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felassan · 13 days ago

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From Owlcat Games - The Expanse: Osiris Reborn Announcement Trailer

"The Expanse: Osiris Reborn is a story-driven sci-fi Action RPG. You play as a Pinkwater Security mercenary whose brief shore leave on the asteroid Eros spirals out of control. Trapped in a deadly lockdown and drawn into a solar system-wide conspiracy far beyond your control, you’ll have to adapt, survive, taking command of the most advanced ship in the whole of the solar system. Gather a crew and find your own path through the web of lies to leave your mark on the solar system. Become a Founder to support the development and get exclusive rewards: https://osirisreborn.owlcat.games/ [source]"

✨ A new upcoming science-fiction action RPG set in the The Expanse universe! ✨

singleplayer | third-person | story-driven | Mass Effect-inspired

Customizable PC, ‘the captain’ (who can be a woman or a man)

Play them as an Earther, Martian, or Belter

On CC: “robust and expansive character creation with a lot of options to choose from. Nice hairstyles, nice features, everything you would expect from modern character creation”

Make choices with consequences that shape the story and which influence your relationships with the companions

The captain has an identical twin sibling of the same gender who is “your first companion and most loyal companion from the start”

The captain commands the advanced starship frigate Gemini

They lead a crew of companions

There are romances

Game is fully voiced

The Story takes place “between Season 1 and Season 3 of the Expanse show” / “set during the first two-and-a-half seasons of the show, or the first two books. The events of the game occur alongside the major events that transpire across the universe in The Expanse TV show / books during that time”

Some familiar faces/voices from The Expanse will show up, “with some of the [show] actors reprising their roles”

Two companions will join you in the field during gameplay

Cover-focused, over-the-shoulder perspective real-time gameplay with guns, classes, squad coordination, and abilities

Pre-production began in 2022

will be on PC via Steam, Epic Games Store, and GOG, PlayStation 5, and Xbox Series X and S

Release date: “Coming Soon”

"Game Design Producer Yuliya Chernenko admitted the original Mass Effect trilogy “was absolutely an inspiration to the team.” “It was iconic for the Xbox 360 generation of gamers,” Chernenko continued. “Many of us first played it in our teenage years, and it left a lasting impression. We are building on that legacy and expanding what players anticipate from this experience. Our story is deeply rooted in hard science fiction, one of the core reasons The Expanse universe resonates so well with its fans. The combat reflects the standards of modern action gameplay. The narrative emphasizes political tension and moral complexity. And yes — there’s romance too.”"

[source, two, official website]

More info from the game's Steam page and website under the cut due to length:

“You’re no hero — just a merc caught in the wrong place at the wrong time, trying to hold your crew together and keep the ship up and running. Your choices will shape your story.”

"The universe never tells us if we did right or wrong. By the 24th century, humanity has conquered the cosmos. However, life has remained anything but easy. In The Expanse: Osiris Reborn, a story-driven sci-fi Action RPG, you play as a Pinkwater Security mercenary whose brief shore leave on the asteroid Eros spirals out of control. Trapped in a deadly lockdown and drawn into a solar system-wide conspiracy far beyond your control, you’ll have to adapt, survive, taking command of the most advanced ship in the whole of the solar system. Create and customize your own captain — Earther, Martian, or Belter — and lead a crew of highly-skilled specialists as you face off against escalating threats, political pressure, and a relentless enemy that will stop at nothing to see you dead. In a solar system held together by fragile alliances, every decision leaves its mark. Trust isn’t given – it’s earned. Your companions are more than just mission assets — they are people with their own scars and loyalties. Some chase redemption. Others hide their truths. Over time, your relationships will flourish or deteriorate depending on the choices you make and how you choose to lead. The ship becomes your home — a place where trust is earned, not given. Dynamic third-person combat. Fight in third-person utilizing cover-focused gunplay and abilities. Two companions will accompany you into the field while others will support from a distance: disabling systems or drawing the enemies’ attention. You will issue real-time commands and have to adapt quickly to survive the manifold threats the system will throw at you. The fractured world of The Expanse. Visit iconic locations like Ganymede, Ceres, Mars, and Luna. Walk through ruined habitats and political strongholds mired in unease and tension. Talk to the locals. Uncover secrets. Use your skills to influence what happens next. The system looks different from every planet and from every asteroid. Some are falling apart. Others just hide it better. You may even come across a familiar face or voice that reminds you of just how small the system really is."

[source: Steam]

"INTRODUCTION The Expanse: Osiris Reborn is a third-person sci-fi action RPG set in the universe of The Expanse, where the tenuous balance of power between Earth, Mars, and the Belt is on the brink of collapse, and trust is a scarce commodity. Now it is time to gather a crew and find your own path through the web of lies to leave your mark on the solar system. By the 24th century, humanity has conquered the cosmos, but that hasn't made life any easier. What begins as a brief sojourn on the asteroid Eros reluctantly entangles you in a solar system-wide conspiracy. You will need to adapt to survive and keep your motley crew united in their mission as everything around you begins to fall apart. This is your story. The Expanse: Osiris Reborn offers a truly personal journey that evolves based on the choices you make and the pressures they place on everything you stand for. CHARACTERS Your crew is more than just backup — they’re the heart of your story. Each companion brings with them their own personal history and motives for joining the mission, though not all are easy to uncover. They’re more than just specialists. Some are haunted by past mistakes. Others hold on dearly to loyalty, survival, or even something they’ve never been capable of fully putting into words. The ship becomes your shared home — it’s not just a command center but a place where the crew can bond and where trust is earned. A single shared silence might become the foundation for a much deeper connection. A single decision could overturn it all. The way you lead your crew and the choices you make under pressure will shape every relationship in ways you don’t always see coming. COMBAT Combat in The Expanse: Osiris Reborn is tactical and built around smart decision-making under pressure, where every move has the potential to shift the balance of a fight. Control your captain in third-person, and gain the upper hand by making use of a variety of weapons, tactics (cover, command, etc.), and specialized abilities. The game features multiple roles, each offering a distinct approach that reflects your personal playstyle. Two companions will fight alongside you, supporting whatever strategy you choose with complementary skills. Others will assist from a distance, hacking into systems or drawing enemies’ attention right when you need it most. You will issue commands in real time and coordinate with your squad to stay one step ahead as the battlefield evolves. Survival depends on how quickly you can adapt and who you trust to stand with you when your back is to the wall. EXPLORATION The Expanse: Osiris Reborn opens into a narrative-driven world where shifting power dynamics and personal choices will define your experience. You’ll visit the marvel that is the gardens of Ganymede, the teeming slums of Ceres, whole bunker complexes veiled in vastness of the Asteroid Belt, and the imperious political bastions of Mars and Luna. As you travel throughout the solar system, you will be ensnared in a cyclone of power struggles and unresolved conflict. The system looks different from every planet and from every asteroid. Some are falling apart. Others just hide it better. Talk to the locals and use your skills to influence the outcomes, sometimes by digging into secrets some may wish remained buried. You may even cross paths with those who have already made their indelible mark on this universe. What you learn and how you act upon it can open new paths and slowly and subtly change your place in the world around you."

[source]

#video games #mass effect #bioware #long post #longpost #u better believe that when i saw this i just about lost my mind. yeeted through the asteroid belt. pingponging around meteors like a clown #and that i already wishlisted/followed/etc #i LOOVE the expanse sfm #(Avasarala my now and forever space queen 🛐🛐🛐)#an RPG with customizable PC set in the Expanse universe? a Mass Effect-style/inspired RPG? IN The Expanse? AM I DREAMING? HELO?????#i literally cant believe it (yodels)#(& between this and exodus im like !!!)#to me this looks so good and faithful and im so excited #anyways aaaaaaaAAAAAAAAA #OYEEEEEE #(watch the expanse btw. great show)#<astral projects through the solar system> pls hold my hands guys #osiris reborn

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sprintingowl · 9 months ago

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Deadball

Deadball Second Edition is a platinum bestseller on DrivethruRPG. This means it's in the top 2% of all products on the site. Its back cover has an endorsement from Sports Illustrated Kids.

It's also not an rpg I'd heard about until I discovered all of these facts one after another.

I was raised in a profoundly anti-sports household. My father would say stuff like "sports is for people who can't think" and "there's no point in exercising, everything in your body goes away eventually." So I didn't learn really any of the rules of the more popular American sports until I was in my mid twenties, and I've been to two ballgames in my life. I appreciate the enthusiasm that people have for sports, but it's in the same way that I appreciate anyone talking about their specific fandom.

One of the things that struck me reading Deadball was its sense of reverence for the sport. Its language isn't flowery. It's plain and technical and smart. But its love for baseball radiates off of the pages. Not like a blind adoration. But like when a dog sits with you on the porch.

For folks familiar with indie rpgs, there's a tone throughout the book that feels OSR. Deadball doesn't claim to be a precise simulation or a baseball wargame or anything like that---instead it lays out a bunch of rules and then encourages you to treat them like a recipe, adjusting to your taste. And it does this *while* being a detailed simulation that skirts the line of wargaming, which is an extremely OSR thing to do.

For folks not familiar with baseball, Deadball starts off assuming you know nothing and it explains the core rules of the sport before trying to pin dice and mechanics onto anything. It also explains baseball notation (which I was not able to decipher) and it uses this notation to track a play-by-play report of each game. Following this is an example of play and---in a move I think more rpgs should steal from---it has you play out a few rounds of this example of play. Again, this is all before it's really had a section explaining its rules.

In terms of characters and stats, Deadball is a detailed game. You can play modern or early 1900s baseball, and players can be of any gender on the same team, so there's a sort of alt history flavor to the whole experience, but there's also an intricate dice roll for every at bat and a full list of complex baseball feats that any character can have alongside their normal baseball stats. Plus there's a full table for oddities (things not normally covered by the rules of baseball, such as a raccoon straying onto the field and attacking a pitcher,) and a whole fatigue system for pitchers that contributes a strong sense of momentum to the game.

Deadball is also as much about franchises as it is about individual games, and you can also scout players, trade players, track injuries, track aging, appoint managers of different temperaments, rest pitchers in between games, etc.

For fans of specific athletes, Deadball includes rules for creating players, for playing in different eras, for adapting historical greats into one massively achronological superteam, and for playing through two different campaigns---one in a 2020s that wasn't and one in the 1910s.

There's also thankfully a simplified single roll you can use to abstract an entire game, allowing you to speed through seasons and potentially take a franchise far into the future. Finances and concession sales and things like that aren't tracked, but Deadball has already had a few expansions and a second edition, so this might be its next frontier.

Overall, my takeaway from Deadball is that it's a heck of a game. It's a remarkably detailed single or multiplayer simulation that I think might work really well for play-by-post (you could get a few friends to form a league and have a whole discord about it,) and it could certainly be used to generate some Blaseball if you start tweaking the rules as you play and never stop.

It's also an interesting read from a purely rpg design perspective. Deadball recognizes that its rules have the potential to be a little overbearing and so it puts in lots of little checks against that. It also keeps its more complex systems from sprawling out of control by trying to pack as much information as possible into a single dice roll.

For someone like me who has zero background in baseball, I don't think I'd properly play Deadball unless I had a bunch of friends who were into it and I could ride along with that enthusiasm. However as a designer I like the book a lot, and I'm putting it on my shelf of rpgs that have been formative for me, alongside Into The Odd, Monsterhearts, Mausritter, and Transit.

#ttrpg #ttrpg homebrew #ttrpgs #ttrpg design #indie ttrpgs #rpg #tabletop #indie ttrpg #dnd #rpgs #baseball #fantasy baseball #deadball

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thydungeongal · 3 months ago

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I'm really interested in the mechanics of tabletops, which makes me want to know about the mechanics of disco elysium, but instead of a detailed mechanical analysis I can only (understandably!) find narrative commentary. As a Very Smart Cookie, I would love to hear what you have to say on topics such as... How does disco elysium work? What makes it different than other games? Is it *just* the quality of the writing? How do the mechanics synergize with the quality of the writing?

So okay, it's not just the quality of the writing, although to be fair; the writing is like really good.

But as for the mechanics: Disco Elysium is ultimately a video game. It is clearly inspired heavily by tabletop RPGs, even more so than most CRPGs are (like, Disco Elysium is pretty much a masterclass in terms of how well it manages to make a CRPG feel very close to a tabletop RPG in terms of player expression and the marriage of fiction and mechanics). Disco Elysium's actual game mechanics are not all that remarkable, but the game uses them in such a way that pretty much necessitates it being a video game.

At its core, Disco Elysium's resolution mechanic is based on a roll of two six-sided dice plus a skill rating, trying to roll greater than or equal to a target number determined by the difficulty of the action, and it uses a very traditional type of Pass/Fail method of determining results based on those rolls. It is, at the end of the day, unremarkable as a resolution mechanic. There is something to be said for the distribution of results on the 2d6 and how even a single plus can actually skew the probabilities in the player's favor and how this combined with the fact that the game makes various individual +1 bonuses from drugs and clothes and whatever easily available to the player is a great example of ludonarrative harmony. But ultimately the system isn't one that would exactly make tabletop enthusiasts hoot and holler.

But the game still uses that very simple mechanic effectively, not only because of the aforementioned stacking of bonuses (which is really easy to do in a video game but in a tabletop context often results in tedium) but also because the game is actually doing lots of hidden and rapid fire checks under the hood ALL THE TIME. When in a tabletop RPG you probably shouldn't want to stop the flow of a scene where everyone at the table is jamming and narrating together for the sake of rolling a knowledge check, Disco Elysium is doing that for you all of the time. That is something where the game is making the most out of the fact that it can offload that stuff to the program, to be handled in the background at a rapid fire pace.

There is definitely stuff that can be taken away from Disco Elysium for the sake of tabletop RPGs, but its prose is hard to imitate without sounding pretentious or insincere, and its mechanics would be hard to replicate in a tabletop format because they ultimately rely on a lot of book-keeping that may be tedious to do manually as well as doing LOTS of rolls in the background that could potentially introduce unnecessary friction into gameplay if replicated at the table.

#thydungeongal answers

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quarterlifekitty · 1 month ago

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Favorite horror games

Soap: Likes obscure shit, especially if it’s bizarre and bordering on erotic. Prime suspect? Illbleed. He also loves anything that has experimental mechanics. Loves The Thing (2002) for having the infection/testing/trust system. Favorite Resident Evil is Resident Evil 0 for the partners system (and also because he’s in love with Rebecca chambers). This is a man who should be feared because he finished lifeline with a thick Scottish accent.

Gaz: Make this man cry!! He loves story!! And you know this man is a firm believer in PlayStation 2 supremacy. Silent Hill 2 and Rule of Rose are his favorites. His favorite Resident evil is 7, due to the return to form for the series and the Baker family as a tragic emotional core to the story/environment.

Ghost: RPG maker fiend. Especially the disturbing ones. LiSA, Schuld, Desert Nightmare. Also enjoys the classics — Yume Nikki, Ib, the witch’s house. And he’s a fan of gorey point and clicks like Cat Lady, Harvester (he and Soap both enjoy this one), and I have no Mouth and I Must Scream. His favorite Resident Evil is 4, because he knows it front to back and can turn his brain off while playing.

Price: Not nearly as much of a gamer, but he does have a certain fondness for the original Clock Tower. Tense, compelling— despite being a seasoned soldier, it’s a game that can get his heart pumping. And of course, he feels so terrible for poor Jennifer. His favorite resident evil is Dead Aim because while he wouldn’t know where to begin with controlling a camera angle, he understands target practice just fine.

#almost writing #cod headcanons #cod hc #john soap mactavish #Simon ghost Riley #kyle gaz garrick #John price

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anim-ttrpgs · 9 months ago

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Disabilities and Monsters in Eureka: Investigative Urban Fantasy

Through a discussion with @vixensdungeon (great blog to follow for TTRPG stuff by the way) it came to our attention that some of our more jokey and memey posts and reblogs may have given some people a slightly skewed idea of what Eureka, and particularly the “urban fantasy” parts of Eureka are really about, and its tone. We like to joke around about it, and the “cute monster girl” angle really sells on tumblr.com, but actually playing these types of characters in Eureka is not exactly a power fantasy. They eat people, and often eat them alive. If you find that cute, funny, and/or sexy, well, Eureka is still probably just the game you’re looking for, but that isn’t the main thing. Eureka uses the fact that many of these characters necessarily subsist off the flesh and/or blood of other people as a loose metaphor for mental and physical disability.

Imagine you need something that everyone else has but you don’t. If you don’t have it regularly, you will literally start to waste away. The only way to obtain this thing is to take it from another human being, who also needs it, and others will deny that you need it, and abhor that you need it. It’s not uncommon for people, even “progressive” people, to say something along the lines of “they need to all be killed for the good of society,” even if they don’t realize that’s what they’re saying. You didn’t choose to be this way. This is the reality of monsters in Eureka, and many people in real life.

And then even when you have that thing you need, for now, there are many facets of society that you just can’t participate in because your condition makes them impossible for you, like if a vampire wanted to take a run on a sunny beach. Monsters in Eureka will be challenged by their supernatural weaknesses at every turn, while hiding their abhorrent needs from society and even the rest of the party, and asking why they have to be this way. Finding clever ways to get around and circumvent their weaknesses is a core part of the gameplay of monster PCs in Eureka. Imagine you and your friends want or need to go somewhere, but that somewhere is on the other side of a river. The river has a well maintained bridge. For everyone else but you, a vampire who can’t cross running water, getting across the river is the simplest task in the world, so much so that no one would even consider it a task, but for you, it’s a challenge, and for gameplay, it’s a puzzle.

It isn’t totally hopeless, as many of the jokes and fan comics show (those aren’t just memes, they’re only showing one side of the coin and not the other). Monsters who accept, or even embrace and celebrate their monsterhood, can and do exist canonically, alongside monsters who can’t bear to do what they do. In some cases, these may be the same monster on different days.

I’m going to conclude this post by posting two excerpts from the rules text itself.

Disabilities are Disabling

So why don’t disabilities grant any advantage? It isn’t too uncommon for RPGs to have some sort of “flaw” system, where during character creation you can give your character “flaws” or some kind of penalty, and usually get that balanced out by being able to add extra bonuses elsewhere. Sometimes, these “flaws” may take the form of disabilities.

One particular high-profile indie TTRPG takes this beyond just character creation, and makes it so that if a PC receives a “scar” in combat that reduces their physical stats, their mental stats automatically go up by an equivalent amount, and proudly imply that to make any mechanic which results in permanent consequences or makes disabilities disabling is ableist. We think you can probably tell what we think of that from this sentence alone, and we don’t need to elaborate too much.

We do think, in the abstract, “flaw” systems in character creation are not a bad idea. They allow for more varied options during character creation, while preserving game balance between the PCs.

But in real life, people aren’t balanced. The events that left me injured and disabled didn’t make me smarter or better in any way - if anything, they probably made me dumber, considering the severity of the concussion! Some things happened to me, and now I’m worse. There’s no upside, I just have to keep going, trying harder with a less efficient body, and relying more on others in situations where I am no longer capable of perfect self-sufficiency.

A disabled person is, by definition, less able to perform important daily tasks than the average person. To deny this is to deny that they need help, and to deny that they need help is to enable a refusal to help. This is the perspective from which Eureka’s Grievous Wounds mechanic was written.

When a character is reduced to 1 HP (which by design can result from a single hit from many weapons) they may become incapacitated or they may take a Grievous Wound, which is a permanent injury with no stat benefits. Grievous Wounds don’t have to result from combat, they can also be given to a character during character creation, but not as a trade-off for an extra bonus.

“But then doesn’t my character just have worse stats than the rest of the party?” Yes, haven’t you been reading this? There is no benefit, except for the opportunity to play a disabled character in an TTRPG. This character will probably have to be more reliant on the rest of the party to get by in various situations. Is that a bad thing?

Monsters Essay

All investigators in Eureka: Investigative Urban Fantasy are regular people. They can also be a monster, like a blood-sucking vampire or a broom-riding witch. Importantly, this works because despite their unique nature, monsters are still regular people. You can read more about this in Chapter 8, but the setting of Eureka does not have a conspiracy or “masquerade” hiding supernatural people from normal society. Though they are still largely unknown to modern science, they exist within normal society - and a lot of them eat people.

The default assumption in RPGs has been that monsters are just evil by nature, doing evil for evil’s sake. RPGs that seek to subvert this expectation often instead make monsters misunderstood and wrongfully persecuted, but harmless. Eureka takes a wholly different approach.

There are five playable types of monsters in the rulebook right now, and it’ll be seven if we hit all the stretch goals, but for simplicity’s sake this discussion of themes will just focus on the vampire. Despite them applying in different ways, the same overall themes apply to nearly every monster, so if you get the themes for the vampire, you’ll get the gist of what Eureka is doing with its playable monsters in general.

Mundane investigators have to keep themselves going by eating food and sleeping (see p.XX “Composure” for more information). Well, vampires can’t operate the same way. They don’t sleep, and normal food might be tasty for them as long as it isn’t too heavily seasoned, but it doesn’t do anything for them nutritionally. Their main way to keep themselves functioning is fresh living human blood, straight from the source. To do what mundane PCs do normally by just eating and sleeping, vampires have to take from another, whether either of them are happy with this arrangement or not. They do not, of course, literally have to, and a player is not forced to make their vampire PC drink blood, just like you reading this in real life don’t literally have to eat food. You do eat food if you want to live in any degree of comfort or happiness, and vampires do drink blood or they eventually become unable to effectively do anything.

This is numerically, mechanically incentivized and not simply a rule that says something like “this character is a vampire and therefore they must drink blood once every session,” to demonstrate that the circumstances a person faces drive their behavior. In America, there is a tendency to think of criminality and harm done to others as resulting from intrinsic evil, but people do not just wake up one day and decide “I think I’ll go down the criminal life path.” Their circumstances have barred them from the opportunities that would have given them other options.

People need food; food costs money; money requires work; work requires getting hired; but getting hired requires a nearby job opening, an education, an impressive resume, nice clothes, charisma, consistent transportation, and so on. For people without other options, crime becomes the only method left to meet their basic needs. Would you rather take what you need from other people, or go without what you need? There are people who don’t have the luxury of a third option. Failure to meet the needs of even a small number of people in a society has high potential to harm the entire society, not just those individuals whose needs are unmet.

As their basic need for blood becomes more and more difficult to ignore, a vampire is going to encounter much the same dilemma. There is really no “legal” or “harmless” way for them to get their needs met, even if they do have resources. Society just isn’t set up for that. And no, your kink is not the solution to this, trying to suggest every vampire just find willing participants who are turned on by vampires or being bitten is suggesting sex work. It’s one step removed from telling a girl she should just get an OnlyFans the minute she turns 18, or that women should just marry a rich man and be a housewife that gets their needs taken care of in exchange for sex and housekeeping. Being forced into such a dynamic isn’t ethical or harmless for the vampire or for their “clients.”

“Oh well, then the vampire should just eat bad people!” You mean those same bad people we just described above? Who gets to decide which people are “bad people?” Who gets to decide that the punishment is assault or death?

Playable monsters in Eureka are dangerous, harmful people. They were set up to be.

Society not being set up in a way that allows monsters to make ethical choices brings us to the next theme: monstrousness as disability, and monsters as “takers.”

Vampires have to take from others a valuable resource that everyone needs to live, and the extraction of which is excruciatingly painful and debilitating. No one knows what happens to blood after a vampire drinks it, it’s just gone. Vampires are open wounds through which blood pours out of the universe.

This is a special need, something they have to take but cannot give back. Their special needs make them literally a drain on society and the people around them. In the modern world, there is a tendency to feel that people must justify their right to life, that they must pay for the privilege of existing in society. This leads people to consider “takers” (people who take much more than they give back, such as disabled people) as something that needs to be pruned away for the betterment of everyone else. Even many so-called “progressives,” while they claim not to agree with pruning “useless eaters,” still hold the unexamined belief that people must justify their existence. To reconcile these two incompatible ideas, they instead simply deny that disabled people take more resources than most people, and are capable of giving back less. This sentiment is perfectly illustrated by the aforementioned game’s insistence that disabilities are never a net reduction of a character’s stats.

Vampires and other playable monsters are inarguably “takers,” but in positioning them as protagonists right alongside mundane protagonists, Eureka puts you in their shoes, and forces you to acknowledge their inner lives and reckon with their circumstances. You have to acknowledge two things: first, that they are dangerous, that they are harmful, that they take more than they give - and second, that they are people. Because they are people, Eureka asserts that they have inherent value, a right to exist, and a right to do what they need to do to exist. (We also acknowledge that their potential victims have a right to do what they need to do to exist and defend themselves, but that is a separate discussion.)

One final point to touch on is mental illness. Mental illness is a disability, one pretty comparable to physical disability in a lot of ways, so all of the above points can apply to this metaphor as well, but there are a few unique comparisons to make here.

It’s not the most efficient, but there are a couple of loopholes deliberately left in the rules that allow vampires to sometimes sporadically restore Composure (and thus their ability to function) without drinking blood. Eureka! moments and Comfort checks from fellow investigators can restore Composure.

When writing the rules, we came to a dilemma where we weren’t sure if it was thematically appropriate for monsters to be able to regain Composure in these ways (since it could lessen their reliance on causing harm), but ultimately we decided that yes, they can.

People with mental illnesses may have the potential to be harmful and dangerous, but all the information we have access to has shown that mentally ill people with robust support structures and control over their own lives are much less likely to enact harm, whether through physical violence, relational violence, or violence against the self. This is why we kept that rule in for playable monsters. Being able to accomplish their goals, and having friends who are there for them, makes that person less likely to cause unnecessary harm.

Vampires are especially great for demonstrating this because they’re immortal and they always come back when “killed.” They can’t be exterminated, they aren’t going away, there will always be problem people in society, no matter how utopian or “progressive.” Vampires are a never-ending curse, who will always be a problem whether they like it or not. The question is how you will grapple with their inevitable presence in society and how you will treat them, not how you will get rid of them.

Eureka is as much a study of the characters themselves as it is the mystery being solved by the characters. It is a game about harsh realities, but it is ultimately compassionate. It argues through its own gameplay that yes, people do have circumstances which drive their behavior, people do have special needs that are beyond their ability to reciprocate, many of those people do cause harm or inconvenience to others, and all of them are still valuable.

Elegantly designed and thoroughly playtested, Eureka represents the culmination of three years of near-daily work from our team, as well as a lot of our own money. If you’re just now reading this and learning about Eureka for the first time, you missed the crowdfunding window unfortunately, but you can still check out the public beta on itch.io to learn more about what Eureka: Investigative Urban Fantasy actually is, as that is where we have all the fancy art assets, the animated trailer, links to video reviews by podcasts and youtubers, etc.!

You can also follow updates on our Kickstarter page where we post regular updates on the status of our progress finishing the game and getting it ready for final release.

Beta Copies through the Patreon

If you want more, you can download regularly updated playable beta versions of Eureka: Investigative Urban Fantasy earlier, plus extra content such as adventure modules by subscribing to our Patreon at the $5 tier or higher. Subscribing to our patreon also grants you access to our patreon discord server where you can talk to us directly and offer valuable feedback on our progress and projects.

The A.N.I.M. TTRPG Book Club

If you would like to meet the A.N.I.M. team and even have a chance to play Eureka with us, you can join the A.N.I.M. TTRPG Book Club discord server. It’s also just a great place to talk and discuss TTRPGs, so there is no schedule obligation, but the main purpose of it is to nominate, vote on, then read, discuss, and play different indie TTRPGs. We put playgroups together based on scheduling compatibility, so it’s all extremely flexible. This is a free discord server, separate from our patreon exclusive one. https://discord.gg/7jdP8FBPes

Other Stuff

We also have a ko-fi and merchandise if you just wanna give us more money for any reason.

We hope to see you there, and that you will help our dreams come true and launch our careers as indie TTRPG developers with a bang by getting us to our base goal and blowing those stretch goals out of the water, and fight back against WotC's monopoly on the entire hobby. Wish us luck.

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ohnoitstbskyen · 4 months ago

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Okay, here’s an interesting one.

Before seeing your content, I’d basically only ever heard the term “power fantasy” used as a derogatory term to describe over-the-top protagonists who are strong and cool, but also boringly devoid of personality so the audience can project onto them. But then some of your League videos talked about skins letting characters like Gragas “inhabit more interesting power fantasies.”

So… when are power fantasies a good thing? The best I’ve got is that it only works in interactive media like video games so that the audience can more directly engage with the fantasy (essentially: Dante from DMC works, Kirito from SAO does not)

I mean, power fantasies are just endemic to storytelling as a whole. There isn't really a hard "this is when they're good, this is when they're bad," they are core to several genres of media and can't be extracted from them. Most video games are power fantasies, just by nature of their mechanics.

Power fantasy isn't a genre (usually), it is just a tool, same as any other trope or convention. It is a means to engage the audience with a story.

An RPG where you level up and become stronger to defeat more difficult enemies? That's a power fantasy. Undertale where you get the best ending by finding some way to spare absolutely every monster and end every fight mercifully? Power fantasy. The Tomb Raider reboot games that take an almost sadistic glee in putting Lara Croft through absolute hell both physically and emotionally? Those are power fantasies about overcoming and surviving those impossible challenges.

They're not just power fantasies, they have lots of other stuff going on, but power fantasy is an inherent part of them. Romance stories also often include power fantasies, specifically about the power of love. "He's broody, dark and broken, but my love can fix him" is a power fantasy, for example, as is "an unjust society keeps us apart, but we will defy everything to be together!"

Even being The Final Girl who beats the horror monster and walks away at the end of the movie can be a power fantasy, if a rather grim one.

If there is a general case where power fantasies become "bad," I think it is when the power fantasy is all there is, and it subsumes all other parts of the story. Shonen manga often runs into this as they get longer, and the power system and escalating battles against ever more powerful foes become the overriding driving force of the story, to the exclusion of everything else. Shaman King comes to mind for me as a particularly egregious example, or Bleach.

Isekai is also riven with this. You can't walk two steps these days without tripping on a "TRANSPORTED TO ANOTHER WORLD WITH MY SUPER OP CHEAT SKILL" premise, where the entire purpose of the story is simply to act out unchallenged wish fulfilment with no friction or tension or character development. Those stories get boring very very fast... unless of course the power fantasy being played out is your specific power fantasy. Yes, OP protagonists winning everything with no challenge is boring, but this OP protagonist is building a sapphic cottagecore witch polycule with an ever-expanding harem of emotionally damaged lesbians, so... y'know. Maybe I'll give it a pass.

It's generally less interesting and useful to observe THAT something is a power fantasy, than it is to observe WHAT KIND of power is being fantasized about. Zombie apocalypse stories are often power fantasies, for example, but there's a pretty noticeable difference between stories where the power fantasy is banding together and building a life with a found family in horrible circumstances, stealing joy from the end of the world in spite of everything... and stories where the zombie apocalypse is an excuse to enact paranoid right-wing prepper fantasies where the hero protects their property (home, land and women) against the verminous hordes of the monstrous Other, and is reified and uplifted by the employment of brutal violence.

#tb answers #voydcat

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vintagerpg · 2 months ago

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This is Shadowdark (2023), one of the most talked about RPGs in recent memory, certainly in the OSR neighborhood. It’s essentially the product of one person’s relentless labor — Kelsey Dionne, AKA Arcane Library — and a small pool of black ink swirlin’ artists — Lukas Korte, Brandish Gilhlm, Jesse Egan, Yuri Perkowski Domingos, Matt Morrow, Matt Ray, Mark Lyons and Abdul Latif.

But what is it? Boiled down to its essence, Shadowdark is a stripped-down version of 5E D&D, modified to provide something of the so-called Old-School experience. So, there are just four classes, combat is deadlier, exploration is limited by the necessity of torches (which introduces a lot of by-product problems for players to manage) and so on. In fact, exploration (and the finding of treasure) is really the core gameplay. In essence, Shadowdark does for 5E what Castles & Crusades did for 3E, though the end result here is more similar to something like Black Hack. There are modern comforts, like advantage and a luck mechanic. There’s new stuff, too. I have seen a lot of folks discussing the pros and cons of Shadowdark’s always-on initiative.

I don’t usually worry about time tracking or torches in my game, but Dionne makes a good case for doing so (in Shadowdark, torches last one hour of real time). It gives players something to always worry about and is more narratively interesting than encumbrance rules which I think have long been the other main way of messing with party traversal in a dungeon. I especially enjoy the GM section that encourages targeting the light and/or the holder of the torch.

It’s quite an accomplishment to deliver a system that plays well for both camps. Whether OSR or 5E player, the majority of the rules are recognizable, while the ones that aren’t should provide players pleasant surprises. That’s a rare thing!

#roleplaying game #tabletop rpg #dungeons & dragons #rpg #d&d #ttrpg #Arcane Library #Dungeons & Dragons #Shadowdark

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valtharr · 1 year ago

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In the last few days, I've now had two run-ins with people on this site regarding the idea of a TTRPG's mechanics and rules impacting the roleplay aspect of said game. And from what I can tell, these people - and people like them - have the whole concept backwards.

I think people who only ever played D&D and games like it, people who never played a Powered by the Apocalypse or Forged in the Dark system, or any other system with narratively-minded mechanics, are under one false impression:

Mechanics exist to restrict.

Seeing how these people argue, what exactly they say, how they reason why "mechanics shouldn't get in the way of roleplaying," that seems to be their core idea: Rules and mechanics are necessary evils that exist solely to "balance" the game by restricting the things both players and GMs can do. The only reasons why someone would want to use mechanics in their RPG is to keep it from devolving into

"I shot you, you're dead!" "No, I'm wearing bulletproof armor!" "I didn't shoot bullets, I shot a laser!" "Well, the armor's also laserproof!" "Nuh-uh, my lasers are so hot that they melt any armor!" "My armor's a material that can't melt!" And so on. Because we have rules, the players can't just say "we beat this challenge", and neither can the GM say "you haven't beaten this challenge." Because the rules are clear, the rules are obvious, the rules tell you what you can and can't do, and that's it.

So obviously, when the idea of mechanics directly interacting with the roleplay - generally seen as the most free and creative part of a TTRPG - seems at best counterintuitive, at worst absolutely wrong. Hearing this idea, people might be inclined to think of a player saying "I'm gonna do X", just for the evil, restrictive mechanics to come in and say "no, you can't just do X! you first have to roll a Do X check! But you also did Y earlier, so you have to roll the Did Y Penalty Die, and if that one comes up higher than your Do X die, you have to look at this table and roll for your Doing X If You Previously Did Y Penalty! But, if you roll double on that roll..."

But like... that's not how it works. Roleplay-oriented mechanics don't exist to restrict people from roleplaying, they're there to encourage people to roleplay!

Let's go with a really good example for this: The flashback mechanic from Blades in the Dark (and games based on Blades in the Dark).

In BitD, you can declare a flashback to an earlier point in time. Could be five minutes ago, could be fifty years ago, doesn't matter. You declare a flashback, you describe the scene, you take some stress (the equivalent of damage) and now you have some kind of edge in the present, justified by what happened in the flashback. For example, in the Steeplechase campaign of the Adventure Zone podcast, there was a scene where the PCs confronted a character who ended up making a scandalous confession. One of the players declared a flashback, establishing that, just before they walked in, his character had pressed the record button on a portable recording device hidden in his inner coat pocket. Boom, now they have a recording of the confession.

How many times have you done something like this in a D&D game? How many times did your DM let you do this? I think for most players, that number is pretty low. And for two reasons:

The first, admittedly, has to do with restrictions. If you could just declare that your character actually stole the key to the door you're in front of in an off-screen moment earlier, that would be pretty bonkers. Insanely powerful. But, because BitD has specific mechanics built around flashbacks, there are restrictions to it, so it's a viable option without being overpowered.

But secondly, I think the far more prevalent reason as to why players in games without bespoke flashback mechanics don't utilize flashbacks is because they simply don't even think of them as an option. And that's another thing mechanics can do: Tell players what they (or their characters) can do!

Like, it's generally accepted that the players only control what their characters do, and the GM has power over everything else. That's a base assumption, so most players would never think of establishing facts about the larger world, the NPCs, etc. But there are games that have explicit mechanics for that!

Let's take Fabula Ultima as another example: In that game, you can get "Fabula Points" through certain means. They can then spend those points to do a variety of things. What's literally the first thing on the list of things Fabula Points let you do? "Alter the Story - Alter an existing element or add a new element." I've heard people use this to decide that one of the enemies their group was just about to fight was actually their character's relative, which allowed them to resolve the situation peacefully. I again ask: In your average D&D session, how likely is it that a player would just say "that guy is my cousin"? And if they did, how likely is it that the GM accepts that? But thanks to the Fabula Point mechanic making this an explicit option, thanks to rules explicitly saying "players are allowed to do this", it opens up so many possibilities for story developments that simply would not happen if the GM was the only one allowed to do these things.

And it's only possible because the mechanics say it is. Just how your wizard casting fireball is only possible because the mechanics say it is.

#ttrpg #ttrpgs #tabletop rpg #tabletop rpgs #blades in the dark #forged in the dark #bitd #fitd #fabula ultima

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rathayibacter · 6 months ago

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Ok so how does one MAKE a tabletop game because this is something I want to try!! Are there good references out there for non-d20 systems or how to balance mechanics yourself?

oooh, hell yeah! honestly the big thing is to just do it, unlike board and video games the gap between idea and execution in ttrpgs is incredibly narrow, so if youve got an idea just start writing stuff down and see where it starts pulling you, where it feels like something's missing, find what excites you and what you feel isn't working. but that's not very specific, so let's get into it!

first off, read games! read weird games! there's tons of free ttrpgs on itch, lots of people sharing their work here and on other social media, there's 200 word rpgs here and here, and lots of system reference documents written specifically for people looking to hack games. reading other games is a great way to enrich your work whether you're building systems from scratch or working in an existing framework, because every game you read will show you a new way of approaching design problems.

on that note, draw inspiration outside of ttrpgs too! i pull a lot from video, board, and card games in my work, as well as poetry, novels, movies, etc etc etc. im autistic, and ive spent a lot of my life thinking about and dissecting unwritten social rules, so that's another big source of material for me. take your passions, whatever they may be, and put them in your work!

next up, think about the core of your game, sometimes called the minimum viable product. this is whatever the fundamental idea at the heart of your work is, and it's important to keep in mind because it keeps you from spiraling down unnecessary tangents. the core of your game can change, don't get me wrong! in fact, it likely will. what you want to do isn't prevent your work from growing and changing, but have a point of light you can always refer back to and ask "is what im doing important to this game?" you might be surprised by what you find isn't actually as important as you thought at first, and what turns out to be vital to the experience you're going for.

next up, once you start working, don't throw things away. if youre working in a word processor or google docs, it can help to have a section at the bottom of your document that you copy anything youd otherwise delete into. i do the same with my Affinity documents, ill have a few pages i dont export to store all my scraps. i know other folks who keep a dedicated scraps document that they use across projects. whatever works for you! the reason you do this is twofold: it makes it easier to cut things if you know you can always put it back later if you change your mind, and it gives you a lot of raw material that you can pull from in the future. months or years from now, you might find yourself looking to fill a gap in a new design and realize that some cool toy you set aside is exactly what you were looking for.

lastly, i wanna strongly encourage you to practice finishing things. that's often the hardest part for people, cuz we have a lot more experience starting projects than finishing them. here id like to once again direct you to 200 word rpgs, because that strict limit means you wind up with a finished first draft really quickly, and the rest of it is polishing and editing. once you've finished some bite-sized projects, you'll have a better idea of what it entails, what parts you're good at and what parts you struggle with, when to keep working and when to cut yourself off. i find it really helpful to add arbitrary limitations and deadlines on my work because that helps me push myself to finish something when otherwise i'd just keep adding and tweaking, but you'll find what works best for you!

#also gonna add a note about “balance” in a reblog #cuz ive got thoughts about how balance applies to ttrpgs

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