and it has been very rewarding to see that pay off. Otherwise, I really feel that Rockalypse has been a good test and example of my overall design philosophy, which is to always look for the right match of theme, setting, and mechanics. I think the best games are the ones where all three of those things work together to support a cohesive play experience. That’s what I’m always striving for.
Thanks so much to Eric for the interview! Rockalypse sounds like a fun game that can definitely hit some flavor buttons for a lot of people. Check it out on Kickstarter!
As mentioned in my previous post a friend picked me up a copy of Shadowrun: Anarchy, Prototype at Gen Con. The book is not long, but features a lot of basic rules and information. I was pretty happy with it, honestly! I started out in more traditional games, but now often fall into games based on basic rules and simple mechanics.
I love Shadowrun, but getting my friends (when I can ever get them together!) to sit and build characters for as long as Shadowrun takes and then play through? Not as easy as I’d like it to be. When I was at Origins earlier this year, I had a brief discussion with someone about the possibility of a rules-light Shadowrun coming out, and since I’m pretty out of the loop, I was surprised and interested. There was little to be found online, and my attempts at contacting Catalyst directly were denied by their email system (though I doubt getting through would have made any difference, even if I was offering promo). Anyway, I had given up on seeing it when Adam Koebel took a picture of the cover and posted it to Twitter, and I lost my shit, so he kindly sent me a copy.
I have THOUGHTS and FEELINGS, so be warned. With a few notes, though: I have only played 3e Shadowrun, while I’ve read the 5th and 4th sourcebooks, I haven’t played (time investment & lack of interest in a priority character build, not many people to play with, etc.). Nonetheless, I’m a fan of the setting, I loved playing 3e possibly too much, and I actually enjoy a lot of the mechanics. I get so excited when I get to roll a handful of D6s (I think I hit 30 once, playing a drugged up elf archer… I don’t know, he was based on Iggy Pop) that the idea of doing it again really got me amped.
Note: This post will discuss the book and rules presented, but will also include some of my general feelings on Shadowrun, cyberpunk, and how the rules matter. I won’t be evaluating it through what’s already available in 5e, as I don’t feel like lugging books and comparing page by page. My bad. Please excuse the cell phone pics, my energy wasn’t here for a photoshoot right now, I’m so sorry.
Everything has a price. That’s a sexy phrase to kick off with. And it’s true – it’s super appropriate to Shadowrun, because the reality of the setting is that money does run the world. Corps run wild with access to power that sounds scary even in the fucked up modern world, and governments are a hot mess. One of the things I always like to note about SR3e is that it does actually address class. Really! Like, class imbalance is something rarely given genuine attention in RPGs, and in SR3 (and I believe other editions of SR) there are costs of living – essentially, whether you pay money for your livelihood or not matters, from luxe high level apartments to literally squatting. It is something I think is often missed, tbh, and something I miss being a vivid element in Shadowrun. I’m wondering if we’ll see that.
I love cyberware and bioware. In spite of being someone who cringed at doing basic math for D&D, I have spent hours building characters in Shadowrun, trying to get that Essence score as close to 0 as possible without becoming just a chassis. It’s good to see this recognized in the text even in this smaller book, because this book could be someone’s first book and that’s a core element that needs to be recognized – that your body is not promised to be whole just because you can get replacement parts.
This is a shitty cell phone picture, but deal with it. This is here in part because I just wanted to point out how great and dynamic the art in here is. I always LOVE Shadowrun’s artwork, but for such a small piece (though they may have reused art) I thought it was pretty great.
Speaking of art… as you all know, I’m big on representation in art. As I mentioned in my previous post about this, I was pretty happy about the art representation! Three of the 6 offered characters are women, and I enjoyed all of the badass art in the rest of it as well, especially this. Ork ladies are amaaaazing and totally underrated. One thing I’ll note is that pretty much all of them have cleavage showing, but I’m not super bothered. Considering there is not one identifiable woman listed on the entire credits list I’m not surprised, either.
I’m being forgiving in part because of those abs, though.
Here’s where we dig into the actual meat of things. The first things the book notes is that the GM doesn’t have sole responsibility for story elements or narrative, and this is considered to be different. That’s actually pretty cool, as someone who prefers to contribute to the story, and I think that the new functionality of the gameplay supports it. In the book, they detail new scene play – which is after some of the basic rules and character build instructions, which can be confusing, but hooray! games with lots of stuff to cover have organization issues! – based on turns and narrations, within scenes. Simplified: Each Contract Brief (basically, campaign or scenario, multiple of which are included in this prototype) includes a number ofScenes. The scenes have varying levels of detail and I think that is a little wobbly, but a GM could probably make good decisions based on the material there.
Turns are called Narrations, which are basically player actions. Every turn starts with the GM, then rotates moving to their left until everyone has the chance to take a turn, then a new turn starts. Basically, the GM starts, and they move around the table to address actions. This may sound terrible to a lot of freeform and indie gamers, but I actually love this. One of the problems with games like Shadowrun for me is thatso many players are so into it,which is great! Unless you want to get a word in edgewise without shouting. It directly gives the GM control of the scene, but ensures everyone gets a move in, and it also, from what I can tell, removes the complications of combat initiative entirely.
They further discuss things like plot points (points you earn and can use to alter other players’ rolls, your own rolls, situational modifiers, etc.), etc., and cues.
Cues are a part of character generation and also used in Contract Briefs. They’re basically short phrases or quotes to give players or the GM information that can help them push the story along through Narrations and plot. I like the concept – they’re similar in some ways to Fate’s aspects, but not quite. There are also Tags, which are basically markers for what your character is (hacker, elf, etc.) and Qualities which seem to me to be the equivalent of 3e’s Edges and Flaws (one of my favorite things), and I was so excited to see them included in this, I can’t even tell you.
Character Creation includes your standard stuff: the aforementioned Cues, Tags, and Qualities, as well as Attributes (Strength, Agility, Willpower, Logic, Charisma, Essence, and Edge), Skills, and Shadow Amps, which is the catch-all for spells, talismans, cyber and bodywear, adept powers, critter powers, cyberdecks, programs, etc. There seems to be a lot of flexibility for these Amps and what they do, which increased my enthusiasm, but watch me go and be wrong. There are also still Weapons (addressed later in the book, including details on carry limits, no ammo counting, and similar stuff), Armor (which functions, from what I can tell, kind of like damage absorption and gets wiped off before you start taking hits), and Gear. Gear has no stats. I KNOW RIGHT? I think the way they frame gear in general in the text is pretty cool, as they function very narratively, and this is the one area where the GM might have to apply some pressure to keep it somewhat realistic, as much as that matters in Shadowrun. It also includes Contacts under Gear.
Teamwork tests seem pretty cool! I like teamwork mechanics a lot, and in a game with such high capacity for PvP style behavior and play (which I have seen a lot of), it’s awesome to see this kind of mechanic. They actually function hilariously similar to a mechanic John and I were using for Blockbuster, which is you choose the leader who does the main work, then others roll the skill tests, and their successes are added as additional dice to the roll for the original player. It’s a good mechanic, in my experience.
There are also glitch dice which, honestly, when I read about them in 5e I cringed and kind of moved along. However, written here, they sound better. I don’t know if it’s a matter of who wrote it, how they wrote it, or changed context, but I’m more favorable towards them here than I expected.
I’d like to note that around here in the text (page 26), they have a section called “Troubleshooting” where they discuss how to deal with situations where players are struggling with the narrative-focused play and who are new to improv, and it’s good advice and I liked it a lot. Super glad to see it.
Just in case you thought it was sounding too simple for Shadowrun, here’s the “basic dice-rolling mechanic for all combat,” which, as you can see, is like four different things against four different things. It’s pretty awesome. I mean, it’s really just a bunch of D6’s? Which I probably will never complain about. It’s still your standard 5s and 6s are successes, unless you have an Edge die, which can make 4s eligible, or you can reroll those failed dice if you spend the Edge after the roll.
This might sound silly, but the note in the Attack Limits section about what counts as an attack action: “Want to debate the meaning of Attack action beyond that? Have fun, and we’ll be here for you when you’re ready to play!” just made my goddamn night. This is totally a huge discussion had at many a game table, and their specific note that an attack action is “An action that intentionally and directly damages another living being…” sums it up pretty clearly. Nice.
I like the option here for making the game more or less lethal. While most times I want to go and drag myself through the mud to kick some ass, it’s occasionally nice to have a way more chill session or two when things are busy and I just want to feel like a hero. I actually discussed with Morgan Ellis and a few others today on Twitter why Fate doesn’t work for me for cyberpunk and specifically Shadowrun, and that’s because it’s too heroic, too successful! This option here gives people who waver in preference, or just lean one way or the other, the choice! And that’s super great.
There are quite a few more details I didn’t cover. Like, there’s a section on character death that was interesting. The Spells, Spirits, and Astral Combat section was pretty cool, talking about using your Sorcery test (based on your Skills) with the Shadow Amp spell effect to do your thing. Most of this stuff seems pretty standard issue in regards to damage, etc., from what I have read in previous books. The Condition Monitor section is a little confusing and could definitely use some rewording, and I think they need to clarify their +1/-1 etc. modifier wording, as I – someone coming from 3e and used to using target number modifierswas super confused at first, after having read 5e previously.
I mean, I still miss my exploding D6s, but I suppose I can settle for my handfuls of dice. My general thoughts? I’m in. I’m planning on picking up whatever official, final book Catalyst releases for Shadowrun: Anarchy, and I actually might bug some friends (PAUL STEFKO) to play with me. HOWEVER I was really disappointed by one specific part of the book. What’s this becoming a legend nonsense? I know that a lot of the Shadowrun canon and surrounding media make a big deal out of being The Coolest HaXX0r, and that getting nuyen is awesome, but man, that’s not at fucking all what I’d be promoting in a Shadowrun book – especially one called Anarchy – right now. Extralegal individuals who are dangerous, powerful, and able to pit Corps against each other should be doing a lot more than getting excited over some expensive junk and sitting in hell beside The Smiling Bandit. Making it about notoriety, in my opinion, takes the “punk” out of the pulp. At heart, for me, Shadowrun has always represented people who have nothing taking something,changing the narrative,and resisting the system. Honestly, in the world we currently live in, I can’t imagine taking a look at the world of Shadowrun and saying that these characters would just give up their bodies for a cool name & some money, when instead they could be dismantling corrupt systems of power while on their payroll. That aside, I just want to share below my two favorites of the six offered characters, and I hope you like them too! This is Ms. Myth who is a fucking TROLL FACE which is one of my favorite combos EVER and should ALWAYS HAPPEN. You’re welcome. Also, Strider, who is a Dwarf Parkour Adept, which is fucking aces. Her outfit gives me liiiiiiiiiiiiiife. Enjoy!
