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Why Hasn't Anyone Improved On FASERIP?

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Ok, I do love the Marvel Superheroes RPG but, seriously: It's 2016. Marvel Superheroes RPG came out some time before the Roman Conquest. Why isn't there a better superhero RPG yet? W. T. eff?

To establish context, let's start with the game's massive flaws:

-Character Generation Is Basically A Big Shrug
The only way to make a character is just make them up and ask the GM "is this ok?" or else roll powers totally randomly. This is fun d10 times and then you start going "Ok, can my fish man have fish powers instead of Blimp Control?" The little bibs and bobs around the edges--Aliens have a 5% chance of being able to lift 75 tons, Robots have a 2% chance, Mutants never can--seem to be aiming at genre conventions only Jeff Grubb could see. In a niche where it's already very hard to get the players to keep a straight face, Marvel's character gen system does not help.

-Low-Powered Heroes Feel Alike:
Well ok Shang Chi, Master of Kung Fu, he'd have....Martial Arts A, B, C, D, and E, surely? I mean, he's not the fucking Bachelor of Kung Fu. And Captain America has...the same. There's no real way to have Cap be unbelievably hardcore and Shang Chi to be also unbelievably hardcore but in a different style.

-Magic is Half-Assed:
Just like in the comics, really. In the basic set it's just like regular powers except called 'magic', with the special magic book it's suddenly immensely complicated to the point of almost being a whole new game. Plus lots of Michael Golden pictures of Dr Strange.

-Without the Ultimate Powers Book You're Screwed. With It, You're Also Screwed:
In the basic set Energy Absorption just allows you to avoid damage from energy but not to like do anything with it. Which is how energy-absorbing powers work in exactly no comic books ever. But then so you get the Ultimate Powers Book and you can have it work like you expect but then like there are tons of wonkily-written accidental hyperpowers like Temperature Control that basically let you kill anyone instantly.

-Leveling Up Isn't Interesting:
Your stats incrementally go up with experience. Today you're Spider-Man, but tomorrow you'll be...stronger Spider-Man.

-It's from 213 AD:
Elektra's dead, Ice Man's in the closet, Iron Man is red and white with triangles holding his arms on. Also Ronald Reagan is president. This is worse than the Wildstorm universe.


Why Is It The Best Anyway?

-Character Gen Will Not Sap Your Will To Be
Character gen in Marvel may be a mess, but unlike in Champions and its descendants Mutants & Masterminds and Wild Talents, it's not trench warfare. These systems want to help you make new superpowers. which is nice because lots of gamers like to invent new superpowers--but unfortunately only a relative wee few want to sit alone and learn what amounts to a proprietary analog programming language just to make a character. Like I said before: a system that makes a new player choose between Enhanced Disarm and Disarming Finesse is not for anyone I know.

-Combat Is Unpredictable And Kinetic
Damage is standardized in FASERIP--a She-Hulk punch pretty much always does 75 health. But this simplification is made to allow space in the standard combat round for a greater complexity--namely, a degrees-of-success system which means the game tells you whether that punch just hurts, stuns the opponent, or knocks them through a wall. Same goes for every other kind of damage. This is FASERIP's main and indispensible feature: the 4-color chart ably and easily makes every category of comic-book attack from kicking to slicing to setting a mother on fire feel and work a different way--especially once you get the hang of the dodge and evasion mechanics for the weaker, quicker characters. You can have a session that's nothing but one long fight and like it--just like a comic. Compared to FASERIP, everything else is just D&D with shinier clothes on. Except Wild Talents which is just roll roll FUCK WHAT HAPPENED THIS TIME I DON'T KNOW HOLD ME I'M SCARED.  And Marvel Heroic which is just playing Artisanal Yahtzee and then claiming those dice represented something Deadpool did.

-Karma means Hippies and Metalheads can play together:
The FASERIP karma system--basically spendable xp--is neat in itself because it warps combat and risk based on how much a PC has managed to spotlight themself. The nice thing about this is you can get karma for defeating foes or role-playing or just acting heroic and responsible--so the guy who spent all morning properly working out Hawkeye's struggle to get his DVD player plugged in and the player who is worried about whether the Widow's Bite can be used to feed-back through the electrical system and short-circuit the mandroid can easily have fun during the same fight because the former's community theatre aspirations add as many karma points to their attack roll as the latter's tactical chops. Shoepixie loves this game. Proving Ron Edwards was wrong for like the 90th time.

-Actual Good Adventures:
Marvel Superheroes holds the record for RPG with the most official published adventures that do not suck: 2. Nightmares of Future Past and Secret Wars.  And not just because they're inoffensive and based on fondly-remembered storylines: they're genuinely avant-garde even today--with Nightmares being designed around a nifty paranoia mechanic overlaid on your hometown and Secret Wars presenting a hex-war with random events slotted in. These were really good ideas for adventures in that neither-full-railroad-nor-fully-location-based netherzone of module formats nobody ever bothers to follow up on, so far as I know. Plus on top of that, the other adventures aren't terrible, owing perhaps to every RPG writer secretly having a slowly-nursed Marvel pitch in their back pocket for years--Cosmos Cubed has Galactus being split into weird entities named Gal, Ac and Tus.

-It's All Free:

-Nobody Else Is Trying
The major game companies seem to be perfectly happy with slide-rule crunchmonsters that keep all but the most dedicated nerds away and the smaller ones are going for light-and-airy approaches where the players and GM make up all the surprises themselves and the game just tells you who wins. Which is weird, because you'd think in this era where there are live DC and Marvel shows all over tv, the Avengers movies are selling faster than flak jackets in Damascus and even a fucking Suicide Squad movie can afford Will Smith and Jared Leto somebody would see the angle in a fast-paced, newbie-friendly superhero RPG with a rich library of powers to play with and a system that keeps throwing monkeywrenches into any attempt to play boring. And the shame of it is all they'd really have to do is set their targets on the few places where FASERIP falls down and build on what Grubb and company already did.


Vornheim2016

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Abraham Erskine never completed the super soldier formula. 
A patriot named Steve Rogers never became Captain America. 
Allied resistance was annihilated in weeks.
What was once called The United States has been occupied for 70 years.







 The resistance begins Tuesday, February 2nd on Google + at 8pm Pacific and/or 10pm Pacific depending who's in.

If you would like to play, submit a Marvel Superheroes RPG character concept (no stats yet) below or on
Google +. Players for the first game will be chosen by lottery from the
characters I like best.
Pictures are a plus, but only if they're really good.
Characters related to the world concept preferred.

Superhero games tend to turn super-silly so I want you to start with a
low-or-mid-powered character you want to be a special little snowflake.

I'm thinking like:
Earth X
Legion of Super Heroes Vol 4
Aja/Fraction Hawkeye
Watchmen
Dark Knight Returns
Early 80s Spider-Man (with like Cloak & Dagger & Punisher)
Fantastic Four 1234
Days of Future Past
Remender/Pena X-Force
Suicide Squad
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Everything Is Terrible FASERIP Character Generation Guide

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So these are the character generation notes for my worst-of-all-possible-worlds FASERIP campaign.

Ignore it if you're not making a character for that game.

-If you don't have it, download the Marvel player's handbook here. This character gen system is totally different than what's in the book.

-Think up a concept, if you don't have any ideas you can start here, just ignore all the stuff about points.

-You start with 70 points to put into the basic 7 stats:
Fighting
Agility
Strength
Endurance
Reason
Intuition
Psyche

-...and 50 points to put into powers and talents.

-You may also just think of it as having 120 points total, if you want. I figured the less crunch-oriented among you would appreciate me breaking it down a little further though. An easy way to start is to put 10 in each stat and 50 in some power and then adjust from there.

-That's not a lot. If you want more points you've go to take some Disadvantages, see below.

-Popularity starts at 0, Resources start at Poor (4).

-You can pick any powers you want that fit your concept but because ranges are fucked in the original game and everything is fucked in the Ultimate Powers Book so I may alter the precise parameters of a power before play. If you need ideas, the power list is on p 72.

-Powers cost their rank--so Laser Beam: 30 costs 30. The ranks go 2, 4, 6, 10, 20, 30, 40, 50, 60, 75, 100, so you can't buy like 86 of something. 6 is average, 100 is like the Hulk's strength.

-Talents (p 89) have no rank and cost 5 each. There are some other talents I've added below.

-Any extra points left over go into Karma.

-Roll your home randomly on a d6

1 Queens--Gain a language.
2 Outer Brooklyn--Gain Drive.
3 Hipster Brooklyn--Gain Trivia (subject of choice).
4 Staten Island--Gain a martial art of your choice.
5 Manhattan--Gain Heir To Fortune or a local hook-up (roll below).
6 Bronx--+1 Endurance rank.

Contacts for Manhattanites (roll d6)

1 Upper East Side/Upper West Side or North Tip
2 The General's Labyrinth (formerly Harlem/Spanish Harlem)
3 Little Italy (bigger now, encompassing Bowery and Soho as well)
4 Azocial Zone (formerly East Village/Lower East Side/West Village/Alphabet City)
5 Neo-Tokyo (formerly Chinatown, Tribeca and Lower Manhattan)
6 Joy Division (formerly Chelsea/Midtown/Hell's Kitchen)

-I'm trying this new thing where instead of rolling d100 and looking at the chart, you roll 3d20 and try to hit a target number as many times as possible. So 0 successes=White, 1=Green, 2=Yellow, 3=Red, so write all these target numbers next to the ranks each time they appear:

Shift 0: Target 20
Feeble 2: Target 19
Pr 4: Target 18
Typical 6: Target 17
Good 10: Target 16
Excellent 20: Target 15
Remarkable 30: Target 14
Incredible 40: Target 13
Amazing 50: Target 12
Monstrous 75: Target 11
Unearthly 100: Target 10
Shift X 150: Target 9
Shift Y 250: Target 8
Shift Z 500: Target 7

New Talents (again, these cost 5 each)

Familiarity (specific area)
--This means you know your way around some geographical region. The game starts in New York, now known as Vornheim, so that's a good bet of a place to start. You get a +1 to checks involving finding stuff in the Familiarity place you pick.

Well-travelled--You have been around--you know many places. This works like familiarity only, for the cost of 20 karma (during the game), you can say you're familiar with any one specific normal, populated place on Earth. Like you show up in Boca Raton and spend 20 karma and go "Oh yeah, Boca, I hate this place".

Crime/Insurgency--This is just a catch-all term for a variety of skills like stealing cars and fencing stuff and picking locks and all that. You get a +1 to checks involving these kinds of things when they come up.

Credentials--You still have some official job with the Stadt and, as of the beginning of play, haven't lost it yet.

Drive--You don't need this to just drive unless you're underage but if you've got some Fury Road shit planned, it gives you a +1 to driving stuff.

Pilot mech--You can pilot one of the Automacht's robot war machines. Without this skill you're just pressing buttons and praying.


Disadvantages--You gain points for taking disadvantages

5 pts-- Recognizable: Though not necessarily in trouble yet, you have a distinctive appearance. Any witness would be able to describe you easily. Superceded by Notorious, Inhuman-looking, Visibly stigmatized, etc.

5 pts--No papers: You don't have any more major thing that would immediately identify you as an enemy of the Stadt, but if they ask for your papers you don't have them or even a decent forgery.

5 Minor disability--This is a disability serious enough that it might affect some checks. Like missing a finger, bad hearing, blind in one eye, etc.

5 Invisible Stigma -Nobody could tell to look at you, but you fit some category the Stadt considers unfit to live--you're Jewish or gay etc etc. If someone runs your fingerprints, you're immediately caught.

5 per thing--Stuff-Based Powers. If you have a power that is based on a piece of equipment extrinsic to you, then you get 5 per each power (or heightened ability) that fits this description. So like if you're ability to see in the dark comes from goggles, well then take 5 points.

Half-price--Pathetic Power. ....and also take half the price off the cost of seeing in the dark, since that's a pretty wimp power. Also fitting this description: water-breathing, don't need to eat, etc. Things that don't really help immediately except in very specific situations.

10, 20, 30 or 40 "Kryptonite"--Your powers are cancelled out by (10) or you start to die if exposed to (20) some substance. If the substance is common, take 10 more. Like Green Lantern would take 20 because his powers are cancelled by yellow and yellow's everywhere. Mon-El would take 30 because he's allergic to lead.

10 Underage. You aren't old enough to go into like bars and if people see you out during school that's like probable cause right there. Can't legally drive.

10 Monolingual. Most people in the Stadt can speak German and English. If you can only speak one of those, take 10.

10 Visibly Low-Caste. You don't look full-on stigmatized, but you look visibly less than the creepy Aryan ideal, meaning Stadt officials will be real dicks to you. Severe acne or just being really short is enough.

10 Illiterate. Can't read.

15 No Chill. You are extremely traumatized or angry or cowardly or something and so your role-playing awards will tend to be for behaviors that probably are pretty counterproductive, larger-saving-the-world-mission-wise.

15 Zealot. You have a genuine moral or political code you have to live up to ferociously, so your role-playing awards will tend to be for being zealous--perhaps overzealous. Perhaps to the detriment of other priorities.

20 Psychotic. You can't be counted on to make decisions and believe things that make no sense at all.

20 Serious physical disability. Like one arm, in a wheelchair, etc.

20 Visibly Stigmatized--It's obvious on sight you belong to a category of human the Stadt has declared unfit to live. Many people with serious physical disability also have this.

20/30 Notorious-You are a wanted criminal. If the Stadt only knows what you look like in-costume or out of costume that's 20 if they know either way or you wear no regular disguise that's 30.

30 Inhuman-looking. Like The Thing. Any civilian would freak out if they saw you.

40 Catastrophic disability--You're blind, paralyzed, etc.
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As an example I'll use the PC Mandy's playing, a psychic girl...

Fighting: Poor (4)
Agility: Feeble (2)
Strength: Poor (4)
Endurance: Poor (4)
Reason: Excellent (20)
Intuition: Remarkable (30)
Psyche: Incredible (40)

(So that's 104 so far)

Health: (Fighting+Agility+Strength+Endurance=) 14
Karma: (Reason+Intuition+Psyche=) 90 *
Popularity: 0 (You all start at 0)
Resources: RM 30 (Free because Bianca is from the Upper East Side and is an heir)

Powers
Mind reading: Good (10)
Telepathy: Excellent (20)
Mind Control: Remarkable (30)

(So 104+10+20+30=164)

Talents
First Aid (5)
(164+5=169 which means we're 49 pts over the limit)
Heir to Fortune (this one's free because she's from the Upper East Side)

Disadvantages
Underage (12 yrs old) (+10)
Serious physical disability (wheelchair) (+20)
Visibly stigmatized (+20)

(That adds 50 pts which leaves us with 1 extra point left over which goes back into karma, making her new karma score 91.)

(Then we add target numbers, making the final sheet...)

Bianca the Psychic Girl
lives on the Upper East Side

F: Pr (4)       Target 18
A: Fe (2)      Target 19
S: Pr (4)       Target 18
E: Pr (4)       Target 18
R: Ex (20)    Target 15
I: Rm (30)    Target 14
P: In (40)     Target 13

Health: 14
Karma: 91
Popularity: 0
Resources: Rm 30         Target 14

Powers
Mind reading: Gd (10)    Target 16
Telepathy: Ex (20)          Target 15
Mind Control: Rm (30)    Target 14

Talents
First Aid
Heir To Fortune

Disadvantages
Underage (12 yrs old)
Serious physical disability (wheelchair)
Visibly stigmatized
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Karma Awards for Crapsack Totalitarian Sandboxes

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In a typical superhero world, it's hard to have a sandbox campaign. The real superhero normally must always pursue the greatest threat they can, not a chosen target from a target-rich environment.

Not so totalitarian worlds: if the heroes are undermining the regime, you're back in a target-rich environment, where weighing chance of survival versus juiciness of target in an overall plan makes sense.

This does rather tend to undercut both the moral and social order the traditional superhero game rewards upholding here in what Hannah Arendt called "the world of the dying, in which men are taught they are superfluous through a way of life in which punishment is meted out without connection with crime, in which exploitation is practiced without profit, and where work is performed without product, is a place where senselessness is daily produced anew"you're gonna be doing less rescuing kittens from trees and more punching cops and taking their stuff.

So for my new Marvel campaign, I had to rewrite the standard Karma and Popularity awards. This should also work for other similarly terrible worlds like Days of Future Past or Darkseid's planet Apokolips. Aside from "crime" no longer being a meaningful category, I also slightly lessened the karma loss for failing to stop atrocities since basically all day it's atrocity.

I also threw in some things that just reward the players for being cool.

Karma awards:

Wear a costume in front of enemies/witnesses (ie represent a counterforce): 20
Be visibly stigmatized in front of enemies/witnesses: 15
Major act of photogenic vandalism: 5
Violence against innocent: Stop/Prevent 40
Violence against the innocent: Stop/Prevent in front of witnesses 15 more
Theft against innocent: Stop/Prevent 10
Theft against innocent: Stop/Prevent in front of witnesses: 5 more
National offense: Commit 15
National offence: Commit in front of witnesses 5 more
Local conspiracy:  Commit: 20
Local conspiracy: Commit in front of witnesses: 5 more
National conspiracy:  Commit: 30
National conspiracy: Commit in front of witnesses: 15 more
Global conspiracy:  Commit: 40
Global conspiracy: Commit in front of witnesses: 25 more
Other significant crimes: Commit: 10
Other crimes: Commit in front of witnesses: 5 more
Rescue: 20
Rescue in front of witnesses: 10 more
Multiple rescues (5+): 100
Multiple rescues in front of witnesses: 20 more
Aid anyone visibly stigmatized in any way: 10
...in front of witnesses: 5 more
Defeating foes:
-Remarkable: 30
-Incredible: 40
-Amazing: 50
-Monstrous: 75
-Unearthly: 100
-Shift X: 150
Commit violence against an innocent: -70
Destroy the property of the innocent: -50
Steal from the innocent: -30
Public defeat: -60
Private defeat: -10
Permit violence against the innocent: -10
Permit destruction of the property of the innocent: -5
Permit theft from the innocent: -2
Permit new nationwide disaster: -20
Permit other crime: -5
Permit death of innocent: -all but 10
Noble death: -50
Mysterious death: -50
Self-destruction: -50
Making a commitment: +10
Failing a commitment: -20
Random acts of aid to the underground: +popularity (max 20)
Role-playing (personality tic): +1 until it gets easy
Role-playing (very in character act): +10
Role-playing (so in character it hurts): +15
Awesome plan/idea: +15
I LOL: +5
I LOL and you're in character: +10
Make up something cool that builds the world: +5
Have a rule handy when another player needs it or otherwise lessening the GM's workload: +5

POPULARITY

Popularity scores work in reverse when dealing with anyone loyal to the Stadt.

Defeated in public -5
Accused of crime +5
General good deeds +1
Rescues +2
Witnessed committing crime +10
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White-Lipped Goddess

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She of the Broken Statues, Queen in the Moon.

When the 12 Medusa sister transformed the primordial demons into the rock from which the world is hewn, a girl accidentally caught their eye. She lives in the sky now, unmoving, gleaming.

Some say she is the eldest goddess, for her idols are the most ancient. Some say that, wait, since like all broken statues are sacred to her and supposed to be her, then maybe those old statues aren't statues of her they're just statues of like random women that broke because they're old and then we found them. Some say Oh fascinating theory wise guy, nice statue of Vorn you got there, would be a real shame if somebody sledgehammered the top of its head off and then hey look at that it's consecrated to the White Lipped Goddess now. Some say Fine, fine, whatever, it's the Queen in the Moon, they're all the Queen in the Moon.

Anyway opinions differ is the point.

The Queen in the Moon, who has a mouth but no face, does not get on well with Vorn. Her children are lycanthropes and sublunary men, she watches, eyelessly, over assassins, orphans and adulterers.

Frozen lakes and shattered fortresses are sacred to her.

Her Path (for 5e clerics) is as follows

1st Level

-Bonus proficiencies w/daggers, hammers & light armor.

-+2 stealth.

2nd Level

-You take half damage/effect from light-based attacks at night and darkness-based attacks at any time.

6th Level

-Silver will not hurt you.

8th Level

-Faerie Fire-like effect a number of times per day=Wisdom mod.

14th Level

-You can intensify any moonlight until it's literally blindingly bright for one hour a day (or until "a long rest" if you're playing straight 5e).

17th Level

-Lycanthropes cannot harm you and, on a failed save, must obey your commands until the sun rises.


Gotta Remember to Possess More People

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Nails matching dice is a thing around here.
5th Ed D&D

Sunday, Jan 31--

There's a 900,000 gp bounty on the party's heads, from that time they single-handedly destroyed a noble elven family in Nornrik for defying Mandy's frost-giant princess girlfriend.

After some pretending to be zealots of the White-Lipped Goddess, The Alice used her "know one secret about anyone per session" ability to figure out that the murder-crowdsourcing survivor of the doomed house of Rath Orlath was hiding in The Devoured Land.

The girls were eager to meet the Amazons Who Ignore The Words of All Men, but so far have only found:

-a severed tongue

-a hunting party seeking a hart whose horns map the flow of the River Slith

-some crates.

One contained a starving snow leopard, another contained a lot of beets and a champion rat named Ribboned Jenny, escaped from the fighting pits of Rotting Crowns.

Ranger rolled a 2 to befriend the snow leopard, then just got bored and shot it, but then a nat 20 to befriend the rat so...you win some you lose some? Now she has a rat.

It was an oddly quiet session, but kind of nice--just enough inertia that it felt like the players were genuinely trekking around a frozen doomforest looking for clues. It nicely built suspense.


AD&D

Monday Feb 1--

Other group: The Inexplicable Isles. They found themselves (inexplicably) in a dungeon with a guy on a platform in the middle of some lava guarding a narrow causeway. The 12th level wizard incinerated him, then appeared in his place, now compelled to guard the causeway from the other PCs.

Yeah so whoever kills the guardian becomes the guardian (and yeah old trope, fucking works too). But Mandy's there so she's like Wait I have the Hammer Of Exorcism!

She has been carrying this thing since 2011 and has never used it. Which is a shame because it is so. Much. Fun.

Basically you have to beat the possessee in the head with the hammer until they're unconscious and then the evil spirit flees. Also: chance of side effects each round.

Which is hard when the patient is a 12th level wizard who doesn't want you to do that and also funny.

So the party take out years of frustration and inferiority complexes on their acid-spitting mutant wizard and grapple him, regrapple him and eventually tie him up beat the bad thing out of him and then it then possesses the barbarian. Who for some reason I can't remember was carrying the wizard down the causeway when it happens. So he throws the wizard down to run back to the platform and guard it, but throws poorly, so the wizard falls in lava. 3d6 damage on top of having already been beaten unconscious, the hallowed wizard was a cocked die away from permadeath in lava.

Now in a miracle of D&D-time, in the other half of the initiative (possessee goes first), Mandy runs over to the wizard (30 feet, half move) casts Heal and heals him (touch spell) as he is in the lava then wins initiative and rolls a crit success to yank him out. Which technically all can happen since as soon as you see a barbarian about to throw a tied up wizard you start running, that makes sense.

They then beat the shit out of the barbarian and wisely fled, leaving the spirit casting around for someone else to possess. Probably gonna go back in, though.



Marvel FASERIP

Tuesday Feb 2--

First session of the Everything Is Terrible.

Hannah Von Berlin, electrical-touching mad scientist played by Actual German Matze goes in search of #1 Most-Wanted Jewish Terrorist (or, if you're not a Nazi: Petty Car Thief) The Shocker.  Instead she finds the masterfully deadpan confused everyman Dr Velocity, who pretends to be The Shocker because Hannah seems insane and can fry people like spit pigs just by touching them.

Meanwhile The Sleepless, a paranoiac with a self-programmable endocrine system discovers an ordinary commuter train harbors Morgenstern the Man Who Fell To Earth Only To Be Put On TV By Fascists Who Claimed He Was A Perfect Aryan From the Future And Is About To Betray Them With Plasma.

In what the GM feels comfortable calling a coincidence, all four witness-, and somewhat participate in-, a high speed chase ending in a 3-cop-car pile-up next to a moving train and then kill a bunch of Stadt cops who can't shoot straight.

For lack of anything better to do, our heroes go look at a massacred underground cell in a brownstone. Then our heroes notice they're being watched...

As the moon rises, Sleepless snipes one of these undercover minders white-van only to discover these are no ordinary plainclothes Gestapo but the might Weremacht, skinchanging man-beasts who can only be harmed by silver!

So a lot of brand-new superheroes are about to be eaten by Nazi secret-police wolves, but then two things happen:

1) Morgenstern asks the neighbors where they keep the good silver

2) -False Patrick wakes up and realizes he missed the first half of the game. The Shocker rolls up in a stolen car. And realizes Hey you may not be able to kill that wolf that stopping short just sent hurtling through the windshield but you can sure park a Mercedes i8 on top of it.

...so, breathing heavily, Dr Velocity, Morgensterm, Hannah Berlin, Sleepless and The Shocker survive their first adventure and are about to find out what's in a van...

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Opponents Wanted '16

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It's been a while since we did this:

Want someone to play D&D with in your town?  Or any other game?

If you wanna find someone local to roll with put your name, location, contact info and preferred games here in the comments.

There's a matching thread on G+, if you're not in my RPG circles but want to be just send me a message ( Zak Smith ) asking to be added to those along with a link to your Google + page.
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PROBLEMATIC!!!!!

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Some days I use this blog as a platform to talk about the gap between public perception and day-to-day reality in the lives of sex workers, using gaming and game-play (including the terrifyingly Delta-Force style murder-hobo efficiency of which this group is capable) as a lens through which to show that women in porn are far more complex as both individuals and as a group than media stereotypes about them might suggest.

This is not one of those days.




The first thing that went sideways was Mandy (cleric, highest level PC in the game) was too sick to play, so she just liveblogged the game on Twitter. The previous session had been quiet and it all started innocently enough:
I still have that plastic vegetable tray, it seems like a good place to put dice.

Without Mandy's Roger-Waters-esque lead-from-behind style the party was bereft of direction, a dangerous thing in the cruel white wastes of the Devoured Land. They were not, however, bereft of alcohol.
Adam arrived and was quickly elected new boss:

Stokely: Adam is the pussy wrangler.

Zak: It's the Second day of the Purifier so Ratatoskr--the slandering ferret--will leaves his fastness to gaze upon his shadow and thereby measure the depth of the coming winter. 

Alondra (druid): Wait can I turn into a ferret & fuck that Valentines Day ferret dick? I'm gonna get some Valentine Day ferret dick or pussy I dunno what it is.

I allow that should the animal in question be encountered there is nothing in the rules to prevent the occurrence of said assignation.

Stokely climbs up an embankment for some reconnaissance. There appears to be a wolf, pacing behind the piled snow, waiting to pounce.

Stokely: I turn back to the party & I go like this.

Karolyn: I don't know what that means--does that mean eat some pussy?

The battle is joined and becomes quickly desperate. The animals of the Devoured Land are not like ordinary animals. Things are here as the once were and will be again--beasts intrigue like gods, understand our languages, do not fear fire, are not distracted by meat or scattered by thunder. They have goals, and would see them efficiently achieved. People are running out of options.

Alondra: I have a snow a leopard you can ride on.

Stokely: I said I cast Fire Shield.

Zak: Yeah and I said you can't because you're in hella close combat.

Stokely: You were distracted because I unbuttoned my blouse.

Zak: All I know is 3 wolves are attacking you.


Zak: You guys have theories within theories.

Alondra: I cast flaming sphere.

Karolyn: Is your flaming sphere named RuPaul?

Zak: RuBall.

Mandy: This game is chaos so far.

Karolyn: Seriously.

The party beat up two wolves, scared away two others and captured a third. It turns out the wolves can talk--all the animals can because Things there are as things were in the day before all days, when all that is now knew a common tongue and a young, smoother moon hung pearl-like in a black bed of stars yet unborn.

After some questioning, the wolf agrees to leave the party alone if it is let free.

Then the party decides to camp for the night. It's two wizards, and druid and an alice, 5 inches tall.

The spellcaster sleeps while the tiny DelRay the alice stands guard. Meanwhile the wolf (who is a liar, duh-wolf?) spends a few hours corralling its friends, the GM rolls some encounter dice, the alice fails a perception check, and is promptly ambushed.

The party awakes to the sound of a doll-size scream and a line of bloody tracks.
A pursuing Adam casts Evard's Black Tentacles, the wolf saves against them.

Karolyn: So there are tentacles and I'm not having sex with them because I'm unconscious?

Alondra: I think I have a bow & arrow.

Everyone in the room in unison: You have a boner?!

Karolyn (having now lost her 5th PC in a year): Drunken color commentary here we come. RIP DelRey.

Zak: You died fighting for what you believed in, not unlike Antonin Scalia. Does anyone have more than 60 feet of dark vision?

Stokely: I have a big dick.

Alondra: I have 60 feet of darkvision.

Stokely: My dick is 2d4.

Karolyn: My dick is going home.


Someone else gets ambushed by the wolves' remaining companions and Adam the wizard is running out of spells.

He tries to cast Fabricate to create a structure to protect his friend...


Dave: Nevermind--the casting time is ten minutes.

Chaos continues to reign.

Stokely: What do I do next big daddy?

Zak: It's your spell not mine.

Luckily Alondra has her shit together, or at least her pet does...


...and, just as the party is in need of tracking, the ranger arrives...




...though she was perhaps not taking things as seriously as the situation warranted...




Alondra rolls another 20. And there is much rejoicing:
.
Alondra, oscillating in celebration so her ponytails hit her in the cheeks: "I don't need a man! I can smack my own face!"

Ela: Does anyone want some beer? I stole it from my parent's basement.



Karolyn: Your live tweeting is highlighting the hoe-ness of this game.
Eventually they find a safer place to sleep. When they wake up...
There are like, some clues and stuff, and landscape. It looks like the ferret tracks are four hours old and run perpendicular to a set of leopard tracks.

Stokely (Very softly): Zaaaaaaak what does that mean 'cause we're not paying attention.

Zak: It means you're gonna die.

Then the druid has to go, to meet a Valentine's date:
Karolyn: We support each other.

Zak: We can stop now if you guys want...

Ela: NONO NO KEEP GOING!

Zak: Uh ok.

Following the frozen course of the River Slith, they run into Amazons of the dread Ulvenbrigad, who will not hear the words of men. This requires some quick explaining about Adam and Dave.

Stokely: By the way milady I have pink nipples.
The quotation mark was emphasized.
Adam (to Ela): Excuse me mistress may I speak?

Ela: I like this a LOT!


Siri plays a Rihanna song. The party begins to realize they've been captured.

The amazons take the party to their leaders, KylesaMara and MaraKylesa, the lychewives.

Ela: Can my rat do anything?

Zak: I feel like I should not have to explain to a Harry Potter fan the vast capabilities of a rat.

In the manner of all vastly outnumbered PC parties brought before high-level foes, the PCs begin to say the completely wrong things--almost immediately bringing up, before the wolf-worshipping Ulvengbrigad, the amount of canis lupus they've chewed through in the last 48 hours.

Their attempts to rectify this faux pas were less than impressive:

Dave: Tell her something like 'I'm just on the rag.'

Stokely: Slave no one asked you!

They begin to strip the party of their arms and armor, and while the wizard does beg successfully to be allowed to keep a ration of cheese, the PCs don't manage to keep their heads.



Adam: She's a tool of the patriarchy she started this!

Ela: Slave!

Adam: You're gonna want me to talk soon!

Caroline Pierce: Oh shit.

After two brutal rounds of combat Stokely is unconscious, Ela is surrounded and Dave is grappled.

After a lot of metagaming, Adam decides the best he can do is touch the remaining awake PCs and Shadow Walk out of there to a spot about 3 miles away.

Dave: I'm gonna cast Scry on Stokely.

Zak: You see the Amazons preparing to cut the arms and legs off an unconscious Stokely so they can torture her and find out where you went.

She took the news surprisingly well.
Happy Valentine's Day.
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Gwar, Towers Two and the Literal Death of the Author

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So Lamentations of the Flame Princess just put out an adventure called Towers Two

…. and the big deal is it was written by the lead singer of Gwar--Oderus Urungus--born as-, and credited here as-, an earthling named Dave Brockie.

For those who don't know, Gwar was kind of to thrash what Dethklok is to modern extreme music. Grossout deathfuck novelty metal on steroids with inflatable dicks rolling around on stage and giant skulls squirting blood, Gwar was a big, loving, knowing parody that's lasted a surprisingly long time on the strength of ever-increasing budgets, total commitment to their bit and the fact that that stuff is pretty fun when you're drunk and waiting for the headliner to show up.

Needless to say, this is exactly the kind of thing that you could see appealing to LotFP's James Raggi, who has promoted the supplement not only the strength of Dave's name but on how it will freak people the fuck out.
Gwar being Gwar

But Will It?

There are, of course, in the online community surrounding games, people who live to be freaked out by games--especially ones released by LotFP. But the thing is they're very particular.

On paper, The Drama Club should have a field day with this adventure, burning it on the floor of the UN and scattering the ashes over the graves of those who died after accidentally hearing someone say they liked the original Captain Marvel costume better than the the new one.

The more obsessive members of the Drama Club refer frequently to the Death of the Author--an idea originally intended by Roland Barthes (in La mort de l'auteur)  to describe how an author's biography shouldn't (and in many cases can't) be used to limit the meanings a writer draws from a piece of fiction, but which Drama Club members exclusively use to mean a writer or speaker's intentions, background and ideas should be ignored when deciding whether something's racist or sexist or inspires people to kill puppies and that only the reaction of their favorite forum regulars matter in deciding this. They get around the fact that their theory means that Mein Kampf isn't racist until someone other than Hitler reads it by claiming that you're harassing them by pointing that out and then writing conspiracy theories about you on 4chan.

Further and more specifically, various Drama Club members have established that they believe all of the following things:

-the fact something is labelled as "for adults" doesn't mean the adult reader is the one at fault if they imitate it in real life,

- the fact that something is labelled as "fiction" doesn't mean the reader is the one at fault for imitating it in real life,

-the fact something is labelled as a "game" doesn't mean that the player is the one at fault for imitating it in real life,

-the fact something is labelled as "a joke" doesn't mean the audience is the one at fault if they imitate it in real life,

and

-the fact something is a tiny sliver of microculture that will never reach a mass audience doesn't mean the fan who dug it up is the one at fault if they imitate it in real life,

…so the fact Towers Two is all five of those things together shouldn't matter to them.

In real life, if the author is figuratively dead, a naked girl means the same thing no matter who decided she was naked, and if the author is figuratively alive, then it matters that no-one even vaguely aware of the reality around it would or should take anything in Towers seriously--least of all the people who wrote it. If you're triggered by anything at all you should stay away from this adventure, but, like Gwar itself, nothing in it reflects anything anyone actually believes or will encourage any reasonable person to become worse.

Real life, though, is not where the Drama Club lives. Bad things happen to people in Towers Two and Vincent Baker didn't write it, which is usually enough to establish for the Club that Towers Two is part of a culture of encouraging bad things to happen to people in real life and so it's everything that's wrong with gaming. Add on to that the fact it's written for an old-school system and the fact that that old school system is LotFP and the game community should be bracing for another boring inquisition, complete with libel campaigns, twitter harassment, angry editorials, grumpy drunks and failed game designers staging walk-outs, and Fred Hicks frantically retweeting it all like the pallbearer he is.
Gwar: Still Gwar


On The Other Hand...

...the Drama Club has always been incredibly squeamish about applying their ideas about games, comics and movies to music.

This is probably because any consistent application of their standards about who wears what in front of teenagers would require picking a fight with not only Gwar and Jello Biafra but Nikki Minaj and Beyoncé as well--which would reveal how miserably crabbed and out-of-touch their nerd standards are with those of anyone who ever had any fun.

So Towers Two will be--if nothing else--a fascinating test of the Drama Club's commitment to their bit. They've consistently rejected context and--out of context--Towers Two is the most offensive thing in RPGs this side of FATAL.

They now have a choice: ignore TT and abandon all their supposedly earnest dedication to supposedly checking the supposedly pernicious influence of games that have blood and boobs or launch their usual assault and decisively label themselves as the new PMRC.

Will they take what has been laid out so obviously as bait? Or will they pretend it never happened? My guess is the latter. It is the Year of the Monkey and we do as we please. It's also an election year--and many hypocrisies have been laid bare.



As For The Adventure Itself

Close friends of the late Dave play D&D regularly at my house, and so I've heard the legends about his game--the Gwar bus barreling across America with a hole cut in the floor of the bathroom so shit spilled directly onto the highway system while a Brockie increasingly more preoccupied with partying and groupies than D&D kept sending the rest of Gwar to ever more gruesome deaths, climaxing in sessions that took place entirely in Hell.

To put it simply--this isn't that. Or not mostly.

Brockie's original draft is included in an appendix so it can be compared to the final product as fleshed out by Jobe Bittman after Brockie's untimely demise.

Brockie's sections of this text reads like a nasty but utterly playable Old School renaissance adventure about PCs evading warring factions and weird monsters in the countryside with a few grotty touches ("a pitch-black mud-pit filled with feces-smeared spikes", a monster's mouth is "cunt-shaped", the pig-men are in all ways fucked) that could as easily be played for How To Be A God-style people-are-horrible early Warhammer medieval crapsackism as anything and if someone told you the guy from Gwar wrote it you'd be like "That's funny. I can see him being a D&D guy". The title "Towers Two" is neither an edgy reference to 9-11 nor a flatulent satire of The Two Towers. It's just a dungeon where some brothers live (one evil, one…also a problem) with orcs. (Or, as the revised and LotFP-ified text reads--with pig-men.) It's a slightly higher fantasy version of what you might see from Evan over at In Places Deep.

Meanwhile, the posthumous additions by RPG designer and rabid Gwar fan Jobe Bittman read like…something a rabid Gwar fan would write.

There's a very telling line in the credits:

Text © 2016 Dave Brockie except Deathfuck Magic, Death Phallus, Cunt Whip, Fuckblade, Baby Fax Machine, and The Chinstrap of Accommodation © 2016 Jobe Bittman

One gets the feeling Brockie agreed to write TT because he genuinely loved D&D--and Bittman agreed or was chosen to finish it because he genuinely loved Brockie.

Brockie:

"Huge Feral Pig rutting in back garden."

Bittman:

"Huge feral pig rutting in a back garden, its engorged cork-screwed manhood pulsing in the sun."

Brockie's TT is not so much obnoxious as pitiless: "Dying old woman in stinking-of-piss upstairs room. If comforted will BLESS party +1 to all TO HIT rolls for 3-6 game days. She will die anyway."

Bittman, on the other hand, apes Oderus Urungus style Gwarspeak: "A dying old woman in stinking-of-piss upstairs room. If comforted the woman blesses the party conferring +1 to attack rolls for 1d4 game days. She will die anyway. No treasure. Fuck you for asking."

I cast no aspersions on anyone involved. It's quite possible that, since Brockie's draft was partial (all the major characters and wilderness locations are detailed, but only half the dungeon) Brockie fully intended to Gwarify the final text. However, as it stands, the most aggressively repulsive material is Bittman's and the structure of the adventure overall is pretty much a standard sandbox + climactic dungeon.


The wilderness area consists of a bunch of environments with monsters--ship with a ghost captain on it, old farms with feral animals, a gross ex-cult leader ogre, etc…the towers themselves ramp up both the variety (more detail, more traps) and the Gwar.

Prose-wise, it reads like a lot of Old School bloggers, even when it's recommending railroading--

"
Any self-respecting referee should take steps, as unfair as they may be, to make sure this happens, and Lord Ragath returns from oblivion, however briefly, to voice his displeasure with the sorry state of the lovely kingdom he left to his worthless offspring. Preferably he should appear at a completely critical moment or even better after the party thinks they have beaten the whole module. Anything for a good game, that’s my favorite rule!
"

The best part, for my money, is the drawings--by Brockie himself and OSR up-and-comer Jeremy Duncan--which mix confident, chunky linework with a fascinatingly tasteless photoshop rainbow of bad-trip colors, landing somewhere between Russ Nicholson, Mad Magazine and a Juicy Fruit commercial.

It is somehow very fitting that this was one of Brockie's last projects--he died how he lived: paying weird homage to what he loved and getting talented freaks work making disgusting monsters.


Hodge Podge Systems Are Good

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1. The complexity of a game system should depend on how often you interact with that system.

2. How often you interact with that system depends on the genre of the game.

(For example: if you get ambushed by gunmen in a John Woo movie, you might end up fighting for half hour and live and then get in three more fights later, if you get ambushed in The Godfather you are going to die in the next minute, period, and it will probably be the only time you fight. If you get ambushed in a Lovecraft story you will probably not only die immediately but it's the only violence in the whole story.)

3. Therefore different genres need systems of differing complexity.

4. Games which typically spawn the longest-running campaigns embrace the largest variety of genres and subgenres (to keep the game interesting over time).

5. Therefore different systems of different levels of complexity are desirable for campaign-style games.

6. So shut up about how great it is that your game uses the same engine for everything.

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In other news: Red & Pleasant Land is a finalist for the Three Castles award along with some other good-looking game stuff. It looks like a pretty nice crop this year so I'll be happy no matter who wins.

And, coming soon from me and False Patrick by Satyr Press...







Maze of the Blue Medusa Preview (SPOILERRRRRS)

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click to enlarge
Pictures by me, words by Patrick Stuart, published by Satyr Press. Coming soon...

Getting My Teeth Kicked In By Adrian Smith

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So I just finished drawing this for the upcoming Amazons of the Devoured Land...
Click to enlarge or don't bother
...astute readers will notice, in addition to making people fight in heels and my utter failure to make the figure on the right fit a D&Dish time period, the distinct Bisleyishness of the amazon on the left.

Which is strange since what I was trying to do was rip off not Simon Bisley but Adrian Smith. Specifically this image from Realms of Chaos: Lost and the Damned...
...an image which I have discussed at length before.

I haven't done this since school--attempt to copy another artist. My aim was to try to not just pay homage but hopefully to learn something by doing it. Maybe I did, but purely in terms of competing with the elder Smith, I failed utterly. The interlocking and silvery precision of his delivery is nowhere to be found in that big flat stomping yellow picture I made.

But I thought it might be useful to talk about how it went:

I started on the far left with the weapon and this already kind of doomed me: while the axe has to just sit in the chaos champion's hand, the flail has to strongly give the impression of movement in order to make sense in mid-air like that, necessitating a pose which more accentuated the movement of the arm and shoulder.

Ok, no biggie, but that immediately runs into a more fundamental biomechanical problem. Adrian's aggressor has those goat legs and even though the implied movement of the figure is from left to right (as if leaping off the stairs into the opponent), the entire figure actually follows a subtler logic: we look at the goat legs and we sense a sort of elastic movement--like the implied contraction of a chicken wing--and that together with the slightly bent arm and the elongated, stretched torso imply not so much a movement that goes toward the figure on the right but more a kind of clawlike contraction of the entire left-hand figure, squeezing all four limbs together and bringing the winged champion on the right toward the center of the horned champion.

You can see how the picture works by putting your hand over the lower half of the axe guy--the movement in the picture suddenly seems very different and it seems like he's kind of victoriously flinging his hands outward rather than bringing the wing guy in for the kill/ The goat legs make the picture feel like it's going to snap and squeeze the entire composition inward toward those dark spots created by the heavy shadows in the center of the lefthand figure's torso.

Now my amazon not only lacks goat-legs, but I had sketched in most of the figure before I realized how important this kind of elastic motion was to making Adrian's picture work--so I couldn't compensate by trying to contort her into some analagous position (which might've been possible with the right clothes or pose). This turns the straight, outflung arm on the left into not so much a minor variation on the bent one but a symptom of the fact the picture needs a new focus.

So I moved the amazon's right arm out of the way--this made it look more like the other figure had just been hit rather than (as in Adrian's) the hitting was about to happen. The right-hand figure wasn't being held up, she was being knocked into the air.

The very loud and heavy way the amazon's planting her foot is a result of this change--she has to be grounded in order for her body to seem to be supporting the intensity of that smack.

A more serious problem than having to re-wire all the biomechanics halfway through concerns Adrian's use of texture. There is a thing that terrible fantasy illustration does where muscle and natural textures conspire to offer a kind of all-over gleaming look, with no real shadows or center of interest, and it all just kind of blahhhs out. Late 80s TSR was the apocalypse of this. Frazetta and other good artists avoid this trap by carefully weighing where the lights and darks fall to give a more post-photographic (or post-cinematic) look. Adrian avoids that pitfall here by carefully shadowing down from a range of grays into a few intense darks on the shoulder guard, armor, lower legs and in the scars and details to give the picture drama--the modulation is extremely subtle.

Now I'm using a pen and some grey ink instead of a pencil. If you compare, for example, the horned figure's hair to the shadow on the side of the same figure's shoulder armor...
...you'll see the hair doesn't actually go all the way black. And if you look really close you'll see that inside that shoulder armor shadow, the top third is a slightly paler gray than the black beneath. These effects are small, but all together it's careful tonal shifts like these that make the picture seem to writhe with movement and shadow.

Not only that, but the axe guy's weird texture is central to making the picture work, and the curvy babe I drew requires much bigger and more regular tonal shifts (shadow here, highlight here) in order for her body to make sense. If you cover up the monster's lower goat leg, the upper thigh on the left doesn't look all that round--but who cares? He's a gross monster. I don't have that liberty if I want the amazon to look babely*. So I can't really make my picture follow the same texture scheme--though I try to get flatten her out visually a little by covering her with as many tattoos as I can get away with and still have a legible picture.

But the overall tonal problem is still there--by the time I got this far in the picture, the picture I've got looks suuuuuper cheesy and it's depressing. It needs something new to replace the visual complexity I've lost going from pencil to pen and from monster to maiden--so that's when I brought in the color and the heavy shadows. I stopped trying to plumb the cruel mysteries of Adrian Smith's rendering and just went about trying to make mine serviceable by finding another avenue down which complexity could creep.

So, yeah, that's how it came out like that. Try again next time.

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*She's based on Mandy's Halloween look here:



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Pinking It and Shrinking It With Stacy

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If you've paid any attention to conversations about how to get the gaming scene to be more diverse, you've probably run into the following idea: The genres and subgenres that are popular in games right now are themselves patriarchal constructs and greater diversity requires abandoning grimdark aesthetics and, in some cases, violence itself because these are supposed to totes be boy things.

Now while we own and operate a lot of pinked and shrinked things here at casa D&D With Porn Stars, I have a lot to say about all the things that happen when people confuse and ethic with an aesthetic, but I figured it might be more interesting to talk to somebody who has actually taken on bringing more women into gaming as a conscious and continuous project (and had success with it, too)--namely Stacy Dellorfano of Contessa.

Zak

What I wanted to talk about is the idea of a "diversity aesthetics", like, in a nutshell: 
He's saying they should hire more diversely and market to YA readers. (Which: sure.) But this fits within a larger (and common) set of ideas: "adult" and grimdark aesthetics and people who are into them are associated with antidiversity, whereas "girlier" topics and aesthetics like romance and soap opera are allegedly signs of a commitment to modernity and diversity.

Like the whole "Dungeon World is FUN! Unlike scary gory LotFP" kind of thing.
I guess for you the starting point would be: do you feel like specific aesthetics are a way to bring in women to Contessa and your other projects?


Stacy

Yes and no. Yes, I think specific aesthetics are a way to bring women to pretty much any project, but no, I don't think the way it's commonly done is the way to do that. What I more often than not see in attempts to do that are male creators trying to focus group their way into understanding "what women want", which means they only end up getting the surface level of the complexity involved with being a woman, and their attempts show as being flat and 2-dimensional.

The specific aesthetics necessary is any genre, any setting, any style under the sun so long as it was created by a woman or had women working in equal or greater parts on the creative aspects of the property. That isn't to say women aren't interested in works done by men, but works done by women often act as a much more effective springboard in large part because it's so rare.

This is because of nuance. Nuance a dude asking a focus group of women what they want is never going to understand. The nuance of growing up as a girl with certain expectations laid at your feet and the terrifying prospect of embracing those expectations, rebelling against them, or pretending they don't exist. It's a shared experience most women have that men have no ability to understand.

Women bring that into the fiction they write and contribute to, which in turn makes it more accessible to women. We're speaking the same language. It doesn't matter if that language is in a romance novel or a grimdark series that doesn't have anywhere near a happy ending, like The Hunger Games. What matters is that the creative voice came from one of us.

There's plenty of evidence women like grimdark. The Hunger Games is a pretty good example of that. There's a series that's nothing but grimdark tragedy after tragedy with a great deal of violence, and it's loved by women because the hand of a female creator is obvious. Mad Max had a lot of the same qualities, even though the creative team that worked on it was a lot more mixed. Again, more grimdark and more violence, and women love it.


Zak

Do you ever see a specific property/game/plot concept and go: "This has got to end, the hobby will never grow if we keep making things like this?"

Stacy

Nope. By the time it ends up a property, game, or plot, it's passed through the hands of a whole lot of people. The end result is the victim of diversity issues, not the cause. The cause are all those people who handled it all the way to the end.

When I think that thought, it's often about how people treat one another. 


Zak

But are there aesthetics or genres that (regardless of who wrote them or specific plot points or characters) you see as encouraging a wider audience? Like for example it's a fact that women used to be a bigger % of the comics readership before superheroes dominated the industry.

Stacy

No. Women like a wide range of genres and aesthetics. There are a lot of stereotypes that disagree with me, but they're stereotypes. 


Zak

So is it your take that you change the people in charge and let the genre stuff sort itself out?


Stacy

Yeah, pretty close. Not just in charge, but all over the place. I think there can be diverse products in every genre just like there are women in every genre. 


Zak

Again, administrative and creative personnel aside, do you see a downside in pushing creators to address genres or subgenres or themes that historically women have been more into?


Stacy

Yes. It's the wrong thing to push for, period.

Now, to be clear, I'm not talking about someone requesting something they like from a creator they like who isn't already doing that thing. Wanting to see how your favorite comic book artists handle a genre they typically don't dip their toes into is a completely different beast than brazenly stating there are certain types of material more suited towards women. I don't have any problems with the first, but the latter is insulting.

When people push genres or sub-genres as the fix-it solution for gender inequality (or any other type of inequality), they might as well be pointing out there's a 'pink' part of the toy store and a 'blue' part of the toy store, and if you want to attract women you need to make sure to have a lot of the 'pink' stuff. Girls play with Barbies, boys play with Matchbox cars. Girls get romances, boys get action films. Girls are 'crafters', boys are 'makers', and so on and so on. It's insulting and inappropriate.

We are all - men and women alike - multi-faceted people with many interests across a wide spectrum of genres and subgenres. The stereotypes that exist are all surface-level sameness, and if you cater to them you'll get surface-level quality content. Women deserve quality content that isn't just surface-level, and the only way we're going to get that is through equality and diversity at all levels of creation.


Zak

Is there anything you've found does attract women specifically to Contessa events and other things you're involved in other than going "Hey we're women running this and this is specifically for you?"


Stacy

That's really all we do. Visible female leadership is an extraordinarily powerful tool for bringing women to the table. So is creating something that's specifically for the benefit of the women participating. It's really that simple. 


Zak

Is there a way a company making games can send a message that a game is "for the benefit of the women participating"? Right out on the cover or in the messaging?

Stacy

What I meant when I said "for the benefit of the women participating" means literally that we run the events we run at ConTessa so the women participating gain some sort of benefit. We treat events as if our target audience is ourselves, and ask our participants to run events they themselves would like to attend. That's about the only content guidance we really give.

I'm trying to think about how you could translate that into a book cover, and I don't know that it's possible. A great deal of the benefit we get comes from being able to meet other people like you. A book cover or text isn't a human connection, so I don't think it really translates. 


Zak

So if Contessa were a game company making games, the only overt way to communicate female-friendliness would be by hoping the consumer knew it was female-run? Is that fair to say? There'd be no symbolic communication to the audience?


Stacy

I have a hard time answering this question because ConTess is in no way set up like a gaming company, and it wouldn't look anywhere near the same if it was a gaming company. It's obvious ConTessa is run by women because our work involves so much in-person and personal contact with the people we pull in to run events.

If I had a gaming company that made games, it would't be focused on getting more women into gaming. It'd be focused on getting more women into making games. 

Zak

...and let the chips fall where they may after that, I assume?

Stacy

For the most part, yeah. I'd also do snazzy things like send my game out to places like ConTessa for playtesting and demo'ing, and make sure the crew I have on the ground representing the game are good people from diverse backgrounds.

But the product itself wouldn't ever be coded for boys or for girls. I have much more respect for all genders than to simplify someone's experience down to the shallowest of stereotypes.
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If you want to work with Stacy and Contessa at the 2016 Gen Con--click here!
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Maze of the Blue Medusa FAQ

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Tomorrow I'll probably write about how one of our party's clerics was invited to the White House today, but she's driving right now so I don't know the details yet.

Meanwhile here's an FAQ for our new thing:  
What is Maze of the Blue Medusa?

It's a big dungeon module for any kind of D&D-like game by me and Patrick Stuart coming out soon from Satyr Press.


Who did what?

I made a big painting of a dungeon, then Patrick went through and wrote descriptions for all 304 rooms of it, then we both went in and rewrote parts of it together.

The initial graphic design ideas came from Kirin Robinson who did Old School Hack, but when he got busy with real life the project was taken over by Anton Khodakovsky.


Is this Patrick any good?

Click to enlarge and spoil

What is this Satyr Press?

It grew out of Sator Press--a little literary press run by a kind-of-famous guy named Ken Baumann who is also involved in the DIY D&D scene. They have lots of experience printing books and getting them to people, but this is their first RPG product.


Why isn't this done with Lamentations of the Flame Princess--did you and James Raggi have a fight? Is there gossip?

Nah--it's just this is a massive project (3 or more years in the making) and James already had a lot going on. The Maze was going to require some very expensive graphic design and personal attention to work properly and Satyr was like "Is it cool?" and James was like "It's cool".

Plus, LotFP is consistently trying to do stuff that's a little more historical 17th C and weird-fiction and relying less on D&D tropes and this is, at the end of the day, a big fucking dungeon full of medusas and liches and shit.

Plus everybody involved is pretty excited that there's another company willing to do boundary-pushing DIY D&D projects.



When is it out?

The graphic designer has the typos and is fixing them, then we go to print, so I am guessing this spring maybe early summer. But book stuff is cray so don't quote me.


So is this coming out before Amazons of the Metal North or Black Metal Amazons of the Devoured Land or whatever?

Yes. I haven't finished all the art for Amazons yet--which LotFP is putting out.


What levels is it appropriate for?

A wide range of character levels should be able to have fun in the Maze—low level parties (1–4) may find it tough but survivable if they deal carefully with the more powerful creatures, whereas higher level parties (5–10) should be able to try to target the bigger threats without too many nuisance encounters along the way.


What system is it written for?

It's basically system-agnostic, but there are stats like so--
...it's basically on an AD&D scale but with ascending AC.


How big is it?

Hardcover, 304 rooms, pages in the high-200s, though in order to make it easier to use than the standard megadungeon, a lot of pages repeat content for convenience sake. 
Will this book be that megadungeon-done-right that follows on your critique of how these things are usually done?

Mostly. My original platonic ideal megadungeon would probably have shorter room descriptions (like the dungeons in Red & Pleasant Land) but Patrick's writing on the initial draft was sooooo good that we kept it long.

You can't run this dungeon without reading it first, but the way we wrote it hopefully makes the whole thing unfold like a story and, so, when you're running the dungeon that'll hopefully make it a lot easier to remember what a thing is and what it does and wants when you see a picture from the map.

What is you critique of how megadungeons are usually done?

Graphic and information design requiring too much page-flipping, goofy themed bullshit that's basically just dad jokes, rooms that are just monster-zoos with no real problem solving, fighting the same creatures over and over, rooms that just aren't that interesting and were written in bulk, low ratio of ideas-to-word, funhouse shit that goes way off-theme and doesn't make sense even if a wizard did it, too few factions in the dungeon, events in different parts of the dungeon don't affect each other, few ways to use the dungeon against itself, lots of other stuff.


What's the basic idea?

tl;dr there's a medusa down here and she has treasure but there's also monsters and traps and shit. 

Longer version:

SPOILERS, highlight to read

There is a rumor of an empire, ancient and lost to time. An Empire ruled by three perfect women who could never do wrong, and who would never die. And though they were beautiful, ageless and merciful, the kingdom that grew around the Triarchy was the most monstrous yet made. A tyranny of torture and pain that could never end while the three immortal sisters lay at its center like pearls in a poisoned shell. Until one day it did. The women disap- peared and were never seen again. The Empire slowly faded and fell, leaving only a memory, like a nightmare recalled at dawn.

There used to be an empire ruled by three perfect women. One could not be harmed and would never age, one was loved by everyone who saw her and one prevented anyone who met her from doing harm to another. Outside of its inner court, the empire was horrible, murderous and psychotic. People working for beings they knew to be perfect went mad. But the empire could never end because the three people at its core would collectively never age and no one who met them would, or could, ever harm them. So the world was fucked.

The Three sisters lived a kind of cosseted, disconnected existence, generally unaware of the horror that occurred outside of their direct presence, technically in charge, but with no real control.
With no way to end the empire, a group of its highest functionaries, with very mixed motives, devised a plan. They would take the three sisters to the Maze of the Medusa and hide them there. The Medusa Psathyrella was already a kind of jailer of immortal threats, her Maze is almost impossible to find, she is the only person clever and cold-hearted enough to keep the sisters prisoner without being seduced by their various perfections.

Having succeeded at their plan, everyone ends up much more trapped than they intended to.
In the world outside, the Empire fell apart and currently exists as a kind of legend of the distant past of the world the players come from.


You know 'medusa' is a proper name, right? The species name is 'gorgon'?

Go fuck yourself.


I really like this art, is it available as a poster, shower curtain or high-quality printed decorative throw pillow by any chance?

Yes. Here.

Hey n00bs from Kotaku or wherever


About our druid's ex...

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This blog is called Playing D&D With Porn Stars--and sometimes that means it's about porn stars instead of D&D. Especially when something important comes up.

Some of you may have heard about Stoya--who plays a half-elf druid with a dog named George--accusing her ex-boyfriend and fellow porn performer of rape a while back.

Well, she did--and many other women came forward--and while it didn't surprise anyone in the business, it surprised everyone in the media.

A Major American Magazine commissioned me to write about how that happened.

The Half-Made Book

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Some game books, I read them and I immediately want to play.

This doesn't mean what you think it means. I don't mean: I read the book and decide the game is good and better than all the others and has an awesome premise or system. I just mean they have a weird something where I feel like I need to play them, soon, for some vague reason I do not entirely understand that is not related to how much I like the game itself considered outside the book.

Examples:

Call of Cthulhu is better than Chill 2e in nearly every way, and I will and have run CoC much more than Chill but, to me, the (often very well-illustrated) CoC book is just a book--whereas the Chill book is like play me, play me, play me...

B/X D&D has no special attraction for me over AD&D, 5e or any other D&D (or Warhammer, for that matter)--but B/X is the one where, flipping through, I think I have to playyyyy...

As a system, I like DC Heroes much less than Marvel FASERIP--but the DC book is the one that I just end up staring at over and over. And the new DC adventures with the beautiful color pictures? Don't care at all.

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I think I know why, but it's weird:

All these books are under-illustrated.

The illustrations aren't bad, and they aren't just sparse (though they are that)--they also studiously avoid the central ideas of the game.

While Call of Cthulhu gives you images of cultists and cosmic monsters pretty early on, here are Chill's first three pictures:



...utterly competent, yes, but absolutely nothing about horror here. In fact, I don't think there's a single picture of a pc-like character confronting a monster or even a signifier of horror (a bat, a corpse, a clue, a pool of blood) anywhere in the book.

There's PCs, there's monsters, there's a spooky house--but no scenes.

Similarly, here's some typical DC Heroes art:


There are superheroes--but they're not fighting villains, evading deathtraps or interacting with the dazzlingly glossy DC universe in any way. They're just there.

These are both from Mayfair--who had a house style--but Basic D&D also has some of this. It has plenty of images of D&Dish characters doing D&Dish things, but the really typical activity--adventurers confronting exotic creatures in an exotic environment--is missing (unless you count the dull monsters in the intro adventure, which I don't, really). None of the pictures are as evocative as that one in the AD&D PHB of the dwarves confronting the magic mouth, for instance, or A Paladin In Hell.

There is a weird knife-edge here for me: no illustration (Shock, Dread) or generic illustration (AW, Top Secret SI) do nothing for me. Great and lavish illustration I appreciate, but don't give me this weird must-play vibe.

It's something like this: the heroes are illustrated, clearly and well. The villains are illustrated, clearly and well. But the book has not smashed them together yet--it has not described the connective tissue that puts them together.

There is this teetering feeling that something needs to happen--like a chessboard all lined up, just sitting there. Just as all the sofas and hay bales become ominous as soon as the movie starts because you know it's a horror movie, all the illustrated banalities become animated with possibility when you know they're supposed to result in dazzling murder, confrontations on Apokolips, the domains of Asmodeus.

Like you're reading...

The alligator is a large, powerful reptile, sometimes growing to a length of almost 15feet. It makes its home in rivers and swamps, and...

...and this is undeniably pointless prose on its own but underneath there's this shadow awareness that spends the whole time you read dreaming up horror-things to do with an alligator.

And something in that is powerful--because RPG texts depend on giving intimations of potentia--that dizzy, wonderful first-page-of-the-novel feeling where things could go in any direction. And when you finally do read the introductory adventure at the back of the book it is always so disappointing where--given all these options--they narrowly chose to take it. Better to spin out the readers dreaming about what's possible instead of subjecting them to the leaden realities of modules and examples where the monster waiting to ambush them is Sturgeon's Law.

I don't know if this feeling is unique to me or, even if it's not, whether it can really be usefully harnessed--who would want to intentionally create the feeling of a half-made thing? And is it even really possible to do genuinely well?

Part of this might just be the simplest trick of literature--describe in words so much more than you can show, creating a semisensed world in the mind--but supplemented with solid pictures of the principle characters to ground everyone at the table in the same reality.

I only know I keep staring at these books, year after year, not running them, not wanting to--really, when I think about it--but feeling like not doing it leaves something strangely unsaid.


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Ferris Bueller Vs The Wrong Lovecraft (Thought Eater)

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Here is a pair of entries for the Thought Eater DIY RPG Essay Tournament.

If you're new to the contest, it's like this: these two essays are not by me--they're by a pair of anonymous DIY RPG writers who were both assigned to write something interesting and original about hoary old RPG topics.

Anybody reading is eligible to vote for which one you like best and voting will be cut off once all the votes for all the second round Thought Eater essays are up...

The rules for the second round are here.

First One


If you like this one better, send an email with the Subject "TAS" to zakzsmith AT hawt mayle. Don't put anything else in the email, I won't read it.

Challenge: "Say something original about a movie that's RPG-relevant”

A character fools his overseers, sneaking out of their keep and shucking his responsibilities. He meets up with the second party member, and together they disguise themselves to persuade the master of a local dungeon to release their third party member. The newly united party escapes via a rare and valuable mount, then explores a sprawling city: they ascend its largest monument; wander through its inscrutable market; hobnob (under fake identities) with the rich; witness a sporting spectacle; and interact with strange and hypnotic artifacts. Leaving the city, they’re nearly caught by the first character’s overseer, but they stealth and perform their way out of trouble. Inter-party bickering leads to the first PC to critically succeeding on a performance check to crash a huge and elaborate parade. After the misuse of the party’s mount, the second character falls under a paralysis spell, and the party ties to dispel the magic. Meanwhile, malicious NPCs seek to imprison the party once more…

There are few films that mirror the structure of D&D more than Ferris Bueller’s Day Off.

Ferris, Cameron, and Sloane are roguish types, challenging authority, fucking things up, and generally having a good time while endangering themselves and others. Ferris Bueller’s Day Off is about retaking youth from the corrupt institutions that attempt to prematurely snuff it out; ifFerris Bueller’s didn’t have a Hollywood runtime, it’d be a pure picaresque. Ferris dances with the dangerous consequences of his spontaneity and curiosity while gaming the systems that constrain him—sound familiar?

So how can Ferris Bueller's help us better understand D&D?

From a DM’s perspective, Ferris Bueller’s is useful in that it reveals the starkest difference between a Hollywood picaresque and a D&D picaresque: things kill and get killed in D&D. Ferris didn't encounter parties of blood-smeared raiders or corpse-roasting orcs in every new location; Cameron, in destroying his master’s extremely valuable mount, exposes himself to the most risk. This is an obvious point, but it contains a useful trick: if your game is feeling too charming and neatly causal—if your game is feeling to safe—then slaughter someone. Use indiscriminate death to surprise and scare your players.

Ferris Bueller's also makes this point clear: unless you're incredibly charming, you need cash to survive new territory. Murderhobos in a big city should get jailed or executed—and quickly—if they're both poor and uncharismatic. A surefire way to encourage your PCs to get loot and get clever is to try to crush them in the gears of a big, ruthless system.

Ferris Bueller’s shows, too, that the potently dramatic moments arise when players save each other. So make sure to put your PCs in situations in which they need to save each other from imprisonment and death.

John Hughes reportedly wrote the film in a trance, finishing the first draft in a week. He wanted to "capture as much of Chicago as I could. Not just in the architecture and landscape, but the spirit." Replace Chicago with your latest setting, and that’s the prime goal for world-building via text and images. Communicate as much of the spirit of the place to your players as quickly and elegantly as possible; “this place feels like this” is often more helpful and imaginative as “this place looks like this”.

John Hughes also said: "I know how the movie begins, I know how it ends. I don't ever know the rest, but that doesn't seem to matter. It's not the events that are important, it's the characters going through the event. Therefore, I make them as full and real as I can. This time around, I wanted to create a character who could handle everyone and everything.” Whether your PCs admit it or not, they live in series of experiments and fucking-offs; whether your players admit it or not, they want their characters to be as capable, spontaneous, and daring as Ferris (or as weird as Cameron). If your players aren't having much fun, invite them be Ferris, then chase them with some snarling consequences.-
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If you like this one better, send an email with the Subject "BOR" to zakzsmith AT hawt mayle. Don't put anything else in the email, I won't read it.


H.P. Lovecraft, it turns out, was a pretty shitty prophet of the human mind.

That's not to say he was a shitty stylist, or a shitty fantasist, or even a shitty writer overall.  Mileage will vary on those questions, of course, but one thing few of Lovecraft's readers will dispute is that he was pretty shitty at characterization.

His protagonists are, for the most part, interchangeable and indistinguishable, wooden caricatures of real humans.  In some ways, that's a feature rather than a bug of his work, because it can allow a reader to more easily insert him- or herself (let's face it, though -- usually him-) into the protagonist's shoes.

But it's also a consequence of the fact that Lovecraft just didn't understand humanity very well.  In fact, he was dead wrong about the way our minds and souls work.

The central theme of Lovecraft's stories is that understanding of the true nature of reality would drive men mad.  The universe is not only queerer than we imagine, to quote ole Einstein, but it is queerer than we can imagine.

In H.P.'s day, human knowledge of the universe -- especially of the very large and the very small -- was expanding by leaps and bounds.  Everything was baffling and defied common sense. The idea that the universe was made for man, that our species was the headliner at the gig, was being undermined almost daily.

Lovecraft predicted that truly grasping our own insignificance in the face of such cosmic grandeur would lead us down a road to madness, and a sort of twisted enlightenment.

And he was dead wrong about that.

As with most new things, humans looked upon the face of the Great Mystery, and shrugged.  It was cool and interesting for about five minutes, and then it was banal.

The human psyche didn't deteriorate with the realization that our species is irrelevant to the universe.  Civilization did not fall into decline after discovering that the subatomic world makes no sense to us.

We just let the expert use that knowledge to make new toys.

This implies we'd do the same thing with knowledge of the Mythos.  And that can make the Call Of Cthulhu game a lot more interesting.

Running Call Of Cthulhu As If Lovecraft Was Wrong

Screw Sanity points. Throw them away.

Mythos tomes grant Cthulhu Mythos skills points, just as taking a course in physics gives you skill points in that field.

But studying subatomic physics doesn't drive people mad, even though the realities of the quantum world are bizarre.  Why should knowledge of rituals that bend space-time and send us to non-Euclidean landscapes be any different?

Mere knowledge never drives people mad.  Never.   People develop mental illnesses from severe trauma, or prolonged abuse, or chemical imbalances in their brains.

Never from just knowing shit.

The problem with Mythos knowledge is that it's been hoarded by demagogues and debased cult leaders, for their own aggrandizement.

The invesigators' job is to wrest that knowledge from the "wrong hands" and use it if not for good, then for more practical purposes.  Warfare.  Medicine.  Entertainment.

Sure, Cthulhu's gonna wake up and eat us all, someday.  The climate's gonna blow up in our faces one day, too (probably long before Cthulhu awakes), but you won't find most people losing sleep over it.

That's not to say that the Mythos isn't dangerous.  Starving bears, hurricanes, and volcanoes are all dangerous, too.  Two of them are unstoppable, and the best we can do is flee.

But they don't drive us mad.

If all of this is starting to make Call Of Cthulhu sound more like a game of fantasy heroics or scientific can-doism, that's on purpose.  I mean, its game engine is pretty serviceable and has a nice "old-school" feel that's stood the test of time.

But its central conceit, Lovecraft's central conceit -- that knowledge of our insignificance before the grand and terrible cosmos would cast us into depths of madness and despair -- is, frankly, bullshit.

Mostly, that knowledge just bores people because they don't see its relevance.  Show them how that knowledge can produce cool new toys, and they're a lot more interested.

Make your CoC game about that.  About  making the world better by using the Mythos in better ways.  The looming threat of the Old Ones awakening makes a nice thematic backdrop, just like climate change, but if "The Shadow Out Of Time" is to be believed, its not an imminent threat in 20th or 21st centuries.

Unless somebody messes up and blows an incantation.  In which case, you need to call in the experts -- Mythos magicians who are better at it -- and not the rank amateurs that Sanity points guarantees most investigators will remain.

That's why Hellboy is way cooler than Randolph Carter.

So, screw Sanity points.  Lovecraft was wrong.  Game like it.
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Tolkien As Bad GM vs The German Illustrator (Thought Eater)

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Here is a pair of entries for the Thought Eater DIY RPG Essay Tournament.

If you're new to the contest, it's like this: these two essays are not by me--they're by a pair of anonymous DIY RPG writers who were both assigned to write something interesting and original about hoary old RPG topics.

Anybody reading is eligible to vote for which one you like best and voting will be cut off once all the votes for all the second round Thought Eater essays are up...



The rules for the second round are here.

First One

If you like this one better, send an email with the Subject "ETS" to zakzsmith AT hawt mayle. Don't put anything else in the email, I won't read it.


Reading Tolkien Is Like Gaming With A Bad GM

My first attempt to read Tolkien was in middle school, when I read the first book in the Lord of the Rings trilogy. I didn’t want to finish it, but I’d picked it for a book report or something and by the time I realized I didn’t like it, it was too late to switch to something else. A few years later, I read The Hobbit and really enjoyed it. I decided maybe I was just too young the first time around, and started the trilogy again. This time I got about halfway through the second book before deciding The Hobbit was an anomaly and giving up on Middle Earth. Many years later, the movies were announced and I decided that if the guy who made Dead Alive and Meet the Feebles was willing to dedica te the better part of a decade to these books, I needed to give them another try. Once again, I made it about halfway through the second book before getting bored with it. 

The Middle Earth books have good characters, a good story, and a richly-detailed setting, but I  just can’t get through them. Part of the problem is Tolkien’s writing style. I tend to prefer writers who embrace Orwell’s “Politics and the English Language,” so Tolkien’s overwritten prose just isn’t my thing. To his credit, at least Tolkien uses one unit of well-written (if overwrought) prose to describe one thing or aspect of a thing rather than spewing a bunch of repetitive nonsense in the apparent belief that the more words you use, the smarter you are. I gave up on Game of Thrones when I hit a sentence that used three adjectives, a couple of adverbs, two similes, and a handful of metaphors so inapplicable even Dan Brown wouldn’t try to pass them off as legitimate that each informed me that blood was red. Tolkien’s writing style is kind of pretentious, but at least it’s not bad writing. 

While Tolkien’s writing isn’t my bag, the reason reading his books is like gaming with a bad GM is that he had a tendency to tell rather than show. You don’t feel like you’re reading an adventure story, you feel like you’re reading a history textbook or a series of encyclopedia entries. There’s no momentum to the story. The same thing happens in a bad game, but in a different format. You burst through the door, sword in hand ready to bash some orc...and then you have to stop and wait for the GM to read a purple-prose-filled description from a grey box in the module (or worse, his own bad writing), often in a droning monotone. Or you spend an entire contrived scene dealing with a cha racter, landmark, or other game world artifact that adds little or nothing to the story but is shoehorned into the session because the GM (or whoever wrote the supplement) created it and by God it’s going to show up in the story. Or the game grinds to a halt for 20 minutes while the GM looks through his notes for some detail nobody cares about. Or the GM (especially during character creation) tells you “you can’t do that” for some obscure game-world reason. 

Basically, my problem with Tolkien is that Middle Earth is so over-designed that he spends more time telling the reader about the world than telling them the story. The Tolkien school of over-design, which has been embraced by most gamers, tells you that more detail means a better world, but in my experience it’s more likely to slow the adventure to a crawl, limit character options, and bore the players with minutia. It’s not the quantity of details that’s important, it’s the quality. A few telling details that help the players (or readers) visualize and understand the flavor of a place will make it seem more alive than a whole book full of detailed information about its system of gover nment, imports and exports, demographics, and history and telling them who would play an NPC in the movie gives them a better sense of the character than giving them a Wikipedia-style entry. The players need a few details they can latch onto, not huge piles of data that make their eyes glaze over.   

Another problem I’ve seen with overly designed worlds, especially in games, is that when someone puts that much time and effort into something, they don’t like other people breaking it. As a result, the players may feel railroaded because the GM resists any course of action that might cause a major upheaval that isn’t part of the storyline the GM planned for. If the players do manage to change the status quo, the GM immediately goes into damage control mode to contrive ways of returning everything back to the way it was (or as close to it as possible). 

You can really see the Tolkien’s over-design when you compare him to someone  like Robert E. Howard. When Tolkien mentions some far-away place, he usually gives you a lot of detail that’s mostly irrelevant to the current scene or story. By the time he gets back to the action, you’ve forgotten what was happening. When Howard mentions some faraway place, he may give you a short and evocative description, but then it’s right back to Conan and his mighty thews. The reader only learns more when and if Conan ends up there, or when more information is needed to move the plot along. This difference is in part due to economics: Tolkien was a well-off Oxford professor, so he had plenty of time t o spend designing his world. Howard was grinding out stories to pay the rent, so he didn’t have the luxury of wasting on unnecessary world building. The unintentional result is that Tolkien’s world feels like a museum where you can look at exhibits and hear lectures, while Howard’s feels like a living world full of mystery and adventure. 

A few years ago, some friends and I were talking about the difference between Tolkien-style fantasy and American fantasy. During the conversation, I mentioned my theory that Tolkien’s meticulous world design actually detracted from his stories and that part of the appeal of the pulp stories is the sense that so much of the world is unknown and therefore full of potential. The conversation led to a pick-up sword & sorcery game that turned into an occasional ongoing campaign (we’re spread out over several states and have conflicting schedules that so far haven’t allowed us to play online). In part to test my theory and in part because it made taking turns as GM easier, we decided that a ll world design had to happen “on-screen.” You can brainstorm all you want, but nothing’s cannon until the characters encounter it themselves during a session. We’ve only played the game a handful of times, but since everyone’s still excited about the game despite the long (sometimes a year or more) hiatuses between sessions, it seems to be working. The things we know about the world wouldn’t come close to filling a typical D&D sourcebook, but the things we don’t know about the world are infinite, and those are the parts we can’t wait to discover. 


Second One

If you like this one better, send an email with the Subject "REH
" to zakzsmith AT hawt mayle. Don't put anything else in the email, I won't read it.


“Say something original about any RPG illustrator” is one of the subjects of the second round of the thought eater essay contest. I call Patrick and ask him if I can come over to talk to him about his work. He says he has too much to do, he needs to fix his brother’s computer, do a poster for a filipino film festival and whatnot. He adds that he has founded a company half a year ago, turning board games into apps and that I can’t imagine how much work that is. After we talk on the phone for an hour, he invites me to come and see him anyway.

No matter when you call him, Patrick is overworked. When he started out as an illustrator and layouter for small German RPG companies, we met a couple of times to play 40K on his carpet, using tooth brushes to represent Tyranid Lictors and shoe boxes for buildings. A cool thing about Patrick is that he has a film playing in his head, when most people are trying to figure out how the rules work. In those days he consumed nothing but a bowl of rice and a bottle of beer a day to save money and he tried not to sleep too much to work more. Once, he got up at 6 on a Monday morning, after working till 4 because of some deadline, and immediately did some pushups. He collapsed and had to creep to the telephone to call a doctor. The doctor said: “You need more free time. Do you have a hobby?” Then we started to play 40K a lot. Of course, Patrick got a bit obsessive about it, painting the same miniatures over and over again and planning extensive campaigns we never played. I remember, he tried to persuade me once to paint a whole chaos space marine army over the weekend. Eventually we stopped playing 40K.

Writing this essay isn’t easy. “Original” and “interesting” are not my main concerns. I think nobody wrote about Patrick before. In general, writing about another person, especially about an old friend should be done with some respect. My problem is, I always see the funny side of things, and Patrick does not like this, I’m afraid. Humour is a disrespectful thing and Patrick has high moral standards. Once he complained that I do “slapstick routines” of other people. That’s not true, but I know what he means. Also Patrick easily feels misunderstood and offended. We had endless discussions playing 40K. About how many terminators can leave a rhino in one round or if Wall Street is an evil place or not.

I’m at his house for about an hour, watching him repair his brother’s computer. Then his brother leaves to fetch some food and we sit down and talk. “Did you write down any questions?”, he asks. “No. No.” We talk about his work. He says in Germany RPG illustrators are not well paid. If you want to do this, you often compete against people drawing ghouls and fairies as a side job or hobby, and if illustrators are really good, they stop working for German companies and start working for international ones. “There are RPG illustrators who draw day and night. They kick ass. They are like a machete. I’m not one of them. I’m a Swiss army knife. I can do a lot of things. If detailed wood carving is required, I’m the man you are looking for.”

He shows me a book he did the layout for. He is proud of the result, but complains about the process. Apparently he got into a fight about his payment with the publisher. “Did you draw this dwarf?”, I ask. “No.” He shows me some illustrations on the side of the pages, some dice, a weapon. “I did this. And this and this.” “Do you still do illustrations as private commissions? For people who need a picture of their character?” “Yes. I like to do that. It’s not well paid either. But I can try out new techniques. Grow.” “How much do you take for a picture?” “45€”

I ask Patrick: “Do you think fantasy illustrations can be original?”

I’m thinking: Maybe the emphasis on “original” is an American thing. The idea that you can discover a new land, the great planes of the West, moon and mars. In Europe every stone has been turned around a thousand times.

Patrick says, you could call the shift from simple black and white drawings in early RPG books to coloured realistic illustrations in recent publications “original”. Now realism becomes more and more important, he adds.

I’m thinking: Why is that so? How can realism be important, depicting things that do not exist outside our heads?

Patrick: “All good fantasy illustrators can draw realistic pictures of human beings in different dynamic heroic poses. What makes one better than the other is the background.” “The background? You mean, the world they create?” “Yes”, he says.

I show him A RED & PLEASANT LAND by Zak Smith. It’s an awkward moment. Patrick knows that I like the book and I know that he doesn’t. And he knows that I know that. I ask: “Do you think this is original?” The question feels like a trap. He says: “No. It’s retro.” He says something about “künstlerische Bohème”. I have no idea what he means. He asks how popular the book is. “It won 4 ENnie awards.” “I have never heard about the ENnie awards.” “They are very important RPG industry awards, I guess. Also, Zak Smith was one of the advisors for the new edition of D&D.” “Sometimes people get into positions like that because of their popularity in social media networks”, Patrick says. This doesn’t lead anywhere. Patrick is in his fight mode now. He can’t accept that somebody, whose work he doesn’t like, can still be very successful.

I try something else. We are on his balcony now. Patrick smokes a cigarette. I say: “When I worked as a second assistant for a theatre director in Frankfurt who was an asshole, screaming at people for making little mistakes, no, not even mistakes, for opening a door during rehearsal, I went to a cinema near the train station and watched PULP FICTION and was blown off my seat. I had never seen anything like it. Did you ever feel like that looking at the work of any RPG illustrator?” Patrick goes back inside, to his bookshelf, and brings the book DEGENESIS by Christian Günther and Marko Djurdjevic. “Yes. This book. Take a look at it. Man, I’m sorry. I think I have to help my brother finish fixing his computer now.” “Yes, of course. It’s late. You know, I always respected you a lot because you never gave up your dreams.” “But I did give up my dreams.” “You worked for the biggest German tabletop and RPG companies. And you seem to be more clear about your work now. You always wanted to be in charge of things. You even wanted to be the boss, when we played 40K, and now you have your own company.” He lights another cigarette. He says: “In political discussions with your cousin, you sometimes thought I was stupid, because my ideas are unpopular. I have talked a lot about these things with my father and other people, I have informed myself, about conspiracy theories and such things. This gives me a lot of self-confidence.” “Ok.” “Do me a favour. Please don’t mention my name or what companies I worked for.” “Ok. Why?” “That’s better. You can make stuff up.” “You want me to write a realistic essay about an imaginary fantasy illustrator?” “Yes.” “Can I call you Patrick?” “Yes.”

While Patrick is deleting files on his brother’s computer, I sit in the other room and flick through DEGENESIS and the latest edition of DAS SCHWARZE AUGE which looks a bit like a low budget copy of D&D. That’s the problem with German pop culture. It always imitates its big brother. I look at all kinds of creatures called Katzenhexe, Krötenhexe, Rabenhexe, Gindos, der hundsköpfige Tod and Dushani, die Stimme der Fäulnis. In my head I go through the things Patrick has said: “A game like DAS SCHWARZE AUGE has more depth than D&D, but the rules are not streamlined, too complicated. These days, people buy it out of nostalgia, without ever playing it.” I remember a discussion we once had about how the 40K ruleset has more depth than PIRATES! by Flagship Games. Depth? What the fuck?

Before I leave, Patrick’s brother says: “I hope I didn’t take too much time away from what you wanted to do with Patrick.” “No, actually, I took your time. Patrick wanted to repair your computer. I’m sorry.”
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Maze Preview+Revelation in Lovecraft vs Annotated Tomb of Horrors

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First--here's another Maze of the Blue Medusa preview:

Click to enlarge and...SPOILERS!



Second, here is a pair of entries for the Thought Eater DIY RPG Essay Tournament.
If you're new to the contest, it's like this: these two essays are not by me--they're by a pair of anonymous DIY RPG writers who were both assigned to write something interesting and original about hoary old RPG topics.

Anybody reading is eligible to vote for which one you like best and voting will be cut off once all the votes for all the second round Thought Eater essays are up...


The rules for the second round are here.

First One


If you like this one better, send an email with the Subject "MAJ" to zakzsmith AT hawt mayle. Don't put anything else in the email, I won't read it.



OK, so horror in H.P. Lovecraft's fiction comes from the revelation that things are not like you thought they were. Often – in the most famous stories – this is specifically the idea that humankind is merely a tiny speck in an infinite, uncaring – heck, possibly malicious – cosmos. Everyone's heard that; it's kind of the stock explanation of how Lovecraftian cosmic horror works. In many other stories, it comes from the idea that the main character is not who he thought he was. Specifically, in Lovecraft's fiction, it often comes from the idea that the main character's ancestry or history is not what he thought it was. Charles Dexter Ward, Shadow Over Innsmouth, The Rats in the Walls, Arthur Jermyn … you know the kind of thing. “The Shadow Out of Time” combines both themes in a way.


Now, this idea of being annihilated by having your history or group identity undermined is one that clearly resonated very strongly with Lovecraft himself. If you read about him, you can see why: “Take a man from the fields and groves which bred him—or which moulded the lives of his forefathers—and you cut off his sources of power altogether.” He wrote that in 1927, and in 1934 he said “We must save all that we can, lest we find ourselves adrift in an alien world with no memories or guideposts or points of reference to give us the priceless illusions of direction, interest, & significance amidst the cosmic chaos. Hence the natural function & social value of the antiquarian & cherisher of elder things.”

So rather than being impersonal, Lovecraft's cosmic horror is actually very personal, because to him your history is a big part of you – even if that's the history of your city, your race, whatever. That combination of the personal and the cosmic is an often-overlooked part of Lovecraft.

How do you use this kind of history-undermining or group-undermining in a game? The unfortunate thing about applying this to Call of Cthulhu is that most people don't create their CoC characters with those kind of deep ties to a group – like most modern people, and like characters in many other games, they tend to be pretty atomised, pretty individual. You can't really attack their sense of stability by revealing the secret history of humanity, since thinking that's pretty cool is implicit in sitting down to the table to play CoC in the first place. It's hard to attack the group, as opposed to individual, identity of player characters in these games – in the same way that it's hard to do that to most (but not all) modern westerners.

But I've been thinking that this does in fact apply to characters in a lot of other games. In fact, ironically, it applies to them much more than it does to characters in games that are specifically Lovecraftian. In many games, character creation is all about selecting group memberships, and there are lot of people out there who make it a habit to play Ventrue, or Orlanthi, or mutants, or Drow, or whatever. You might actually be able to get some mileage out of the history-annihilating thing by attacking those, especially if you keep the secret actually secret and don't make it part of the appeal of the character. Some people like to join groups with a dark heritage, but if someone's really proud of their sparkly eyes or elite battle skills you can probably get a little queasy realisation by revealing that their blessing is actually a curse.

That's not for everyone, of course; some people like the rug pulled out from under them and others don't. You might just piss them off. But that's the risk you take when you go for an actual shocking realisation.
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Second One

If you like this one better, send an email with the Subject "UAP" to zakzsmith AT hawt mayle. Don't put anything else in the email, I won't read it.

The Annotated Adventure

Published D&D modules are typically laid out like dictionaries: dense columns of prescriptive rules, sorted by location instead of by word. They'd be more useful if they were designed more like annotated texts (text body in one column, commentary in the other). When there's no spatial way to organize room descriptions, they become untidy with digressions, commentary, and rulings on potential player actions. The important and the unimportant, the obvious and the hidden are necessarily jumbled together. 

Tomb of Horrors is famous for being a player-killer dungeon, but with its info-dump approach to tricks and puzzles, it's a bit of a DM-killer too. Take the final confrontation with Acererak. It takes up a full two-column page, and you don't get Acererak's stats until the bottom of the second column, after a description of his treasure, an out-of-place history of the Tomb, and the details of every other trick in the room. Furthermore, this monolithic wall of text gives the false impression that everything in the description merits the same level of authority. As others have remarked before, many of the methods used to damage Acererak (a haphazard list of spells, certain magic swords, a thief slinging gemstones) feel like on-the-spot rulings during a playtest, encoded by the author into rules law. There's no reason why clever players shouldn't invent new attacks and add their own exploits to this list, which should be presented as a sort of Talmudic commentary to the module's scripture that "Acererak is nearly invulnerable."


What would an annotated adventure module look like?

The main column would be primarily concerned with objects: the room and its description, its contents, its occupants, immediate traps, and other information that the DM needs up front. Objects in boldface would have  annotations next to them.

Next to each boldfaced object would be its verbs: a non-exhaustive menu of things the players might do and what happens in response. Here is where we'd move all the minor but necessary mechanical details that clog up room descriptions: the tricks, traps, and secrets that players find by messing with stuff in the room. If a player touches Acererak's skull, the DM doesn't have to search the whole page; just find the bold-faced "Acererak" in the main column and scan its annotation.

Annotations can't possibly be comprehensive and don't even have to be authoritative. They might include traps and puzzle solutions, described in the standard impersonal rulesy voice, as well as conversational anecdotes about crazy things that happened in the author's home game. After all, half of every adventure is written during play; the module author doesn't need to obfuscate that fact. 

As a proof of concept, I'll try setting up the Acererak room as one annotated page. While I'm reformatting, I'd like to fix a few other things that bug me about D&D module layout:

Space for DM annotations. A D&D module isn't a collector's item to be preserved mint, and an adventure location isn't static. PCs change every room they enter. The DM should have somewhere to record these state changes. For instance, there should always be space below a monster's stat block to track HP. If the players befriend the monster instead of fighting it, the DM can use this space to record details of that alliance. (Chances of befriending Acererak are low, but never rule anything out.) Furthermore, many DMs don't run modules as written. They make lots of notes before ever running the adventure. A densely printed page doesn't leave a lot of room for this kind of marginalia. An annotated module, with uneven amounts of text in the right and left column, will probably have lots of white space. That's a plus. 

In the case of Acererak's vault, we're going to have very little room for DM notes, because the original layout is already a full page with no white space or margins to speak of. But we should be able to carve out some room to track Acererak's and his pet ghost's HP. Furthermore, the vault's treasure includes a potentially large amount of gear stolen from players in various teleportation traps. We have to add a place for the DM to list this gear.

Artwork. Tomb of Horrors has many pages of player handouts, two of which are referred to on this page. The reference to any player handout should include a thumbnail for the benefit of the DM.

Here's my version of Acererak's Vault, with significant text changes in red.

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