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news - widianto
news - widianto

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This slide will provide you with tips and ideas related to each of the qualities that a successful logo design must have.

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So I was a little delirious when I wrote this, but the issue is still rolling around in my head. What are the pluses and minuses of open-world vs. Set-ending tabletop RPGs, and why might one be a better choice than another in the game your designing?
Even MOAR gaming reflections:
(My brain is on overdrive right now!)

Open world, open ended, D&D style games vs. Goal oriented, structurally-engrained-conclusions. Ready? FIGHT!

Me thinks that the more Open-ended games have the advantage of letting the players create their own meaning, their own arcs, and their own adventures, while set-conclusion games hone in on and can really evoke a specific meaning/arc/adventure.

But oh no!
Open-ended = scary, because the GM's "coming up with stuff" emphasis is stressful
Set-conclusion = potentially sad because the game might end before you want it too

What is there to do!?!

...Go to sleep Jamil, your too tired for intellectual pontification.

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The City of Red Clay
In the City of Red Clay, hero's tells their tales of adventure and danger.

Heros are guided by the four Oracles, which are...

Blood - Evoked by an act of violence

...which is tempered by...

Fire - Evoked by acting upon a carnal desire


Shadow - Evoked by sowing discord or betraying a trust

...which is tempered by...

Light - Evoked by laying bear a hidden truth, your own or another's.

The basic action mechanic is essentially that of #otherkind  - when a decisive moment arises, pick up 1d10 for your goal, and 1d10 for the danger. If a second goal is desired, add a second danger as well. Roll the dice and assign the outcomes to the goals and dangers. A 1-7 is a loss (a goal is not met, or a danger manifests), and a 8-10 is a hit (a goal is met, or a danger is avoided). What is or isn't reasonable for a goal or danger is decided collaboratively among the players, often using the key phrase "does that sound reasonable?"

Using Oracles:
When you evoke an oracle, add all the dice stored in that oracle to your roll, and add one die to the oracle opposite of the one you used (blood is opposite of fire, shadows is opposite of light).

Character Points assigned to an oracle always give you that many dice in the oracle, so if I have 2 character points invested in Blood, every time I take violent action, I will roll at least 2 extra dice, plus any other dice stored in the oracle from prior actions. Likewise, if I evoke the blood oracle, my fire gets 1 stored die. So, if I evoke blood 3 times, fire now has 3 dice stored in it. When I then evoke the fire oracle, I will add 3 dice to my roll (removing the stored dice), and add 1 to my blood. Since blood has 2 character points invested in it, when I next use blood, I will roll 3 dice (2 for character points, 1 stored). The stored die will be lost, and fire will again gain 1 stored die.

An oracle can hold up to 5 stored dice, in addition to the dice given via invested character points.

Playing the Game:
First, everyone at the table collaboratively creates elements of the City of Red Clay. These can be dangers, groups, etc. Write these elements down on pieces of paper (at least two per person at the table), and put them in a central bag/hat.

Then, every player creates a hero, using the following two step process:

1. Choose a concept for your hero.
Ex: the outcast guard captain, the traveling seer, the daring thief

2. Assign 6 character points between the four oracles (Blood, Fire, Shadow, & Light). No more than three can be invested in a single oracle.

3. Create a central goal for your hero - something they are striving for that others will try to keep them from.

Once characters are created, one player will begin by starting a chapter. In a chapter, a single hero will strive to achieve their central goal, and the other players will play the adversarial forces of the city trying to stop them. At the start of a chapter, the non-hero players will each take a slip of paper from the "elements" bag in the center of the table. That player will then play that element during the chapter. If an element seems that it would more likely be sympathetic to or supportive of the hero than adversarial, thats fine, but no more than one helpful element per chapter.

Once the hero has faced and overcome a significant challenge, the chapter ends. The player to the right of the current Hero player now becomes the Hero player, all elements are returned to the central hat, and picked anew by the new Non-Hero players, and a new chapter begins. Play continues in this fashion until everyone has had a chance to play the hero in a chapter, or longer if you prefer.

Underlying Concept:
Rather than having stats that get better and pigeon hole what a character can do successfully, rotating oracles encourage a diversity of play by rewarding characters who occasionally vary it up.

Thoughts/feedback are welcomed and desired!

#rpgdesigntheory   #rpgs

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The Univers-ness of this take on Helvetica appeals to me. Not a fan of the heavier weights, though.

Investigation seems like a tricky thing in RPGS. Players have all of the meta-knowledge of genre, trope, and the fact that the "unlikely" is very likely exactly what happened. 

This makes me think about spontaneous/emergent mysteries as a design element - what if though investigation, players picked up clues to a mystery that didn't already have an ending. As more clues emerge, a likely scenario becomes present, but twists and turns with the dice could result in changes to the final outcome.

Has anyone seen, played, or had similar ideas around this "emergent investigation" mechanics idea?

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Signal Boost
So character creation...

I'm trying to find the line between elegant simplicity and facing choice paralysis.

On the one hand, we have the typical early indie game: have an idea, assign skill points around how you want them to be, and go. On the other hand we have character classes ala D&D or Apocalypse-World. Here the character is already well structured, but the growth aspect of play will also likely go in the direction you were imagining it would.

More freedom seems to equal more possibility, but also less... flavor. Its softer - less evocative.

More structure seems to equal more flavor, and relief of choice paralysis, but its also narrower in scope - less explorative, since you know what options will be available as you advance. 

Of course, advantages and disadvantages and workarounds for each, but still. Hmmm...

Anyone know of any character creation designs that play with/toy with/break away from these two models?

#gamedesign   #rpgs   #tabletoprpg   #apocalypseworld   #pbta  

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Hey everyone, I just wanted to let you all know that I opened up an Etsy shop! I'll be selling digital designs that you can print out and frame however you like, and some of them you can have me personalize. 

I'll be adding more and more products so keep checking back.

Please like, share, and tell everyone!

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Re-sharing to the community.
Margins Matter

The next time someone tells you that choosing quality fonts or creating well-proportioned layout for an RPG text doesn't matter or is somehow "stealing" from the consumer, have them read this article. And then punch them in the face.

A book with proper margins says a number of things. It says, we care about the page. It says, we care about the words. We care so much that we’re going to ensure the words and the page fall into harmony. We’re not going to squish the text to save money. Oh, no, we will not not rush and tuck words too far into the gutter.

A book with proper margins says, We respect you, Dear Reader, and also you, Dear Author, and you, too, Dear Book.
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