#it would be an rpg but without the combat

[roraexploradora]

Rottmnt game where you play as April becoming friends with the turtles, and how close of friends you are changes their responses to stuff, like if you make fun of Leo to Donnie, and you aren’t close to either of them then Donnie tells you off for making fun of his twin, but if you’re close friends with both of them then Donnie’s just like: lmao yeah you’re right he is a dumbass

[readwritealldayallnight]

(part of the ‘Wife at First Sight’ series)

The newlyweds hold each other close, bodies swaying in time with the music that plays through rented speakers in the dance hall, their loved ones gathered around to watch their first dance.

Every guest in attendance is sporting a smile as they gaze upon the happy couple, some even have tears brimming close to their lash lines, threatening to spill over. There is no doubt that today is a day every in attendance will remember for a long time.

You and Simon however…

Well, the two of you are happy for the newlyweds, of course, no doubt about it. You’re very grateful that your sister included you in her wedding party. But when one of Simon’s large hands happened to slip into yours when the DJ asked everyone to gather around the dance floor to watch the couple’s first dance, he hardly had to give you much of a tug to steer you towards one of the darker corners of the decorated space.

Turning to face you, he offered you his extended hand along with a raised brow in question. Slipping your smaller hand into his bare palm, both of you pointedly ignoring the spark that shot through your nerves at the slight touch, you allow him to hesitantly pull you closer and closer, until there isn’t any air left between your bodies, your figures moulding together as though you were simply chunks of clay on a pottery wheel, two separate pieces becoming one.

Instinctually, as though the two of you have held each other like this countless times beforehand, your arms snake around his neck while his large palms come to land on the small of your waist, the room too dark for you to see how his hands hold the slightest tremble to them

Simon can’t recall if his hands have ever shaken while on duty, and if they have, it was in the very early days of his career, too long ago to even be remembered. His confidence in himself and his abilities too strong to allow for any nerves to seep through and put a tremble in his steady hands. With you however…

When it comes to you, Simon finds himself in uncharted territory, in unfamiliar waters. He doesn’t have anyone on comms to tell him how to do this, no briefing to go over the plan, no Captain giving him orders he can follow to a T like the good soldier he is. For someone who had become so used to working solo for years, he’s finding himself at a constant loss when it comes to pulling the trigger with you.

But now, with your smaller body held so gently but firmly in his strong arms as you sway together to the melody, no one else aware to the private moment you two are having in the shadows, he can’t imagine going on any longer without this being his reality. No more pretending, no more charades, he wanted the real thing. And that alone terrified him more than any RPG or close combat fight ever had.

As the night wraps up, Simon hangs back and watches you hug your sister and new brother in law, watches you bid your goodbyes to fellow friends and family members, watches you fetch a coat for an older aunt who’d misplaced it, watches you ruffle your young nephew’s hair as he sleeps on his mothers shoulder, watches you spin and stroll and saunter about the space leaving everyone you interact with wearing a smile, all while he thinks to himself, wife wife wife wife wife wi-

My wife

If you would have asked him, he planned on blaming the slight breeze outside during your walk from the venue back to the car, as to why he removed his blazer and draped it over your shoulders. But like everything else that happened between the two of you, you didn’t question it, instead choosing to enjoy the warmth that the jacket emanated, along with the lingering smell of Ghost clinging to the fabric

Nor did you have anything to say when you felt his pinky finger brush yours once, twice, three times before he was threading his thick, calloused fingers together with your softer ones, each of you silently relishing in the others touch

As he did every time the two of you happened to drive together, he opened your door for you, still holding onto your palm as he helped you in. Tonight however, unlike any other time, instead of shutting the door and coming around to the drivers side right away, Simon instead grabbed ahold of the seatbelt before you had a chance to, slowly reaching over you to buckle you in, your cheeks warming at the gesture

The drive back to base was quieter than usual. Already known for being a man of few words, you had grown accustomed to the way you apparently brought the fearsome Lieutenant out of his shell for you and you only. You occasionally filled the otherwise comfortable silence with comments about the wedding, remarks about the decor, complaints about the music choice, joking about how much fun you’d had introducing everyone to your husband, all while he sat quietly in the drivers seat

Though his ever stoic expression did not betray his inner thoughts, his mind was racing a mile a minute, trying to figure out how to open his mouth and just say what he wants to say. He remembers learning somewhere that car rides are often a useful environment for having difficult conversations, as it is easier to talk and let things out without having the pressure of someone watching you, and you looking back at them.

He has to do it. He will do it. If he doesn’t do it now, when else will he ever work up the courage to say what he’s been feeling since the very second he laid eyes on you and knew who you would be to him

“-honestly though, I don’t think anyone was expecting my uncle to start dancing like th-”

“Love, can I-” Simon interrupts you, his hands tightening around the steering wheel as he takes a steadying inhale and braces himself. You glance at him for a moment, not minding that he’s cut you off, as you’d been wondering what was going on in that head of his, almost able to hear the gears turning in his brain as he drove. “I need to say somethin’.”

“Okay.”

“And I don’t-” He can’t help but take another deep breath, unsure of how to go about this. “I don’t know how to-”

This time, it’s you who cuts him off, when you shift in your seat and reach a delicate hand out to rest on his bicep, offering the slightest squeeze of reassurance. He takes his eyes off the road just long enough to glance down at where your hand lays on his muscle, feeling as if his he’s been shocked where you touch him, even with the clothing separating your skin from his, the simple gesture giving him just enough confidence to say what he needs you to hear

“I don’t have much to offer you, love.” He begins by saying, his death grip on the steering wheel loosening more and more every second he feels the weight of your hand still resting on him, letting him know you’re there. “My job- it’s dangerous. I know you know that, but I haven’t a family member left alive because o’ what I do. I haven’t a single friend outside o’ my own bloody task force. I’ve got a small flat in the city I only see maybe five times out o’ the year. I don’t- I don’t have much, love.”

Simon takes another breath, grounding himself as he feels your thumb stroking his arm through the fabric of his button-up, still listening to him, still here with him.

“But if I had you, swee’heart. If I really had you, had you as my wife,” he has to stop to clear this throat, his emotions seeping through into his words. “If I had you as my wife, I’d have the whole world. That’s all I want. All I need.”

It’s your turn to stew in silence for what in actuality is only a few moments, but for Simon it feels like an eternity and a half, every possible worst case scenario he’d ever thought up flashing through his mind with every passing second you don’t say anything.

“Wait,” you finally reply, the storm in his head halting at the sound of your voice. “Simon, do you- are you- are you saying you like me???”

That… that was not what Simon was expecting you to have to say after all that

“Er- yes.”

“Simon!” You squeal, the gentle hand on his arm now swatting at him repeatedly. “Why didn’t you ever say anything?! I had no idea!”

Were it anyone else, Simon would be downright bewildered with how truly and utterly blind you’ve been these past few months, only now putting two and two together as to his true feelings for you. But because it is you, he can’t help the light chuckle that slips free from between his lips

“You know what, you’re right lovie. I should’ve been more clear.” He says, only half-joking.

“But wait, I- I don’t understand. You- isn’t there someone else? I mean- I helped you pick a ring for someone-”

You watch as Simon readjusts his grip on the steering wheel so that he’s driving with one hand, the other reaching across to the glove compartment in front of you, pulling it open to reveal nothing out of the ordinary; the car’s starter manual, a flashlight, an extra pair of gloves, a ring bo-

A ring box

But not just any ring box

You know it as soon as your eyes land on it, and you can’t help the gasp that comes out of you, even this late at night in the darkness of the car with shadows whooshing past constantly, you recognize that box right away

You helped pick it out after all

“It’s your ring, love.” You hear Simon whisper, his outstretched hand hesitantly reaching out to smooth over your knee, recognizing that things are starting to make sense to you after all this time. “It could only ever be for you. There is only you.”

Your trembling fingers pull the box from its hiding spot, bringing it to rest in your palms on your lap, cradling it as though it were the most precious thing you ever held

You don’t realize that Simon is pulling the car over to rest on the curb, until you feel the parking brakes being put on, your eyes finally glancing up to meet his own steady gaze. Gaze locked with yours, he slowly reaches out to pluck the box from your hands, tilting the top open to reveal the very same piece of jewelry you’d unknowingly chosen for yourself. But your eyes never drift down to catch the diamond sparkling in the light, instead staying directly on his, something much more precious and priceless unfolding between the two of you

You’ve known Simon for months now, have spent countless hours talking, laughing, getting to know each other more deeply than anyone else has known you in years. In all that time, never once did you question his mask, nor did you ever ask to see what was underneath, respecting that it was part of what made him him

Now however, your eyes widen as you watch his fingers slip beneath the ear loops of his simple black medical mask, before he slowly brings it down, revealing a scarred, pale, vulnerable, and handsome face beneath

The gesture is not lost on you; Simon is truly baring himself completely to you, no more hiding behind jokes or masks or anything

“Love,” he begins, clearing his throat once more before he asks the most important question of his life. “Would you make me the happiest man alive and marry m-”

You’ve cut him off again

But not with your words, nor your reassuring touch

No, this time you cut him off by reaching forward to grasp the collar of his shirt and pulling him towards you, lips meeting in a passionate crash that feels as though time has stopped and the earth stands still, a feeling that leaves you certain that no one else on the surface of the earth has ever felt something as deeply, as world shattering as this

You’re finally kissing Simon

Simon is finally kissing you

Pulling back for air, you don’t dare go any farther than where you can lean your forehead against his, each of you panting, with grins stretching across your kiss-swollen lips

“Take that as a yes.”

“Oh my gosh,” You laugh along with him, your shared breaths warming the others reddening faces. “Just wait until we tell everyone!”

Simon isn’t sure how to break it to you, that you might just in fact be the last person to find out about this

If you’ve made it this far into the series, I wanted to say thank you so so so much for reading and thank you for your patience between uploads!!!

This will not be the last part to Wife at First Sight- I’m hoping to make one last NSFW part to wrap it all up, but I wanted it to be separate from this upload in case anyone wasn’t wanting to read the 18+

- M 🫶🏻

[cavegirlpoems]

Metagaming Is Good, Actually, You Just Suck At Playing Pretend

OK so metagaming is a term with an incredibly nebulous definition, but the way it gets thrown around - particularly in That Fandom - is just ridiculous. You are, in fact, playing a game. For fun. You should make your in-game decisions based on what will be most enjoyable for you, and the other participants in this game, and to do that well, the nature of the game is a consideration.

Some, non-exhaustive, examples of positive metagaming: -Deliberately taking plot-hooks even when you don't have a good IC reason to. -Deliberately grouping up with the other PCs even if they're basically strangers. -Making genre-appropriate decisions for the type of game you're in (being overly curious in Call of Cthulhu or petty and melodramatic in Monsterhearts). -Making tactically optimal choices in challenge-based games (such as osr dungeon-exploration, or 4e combat). -Not taking actions that will be unwantedly upsetting for other players ooc (such as not using arson as a weapon if a player has trauma relating to a house-fire).

'being in character' is not a suicide-pact compelling you to make bad decisions because 'it's what my character would do', and indeed 'it's what my character would do' is shorthand for a particular type of shit player for a good reason! If you fuck things up by making stupid ic decisions, or unfun ooc decisions, to avoid 'metagaming', you're a shit player.

If 'how would I know that' comes up, you can just make something up to explain it. RPGs are games about making things up. Add an incident to your backstory, maybe, and get some free character development out of it.

Anyway, yeah, despite what some people will tell you, metagaming is a positive behaviour so long as you're not deliberately using it to enable behaviours that would be toxic even without metagaming.

[mossy-rock-in-a-field]

Several weeks ago, my retirement-age mother requested that I play Baldur’s Gate 3 for her because she has trouble with controllers/keyboards and wanted “to see what all the fuss is about with that cute wizard boy.” For context, my mother and I have done this sort of thing in the past with certain RPGs (dragon age, mass effect, etc.), but it’s been a few years since she’s personally requested a game like this. Basically, I control her Tav but let her make all the choices so she can determine how the story plays out without worrying about mechanics. She treats it like a choose-your-own-adventure book.

Anyway, here is a list of some of the things my mother has said and/or chosen to do throughout the course of BG3 in no particular order:

She is (obviously) romancing Gale. She is quite smitten with him and his passion for books and learning; she also thinks he’s polite and qualifies as “relationship material.” She also REALLY likes the things he’s said about his cat so far (my mom is a cat lady), so I know she’s gonna flip shit when we meet Tara in Act III.

She’s playing a normal druid Tav with a generally good alignment. Her favorite spell is Spike Growth because she thinks it’s hilarious whenever enemies walk into the AOE and die. I usually end up having to cast it at least once per battle per her request. Sometimes twice.

Contrary to her alignment, my mother tasks me with robbing every single chest, crate, barrel, and burlap sack we come across; this also includes people and their pockets. The party is always at max carrying capacity. ALWAYS. She doesn’t like selling things because “what if I need them.” The camp stash is in literal shambles. There is no hope of organizing it. She’s got like fifty seven sets of rags and a billion pieces of random silverware.

She MUST talk to every animal and corpse in the game. I think five hours of her total playtime so far (47ish) has been spent speaking to animals as many times as humanly possible. Like, I was thorough in my own playthroughs, but this is on a whole other level.

She did NOT get Volo’s lobotomy, but she did let Auntie Ethel take her eye in hopes of a cure for the tadpole. I did not understand the logic then. I still do not understand it now.

She is far more interested in fashion than equipment stats. Do you have any idea how much gold I’ve had to spend on dyes just to make things match? SO much. Same vibe as that “please someone help me balance my finances my family is starving” tweet but instead of candles it’s thirty thousand fucking bottles of black and furnace red dye.

We broke the prisoners out of Moonrise, but they got on the boat too early and bugged the fight by leaving Astarion and Karlach behind. Wulbren Bongle somehow got stuck in combat mode even after engaging the cutscene on the docks below Last Light; he he kept trying to run ALL THE WAY BACK TO MOONRISE nine fucking meters at a time while I frantically tried to finish the fight with the Warden, otherwise Wulbren would have run straight into the shadow curse. (I would’ve let him go; fuck Wulbren Bongle, all my homies hate Wulbren Bongle. But my mom didn’t know that, and she wanted to keep him safe. So.)

She had me reload a save like eighteen times to save the giant eagles on top of Rosymorn Monastery. Wouldn’t even let me do non-lethal damage just to get past things. I think getting that warhammer for the dawnmaster puzzle took us like an hour and a half alone. (Yes, I know you can use any warhammer, but SHE didn’t.)

She’s started keeping an irl notebook to keep track of her quests between play sessions. She writes down ideas and strategies when she thinks of them during the week, then brings them to her next game session at my house. I think she wrote about three pages on possible approaches to the goblin fortress alone.

She insists that I pet Scratch and the owlbear cub before every single long rest, no exceptions. Sometimes I have to do it multiple times until she is absolutely sure that the animals know exactly how much she loves and cherishes them. She has also commissioned a crocheted owlbear plush from a friend of hers and is very excited.

I’m sure there’s a bunch of stuff I’m forgetting, but those are some fun things I thought of. She’s enjoying the game and is telling all of her retired friends to get it and play it for themselves. She asked me “what is Discord” yesterday and I think my life flashed before my eyes.

anyway shout out to my mom for being neat

Part 2 — Part 3 — Part 4 — Part 5

[raileurta]

Humanity vs Cybertronians

I see people debate about whether or not humans could defeat the Decepticons without the Autobots' help every so often and I want to give my take on this. To some it up quickly I feel the same way I do about this I do about the gorilla vs 100 men debate. Yes the gorilla would absolutely DECIMATE the first ten or so guys but after that the gorilla would eventually start getting tired and be slowly killed as the hits start to pile up.

Let me explain my reasoning:

It's a very established part of lore in most continuities that transformers are nearly extinct aka critically endangered. Which according to Google means that there are fewer than fifty individuals left. Which I don't believe their numbers are that bad but I won't say I'm surprised if they were. For the sake of this argument though I will assume that only fifty Decepticons will be fighting with Earth. Which in comparison to humans’ EIGHT BILLION population that is a pitifully low number, and that's not even bringing up the whole underestimating our population thing.

I do believe only heavy weaponry like tanks, missiles, or RPGs should be able to kill/seriously hurt a transformer if they are hit enough with it. With small arms unless you hit a weak point, for instance an optic it should not even dent their armor. And nukes just straight up disintegrate them; I don't care how much plot armor the bot has, the average cybertronian SHOULD NOT BE ABLE TO TANK A NUKE. I've seen people argue for this before and it low-key annoys me. They bring up the whole “how technology more advanced they are to use or their robust practically immortal bodies” but that's not a valid argument. Even a trained modern marine would be killed by cavemen with only mere spears if they were jumped by thousands of them. Humans also can reverse engineer their technology. All they would need to do is just take a random decepticon body/weapon then break it down. It also defeats the whole purpose of the “robots in disguise” part of their lore. Unless that Cybertronian has a special ability that lets them survive, cybertronians should be able to be killed by a nuke.

End of story.

There's also other methods of killing a Cybertronian like scraplets or the rust plague, which are significantly less deadly to humans.

Depending on the continuity I feel the biggest problem for humanity would be instant K.O stuff that needs Optimus to combat or the Nemesis ship. Which I think are pretty fair odds. If Decepticons just started blasting humans out of nowhere and take the Earth head on they will lose. It would have to be a slow infiltration type of invasion to actually work, or just straight up glassing the planet from space.

I'm talking about this from a general of point of view as some continuities would do much worse or better than others.

I do wonder which one would be the easiest to defeat though. I guess maybe g1, or earthspark.

[anim-ttrpgs]

Why You Should Try Eureka: Investigative Urban Fantasy Part 10: It Has Intense Action

This is part 10 of a multi-part series of posts about the awesome features of Eureka: Investigative Urban Fantasy, in no particular order.

Find the earlier parts here:

Part 1 Link: We Worked Hard on It!

Part 2 Link: It's Easy to Learn!

Part 3 Link: It's Easy to GM!

Part 4 Link: It's Easy to GM and Supports Narrative and Roleplay!

Part 5 Link: It Revolutionizes Investigation and Mystery Solving in TTRPGs

Part 6 Link: PCs are Not Just Mystery Solving Automatons

Part 7 Link: Excellent Time-Keeping Mechanics Keep the Pressure On

Part 8 Link: Fun and Easy Character Creation

Part 9 Link: Themes of Disability

For a while in its development, Eureka had a section dedicated to combat, but now that section is more broadly called “dangerous situations.” It’s rare, but dangerous situations will inevitably come up. The question is, will the PCs be prepared for them? Eureka has rules to cover everything from gunshot wounds to car crashes, from falling off buildings to drowning. If something bad can happen to a person, there’s probably a section in the rulebook covering how it would affect a Eureka PC mechanically. A lot of the times the answer will be they die, but how fast they die, and what they can do to save themselves in that time, is crucial.

Eureka takes a very “trad RPG” approach to this sort of thing, where violence and other dangers are something highly lethal, and therefore best avoided if the PCs are smart, but that the nature of what they’re doing means that it’s bound to happen eventually, and therefore the game rules need to provide a lot of “tools” and options within those situations, thereby creating agency over whether they live or die. PCs do not necessarily have to have “good” combat stats to survive, as many players so far can attest. It encourages them to be clever and cautious about things, and allows them to exorcise that cleverness and caution, without bogging the game down in too many numbers or charts.

Weapons will usually take any character down in one to two hits, and even when unarmed, characters have a wide variety of techniques that they can attempt, including the world’s first ever TTRPG grappling rules that are actually fun and advantageous!

Guns are as deadly in Eureka as in real life, and the type of gun matters a lot. That isn’t to say the exact model makes a huge difference, that would be too granular for what we’re attempting to do. A Glock 19 and a Beretta 92 would both fall under “Semi-Automatic Pistol” and function identically. Trust us, this all runs smoothly once you read it.

Bullets do 4 Penetrative Damage each, and most firearm categories are capable of firing multiple bullets within a single turn, each rolled separately. Direct hits are usually fight-ending, but that isn’t as easy as it sounds. Even with a high Firearms skill, these shots are being taken under extreme duress, and factors like cover, distance, movement, etc. will affect them too. Most shots fired will miss, and you might think that would be boring, but it’s not because of the next thing I’m going to talk about.

The Woo Roll

Named after director John Woo, the Woo Roll is a mechanic that’s makes it so that bullets don’t just disappear into thin air when they miss.

When any shot misses, a Woo Roll is made, which means something is going to happen that changes the situation as a result of that shot. (That’s one Woo Roll per turn, no matter whether one or thirty shots miss.) This roll determines whether the effect is good or bad for the shooter. A good result might mean that the shot hits a fire extinguisher behind the target, spraying him with foam and gas, disrupting his next shot. A bad result might mean the shot hits a gas line, and now the building is on fire. Usually the rule is that it’s whatever the most obvious and interesting thing within the confines of being good or bad for the shooter, but if there isn’t anything around, then we also have tables you can roll on.

Chase Mechanics

Combat is only likely to last a few rounds, but everything characters do in those rounds is crucial. These situations dynamic and deadly, and evolve rapidly, and if things are going south, run away!

Eureka has rules and incentives that can quickly shift the location of a conflict as one or more parties tries to flee. This works pretty similarly to combat, but, of course, the parties are moving and fighting across larger areas, causing the situation to evolve even more rapidly. Characters will have to overcome obstacles to keep ahead of their pursuers or catch up to their targets. These obstacles are rolled on a table that matches the environment the chase is happening in, heres a few highlights [images of entries]

As you can probably see, some of these obstacles can take a character out as easily as an enemy could. The kind of dynamic, cinematic car and foot chases these rules create are always something special.

[thydungeongal]

An earnest question in regards to D&D not being queer (side note, I agree): short of having queer mascots/main characters or being called something outright queer with its title, what would an example of a queer TTRPG look like? Like, your characters being queer has a mechanical impact? The themes of the game being more in line with a queer experience? Something else I'm missing? All of that and more?

All of that and more. It's better I explain through examples:

Monsterhearts is an RPG written by trans woman with an explicitly queer perspective. The genre of Monsterhearts is urban fantasy, specifically young adult urban fantasy featuring teenage monsters in school settings. Its themes are growing up, adolescence, and queerness, and it uses monsters to explore this theme. It is thematically thus openly queer, but the queerness is also present in the mechanics, in both the Skins (the game's playable classes and archetypes) and in the core mechanics.

Dungeon Bitches (by site user @cavegirlpoems) is less coded and more explicit and it is explicitly a game inspired by D&D's genre of dungeon-crawling fantasy: it starts by accepting D&D's premise of dungeon crawling as an occupation in a medieval fantasy world and then asks who actually would end up doing that sort of thing. And the answer it comes up with is marginalized people, especially queer women, and Dungeon Bitches is about playing disaster lesbians in dungeons. The queerness is front and center and the game gives mechanical weight to the fact that the characters are outcast women living outside of polite society, and the mechanics support the bitches getting fucked up, falling in love, and other such cool dungeon activities.

Thirsty Sword Lesbians is probably the biggest name queer RPG on the market and I feel it deserves mention despite my own personal issues with it. It operates in the nebulous genre space of She-Ra and Revolutionary Girl Utena and is very much about lesbians crossing swords and flirting while doing swashbuckling adventures. It gives mechanical weight to flirting and romance as well as combat, and while I think it's quite simplistic in how it touches on queer themes, it is still engaging with queerness on some level.

And like, those three games bring the queerness to the table explicitly as part of the game text, the rules, and the buy-in. Unlike in D&D, where sometimes there's a gay elf, there really is no way to play any of the above games without a queer lens, because at that point you would be playing a fundamentally different game. In D&D the queer lens is optional and has to be brought by the players

[dalishious]

(I can’t believe I finished this so fast… I basically blacked out and then it was done lol… Anyway, please remember that this is all just my personal opinion, and if you feel differently, that’s fine!)

Dragon Age: The Veilguard Review

Objectively speaking, Dragon Age: The Veilguard is a fun game that the average player is going to enjoy, especially if that average player is coming in without any prior knowledge to the Dragon Age franchise. I believe this is a good jumping-in spot for people who are curious about the world of Thedas. But in contrast, I have seen a lot of criticism from other hard-core fans that I largely agree with. However, it just so happens that most of the criticism I have is not enough to prevent me from overall enjoying the game. That is to say, for pretty much everything I did not like, there was also something I thought was great… Unfortunately, that makes it a little difficult to give a review. So, I’m going to do my best to keep things as clear and concise as possible by splitting up the “good” and the “bad” aspects of DATV.

The Positive

The best thing to come out of DATV is the new cast of characters that make up your companions and supporting associates. While I do think that some of them could have benefitted from more development time to flesh things out further, just judging what we ended up with, is mostly great. I especially found Emmrich and Bellara to be stand-out examples of strong personalities to grasp onto, whose personal stories really touched me in an emotional way.

DATV also has fun with some returning characters. For example, now that Solas is no longer hiding his identity, we get to see a character that both believably honours his part in Inquisition, while also providing a new, refreshing side to him. There are also a number of characters introduced in Dragon Age: Tevinter Nights that appear in the game, like my personal favourites Teia and Viago, who are an absolute delight to interact with!

I think the three act structure is good, albeit with act three being quite short. There are a few sequences that are an absolutely phenomenal mixture of storytelling and engaging gameplay, like all of Weisshaupt! I also really enjoyed stepping out of the main story every once and a while, and into Solas’s backstory through the Crossroads memories – what ended up being extra special about these is how they mirror Rook’s struggle so well, by the end. They are a nice touch.

The locations are beautifully constructed with smooth interactions of climbing, zip-lining, and essentially parkouring your way around, making them fun to explore! They also came with such distinct flavours and character in themselves that influenced a sense of truly experiencing different parts of Thedas, with different cultures.

The mechanic of building up strength with the different factions, and that actually having a huge impact with the ultimate showdown in the end of the game, makes side quests feel far less inconsequential than in Dragon Age: Inquisition by comparison. That, and they number far less.

I like that the story mode actually feels like a story mode; there were only a couple instances where I really had to worry about death, and even then, I was able to just toggle off the death with the customizable gameplay mechanics and continue on.

Finally, it would be remiss not to say that the character creator for DATV is the best BioWare has ever put out. I’d go as far as saying it’s one of the best in any RPG I’ve ever personally experienced. From the flexibility in morphing a character’s head and body between custom shapes, to the little details like sclera colour, vitiligo, and top surgery scars, makes it a shining example of what RPG’s should strive for. (My only critique here is that it would have been nice to have more skin colours.)

The Neutral

I hated the combat for pretty much the entire first act of the game. I found it too hard to keep up with, and too much like Mass Effect bullshit. I can’t say that it’s completely grown on me yet, but I don’t hate it anymore. It’s fine. So, I’m giving this a special little spot before I get into what I didn’t like all the way to the end.

The Negative

As mentioned above, I do think that there is more that could be done with some of the characters to really achieve their full potential. Davrin and Lucanis—while to be clear I still really enjoy as they are—come to mind first, in terms of those who would have benefited from more development time. Most of Davrin’s screen time just revolves around Assan rather than Davrin himself, and Lucanis is so restrained that it takes a while to really crack him open. Both of these characters have intentional personalities that make them harder to get to know, I understand that, but I feel that it would have been all the more rewarding to have more time dedicated to their company after earning their trust and possibly endearment. Instead, it feels like their romance and friendship with Rook are only half-complete, and then rushed to finish.

There are some companion interactions that are just… cringe. There is no other word for it. Now, this is nothing new for BioWare games, but I feel like the “pulling a Bharv” scene for example, was hitting an entirely new low. (If someone misgendered me and then just started doing push-ups instead of just saying “hey sorry about that, I’ll try to do better” I’d be annoyed, not satisfied.) I also felt like most of the temporary rivalries between companions were artificial in nature, rather than organically part of their characters that actually served a purpose. We already knew Emmrich likes books and Harding likes nature; we did not need a whole cutscene with them bickering about camping. (The exception to this is Davrin and Lucanis, who genuinely had room to grow as people out of their multiple confrontations, not just a one-off scene.)

The music in DATV is, for the most part, forgettable and bland. There is one piece that really stands out, and that’s “Where the Dead Must Go”, which is a real banger. I am not a fan of Hans Zimmer’s OST otherwise; I think it is phoned in, just like most of his work. I deeply wish BioWare would have just stuck with Trevor Morris. The best parts musically in this game are just Morris’s work re-used from Dragon Age: Inquisition.

There are certain parts of disjointedness that separates DATV from the past games that are just… bizarre. This is especially the case when it comes to elven lore. For example, Bellara saying she is afraid that elves will be harshly judged for the Evanrus, or Harding saying that elves are “thriving”… as if modern elves are not deeply persecuted across most of Thedas. It made me question more than once if there just was not time in development to do a proper canon-compliancy check with everything, perhaps?

I want finish this part by bringing up again that the biggest flaw in DATV is that it feels very corporate. To repeat what I said in this post: It is as if a computer ran through the game’s script and got rid of anything with “too much” political substance, in an overcorrection to be “safe”. But now that the edges have been so smoothed down to make a block into a ball, it can no longer support anything.

Conclusion

It’s easy to see a lot of creativity went into the creation of this game… but it is also easy to make assumptions on how that creativity was constrained by development hell and corporate oversight. In the end though, Dragon Age: The Veilguard succeeded in being an overall good time, one that I will no doubt be putting just as many countless hours into as the previous installments in the franchise. 7/10.

[vintagerpg]

Man, Palladium RPGs exhaust me. In a good way, but still, exhausting. This is the first edition of Beyond the Supernatural (1987). Players take various sorts of psychics who then investigate supernatural mysteries that can fall anywhere on the horror spectrum, from farcical to gruesome.

As with most Palladium games, there are at least two truckloads of rules too many. The main innovation here is Potential Psychic Energy (PPE) which is how Psychic Character Classes (PCCs — it wouldn’t be Palladium without lots of abbreviations) do their thing. It’s basically a point system for any sort of mental powers or magic and replaces the D&D-derived spells-per-day style systems that were in TMNT, Palladium Fantasy and other games up to this point. PPE and the underlying psychic/magic systems would become an important component of Rifts. A fun section of source material tackles Ley lines and sites of power that will also be important for that later game (and is, along with the bestiary, which includes a lot of unusual monsters from non-European traditions, is the most fun section of the book). I tend to think Palladium games are too complicated for me, and I definitely think this one is too much for horror (and too combat oriented). YMMV of course.

So much amazing artwork, though. A cover by Richard Corben? Hell yea! Kevin Long was still pumping out illustrations for Palladium at this point, but this is one of the rare times I think he’s out-shined — Steve Bissette contributes a ton of work to this book, and it is all grimy and shadowy and full of toothy danger. It’s hard to compete with a master.

[imsobadatnicknames2]

To my great surprise, one of my friends expressed interest in DnD, bringing the total people interested including myself to a whopping THREE! Now, I've only played DnD a few times at a game shop and literally no other TTRPGs, but I'd be open in checking out other stuff (and can hopefully persuade my friends)! Would you happen to have any recs for maybe a bit more of an intro/beginners game that one could run with three players total? (If you happen to know any that maximizes a player feeling badass, that'd be neat & appreciated, as I think that's the main draw for them lol). Anyways, thanks for your time :3

Hiiii thanks for your question! So have in mind that I haven't played any of these firsthand because I'm mostly into games that mechanically emphasize disempowerment (the games i run tend to go less for the Found Family of Heroic Misfits Go on an Epic Quest approach and more for the Gang of Amoral Treasure Hunters Get Themselves Killed While Looking For Treasure in a Dark Scary Hole one), so I'm going off mainly from the play experience implied by reading the rules themselves and by what I've heard other people say about them.

First of all Is Quest RPG

I've seen it recommended a couple times by @thydungeongal and after reading a bit of it I have to agree with her assessment that this is the game that most D&D players seem to ACTUALLY want to play when they start invoking Rule 0 and the Rule of Cool and playing fast and loose with mechanics. It's a game where the explicit design intention seems to be natively supporting the style of gameplay that most popular D&D Actual Play shows feature, without any of the negatives of trying to fit 5e's square peg into that particular round hole. It's also available for free, which is pretty nice.

I would also recommend Brighthammer: Rules Light High Fantasy (which is a hack of Sledgehammer: Rules Light Dark Fantasy)

It's a simple system with a d100 resolution mechanic which fits into two eight-page mini-zines, one for the players and one for the GM.

It leans into the heroic fantasy angle specifically by letting players continually accumulate advantage to rolls during combat encounters by performing heroic actions, such as defending an ally or an innocent bystander. This one is also free and it's a pretty quick read so you don't lose anything by checking it out.

Next up is The Basic Hack

This one is a slightly streamlined version of The Black Hack, which itself is a massively streamlined version of early editions of D&D. Just like The Black Hack, it uses D&D's classic six-attribute array and a lot of other mechanical elements that make it pretty easily compatible with a lot of D&D materials while still being a very distinct system of its own, but where it differs from TBH is that it simplifies a lot of its mechanics and overall has a less gritty and more heroic tone.

Lastly there is Break!!, which is the only game in this list that is going to cost you any non-zero amount of money

Break!! has some old-school sensibilities here and there (seems to take some inspiration specifically from games like Cairn and ITO) but aesthetically and tonally it takes most of its cues from fantasy anime and JRPGs. It has a pretty cool-looking setting, and some interesting twists on classic fantasy TTRPG races and classes. You get everything from "basically a D&D fighter with a different name" to "paladin meets magical girl" to "literally an isekai protagonist". Anyway one way in which it leans into making the players feel pwoerful and badass is that its initiative system rewards being proactive in fights: whatever side starts the fight gets to act first, with no checks or rolls required. Also, it handles health depletion on a per-encounter basis. Health regenerates fully imbetween fights, essentially ensures that players always start fights at full strength and gets rid of long-term resource depletion. Which, you know, i like long-term resource depletion for my games, but if what you want to do is feel like badass heroes this is definitely the way to go, and it still has some interesting long-term consequences for running out of health in a fight.

[rpgchoices]

do you have any recs for rpgs with lesbian romance options? i've played the big ones already (mass effect, dragon age, bg3, pathfinder) and was hoping you knew of some others

YES!! I have a list to update here and a steam group for any queer romance here, but here are the WLW ones I know (in bold: I have played them) and I added some I know and I have not played yet in italics. My favorites are in pink!

RPG: isometric

Rogue Trader: it has two wlw romances, Jae and the new DLC with Kibella. I also found Rogue Trader easier than Pathfinder (as gameplay and lore) and no need to know anything about Warhammer.

Divinity: Original Sin 2: Lohse and Sebille (and you can romance them together as it is exactly like BG3 so you can play one or the other). Great characters and story, much more humorous than BG3.

Expeditions: Rome: I have not played this one! But Deianeira can be romanced.

Expeditions: Viking: Another historical isometric rpg. I remember little of the story, but I enjoyed the characters and Roskva can be romanced by a female player character too.

Pendula Swing: This is more of a rpg adventure, no combat. You play as a female character who used to be a big hero and is now retired and is mourning her wife. You will start living again when someone steals your legendary weapon and in the game you can date different characters (the romance side is not too big).

Pillars of Eternity Deadfire: Sequel of the first game, amazing rpg and two of the female companions (Xoti and Maia) can be romanced.

Knight Bewitched: This is a JRPG inspired game, pixel game too. You play as a female knight and there is only one romance story (with the witch).

RPG: Action

Enderal: ENDERAL!! It has two romance options and one is Calia (f). An amazing free rpg, it is a mod of Skyrim (so you need pc) but it has its own story, lore and combat. One of my favorite videogames, and Calia has the most interesting story in game.

Jade Empire: Silk Fox! This is an old Bioware game which in my opinion still holds up very well. The story is wild, with a lot of unexpected twists and turns, and Silk Fox is probably the most interesting companion.

Cyberpunk 2077: I have not played this but heard good things

Greedfall: Siora. Although I really hated this game and never finished.

Starfield: I have not played it but I know there are two romancable female characters (out of four total) and they are not gender locked.

Visual novel: non dating sim/rpg with or without combat

I was a teenage exocolonist: mix of visual novel and isometric rpg, this is an AMAZING GAME. Do not let the title trick you, it blew my mind and made me actually cry. You can play as nb, male or female, and there are multiple romance options (m, f and nb). The female characters who can be romanced are (SPOILERS), Tang, Marz or Nem.

Loren the Amazon princess: This is more of a classic old style game, I would say the quality is nothing like "I was a teenage exocolonist" but still fun. It is a mix of visual novel, dating sim and combat (jrpg turn based). As a female wlw protagonist you can romance Loren, Chambara or Karen.

Cursed Lands: Same universe as "Loren the Amazon Princess", but I found this one kind of tedious. Still, multiple romances. As a female character you can romance these female characters: Sylrissa, Nuala or Leena.

Tales of Aravorn: This is a sequel of "Loren the Amazon Princess", I am currently playing it. You won't be able to carry over any wlw romance (or mlm romance), but you can romance a new female characters.

These last three games are from WinterWolves company which usually adds wlw and mlm romance in all their games. They also recently published a wlw only game.

Stray Gods: This is a full on visual novel, kind of detective story, with music. You play as a Muse (Greek mythology) and there are two female characters you can romance.

Visual novel: dating sim

Salting the Earth: Okay, I usually don't play dating sims but this is worth it! Lesbian orcs daring sim! There are three romance options.

[rox1000000]

I'm tired of stats in rules light games.

A game design ramble.

Stats are usually very boring. That doesn't necessarily mean they're bad. Not everything needs to be exciting or thought provoking and they're sometimes good to have. More complex games will have stats or adjacent, but have way more to define a character mechanically, or other things of interest stacked on top of them. They can be a good foundation in more complex games and my issue isn't with their use in that context.

My issue is when writers strip back everything but stats to make their game fit on a page or two. Many OSR games do this, but it is by no means unique to OSR.

In this post I'll go over what makes something a stat to me, why I dislike them being center stage in rules light games, and alternative ways to approach defining a character in minimal space. I'm trying to be brief here but it's a long post.

What is a stat?

I view stats as being generalized attributes or verbs that a character can do. The core things that I view as being indicative of "stats" at least how they're defined in this manifesto is that they're generalized, and that they're not abstract. In a game you'll usually find them called attributes, skills, ability scores, or the like. Not everything described as a skill in a game is a "stat" to me, and that distinction usually comes down to how specific it is. Something like "fight" I would describe as being a stat, whereas something like "hand to hand combat" I would describe as being a skill.

Famously D&D's STR, DEX, WIS, CON, INT, CHA are stats.

Why I Dislike Them

Lets suppose you have a game where you've stripped down basically everything except core stats about a character. Why is that a bad thing?

Lack of granularity - I think one of the issues here is that in stripping back other options, the stats become your main verbs in the game and characters get very easily pushed into confined boxes, or expand to slurp up a good deal of action. (Idk how to word this lmao) Lets take intelligence for example. Many games just have a brain stat, meaning a character is more knowledgeable, reasonable, logical than everyone else in every single situation always when they have more of this stat. In a game with more rules, there's ways to make that knowledge more specific or to differentiate mechanically, what under the umbrella of intelligence a character is good at, but in a stripped down game it's just "I am google." This also pushes out other characters from the relatively universal action of thinking. Same happens for strength or speed or any other large category. Why think when we have a thinky guy in the party that can think instead. Why try and do something precise when we have mrs. dexterity ready to do it at a greater success rate?

Lack of characterization - I think stats do a poor job of characterizing a character and making that characterization matter in the game. If I have a character with high strength, that doesn't actually say anything about the character. I believe that in an RPG it's important to know who a character is as a person and/or what role they have in the narrative. With so little to go off of, does it really matter that your character can punch people and pick up heavy objects about 10% better (or in many cases, more often) than the character of the player next to you? When cutting back a game's mechanics, a designer is making a statement about what matters, and I'm hearing many designers say "yeah it does matter to be able to quantify slight differences in physical characteristics between characters, this is definitely a good use of my extremely limited time and space!"

Things I think are better

I have already seen some solutions out in the wild:

Assign numerical weight to problem solving approaches - I see this often and it works well to drive action without restricting specifically what a character must do to get their bonus.

Assign numerical weight to vibes - This works for games that are lighter and fluffier and can serve to characterize a character well, but can be lacking in more grounded games.

Assign numerical weight to archetypes or jobs - A character having points in "crime lord" is a lot more evocative than them having points in charisma or sway and then using it to deceive people.

Be more specific - If you're designing a game with a very specific scenario in mind, it might be better to use something way more specific and tailored to your game. This entirely solve the issues on its own, but won't make me roll my eyes at the very least.

Don't use them at all - there's other ways to define a character than assigning numbers to generalized categories, and I've seen games that don't have stats and work fine.

I don't believe I've seen it pushed it far enough, frankly. I'm a sicko like that. You can assign a number to nearly anything and it can work. Nearly anything. So experiment more. Let players write their own stats, find a job resume and add numbers to it, staple numbers where you wouldn't think to, the world is your oyster so don't be boring with it.

Signed, a pretentious game designer

[dailyadventureprompts]

The Mechanics of Baldur's Gate 3

As someone who's constantly tinkering with the mechanics of my favourite RPG, I LOVE a lot of what Larian has done with D&D; not only accurately translating the base system but improving upon in ways I never thought of.

Playing BG3 feels good, and I want to see how much of their work I can adapt for my own table. As such, here's a breakdown of a bunch of little tweaks they've made to 5e (taken from the bg3 wiki) and whether or not I think they're a good fit for regular pencil and paper d&d.

Shove is not a part of the attack action. It is a bonus action available to all characters. Shove only pushes the target back an amount that depends on the shover's strength and the target's weight. It normally does not knock them prone unless they are shoved off a high ledge.

This might be THE best design Larian implemented and is instantly going in my games. Bonus action shoving is such a natural addition to combat, gives so many more tactical options. My one protest is that I am NOT calculating the weight of every creature and object ( mainly because I'm terrible at guessing weights for things) so I'd go with the distance calculation based on the creature's size and con score.

Gaining inspiration based on backgrounds

Gee, a mechanical reward for roleplaying your character, one that's way more straight forward than the DM arbitrated "ideals, bonds, flaws," system. From now on I'm going to give each of my players an upfront " You gain inspiration when you ______" note on their character sheet based on their backgrounds.

The party is limited to two short rests per long rest. Short rests restore each ally's hit points by an amount equal to half their maximum HP (rounded down). There is no hit die rolling. Long rests require camp supplies, which are food items that must be looted or purchased. In towns you will be able to rest at an inn.

This is a mixed bag for me only because I like hitdie as a mechanical abstract and I don't want to see them removed. Tbh I wish more mechanics interacted with them and they were called something abstract like "stamina" or something. That said I ADORE the camp supplies idea because it not only gives you something minor to reward exploration with besides GP. On the otherhand tracking all those supplies without the game's inventory management would be tedious as hell so it'd need to be highly simplified.

I especially like the idea of limited short rests/supplies in larger survival based adventures where time isn't at a premium like it is inside a dungeon.

If you hide while not in a creature's sight cone, you automatically succeed. If you try to hide while in a creature's sight cone, you automatically fail. If you are hidden and enter a creature's sight cone, you must roll stealth against the creature's passive perception. This may be a straight roll, advantage, or disadvantage, based on the creature's senses and the level of lighting. Some creatures with different senses such as blindsight may follow different rules

Congrats on fixing stealth rolls Larian. No notes.

LOTS more opinions under the cut.

When a creature is at least 10 ft above their target and makes a ranged attack, they receive a +2 bonus to the attack roll due to high ground. When a creature is at least 10 ft below their target and makes a ranged attack, they receive a -2 penalty to the attack roll due to low ground.

This is fine, and quite inline with a lot of fixes I've seen for flanking rules. I'm fine with a little extra battlefield math in order to make moments of advantage (spending inspiration, reckless attacking etc) shine.

The game does not stop a character from casting a leveled spell with both an action and a bonus action

Mixed on this, on one hand I've played enough clerics to know how much it sucks to have to use your bonus action to do a necessary spell and then be stuck with a so-so cantrip or melee attack for standard. On the other hand there's some design balance issues at play here.

Help is an Action. This ability allows characters to aid an ally in combat and remove negative Conditions. Using the help action on a downed ally brings them back to 1 hit point and leaves them prone.

Love the idea of help doing multiple things AND being a solution to minor status conditions. and giving everyone the ability to help means I can be a lot more aggressive when it comes to knocking character to 0. if I had to further patch this, I'd say that this also allows for a medicine check to allow a creature to spend a hitdie when they're downed, or allows the helping character to make a "SNAP OUT OF IT, WE'RE YOUR FRIENDS" charisma roll for charmed allies.

Jumping is a bonus action which consumes 10 ft of movement speed. With a Strength score of 10 or below, a creature can jump 15 ft, and this increases by 5 ft for every two points in strength above 10. At 20 Str a creature may spend 10 ft of movement speed and a bonus action to jump, and can travel 35 ft effectively increasing the creature's movement speed by up to 25 feet.

This, combined with the prone rules (see below) is JUICY, as it allows for risk-reward battlefield mobility . That said I'd add some caveats/clarifications: The jump always succeeds in moving you, but if you're taking damage, jumping up or down more than 10ft, or into rough terrain you need to make an acrobatics check not to beef it and fall prone (ending your turn). Your jump is likewise a buffer for how far you can willingly fall before taking damage, but if you fall after your jump, you always land prone.

Weapon actions, 'nough said.

It's more complexity than I'd give to first time players but HOT DAMN if it isn't a great idea to give the martial characters some options instead of just making the same attacks over and over again. I've actually been sockpiling 3rd party versions of this for a while now and I can't wait to add them in.

All The conditions are great:

Blinded: In addition to the other effects, ranged attacks are limited to 15 ft range. Blinded creatures can also make opportunity attacks.

Frightened: Creatures which are frightened are unable to move at all (rather than being unable to move toward the source of their fear), unless the effect instead makes them "fearful" which gives them the frightened effect as well as making them flee.

Prone: Being prone gives disadvantage on Strength and Dexteritysaving throws, attacks against a prone creature have advantage out to a range of 10 ft rather than 5 ft, and ranged attacks against a prone creature do not have disadvantage. Your character cannot do anything while prone. Starting the turn while prone will cause you to automatically use half your movement to stand up. Becoming prone during your turn automatically ends your turn.

Wet: This is a new condition that prevents the character from burning (e.g. from Searing Smite) and grants resistance to fire damage, but also makes the creature vulnerable to lightning and cold damage

[crudely-drawn-ben]

Introducing Trilogy

Yesterday I released Trilogy, a new tabletop RPG crafted to support you in having grand adventures in worlds of your own making.

There are several reasons I started writing Trilogy, but the biggest one is that I ran a Dungeon World podcast called Crudely Drawn Swords for seven years and that was a lot of time to think about what we were playing. To a degree Trilogy is the game I wish that we could have had to run the podcast.

Starting from the question "what would a purely PbtA game for epic fantasy look like?" I started thinking more widely - what do I want from a fantasy game? And the truth is that I want a game that supports the structure of characters and their interactions but doesn't tie itself to a specific setting.

Trilogy begins with The Appendices - conventionally in epic fantasy these are at the end and document information about the wider world that might not have made it into the story, but here it is where you sit down as a group and decide what tone you want your game to have, and your world looks like. What kind of place is it? What magic is there? What is religion like? What are the major cultures where the story begins? How would it feel to be in this world? Trilogy doesn't tell you any of these things, it gives you the tools to think through how you want your world to look.

This creates a secondary challenge - without knowing what the world looks like, how could I design character classes for this type of game? Trilogy answers this by going back to the fundamentals - instead of a conventional character class, the playbooks in Trilogy represent a narrative arc. Some of them, like The Fighter, The Priest, or The Magus, look like familiar classes. Others, such as The Volunteer, The Mentor, The Weapon, or The Defeated, are a little different. Character arcs have a set of turning points, story beats that allow you to advance along your arc after you have collected a certain amount of experience. Some are positive and others negative, you choose which ones you want to hit and when, but every character's story has its highs and lows and to get the most from the game you need to lean into both. A character can pass through three arcs as they grow and change, like the three volumes of a trilogy.

The aim of the game is to create a slower but satisfying sense of progression - instead of hit points characters take Stress and Harm like in other Powered by the Apocalypse games that can have both mechanical and narrative effects. That makes combat feel dangerous, but the game also offers more ways to solve problems without getting into combat - I have played games where the player characters never got into a fight, instead resolving confrontations through an ingenious selection of alternative strategies including "lying" and "vomiting magic ink all over the floor." I'm genuinely enthusiastic about this game - I think I would be as excited about it if somebody else had written it. It leans hard into the joy of discovery and the excitement of adventure - you can play it as spooky and whimsical or gritty and hard-edged and anywhere in between.

Because I was writing it I even got to make most of the examples of play roll out as the story of someone's game, something I always appreciate when I read it. It also contains every technique I use as a GM in the hope that even before people get the chance to play it (heaven forbid any TTRPG afficionado have books we haven't got around to playing yet!) people who read it will still be able to use that advice in their other games. So that's Trilogy, the game I've been working on for the last few years. I think it's pretty great and I hope you will too:

Obviously it's a full-priced game and that's a big gamble from an unfamiliar creator - if you want an idea of what it's like in practice we've got the CDS team back together and we're starting a streamed campaign so you have a chance to see it in action. You can find that over on Youtube: https://www.youtube.com/watch?v=NxpXacko9Nc

The first episode includes me notably failing to use OBS at both the beginning and end, and I can't make any promises things will improve in that regard, but it should be a good opportunity to see how the game shapes up from this start and with this crew I know it's going to be funny and take some wild swings. If you're interested in reviewing Trilogy or you really want to give it a try but you can't afford it, drop me a message

[derinthescarletpescatarian]

O Derin, author of cool works, producer of red herrings, master of games: how do you run a tabletop game while making it fun for the players without getting overwhelmed? I've considered trying to be a GM for my friends, but I had a bad time trying to follow a DND 5th e module (especially the combat), so now I'm worried about being able to keep on top of things and narrate well. And also combat with more than like three types of enemies to keep track of makes me feel like I'm taking way too long to remember what they all do.

I ask you specifically because you write good and create cool settings and characters, and run at least one game that people seemed to like. I like to think I'm decent at coming up with stuff, but not having the ability to go back in a tabletop game and edit to make it better is daunting, and tabletop roleplay is different from writing anyway, so how applicable are those skills, really?

I give Diesel a parasocial hello, and also the chickens, and hope you're having a good [time of day] 👍

Don't run DnD then. If the system is too crunchy, use a different system.

I like FATE, personally, as a flexible and fairly light system. If that's too crunchy, you could go lighter with Kids on Bikes, or even something very bare like Lasers & Feelings. If you want something in the crunch range of DnD but more focused so you don't get overwhelmed with extras and edge cases, something like Vampire: The Masquerade (or Requiem, whichever you prefer) might work. If it's the concept of combat that's overwhelming you, run something that's not focused on combat. If you're lucky and have a party that likes roleplaying, they'll roleplay with each other and do a lot of the work for you.

If this is your first time, the concept of shopping around for an rpg itself is probably overwhelming (since you won't have the context to know what's good or bad for you yet), so my recommendation would be starting with FATE or with Lasers & Feelings and running a very short game, between 1 and 5 sessions long. This game does not have to be an epic masterpiece of art. It is for you and your players to feel out how you play and what you like. Once you're done, run a longer one; same system, new system, short or long, whatever you're feeling. There's no need to be overwhelmed because there's no need to go big or complicated.

[anim-ttrpgs]

Is it possible to use Eureka in a more traditional fantasy setting, more sword and sorcery? What about a fantastical medieval city from the time period of the rise of universities in Europe?

Very much appreciate all the posts. It's made me think more carefully about table top gaming than I had before.

Well, maybe, but I wouldn’t recommend it.

There’s quite a lot in Eureka: Investigative Urban Fantasy that sets it very firmly in the tech level and societal structure of the past 200 years. It is designed to be flexible, but I don’t know that it’s flexible enough to handle that without a lot of things starting to break.

A lot of the Skills and Traits would be less applicable to medieval life and culture and so more than just the Driving Skill would need to be swapped out.

Eureka’s combat rules, which are pretty intricate, are focused primarily on firearms that use modern cartridges rather than ramrod muzzle-loading type firearms when it comes to ranged fighting, and on much smaller melee weapons and unarmed fighting when it comes to close range fighting.

We don’t even have bow&arrow rules.

Many of the intricate firearm combat rules would not be applicable to black powder weapons, and if I were to do a version of Eureka set in a medieval setting, I would want to flesh out the melee combat a whole lot more, both because it would be used more often, and because the current melee combat rules are designed specifically to emulate how people fight today.

The average person today, even if they know how to fight, only knows any advanced techniques when it comes to unarmed fighting, and then maybe a few of the basics of using weapons. Back when swords and daggers and stuff were much more commonly used weapons, much more advanced techniques were known by people who fought with them, and I would want to reflect that in the rules.

Plus, there’s the matter of culture. Eureka is an extremely modern game, exploring very modern themes and having rules that guide the characters into acting like real modern people. Any version of Eureka which takes place in a society in or based on the more distant past would have to reflect that in the rules, and, well, that would be a whole lot of research.

If you were to just try to graft some of Eureka’s mystery-solving mechanics onto an existing sword&sorcery TTRPG, that might work better, but you’d still run into problems. The Investigation Point mechanic works the way it does because all the Skills for investigating are on a Eureka PC’s character sheet. These Skills are not part of most sword&sorcery RPGs, so you’d have to homebrew those in too, or the means of getting Investigation Points would be very limited and not flow correctly.

Also, you’re welcome! That’s one of our ultimate goals here, to get people to think of game design as being real enough to actually affect gameplay experience, and a real skill that can be developed and applied with intent.