Believe It Or Not, I'm Reblogging In The Air

hi, everyone. the situation at home has gotten progressively worse, with my father turning physically abusive and breaking my nose a few weeks ago. Me and my gf need help to leave the house and rent a small place for ourselves, as well as pay for our meds and hrt. We are kind of in a desperate situation right now, and any amount would really help us.

p*yp*l: [email protected]

(My name kinda describes them, huh.)

college dropout wanjo job-hops and scraps in clubs to pay bills and his grandma's meds. planning to kill himself when she dies

that is, until a capitalist sends ghosts to kill him, and a sect of commie martial artists save him

ULTRAVIOLENT CULTIVATION!! an action horror occult xianxia battle webnovel following a cadre-sect of college commie exorcist-wizards and martial artists wreaking havoc across neoliberal world order with one goal: Spirit Cultivation For All

set in hingsajagra's southeast asian tropical gothic occult horror xianxia setting, this shit is like if the raid and jujutsu kaisen and my sad republic and tropical gothic and bloodborne and shin megami tensei came together to make a high powered battle novel baby

first 10 chapters here:

When The Lottery (by Shirley Jackson) was first published, tons of people wrote into the newspaper that published it to demand to know what the hell it was meant to be about

I suppose, I hoped, by setting a particularly brutal ancient rite in the present and in my own village to shock the story’s readers with a graphic dramatization of the pointless violence and general inhumanity in their own lives.

So basically the story is written in such a way that the uncritical nature of the townspeople is highlighted, when it comes to their own traditions. Every year the town commits outright violent murder, but because it’s ‘normal’ to them, they don’t think of it in those terms. The reader, who isn’t part of the town’s cultural assumptions, sees the horrific nature of their actions. But the characters in the story don’t.

Games could and should be about more than conquest and acquisition. Games can be about things that matter. And feelings do matter. politics do matter.

D&D can only do so much, play other games

If your table doesn't have a place for diversity, and if that diversity is shallow, what is it worth?

HINGSAJAGRA is a world project built upon revolutionary ideals. An antirealist fantasy. Literary Fabula. New Weird. Magickal Antirealism. Fantastic Postmodernism. What if the world never developed automatic guns and mobiles? What if the world's colonial superpower was Indochina-Suvarnabhumi? What if the Buddha met Marx? What if the world ended because of the failed proletariat revolution? What if the breathtaking invention that kickstarted the Industrial Revolution was not the steam engine but the Karma Engine, where sentient-beings' karma is used for electricity and mechanic energy?

A world that has moved past the phantasmic fog of the Heroic Age and the God Age. A world that challenges ours in terms of integrity and movement. Inspired by the likes of New Crobuzon, Throne, Revachol, Camorr, Bulikov, Ivalice. A world built upon the mystic esoteric tenets of sunyata set down by Vajrayana Buddhism. The synthesis of Nagarjuna's Emptiness with Camus' Absurd. The handshake of the Buddha's Bodhicitta with Marx's Communism.

From it springs forth novels, serials, poems, paintings, RPGs and more. It is materialistic in its historical dialectic, built upon transcultural ideas and the overcoming of idealism-materialism as well as individualism-collectivism. It's a love letter to revolutionary movements in Southeast Asia, Africa, and South Asia.

Hingsajagra is a made up portmanteau. Hingsa means violence, pain. Jagra means wheel, circle. Together it means Wheel of Pain. Kafeng Masagwa likes to translate it as Wheel of Violence. It must be turned for the liberation of all sentient beings.

Go. Do it for the ocean.

Directory

Infraperegrination of the Utter Islands

Human Migration Patterns as of the Year 11664

SUNDANG RPG (RPG set in Hingsajagra. Still WIP, on Patreon.)

THE KNIGHT VAGRANT (Webnovel set in the Utter Islands)

(This is about game design and presentation) In school one of the things I discovered is that I have trouble absorbing info from a big text book. And most TTRPGs are presented as text books. Once I understand the basic information in the book (chemistry textbook or RPG sourcebook or whatever) I can deal with the book on my own terms. I can dive into individual parts and learn, and slowly absorb the book as a whole. But I need help to get there. I need an access port. Sometimes this comes in the form of someone explaining the book to me. Explaining the rules of the game or the outline of an essay. This is great, and gives me a way in so I can absorb and master the book myself. But I don't always have someone in my life who can do that. Interestingly, I don't have this problem with novels at all. Narrative feels easier to access, at least for me.

In school I also discovered Scot McCloud's Understanding Comics. This is a pretty fantastic book which I'd recommend to everyone. It helped me understand how I process information. More importantly, it helped me understand the different people process information in different ways. I hadn't realized that at age 16, although I was starting to suspect it. Before I started making comics or games I used to be a teacher. As a teacher I could see that some of my kids were struggling with the information I was giving them, in the same way I had struggled in school. I started using comics in class to help reach these students. I'd draw little comics on my handouts or on the whiteboard to explain what we were learning. The goal wasn't to provide an entire lesson in comics form. I'm not Scott McCloud! Instead, I was trying to find an access point for my students. An on ramp. A port of entry to the ideas and material we were covering so they could engage and eventually absorb the information. It worked so well. It worked like magic. Why don't we do this more in TTRPGs? I used comics in my early games, Panty Explosion Perfect and Ocean. These were narrative comics, not rules comics, but the goal was to provide both an example of what play looked like (from a narrative standpoint) and a point of access for players who weren't sure what the game was or how to engage with it. My thought was that if you understood what the game was supposed to look like it would be easier to approach the rules. (A short comic from Ocean. The book has a bunch of these)

When my brother Nick and I started working on The Magical Land of Yeld I knew I wanted to use comics more directly as a teaching tool. Especially because part of our target audience was new and younger players who might look at a big text book (Yeld is a giant 400 page hardcover) and just bounce right off it. Like I did in school and like I often do with big games. So I needed to teach with examples and illustrations, and especially comics.

The first comics you'll encounter in the Yeld book are narrative, and designed to get you into the ideas and themes of the game. But in the first few pages we also start sprinkling in rules comics. These are presented along side the rules text. They don't replace that text, which is important. The text explains the rules in greater detail, and includes information that just couldn't be added in a single page comic. Instead, the comic is intended to be a point of access to the rules text. A player can read the comic, understand the basic concept, and feel comfortable engaging with the text. That's the goal, to make players comfortable and to make the rules text accessible.

We use comics to teach basic game mechanics, but we also use them to explain specific player facing systems. Sometimes these are things that really do need a comic to explain them, but sometimes we use comics as lures to draw player attention to mechanics that we're afraid they might otherwise not engage with. For example, in playtesting we found that when characters died during a fight the player would just sit there for the rest of the fight and not engage. It turned out, since you don't do anything in D&D once you die (except slowly die more), most players assume that's how all games work! So they hadn't even noticed that in Yeld you become a Ghost and get to ghost around and do fun Ghost stuff! I decided to create a comic that not just explained this but drew attention to it and showed why it was a fun (and important) part of the game!

Structure of play isn't always obvious to players, especially if they're new to TTRPGs or have only played D&D. You pick up habits from the games you play the most, and since most gamers play nothing but D&D there is a tendency to assume EVERYTHING works like D&D. Yeld doesn't, so we decided to take nothing for granted and make comics that very specifically show what a session of play looks like. In this example, it may not look a lot different from D&D, but the adventure is specifically divided into 5 parts. The comic illustrates these parts in a way that is easy to understand. The accompanying game text explains each part in more detail and illustrates how they are important to play. The comic serves as a ramp that gets players to the info they need.

Not all of our comics are player facing. Yeld has a rotating GM (which is awesome, btw), and this means every player gets a chance in the Game Master roll. Which means every player needs to understand how this roll works. Comics like this one, which explain how to build monsters to use in your game, help make the process easy to understand. Again, its about building a point of entry for players. A player might say "I don't want to GM, it sounds to complicated!" But its not. You just need to make it easy for them. Make the mechanics and responsibilities easy to understand. Show why they're fun! In Yeld, its important that each player takes on the GM role from time to time, since we're building a story together. Making it look fun is important! Comics help with that. What's more fun than comics?

Narrative comics are important too. At least for Yeld. I don't think every game benefits from them (although I always love seeing them). Narrative comics show players what the game is supposed to look like. What the characters do and say. What environments they visit. Narrative comics set a tone. Narrative comics let new players understand what a game is about immediately! We can hand a Yeld book to a new player or customer and they know what's up in seconds, just by reading a short single page comic. That's a powerful tool. So why don't more games use comics? Part of it is that game creators are usually not comic creators. There's not a lot of crossover. That always surprises me, but both disciplines take a lot of work. Who has time for both? Even when you have game designers that are comic creators, they often don't include comics in the games (Lancer???). I don't think this means game designers don't recognize the value of comics. I've had this conversation with so many game designers, and they usually agree that comics are useful tools. But if you don't know how to make comics, making comics for your game can be daunting. What rules should you focus on? How do you present that information in comic form? How many comics should you make? How do you hire someone to make comics, anyway? Hiring artists is expansive, btw. You know that, of course. Hiring an artist to make a set of comics for your game could cost you thousands of dollars (or more), depending on what you want. Of course, you can try to make your own comics. And you should! Really! A poorly drawn comic is not necessarily a bad comic. The point is to get your information across to your reader. to provide a point of access. You don't need great art for that (although great art can help attract people to your game). Stick figure work just fine. Here's an example, the layout for the Tea Dragon card game. Another artist took this layout and redrew it in their own style. But my goal here was to be simple and concise with my explanation of the rules. To make the game accessible.

There's a few more pages of this, but you get the idea. The purpose is to explain, and make the player comfortable with learning more. The art matters to the extent that it serves this goal. In fact, flashy or complicated art can get in the way! You'll notice in that most of the Yeld rules comics I posted above the art is pretty simple, with solid color backgrounds. You want to make your comics as easy to read as possible, and that includes avoiding clutter, overpacked word balloons and messy layout. Readers are easily distracted. It doesn't take much for them to set down a book at all. A complicated phrase or hard to read font can often be enough. And once they set a book down they may not every pick it up again. That's more true for a big text book than it is for a comics, but its still true for a comic. So our goal is to make our comic the easiest, smoothest point of access it can possibly be. So easy and smooth that the reader can slide right into the rules text without noticing! Here's my general process for creating a rules comic. This is from my friend Brian's game Scofflaws. I start by taking the basic mechanics that need to be illustrated and breaking them down into panels. The goal is to make each panel readable and not overwhelm the player. At this point I'm just doing a rough sketch. It may not eve=n be readable, but that's fine!

Next, I refine the text and art. I decide on the exact language I'll use, and I finalize where characters and other elements will be placed. As you can see, the actual layout didn't change much here. Sometimes it changes a lot!

Finally, I create the finished art. Honestly, the previous step was just fine. It explanans the rules I wanted to explain. But this last step allows me to add in some narrative flavor. The first panel contains a complicated background in order to present the game's setting. The characters look like the kind of characters you'll play in the game. This isn't nessacary for presenting rules, but it helps present the game as a whole. You want players to engage with every part of your game. The last thing you want them doing is picking up your dungeon crawling game and going "Oh, this would be great for playing Star Wars!"

Today’s recommendation is all about games that bring us into speculative futures, from the highly plausible to the completely fantastical. You’ll find giant bugs, machine animals, and eco punk anti-fascists in this collection of games.

Autostede, by Kettle and Clock.

You are a Drover. Your mechanical companion, your “Autostede,” is all that keeps you safe against the deadly plants and roving wild stedes in the wilderness between towns. And you keep them running. Together, you can take on the world, which is good because the world is a dangerous place and its your job to keep the small, separated towns safe and connected.

Autostede is a tabletop roleplaying game Illuminated by LUMEN in which you play as Drovers, the few who choose to modify their Autostedes into weapons capable of surviving the harsh wilderness between towns. 

Actions taken with the ‘stede interact with their wishes, turning every roll into an ongoing conversation with your companion, where you come together to find the best solution to a problem. 

Autostede feels very much inspired by Horizon Zero Dawn, with a bit of a western twist. Character creation involves two parts. First is Drover Creation, which is attached to your mask, an air filtration device that also grants special skills and points towards one of the three main stats as a strength for you. The second part is your Stede, a character sheet with a 4-section hex grid, with each hex representing attribute bonuses, passive abilities, and modules that can serve as weapons, power generators, extra limbs, and so on.

While the game is based in LUMEN, there’s definitely pieces of it that feel unique, such as your mechanical steeds, and the way skills are used in the game. Each character has access skills that are generally useful, but also can do things that feel a little unhelpful, such as “bewilder” or “consider”. These are Recovery skills; most skills are Spent when you use them and can’t be used right away again after you’ve used them, but Recovery skills can be used to refresh your options, in a sense. These balances of skills feels like a great way to introduce pauses into what might otherwise feel like a hectic game, encouraging your characters to demonstrate weaknesses or narrative moments that are more about the character than what the character is doing.

If you love building custom mechs but still want a lightweight set of rules, I definitely recommend Autostede.

Paratype, by megasomamars.

"The world ended long ago. It doesn’t matter how; pollution, nuclear fallout or some cataclysmic event, no one really knows. What they do know is that it didn’t take long for the bugs to show up. Giant insects terrorize what remains of humanity, leaving survivors scrounging for what little resources they can get.

For most, life in the wasteland has become fast, dangerous and insectile. Thanks to science, some individuals have even found a way to splice their DNA with that of these mutant invertebrates to develop strange new adaptations of their own. These hybrids are humanity's newest area and last hope. Now all that’s left is to survive."

Paratype is an interesting little hybrid of a game. The basic rules involve rolling to hit a difficulty level, with rules for both advantage and disadvantage. However, the game also includes a special roll called the Risk roll, which involves rolling 2d20 and taking the result that is the farthest from 10. This is great for situations where you want either a fantastic success or a deadly failure.

Characters have four general stats, with sub-stats that represent specialties, which reminds me of World of Darkness or Genesys games. The inventory system takes inspiration from Mausritter, consisting of hexagonal shapes that can be filled with different size items. If you buy a backpack, your inventory expands!

Finally, the Health of your character is measured in both Hit Points and Stress points. You lose hit points, and gain Stress points. Running out of HP = death, while hitting max SP leads to your character going “feral”, which makes your character virtually unplayable. I think the explanation in the lore for this is a DNA splice that has changed your character to make them better survivors. I also feel like it carries echoes of Trauma in Blades in the Dark, or Corruption in Urban Shadows, except that in Paratype, SP can be healed a little easier.

Light Eaters, by blindink.

An interstellar encounter brought a Light to the earth, corrupting reality and leaving humanity in ash. The last city stands against the inevitable, remnants of the pre-existing mortal Authority desperately clutching for power. Degenerates stalk the wasteland with insatiable hunger, encircling the dying carcass of order. You are the misfits, the should-not-bes, the first and last signs of apocalypse. Born from the end, you are Light Eaters. In your wake, nothing will ever be the same. 

Light Eaters is a campaign-style role-playing game for three or more players, telling the story of the last city hurtling towards an inevitable end. Players take the role of Light Eaters, near immortal post-human beings watching helplessly as humanity as we know it comes to an end, fighting back against the Authority and the effects of their own Degeneration. They decide for themselves what matters, and what they take with them into this new world.

Light Eaters uses 6-diced dice as resources, which you can place on slots in 4 different move categories in order to set yourself up for action scenes. You can only assign 4’s, 5’s and 6’s: 2’s and 3’s can be re-rolled, while 1’s inflict conditions or allow something called Chaos to rise. Your characters can work as a team, sharing dice and distributing Conditions evenly, and you can also oppose one-another, attempting to disrupt each-other’s rolls by spending personal resources.

The general game play appears to consist of an over-arching problem, with various levels framed as scenes. Each scene will include an obstacle, often in the form of opposing NPCs. These NPCs carry Facets that can be damaged through the actions of the PCs, and each Facet consists of descriptive words that represent powers and personalities that will affect the NPC’s choices. Over time, Chaos will build, triggering new events every time you reach a new level. When Chaos reaches level 4, the game is over; narrate what happens based on the events that have happened so far.

This game looks like a great option for players who want stakes that raise higher and higher, and plenty of ways to interpret their special powers; You can get a taste of this game by checking out an ashcan scenario, called Light Eaters: Thunderfuck, a scenario with pre-generated characters and a problem that each character is motivated to solve.

Bug World, by alfie meyer.

Maybe the apocalypse could have been averted, but it wasn’t, and here we are, in a brand new world. this isn’t your cold, nuclear winter, sparse and dead kind of post-apocalypse. the end sent the world on a new course, brimming with life - just not quite as much human life as before. ok, barely any. in the super oxygen-rich atmosphere of the earth today, insect life has thrived. it only took a few decades for bugs to reach incredible sizes, and now, about a century-and-a-half after the disaster, gargantuan insects are a normal sight.

from a ladybug the size of a dog, to millipedes that might as well be trains, to horned beetles with skeletons big enough to use as shelter. bugs are huge and they are everywhere. the remaining humans have domesticated some, trained others, made wary peace with some intelligent groups, and carved themselves out sections of the world to live.

Bug World is a Powered by the Apocalypse game in that mechanically, it carries a lot of the hallmarks: playbooks, stats that add modifiers to moves, and graded success. It’s also literally a post-apocalypse: the world is broken and dangerous, and the players are scavenging to survive and learning about the past in the process. However, I think in comparison to Apocalypse World, the moves and goals of the characters are less integrated; in Apocalypse World, a character is motivated by lack of resources to intimidate, insinuate, and barter with the other inhabitants of their settlement for more. In Bug World, you are instead motivated to work together to go searching for the things you need to survive.

The Distant Shore, by The Ignis Court.

Transhumanity's empire has been sundered. The Machine Minds they had relied too heavily upon have left them, and Earth too has disappeared. The Settlements across the Sol System have been left scattered and isolated in the black. As megacorp, fascists, and Psionic Tyrants begin movement to take advantage, an entity known as the Distant Shore has manifest from Ceres, and its caustic light has begun tugging at the psyche of every thinking being. 

Lucky then that the Machine Minds saw fit to offer you a parting gift: an Ancile, fragment of the Machine Minds. Their nature symbiotic with your own names you Psion, and one capable of great and terrible power. 

This is the Distant Shore. 

The Distant Shore is a very interesting example of how your characters’ backgrounds and the lore of the game are built into the process of character creation. For example, you must choose a character background that will place you on the outside of the system of power, and each character must also contain an Ancile that gives them incredible power while also makes them dangerous.

The system itself uses d20’s, with a 10 as a threshold for success. However, how well you succeed is determined by your character’s skills - if you are Untrained in a skill, a success is still partial, and if you are Trained in a skill that aligns with your background, you cannot fail. Your training also determines critical points of your backstory. For example; if you are Trained in Engage, name a fight you didn’t win and what it cost you. I love that these kinds of tie-ins ensure that the players will learn what they need to know about the setting without overloading them with information.

The designer also has an adventure document for this game called No More Tourists, if you need a place to start.

Why We Fight, by Stop, Drop & Roll Games Studio. Why We Fight is a solarpunk narrative TTRPG where you play a crew of eco-punks fighting fascism to build a brighter, greener future.

Your Crew will journey through the remains of a post-civil war country to save lives, reclaim nature, create a community of compassion, and beat back the oppressive forces that threaten the chance for a new start.

But most of all, it’s about learning about each other, and the things that inspire us. It’ll take close co-operation and a diverse set of skills, but together, we can make change!

Why We Fight can be played solo and GM-less, with the elements that would normally be GM-ed attached to randomizers to help the group construct missions together if that is what you so desire. The game is focused on a post-apocalypse that highlights many concerns about the consequences of an increase in fascist-leaning governance, which means it isn’t necessarily escapist, but it might give your table the space to talk about elements of the future that cause them anxiety. It might also give you a chance to demonstrate agency in situations where you normally don’t.

Character specialties are distributed among mental, physical and social categories, and feel pretty standard when it comes to a list of character skills. The group works together to construct a mission, using dice to determine elements such as opportunities, locations, and various situations that may cause complications. Play happens over the passing of a day, with different modifiers attached to specialties according to the time of day. I think this might be interesting way to add complexity that encourages strategy when it comes to plotting out your next moves.

Finally, travel between conflicts and other scenes serves to flesh out the world and add depth to your character’s experiences, using roll tables to describe how small changes in the world give your characters reasons to hope.

For Further Reading...

Post Apocalyptic Community Recommendation Post

Nuclear Radiation Recommendation Post

i have no idea where you get this idea from, I play a bunch of different games - including freeform text rp, fest larps, parlour larps, regular tabletop campaigns, longform play-by-post games and narrative wargames - and I have a lot of fun doing it. I wouldn't be a game designer if I didn't actually enjoy games. The thing is, if you study game design and ttrpg theory seriously, you think about the intent behind design decisions. Game design doesn't just happen by accident, the designer put a given rule in for a reason. So, you ask yourself why the designer made the game the way it did, and what they were trying to achieve.

A significant tool for game design is considering the feedback the game provides; what behaviours that ruleset rewards and what it discourages. (You can apply this analysis to other games, too, like video games). When I'm talking about a bribe, it's in that context; how does the game reward you for doing things, and what things does it reward. (For example, 'scrabble' rewards you for playing words with weird letters in them by making those letters worth more points.)

The thing is, ultimately, every game relies on a simple proposition; that if you volunterily use its rules, you will have fun. You don't need to follow the rules, and you can have fun without them, but the idea is that using the rules will let you have more fun, or a different type of fun, than if you didn't. (For example, throwing a ball around is a bit fun, but if everybody agrees to follow the rules of basketball, you get a different experience that a lot of people prefer). So, the only bribe you're making on the interpersonal, out-out-of-game level (unless something weird is going on) is "if we play this game it will be fun". When I talk about bribes and incentives, it's *inside* the game, after we've all agreed to the game's proposition of "if you use the rules, you will have fun".

Now, what counts as an incentive varies by game. Some, like Warhammer 40k, are challenge-based, and have ways to keep score of success and victory; here, things that signify overcoming the challenge are your incentives; how you get a high score, how you win, etc. Others, like most ttrpgs, are creative-based. What constitutes an incentive within the game's structure is less precisely defined. By and large, though, these incentives tend to be things like increased agency within the game fiction, space for creative expression, and experiencing and learning about more of the game fiction. (In this structure, 'being more mechanically powerful' can be thought of as a way of granting a player more agency, because their actions are more likely to succeed and result in the outcomes that they want. If the mechanical growth is lateral as well as vertical, then how to get more powerful is - itself - a venue for creative expression in what to prioritise, which is also a reward).

with subs OR with the english dub

you can find out why sulemio is so special :)

Theme: Multiple GMs

Hello friend, I may have recommended games similar to this but I don't know if I've actually fulfilled this prompt before! I'll do my best to show you some interesting games, and you can check out previous posts at the bottom in case there's something there that fits your tastes more.

Questlandia: Second Edition, by Turtlebun.

In Questlandia, you and your friends will invent a world from scratch. It might be fantastic or bizarre, from a remembered past or imagined future.You’ll paint a picture of your society and its people, their laws and customs, how they live and how they dream.

But your society is failing. As you play, your characters will attempt to find beauty and purpose amidst the chaos of a changing world.

Questlandia is a tabletop roleplaying game that creates fantastical worlds in states of change. It may be medieval fantasy in a ghost-haunted kingdom, neo-noir in a roboticized undercity, or microscopic slipstream suburbia in a puddle. The possible settings are boundless, but will always come from the interests of those at the table. Bring in real-world themes that intrigue you, references that inspire you, worldbuilding that follows your curiosity.

Questlandia uses dice and cards to help you create a society, as well as your character’s role in that society. I think this is a good example of a game where every person is a character, but every player is also a GM. You’ll roll against each-other to determine whether or not your society will be able to overcome their troubles. Overall, I think Questlandia is great for telling a story that spans a number of factions or nations.

Pantheon, by harpoon_gun.

4-6 GMs, who are distant Gods with their own desires and needs, and up to 3 players, champions of the Gods who are being forced to do their chores. Take turns toying with the champions, screwing over the other Gods, and building relationships of both the positive and negative variety. 

All I know about this game is what I can divine from the description, but I would hazard a guess that much of this gameplay is going to feel a little bit like PvP. The gods that your GMs are embodying will have conflicting goals and desires, so expect to run into a lot of backbiting and backstabbing. The game itself was designed for the Bad TTRPGS Jam, which encouraged designers to fuck around with rules and see where it got them. So no guarantees for a balanced game here - but maybe an interesting experiment!

Fool’s Errand, by Myles Wirth.

You are a group of questants, pledged to a seemingly-impossible task. You must set out alone into the world, each following your own path by which the quest might be fulfilled. They will be long and difficult journeys, with no guarantee of success.

Inspired by legends and travelogues, Fool's Errand is a single-page tabletop game about perseverance in the face of uncertainty and the joy of worldbuilding together. It is prepless, gm-less, setting-agnostic, and can be played on its own or as a setup or interlude for another game. Rather than flattening Player-GM distinctions entirely, it inverts the traditional balance of a ttrpg table; players take turns as "seekers", individual characters traversing the world in search of an impossible goal, while the rest of the table forms the "Chorus", building and refining the world around the seeker as they explore it.

Fools’ Errand asks you to make some travellers and give them a quest that they cannot achieve. The game occurs over a series of turns; on your turn you’ll control your Seeker and declare what you want to do. The rest of the table becomes the Chorus, and build the Location that Seeker is in. The Seeker may then attempt to convince the Chorus that the way in which they will attempt to solve the problem is something they would be good at; and then rolls 3d6. Your result may grant you a Boon or a Burden, which may draw you closer to or pull you farther from your character’s goal. Your characters also have a Resolve pool, which will diminish over the course of play.

I think success is still technically possible in this game, but it’s highly unlikely. What is more likely is that characters will slowly give up on their quest, and join the Chorus in telling the story of who remains.

Bleak Spirit, by potatocubed.

Bleak Spirit is a storytelling game where you and your friends create a brooding, cryptic tale about a stranger in a strange land. Everything is falling apart, crumbling, corrupted, and the wanderer carries the potential for a return to past glories – or the power to sweep away all that remains.

Everyone contributes to the tale, sharing the sense of mystery that comes from no-one knowing the entire truth of what's going on. Everyone takes turns being the world for a scene, introducing lore which hints at the history of the setting. After every scene everyone leaps to conclusions based on the lore which has been revealed – and these conclusions affect the sorts of lore they will introduce when it's their turn to be the world.

Bleak Spirit is meant to replicate the narrative beats of Dark Souls, Hollow Knight, and Bloodborne. It gives everyone at the table a chance to play the Wanderer, a chance to play the World - and a chance to sit as part of the Chorus. The game is very structured, which I think helps the table keep on track, since everyone is going to have a chance to contribute to the story. The Wanderer dictates the character’s actions, but never their internal thought or feelings. The World creates Areas and Locations that the Wanderer will visit. The Chorus will introduce themes, descriptions, and motifs that are meant to make the world full of grandeur, mystique and decay.

This is a game that you might be interested if you like melancholic tones, large gaps in historical knowledge, and collaborative world building. The creator has also created a Cat version of this game, called Cat Spirit!

Two Weeks One Summer, by Rick Cockram.

In Two Weeks One Summer the players take the role of a family visiting a rambling old house in the woods during a summer holiday. The game focusses on the activities of the children of the family as they explore the house, it's grounds and the surrounding woodland. It is a game about finding things to do, creating your own excitement and exploring an unfamiliar environment.

This game divides the participants into two roles: the Children and the Grown-Ups. Over the course of the game, each of these roles will contribute different things to the description of the house, and the events that happen as you stay here. I think this works well for a slice-of life game, but it also might be an interesting source of inspiration for telling stories that are more dramatic or fantastical.

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Co-Optional Games Rec Post

Unique Player Responsibilities / Rotating GMs

if you haven't watched the raid, you owe it yourself to see a gritty, brutal application of pencak silat that is all at once kinetic, ballistic, and horrifying

anyway let's boogie

here's some important starting assumptions and disclaimers

gubat banwa is not specifically emulating any genre--it is a simulation of itself. hence, not everything will fit perfectly, but role-playing games care not for perfection

gubat banwa is a tactical martial arts game: this means there are a lot of mechanics and abstractions to create multiple tactical decision points in combat: it's not aiming specifically for the cinematic. gubat banwa's tactical violence is very gamified, on purpose

POSTURE (POS) represents wear and tear as well as desperate avoidance of attacks and blows. while it doesn't feel like Rama is taking any head on damage from the attacks here, he is absolutely still getting worn down, exhausted, and suffering a thousand tiny hits to his stamina. This is what POS is meant to represent.

RAMA is a LEGEND 4 MANGANGAYAW (raiding, focus on quick strikes and forward movement) though he has no weapons on him, that doesn't make him any less dangerous. this means he has a whole slew of techniques and most importantly, has access to all Four Signature Techniques of the Mangangayaw, as well as their Enlightenment

Rama only has 1 Anting here: the Kala Cuirass (his kevlar jacket) which gives him +4 POS, which means he has a max of 44 POS

most of the Machete Gang are made of MACHETE GUY 1 is a Legend 0 Fist (32 POS), MACHETE GUY 2 and 3 are Legend 0 Swordmaidens (32 POS), though the larger guy (BIG MACHETE BOSS) is a Legend 1 Berserker (34 POS). this is in stark contrast with Rama being of a much higher Legend

the hallway is long but not wide: it's at most 12 x 3, with each room extension being 5x5. this makes melee fighting almost essential, which is good

Beats are put in [X] brackets

let's begin: the divination dice are rolled: 2 evens, 2 odds: machete gang goes first, and rama starts with 2 Thunderbolts

A bit of fictionalization:

Rama is stuck here in front of a gang of armed men. Only stupid people would attempt to go up against someone--not to mention 4 of them--without a weapon of his own. this is why Rama was so hesitant to face them in the first place. the fact that Rama gets out of this alive shows a reality of The Raid's Universe: if you're skilled enough, you can probably get out of it unscathed. Gubat Banwa shares this reality and assumption. in real life, this is a lot less commonly true: it can still happen, but is rarer and not worth taking the chances

FIGHT STARTS AT 1:27

Machete Gang and Rama both start at the ends of a 12 tile long hallway.

RESOUND 1

Machete Guy 1: Rushes forward thrice

Rama: Rushes forward once to meet the guy, then performs BETWEEN THUNDERS to blow him wide open (disarming him in the fiction), then Deflects

Machete Guy 2: Rushes forward twice then attacks Rama, but Rama evades it due to Demerit from the Deflect, then he moves 2 behind Rama

Machete Guy 3: Does the same, Rama still evades thanks to the Demerit, describes it as pinning the guy to the side, gaining +1 TB.

Big Machete Boss: Machete Boss rushes forward [1], Inflicts Violence [1], but Rama uses his Break to Live Hand and performs TOO LIKE THE LIGHTNING to deal 8 DMG to him (and Rama describes himself shoving the Machete Guy 3 for TB, though functionally he's still beside him). Big Machete Boss's attack goes through, and he deals 3 DMG to Rama. He does it again [3] with 3 Demerit due to Deflect and Rama evades all the attacks. What you see in the scene itself is Rama describing his avoidances, gaining another TB. He now has 4 TB.

RESOUND 2:

RAMA goes first, refreshing his Break, then performing BETWEEN THUNDERS + TOO LIKE THE LIGHTNING to Big Machete Boss, dealing 12 DMG to him. He then keeps up the Deflect (a smart move, as a clean attack will damage him horribly and maim if he's not careful even if he is at Legend 4)

MACHETE GUY 2: Rushes [1] (leaping on top of Rama) and Inflicts Violence [2], dealing 4 DMG to Rama (he's at 7 DMG, he only has 44 POS), he Inflicts Violence again [3] but with 3 Demerit, Rama evades the attack completely.

MACHETE GUY 1: Rushes [1] and then uses Polearm Master [2] to slide Rama closer to him, then Deflect [3] to protect. He then yells at Machete Guy 3 to chop Rama's leg off

MACHETE GUY 3: He acquiesces, Inflicting Violence still with Demerit, but Rama performs Live Hand (dealing 9 DMG) evades this (in the fiction, him doing a two-kick disarm). The Machete Guy, avoid to do any more, spends his last Beat to Deflect.

BIG MACHETE BOSS: Doesn't go in just yet, and spends a Beat to just Deflect.

RESOUND 3:

RAMA (7 DMG) goes first, refreshing his Break, then goes wild at the guy in front of him (Machete Guy 1), dealing 15 DMG to him!, forcing him back. He then rushes 1 tile and then Deflects.

MACHETE GUY 2: Rushes [1], attacks twice: first one deals 4 DMG to Rama, the second one is evaded. Rama performs a deft deflection, gaining +1 TB because that was cool as shit. He's at max TBs now.

MACHETE GUY 1 (15 DMG): Rushes [1]: Inflicts Violence twice: same thing: first one deals 2 DMG to Rama and then the second is Evaded.

BIG MACHETE BOSS (12 DMG): Rushes [1], Inflict Violence and deals 5 DMG, the second one Rama performs Live Hand against, and deals 9 DMG to Big Machete Boss. He then evades the third attack, which Rama's player decides to describe as the awesome backward cut as shown there. Importantly, this brings Big Machete Boss to 21 DMG, Staggering him, as shown as the clean cut given to the Big Machete Boss.

MACHETE GUY 3 (9 DMG): Rushes [1], Inflicts Violence twice: first one deals 2 DMG, the second is completely avoided

RESOUND 4:

RAMA(18 DMG): Uses this for set up: he inflicts violence to Machete Guy 3 to deal 9 DMG to him (slamming him against the wall). Takes on Killing Blow Stance [2], then Deflects [3].

BIG MACHETE BOSS (21 DMG): Rushes [1], Inflicts Violence, dealing 2 DMG) to Rama, and then Shove [3] to push him back 1 tile to in between THREE targets.

MACHETE GUY 2: Rushes up to Rama twice [1-2] to get into position, and then inflicts violence, but Rama avoids it.

MACHETE GUY 3 (18 DMG): Does the same: Rush twice and then Inflict Violence, but Rama avoids it as well. Demerit is pretty strong.

MACHETE GUY 1 (15 DMG): Spends a Beat to turn and Inflict Violence on Rama twice which are also Evaded, and then spends a Beat to Deflect.

RESOUND 5:

RAMA (20 DMG) goes wild: The scene where he's fending off attacks from both sides is represented by him being flanked. There's no moment in Gubat Banwa's tactical system wherein people are just standing right beside each other. They're always trying to out maneuver each other.

Rama shoves [1] Machete Guy 1 away to remove another flanking idea. Then, he Shoves Machete Guy 2 out through the door (dealing 2 DMG to him through Collide). For his last beat, he unleashes a powerful attack against Machete Guy 3, who is Staggered: he performs KILL THE STORM with the benefits of KILLING BLOW STRIKE (+2 Merit, Relentless, +d4 DMG, and ignores Combo Breaker): he rolls (with d10 because MG3 is Staggered) and deals 29 DMG (and he Smirked because he Chained [from Mangangayaw's WHIRLPOOL MOVEMENT], so his EVD becomes 3 and he adds +1 to all Violence Rolls until he gets Damaged. Just for the coolness, he spends 3 TBs to get another Beat and he moves into the room, doing the very brutal finishing move on the MG3. He gets 1 TB back, so he's back at 3TB. He spends the rest of his SPD to move deeper into the room where he's attacked by...

MG2 2 DMG: Inflicts Violence against him, which AVOIDS, the second Inflict Violence RAMA uses Live Hand to disarm him and also use KILL THE STORM against him, dealing 11 DMG to him, bringing MG2 to 13 DMG, and then he avoids it again. Suffering Demerit, MG2 only Deflects.

BMB (21 DMG): Rushes in and attacks. Inflict Violence twice, both avoided.

MG3 18 DMG): Does the same. First attack deals 1 DMG popping the Smirk, second is avoided completely.

RESOUND 6:

RAMA (21 DMG): Refreshes Break. He shoves BMB first to the side (2 DMG from Collide), takes on the Killing Blow Stance, and then performs Kill The Storm on MG3, dealing 25 DMG, and also Smirking. Killing the guy and getting his EVD+1 back.

MG3 (15 DMG): Gets to Inflict Violence, actually dealing damage and popping his Smirk, dealing 6 DMG, and then shoves him back, making him trip on dangerous terrain (the couch) dealing another 2 DMG. He then rushes toward Rama.

BMB (21 DMG): Low on POS, he waits for a bit, and Deflects.

RESOUND 7:

Rama (28 DMG): Plays it safe: rushes back, takes Killing Blow Stance, and then Deflects.

MG3 (15 DMG): Jumps in and starts attacking: Rama uses Live Hand to attack back with Kill The Storm, dealing: 20 DMG. More than enough to Defeat MG3. He describes himself parrying the attacks, catching MG3 as he jumps up again, and then slamming him against the wall behind them.

BMB (21 DMG): Jumps in now. Rush [1], they brawl: BMB deals 4 DMG to Rama, bringing him down. They're brawling: BMB's third attack misses completely.

RESOUND 8:

The Resound where they brawl and try to strangle each other in the scene.

RAMA (32 DMG, Staggered): At this point in the fight both of them are completely brawling: Rama shoves him away, uses Between Thunders, then TOO LIKE THE LIGHTNING against him. He rolls low, only dealing 4 DMG. He describes his attacks really cool-like, getting +1 TB, so he's back to 4 TB.

BMB 25 DMG: Does the same. Rush then Inflict Violence. Deals 6 DMG. (This is the grappling and strangling and beat down part as they move into the corner). Then Shove him away.

RESOUND 9:

RAMA: (38 DMG) Rama is desperate now. He spends a Beat to take on Killing Blow Stance, then he Deflects.

BMB (25 DMG): Rushes and then Inflicts Violence. Before that, Rama spends a Break to Live Hand, then performs his Killing Blow Stance. He rolls impossibly low: dealing only 7 DMG, bringing BMB to 32 DMG. To finish it off, he spends 3 Thunderbolts to Multiattack, dealing +7 DMG, finally killing BMB.

THEME: Regency Games

Hello friend, I think I have a nice little selection for you to take a look at!

One thing to note is that some of these games are very gendered, providing roles such as “Matron”, “Nobleman” or “Countess” that is rather unavoidable. Sometimes this is simply part and parcel of playing in a specific era of history, and sometimes it is done purposefully, as games can often be commentary about certain issues that were prevalent at the time.

While I think you could likely make a non-binary character in these games if you really want to, I think that one of the appeals of playing in the Regency era is the strict social structures that created such rigid gender boundaries, and so I’m not surprised to see those boundaries enforced in these games.

Vicious, by Budget Versailles.

Vicious is a game set during the Regency period about scandalous gossip told via letters between three or more players.

Players roll dice to generate scenarios and gossipy twists to pass on to the next player until everyone has been deceived with shocking slander and hearsay.

If you’re a fan of the epistolary phase of Good Society, Vicious is probably worth looking at. Watch a piece of news twist out of your control as your letters get flavoured with gossip. You can roll for inspiration for various scenarios, as well as for juicy gossip to make those scenarios even better - but the game ends with one player sends out an invitation to determine how many of the accusations that have been sent around are true.

I think Vicious is also an excellent add-on to pair with another game of your choice, especially since it could be played in between sessions, cooking up drama for the players to hash out in an in-person confrontation.

Hazelwood Abbey, by stevehatherly.

Downton Abbey meets Hillfolk. Players play an aristocratic family in a player-led dramatic game of emotional needs and wants for 4-5 players.

Hazelwood Abbey uses Pelgrane Press' DramaSystem rules engine to create a story of high-stakes interpersonal conflict. During the session, you will create family members with conflicting needs and goals. And then you will find out what happens.

To play this game you’ll need a good understanding of how the DramaSystem works. The author recommends referencing a copy of Hillfolk, although you can also check out the SRD for free to see how you feel about the system.

The DramaSystem is all about relationships, and give and take. Your characters all need something from each-other, something tied to an emotional reward. When interacting with each-other in a dramatic scene, tokens will be gained or spent by following prompts specific to your playbook. In Hazelwood Abbey, your characters are split between the upstairs and downstairs, just like in Downton Abbey. The upstairs playbooks will wrestle with ties to family, tradition, and duty, while the downstairs playbooks commonly struggle with ambition, social inequality, and precious secrets. If you deny another person what they seek, too many times, they may force an emotional concession from you by spending tokens.

I think this is a great example of dramatic tension, and while I suppose Hazelwood Abbey might be slightly later than regency era, it might give you some of what you’re looking for.

Sense and Sensibility, by Armanda.

YOU ARE A DEAD GUY’S SECOND FAMILY IN 18th CENTURY ENGLAND. Your mission is to get one of your sisters to marry well, since you’re all women and can’t live without the favor of a man. You have no rights other than the right to marry and be a mother. In this game, you’ll explore the terrible vicissitudes of British bucolic countryside life and deal with neighbours and city people coming to visit the various families in the area, where gossip and marriage (and love, in the best of cases) are the order of the day. 

Since this game is built off of Lasers and Feelings, I’d expect it to also be fairly easy to pick up if you’re familiar with other works in the same system. You have two stats and a number somewhere between 2 to 5 that tells you how good you are at one of those things, and how bad you are at the other.

I think this game is more focused on family relationships than some of the other games on this list, because your entire family’s well-being depends on the success of finding a wealthy match. Battle gossip, defend your honour, and possibly even sabotage your rivals in an attempt to find some security for yourself and your loved ones.

The Season, by Rue.

It's London season and you're in for a ball! 

The Season is a GM-less RPG about elevating your status and keeping up your reputation during the fabled Regency Era social season. 

This is a competitive RPG that takes place over the course of 10 rounds. Each characters’ goal is the same: to end the game with the highest Reputation. To chip away at your rivals’ reputation, you’ll have to demonstrate your own social graces, spread rumours, or meet gossip with the perfect amount of composure. You just need 2d6 to play, although you’ll probably want a few roll-tables for inspiration if you don’t consider yourself that good at improv.

This is another game that might benefit from being played alongside something bigger, or perhaps using some established lore from another setting.

Teacup Masquerade, by Sam Scribbler.

A one-page cozy social game about getting revenge on your enemies. Inspired by Regency-era romantic dramas such as Bridgerton with a vengeful twist. Create a character, discover your rival's secret, and become the darling of high society.

This is a simple game meant to fit on one page. You have three basic stats, and a gradient scale of success. You gain a random social advantage and a random personal shame, which you’ll want to try to hide as you go about discovering the secrets of your rivals.

There’s not a lot of guidance for this one, which is pretty common for one-page games. It might be a good fit if you have an idea of the kind of story you want to tell, or if you have your own set of home-brew rules that you want to add onto an existing premise.

The Social Season, by Scott Sexton.

In this single page role playing game inspired by the works of Jane Austen, you and your friends play as high society characters navigating the treacherous London social season.

To save your family from ruin, you must land an advantageous marriage proposal by the end of the season. Will you outwit scheming rivals and jealous suitors to make a fortuitous match, or will you become embroiled in scandal and depart London in disgrace?

This is a Honey Heist hack, pulling you between the two extremes of Composure and Scandal. Since it’s built off of a familiar system (to me), I can expect this game to be rather light-hearted, pushing your characters to vacillate between following social graces or deliberately doing something considered… untoward. This is certainly a chance to put on your stuffiest airs, flutter your fans dramatically, and describe your attempt to kiss your beau on the back of their hand.

The London Season, by Stéphanie Dusablon.

The London season of 1874, a perfect time for the aristocracy to advance the marriage prospects of their offsprings, entertain themselves through various social engagements and, naturally, gossip to their heart's content.

We were also taught that once we attained marital bliss, our husband would take ownership of our wealth, property and body. They probably would have passed a law to ensure our mind became theirs as well, had it occured to them that we might actually have one.

Create your young lady, decide if you hope to secure or avoid an engagement this season and carefully navigate 8 fortnights of glamorous events, social engagements and secret messages. 

As a solo roleplaying game, The London Season is an examination of the social inequities present in the Regency era, as well as a love letter for a time of secret messages and glamorous events. You’ll mostly be drawing cards to answer questions, receive secret messages, and navigate both welcome and unwelcome engagements, journaling each step of the way. At the end of eight fortnights, your young lady will have either achieved or lost her goal. Whether that goal is marriage or something else is up to you.

Games I’ve Recommended In The Past

Le Bon Ton, by RobotFrancis.

Pride and Extreme Prejudice, by Grant Howitt.