Gonna mash together In the Light of the Setting Sun with Into the Wyrd and Wild to make a survival western game one shot. Let’s get it on!
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@roleplaying-grenade
Gonna mash together In the Light of the Setting Sun with Into the Wyrd and Wild to make a survival western game one shot. Let’s get it on!

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Dungeon23 1/14-20
Okay! A busy week means you’re getting one long post on the east side of Level 1.
Most inviting is 15, we have an Automat, the greatest quick service ever invented with a note that “CC killed us” scratched into the wall.
An office (14) beside it with an access card to the back of the Automat and some motivational posters.
A pantry (16) with rotten food, some days rations and a valuable pack of pre war cigarettes.
A small access hatch (17) used by maintainobots to travel floors and keep the place clean, hackable and with enough room for 1 at a time to go down.
We get the office of Expansion Management (18), with notes on their newest project post sealing “population replacement and longevity” and a nice note about a portable concrete extruder, which can be used by archivists to effectively cast Wall of Stone.
19 is a depowered lift with a corpse on top, she has IT privileges in her access badge.
20 is Forecast and Analytics, where number crunchers played with foam weapons and wrote reams on survival odds and whether or not the Preserve’s AI core would go rogue and kill everyone (22% chance, admin not responding to emails.) A note betrays a plan with a member of IT to see what they know.
This week was tough to figure out at the end but I’m liking how it came together.
Dungeon23: 1/13 Janitorial, Knowledge Management, Communications
You bet your boots today’s a three in one!
I added three more rooms to our Preserve over the last couple days.
1/11 A janitors closet with four bottles of accelerant, typically used by the maintainobots to power their built in torches.
1/12 We get Knowledge Management where a de powered, password protected console has info on the three projects of the location.
A 7billion dollar project to breed and proliferate radiation proof flora, a digital collection of scientific research and prewar classic literature, and the Central Command Intelligence, an AI set to take over the Preserve after six months. None of those are seeds for me to play with layer.
The last office is Communications, more of a workspace and check out station, but we get a pair of high power Walkie-Talkies and the note that the Preserve never received a high frequency transmitter dish. Also another new item, a repair kit to add a bonus die to any rolls interfacing with electronics. Should be helpful for door locks, robots or something else.
Dungeon23 9/10: Crisis Mediation, Resource Management
Days 9/10 brings us two more offices.
We get Crisis Mediation in 9, which includes a recording of when the robots turned on the Preserve, it’s blatant proof of what happened to everyone inside this sealed vault.
Room 10 gives us Resource Management where the PCs can learn demographic info from cubicles and if they’re lucky dig up a bottle of unlabeled high proof liquor. I have to put a sneaky still in here somewhere now.
The next step will be figuring out something like 19 more offices for this place.
So I’m working on this game. It’s called City and Craft, and it’s supposed to be a rules light take on urban fantasy.
What’s rules light mean? There are two mechanics for resolution and one for downtime. For resolution of the action doesn’t necessitate a response, like picking a lock, driving a car, persuading a bystander, you roll 1d6 and add a number of points that you have in a pool. Meet or beat the difficulty? You succeed. For resolution that requires response, a magical duel, a foot race, a brawl, a debate, you and your opponent both secretly choose a number of points, then roll your d6 and reveal the total. Whomever loses gets to start the narration of how their action affects the environment and the higher roll gets to narrate how their action beats that.
Then the GM, what I’m calling the Chorus, gets to reframe and it continues. Typically you want to beat the opponent 2 of 3. Some easier opponents may only need a quick 1 round to beat, while experienced Crafters (our magic users) may take 4 of 6 or 5 of 8 to beat. My hope is that it’s a fast paced and enjoyable narrative way to play out combat and avoid a drawn out magical slog fight.
We’ll see how well it works tonight. If any of this is interesting, take a peek below and follow me on itch at roleplayinggrenade.itch.io for release news.

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Dungeon23 1/6-7: Clinic, Park
We have two today because I didn’t post yesterday!
1/6 is the clinic. A small triage station designed in case an incoming Preservist needed medical attention.
We have a medbot here, the first of its kind and it’s remarkably similar to other robots here, higher armor than health, a 2 harm scalpel, but it’s real weapon is an anesthetic mist! Pass a resilience save or get stunned for a turn or two!
There’s a d6 medkit here as well, and I’m sure any gamemaster would let you break apart the medbot for an attempt at a Cure Wounds module.
1/7 is the Park.
After all the hustle and bustle, we need a calm space that future administrators and essential staff can just walk around and relax in.
Hedges and berry bushes (scavenge 2 rations) and a large pond all surrounded by steel chess tables and chairs.
Doors will come off this room in multiple directions making this a central hub for the admin wing.
Dungeon23 1/5: Security
Room 5 gives us the security office. Where a lone officer could provide security overwatch. An emergency powered computer can be charged and then hacked to provide visuals from the floors below, and in the desk we can find a pistol and some armor piercing rounds. We see various glimpses of the floors below. Floor two shows a recreation area and guardbots patrolling, floor three shows an office with bright nuclear warnings, floor four shows dirt floors and past that we’ll have to come back and see what we have after we write floors.
AP rounds do half of the harm rolled directly to the enemy’s health while the other half still chips at the armor. A d6 pistol is also in the room.
Dungeon23 1/4: Armory
Through a locked door in 1/1 (gotta notate that) we get to 1/4. Two long benches in the center of the room are surrounded by racks on the walls.
Stripped almost bare the racks have some scattered pieces of armor for PCs to equip or grab, d4, an electrified club, d6 Harm and a 1 in 6 chance to stun a biological opponent, and some ‘non lethal’ ammo which steps down the weapons damage.
The floors are waxed and shine in the low emergency light. An door to the east and a door to the north.
Dungeon23 1/3:Welcome
After passing through the front gate and decontamination, we reach the Welcome Room. Rows of folding chairs, a movie screen and two guardbots are here. Any PCs without Preserve suits, or with armor on top of their Preserve suits, are subject to attack by the guardbots.
We also have an unpowered elevator, stairs down to level 2, and two more exits.
From here I think we’ll head east and move to a security wing and the first notes that something is wrong with the systems here.
It’s room 2!
1/2 is Decontamination. Lockers stacked double on the walls are full of new, plastic wrapped Preserve suits. Gray and yellow two pieces with long sleeves and soft shoes, the clothing has RFID tags that will allow some obstacles to be avoided. Armor can’t be worn to gain that effect. There is a decontamination station in this room, a kind of ozone gate that will remove radiation levels from whomever walks through it. It may be disassembled to remove a ‘Remove Radiation’ level 3 oscillator module and a nuclear battery.

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So Dungeon23 is up and it’s 1/1/23!
The dungeon is the local prime Preserve. When humanity hides underground, one hole is always more important than others and around here this is the one.
Entering the large blast doors somehow will open you into a small anteroom that funnels you left or right, both ways take you to a large room guarded with automated turret guns.
A door to the north and a door to the east are the only exits.
A large desk with a console sits centrally located. Failed attempts to access it will trigger the two turret guns.
A flat platform service elevator, unpowered currently, is in NW corner of the room.
The light flickers, the room echoes, and everything still smells new. A strange and off putting smell for Wasters born and bred.
concept art of a couple of our eponymous HELLPIERCERS
follow our campaign and build your own HELLPIERCER when we launch in early 2023
https://www.kickstarter.com/projects/sandypuggames/hellpiercers-tactical-harrowing-action
How To Support Indie TTRPGs
A lot of indie ttrpg people are coming back to, or trying out tumblr for the first time. For better or for worse (I'd argue worst lol), twitter has been the main marketing tool and driver of sales for a lot of indie people. Whether or not twitter is going to completely fade away, who knows! But it's never a bad idea to take some eggs out of that single basket.
So what does that have to do with tumblr? Well, if you see a post about an indie ttrpg (games, art, podcasts, streams, design, whatever!) give it a reblog! Same as you'd do for any cool art, gif, video, or music!
Want to take it a step further? Go check out that person's links (which related, to all the posters out there, make sure your links to your itch pages, drivethru pages, personal sites, etc are handy!) and here's the crucial part, if you think something is cool, buy it! Indie ttrpg stuff is nearly always wildly underpriced (which is a convo for another day), so chances are you can find something that's within your budget.
If you can't buy it, bookmark it for later! Also, it's super common for itch.io creators to have a pool of community copies freely available for their games. Take one! Check out the game! If you like it, buy it later! If you grab a community copy, an extra cool thing you can do is leave a 5-star rating!
I would love to see the indie ttrpg sphere flourish on tumblr, but that can't happen without support! So show your favorite indie ttrpg creator some love, and also go exploring to find some new favorites!
Three maps I drew for the TRPG “The Cleaning of Prison Station Echo”. A book published by Magnum Galaxy. The cover and inside art are made by Evlyn Moreau @evlynmoreau-blog and the book design by Eric Hill.
Gods, this style of map and layout is phenomenal. I’m usually a sucker for something more abstract like what Chris Bissette did in Regicide (which is a phenomenal short adventure BTW) but the isometric angle with little people going about their day just reminds me so much of the old cutaway books I used to read as a kid.
It’s usable, wonderfully nostalgic, and also just dope as hell to see. This fucks.

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Where I Talk About Journalism in TTRPGs
Keagan, the creator of In Extremis, recently came back from their twitter hiatus to post a list of hot takes. And it’s inspired me to have a hot take of my own. I’m doing it here on Tumblr because I can and because this might turn into a well-researched article at some point instead of just my coffee-induced ramblings.
And I obviously need more than 240 characters.
I want to talk about games journalism here. My hot take? That we, as professionals and hobbyists in the TTRPG space, should have been much more skeptical of Dicebreaker and Polygon when they came to us telling us they would cover indie games.
To explain this I need to talk about journalism first. Mostly I need to talk about modern journalism. There are lots of great ways to learn about modern journalism and how it’s completely fucked. I think it’s rather telling that most people online only get reliable news from other individuals over Twitter.com (which is one of the reasons why the threat of Twitter disappearing is a greater act of aggression than anyone is really ready to talk about yet).
Modern journalism is owned by rich people. This isn’t news. We all know that Jeff Bezos owns the Washington Post. We all know that journalism is a business at this point. It needs to turn a profit or the rich people will sell it and people will lose their jobs. To turn a profit, the newspapers, magazines, and websites need to sell ad space. And for those ads to make the company money, people need to see them. Which means buying a newspaper or going to a website.
Apologies if this is all painfully obvious to anyone, but stick with me. Also, real quick, we’re ignoring subscription services right now because I’m going to talk about those later on.
So modern journalists are not responsible for reporting the news. They are responsible for getting people to buy the thing or click the thing. They do this a lot of different ways, but the most prevalent one in our modern age is through outrage and misdirection. Not a week goes by that a painfully bad article title is roasted because it refuses to report directly and obfuscates blame or opinion on the matter.
They also do this by writing lots of articles. You, as a working journalist, might have to write an article a week (sometimes more!) and you will often be assigned your topics. You can call this bloatware or whatever you want, but the important thing to note is that they need to do this or they can’t make money.
All of this to say that modern journalism is not altruistic. It is not a bunch of well-intentioned people who simply want to report the news and be supported for that. It’s not a bunch of folks who just love researching a topic and reporting on that. It’s not a place that thrives on well-thought-out opinions or even reportable facts.
In these conditions, it is possible for a journalist to do amazing work. It does happen. But, if I’m being fair, I cannot expect that from journalists. What I can expect when looking at modern journalism is mostly click-bait. The best journalism work comes from passion. Journalism, like other mediums of writing, is an artform. To Art is to be human, and I think to report/analyze/critique things is part of that.
I think it would be easy to just chalk it all up to capitalism-bad and move on. And a lot of people have. People have taken the “no ethical consumption under capitalism” to defend people working for literal defense contractors, so there’s no limit to the kinds of takes a person can have about working conditions, payments, and their relations to artistic endeavors. This post is to collect my thoughts on the matter in relation to my field, which is tabletop roleplaying games.
My first thought revolves around artist endeavors as a hobbyist. To do that, let me tell you how I started my career in games, because I think it’s a normal path for hobbyists to take on their way to working professionally (meaning full-time with pay).
I started writing game material because I liked doing it. I would have described it as a compulsion at the time because I had so many game ideas and not enough time to game them, so I would write them. I posted them on reddit because that’s what I felt like doing. I wanted to share my ideas because I believed I was smart and creative and wanted other people to say that to me. I wrote as a selfish endeavor. I wrote for self-fulfillment. I wrote as an act of kindness to myself.
I need to stop here before I say the spicy stuff. Fair payment in the artistic fields (all of them) is a current and constant battle professionals wage day to day. People who create as a job, under contract, or whatever else, deserve fair pay. Livable wages.
I say this because I believe I did not automatically deserve payment for enjoying my hobby. I do not believe my artistic labor automatically means I was owed. I write my fan fiction (even now as a professional game designer) as a hobby. I do it because I feel like it. I think I can (and we should) make a distinction between making art for yourself and making art for consumption. WotC paying their freelancers pennies on the dollar is bad. Me writing for free in my spare time because I want to is not bad and is in fact normal.
I feel I need to make this distinction because money in the artistic fields is a touchy topic and I in no way want to infer that artists don’t deserve payment. In fact I would always argue that they deserve more.
Back to the story. So, my career started because through my writings I eventually got fans/followers. I eventually started posting my works to storefronts and charging for them or using pay-what-you-want models. Through more creations I earned more followers and would get a few more purchases each time. I did this (semi-consistently) until I had a big release where I decided to run pre-orders for a print book.
The process of me going from hobbyist to professional was slow and took a lot of hail mary’s. It mainly relied on me believing my work had value and being consistent. I believe a lot of other creators/freelancers go through a similar process. A slow build from hobby work to paid work. An accumulation of clients and colleagues. A slow ramp of charging more or making more, or whatever.
I tell that story because I believe that we, as TTRPG folks, cannot rely on an outside corporation to create journalism for us. I believe, to the core of my being, that any journalism we have needs to be home grown.
But why? Because what you’re getting when you read A Journalism is a person’s research and opinion. Two things that are personal and not inherent with capitalism/corporations. Journalism comes from the individuals, not the business behind them. Which means, like other art forms, there will be journalists you like, those you dislike, those you disagree with but enjoy hearing their perspective, and so many in between. Each journalist will have a style and their own listeners and detractors.
To rely on corporations is to give them control over style. It’s to turn it into a money game instead of an artistic/analytical field. It’s to flatten things into marketability to the widest range of people. It’s to deny the growth of opinions and personalities that we’ve seen develop in every other journalistic medium. Think of your favorite personalities in movie and video game journalism and imagine that, YES, we can have that here as well.
I will repeat that I believe the best journalism comes from passion. What’s better? A corporation paying a journalist to write something to make that corporation more money which might, maybe, possibly be something the journalist cares deeply about? Or, supporting the individual journalist so that they can make their own decisions about what to work on (including time frames for that work). We see this happening on Youtube and Nebula with support from Patreon, and we also see this with zines like Lock On (video games) through kickstarter.
Maybe my belief is an optimistic one, but for us to have homegrown creators making games and to believe in those homegrown creators enough to support them, to turn to corporations like Polygon and Dicebreaker for our journalism feels contradictory. By accepting these corporations we are being grandfathered into their way of doing things. Which is the way of Modern Journalism.
I cannot believe the amount of times we’ve had to sit and watch websites continue to give WotC the time of day just so that they will maybe talk about our games instead. They have their defenses! Of course they do! They have to keep the lights on. They have to get the clicks. WotC pays the bills. But that is only the case because they are in this corporate way of doing things.
If there is one thing that the indie ttrpg scene has led me to believe, it’s that we do not need to rely on the old ways. We can create from within. We can uplift. We can support each other. And we do not need Big Daddy Polygon to give us bread crumbs.
Even if Polygon is the goal? We should be creating that from within. Not just letting them come to us with promises of coverage. It will take time because the audience for ttrpg journalism isn’t huge right now, but I also believe that will change with the growth of personalities. Polygon grew from the McElroy’s personality. The Escapist was helped in its growth by Zero Punctuation. We can follow in their images by uplifting the voices of people within the scene. Building our own websites. Our own audiences.
All of this ties together because I think in building from within we can avoid the need for advertiser-catering through alternative forms of compensation. Patreons, kofis, donations, subscription services, or even kickstarters. Like I mentioned above.
I started the NERVES zine on kickstarter. Collabs Without Permission and (hopefully) C.A. Burlitz are monetized on youtube. Bones of Contention doesn’t do payments (I believe) but does the journalism for the sake of journalism. There are podcasts like Trying to be King and RTFM. Marcia and Stella have both posted longer articles/essays on their own personal blogs. Hell, there are people on TikTok who are discussing the history of games in a very journalistic manner! I would hold any of these things way above the need for Polygon or Dicebreaker.
Building from within can also help us to avoid the negatives of modern journalism. Avoiding WotC coverage (unless it’s critical or analytical) and allowing journalists to tackle the subjects they want to cover without the fear of losing ad revenue.
I will end this section by saying that, sure, my opinions might be rather optimistic. But if we can’t rely on each other to perform collective action for the betterment of our industry, then what are we doing?
My second thought revolves around the fact that Dicebreaker is owned by ReedPop. The company that owns/runs Eurogamer.net. The company that runs/operates Comic Con. The company that bought Rock Paper Shotgun and turned it from the groundbreaking, independent journalistic website into what it is today. The company that bought and runs PAX.
Dicebreaker is one of the many tentacles of a media conglomerate. It is beholden to advertisers. It is beholden to WotC. I beg everyone reading this to not take this as an attack on the individual journalists who post to Dicebreaker (because of everything I said up above about modern journalism). But Dicebreaker (the company) is here to make money. And it wants to make money off of us. It’s job is to get our clicks to make ad revenue.
I remember when Dicebreaker first began pushing into our spaces. I remember thinking, “this is it!” I thought it was our own homegrown website that was going to try to make it in the scene. I remember them asking for our support as indie creators and twitter users to make the website do well. But it was a false belief. Dicebreaker was created by ReedPop to get money, not to promote journalism.
I feel myself running out of steam. This sort of thing depresses me because I am under the impression that most people know all of this stuff and are just wanting to use Dicebreaker to make some extra money. That we are all aware and are just buying into it for a possible pay off. But I don’t think Dicebreaker can give us that payoff. I don’t think corporations exist to promote us or help us at all. The most they could possibly do is give us their scraps while they feast on our attention.
favorite ttrpg covers, pt. 1 (x) (x) (x) (x)