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LuiCypher posted:Personally, I was kind of wishing for Every Breath You Take, because drat that would be an interesting system to design and see just how creepy you could make it. drat, I'm the only one who rolled it too. I was thinking of a more... visceral obsession.
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Sep 2, 2016 17:30
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Mr. Maltose posted:Hell yeah grabbing Behind My Camel Do us proud!
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Sep 2, 2016 17:46
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Personally, I'm sad no one got Rehumanize Yourself, the transhumanist adventure that writes itself. AV, do you have any plans for the orphaned members of the Police catalog?
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Sep 2, 2016 17:46
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Laphroaig posted:I will be taking Every Little Thing She Does Is Magic Lucky bastard, I was hoping for either that one or Spirits in a Material World.
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Sep 2, 2016 17:59
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grassy gnoll posted:Personally, I'm sad no one got Rehumanize Yourself, the transhumanist adventure that writes itself. White Wolf presents: "Rehumanize Yourself", a World of Dilbert game
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Sep 2, 2016 18:25
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LuiCypher posted:Personally, I was kind of wishing for Every Breath You Take, because drat that would be an interesting system to design and see just how creepy you could make it. If you want creepy, that's the wrong song. Speaking of which, I'm choosing Don't Stand So Close to Me
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Sep 2, 2016 19:32
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grassy gnoll posted:AV, do you have any plans for the orphaned members of the Police catalog?
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Sep 2, 2016 20:20
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Mirage posted:Lucky bastard, I was hoping for either that one or Spirits in a Material World. I got that one but didn't take it because it just seems too easy. I needed either a challenge, or something completely disassociated from the content. Mother will probably end up being both. I'll start working on it tomorrow night, then we'll see.
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Sep 2, 2016 20:55
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You know, I actually had a bit of hope of getting De Do Do Do De Da Da Da (the ultimate dadgame! play dads!) but I still appreciate dodging that bullet... I'm gonna take Walking on the Moon. Time to
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Sep 2, 2016 21:32
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God, I just looked up the lyrics to Can't Stand Losing You and that song is a lot bleaker than I remembered. Oh well! Time to sweep all that under the rug and just use the song title! E: That said, I just brainstormed a bunch of stuff and it looks like this game is going to be one of those Indie Games With A Message that I always feel profoundly unqualified to make. Yeah! potatocubed fucked around with this message at 23:22 on Sep 2, 2016 |
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Sep 2, 2016 22:58
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Truth Hits Everybody contains the same two sentences about ten times, making them about 2mins of the whole song, that only goes what...2:50m? You can guess the amount of content that song is going to deliver  Not that this doesn´t free up room for "creative writing"...*cough cough* xD
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Sep 2, 2016 23:06
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Don't worry! Correlation to your title doesn't matter to Monty, so why should it matter to you? Forge that narrative!
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Sep 3, 2016 00:55
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If the (sparse) lyrics to Visions of the Night don't back a 90s-nostalgia RPG, I don't know what does.
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Sep 3, 2016 01:15
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Well, looks like my choice got made for me. I'll be taking No Time This Time! It could be about time travel. Or robots. Or thieves. My first instinct would be to make a manic farce-based game, but that would just be "Fiasco, but not as good" so I'll have to figure out something else. Are we allowed to make synonym substitutions in the title? Because let me tell you, a game called 'No Thyme this Time' about working in a multi-dimensional restaurant would be amazing.
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Sep 3, 2016 01:43
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Black Wombat posted:Are we allowed to make synonym substitutions in the title? Because let me tell you, a game called 'No Thyme this Time' about working in a multi-dimensional restaurant would be amazing. I will tentatively allow it, but I will preemptively ban any substitutions involving the word "you," because if I have to read ten games about sheep I may die.
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Sep 3, 2016 02:06
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I'm currently at DragonCon doing market research, so it looks like I am defaulted the Bring on the Night It already sounds like a Kickstarter project, it's edgy as gently caress, and sure I can print all these books for $1000.
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Sep 3, 2016 02:34
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Taking Friends because who can pass up cannibalism? Walking On the Moon was super-tempting, but I already had the start of a setting in-mind and it didn't involve fantasy space-travel or fantasy space-race. Speleothing fucked around with this message at 16:49 on Sep 3, 2016 |
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Sep 3, 2016 16:41
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Finally got around to listening to my song Next to You. ... Ugh. Okay. No ideas there. Thanks, Sting.
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Sep 3, 2016 19:36
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I had nothing to do this Saturday, so here you go. Have you ever found yourself wondering "what would it be like to be a therapist for the protagonists in a 'Call of Cthulhu' adventure?" No? Well then you're a liar, because you literally thought of it while reading the first sentence in this proposal. Now that you're thinking of it, imagine a system that lets you go through all the mundane drama of being an academic and clinician, while also ignoring the world-ending chaos going on around you. Just remember that if you want to change the world, the world itself has to want to change! Hole in My Life Each player will assume the role of a different school of therapy/psychology, such as Cognitive/Behavioral, Freudian Theory, and Holistic Life Coach. The GM will act as the wider academic community, potential therapy clients, and Lovecraftian monsters, all of which the players compete against each other to overcome. You read that right, the players all compete against each other! There can only be one correct school of psychology, because human behavior is obviously a one-size-fits-all phenomenon. Or Maybe I'm Just Looking for Too Much Each session of gameplay will be divided into 6 segments: Office Management, Presentation of Academic Theories, Refutation of Academic Theories, Intake Session, Therapy Session, and Real World Application. Choices made in one segment will sometimes impact another! Office Management will involve the players each creating their office space using a box grid and spending their experience to add furniture, staff, and other equipment that can give them bonuses to other game segments. Presentation of Academic Theories will see the players each attempting to explain a Lovecraftian Horror befalling the planet based on their own school of psychology! Players can augment their theories by using statistical wizardry to alter their die results! The Intake Session will involve the players first asking the GM various questions to figure out their problem, then presenting an argument for why their style of therapy would work best. Therapy Sessions have players taking turns between being therapist and client. Players will come up with client issues for the therapist to solve, while the GM rates how well they turned out. Refutation of Academic Theories has the players in turn generating flaws with the other players' theories, resulting in a lack of scientific consensus and an inability of the scientific community to do anything about the Lovecraftian menace. The Real World is what happens when successful interventions from therapy are put to the test as the client attempts to face the existential horror of the new un-reality descending upon our planet! Gameplay also includes a robust combat system to help resolve ties! I Shake Like an Incurable As the game session moves forward, the players and GM will have to make up and write down more and more theories, client issues, facts, and events. Once something is written down, the only way to falsify it is by refuting it in the fifth segment of the game. Otherwise, it must always be true, and will factor into all future decisions made by the players. I Try the Best I Can Do you love having random tables to roll on, but hate all the filler inside of them? With Hole in my Life's revolutionary 666 Generation Tables, you will only ever have 6 entries to choose from in a table, making it far more likely that they're all actually good! This is totally a game mechanic and not just the game designer's lack of creativity. I Have This Disease Each player will have 6 attributes divided between 3 physical (Power, Agility, Fortitude) and 3 mental (IQ, Rapport, Willpower) that they will in turn use to derive the numbers they will use to play the game with! These attributes can be randomly generated, but this game also gives explicit permission for players to generate their attributes using 5 other methods! God Help Me Please Why have the game designer do research when the players can do it for him? As part of the revolutionary gameplay of Hole in my Life, players will be able to use downtime to look up academic papers based on their arguments. If the player can find a paper proving their point, they will be able to add bonus rolls, change the landscape of the game, or win petty arguments! Be a Happy Man By supporting this game, you will fill the Hole in My Life with money, and I would be forever grateful, thank you. P.S. If anyone has suggestions or things I'd love to hear them! fr0id fucked around with this message at 21:30 on Sep 3, 2016 |
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Sep 3, 2016 21:26
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Do you really need physical attributes for a game primarily about academia? It just seems like prime dumpstat territory or alternatively, the tales of Professor Headbutt.
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Sep 3, 2016 21:39
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Kwyndig posted:Do you really need physical attributes for a game primarily about academia? It just seems like prime dumpstat territory or alternatively, the tales of Professor Headbutt. Of course you need physical stats! It's an RPG, isn't it? How are you supposed to resolve the combat in the game? Besides, each of the 6 stats will be applied to one of the 6 segments of the game. Physical Force will be needed to use larger and more expensive office furniture in the Office Management, Fortitude will be used to stay up those long nights required to find flaws in your rivals' work in the Academic Refutation segment, and Agility, the most important and powerful stat in RPGs, will be used to determine if the during the Real World segment the client actually uses any of the interventions you spent years learning and writing about. It's part of the joke of using 90s mechanics.
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Sep 3, 2016 21:46
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So far, so bitter about past failures. CAN'T STAND LOSING YOU Introduction Xx What This Is Can’t Stand Losing You is a game about telling the stories of a handful of characters trying to win over their true loves, set against the backdrop of Sylthar -- a city of weird fantasy. It is at heart a tragedy, because the protagonists all have terrible and misguided opinions about relationships and as a result are going to suffer a lot -- but you can play it as a black comedy if you prefer, the main difference being whether or not the main characters are sympathetic. With some tweaking you might be able to play it as a genuine romantic comedy, but that’s beyond the scope of these rules -- the mechanics of the game explicitly resist standard romcom tropes, so if you’re determined to go there you’re going on your own. Experienced Roleplayer? If you know the basic drill when it comes to roleplaying games, Can’t Stand Losing You is a GM-less game where each player controls a single character. You can play from an authorial standpoint, an in-character standpoint, or whatever point between that you like -- the game accommodates the whole range. The game supports PvP, but that’s not the focus. In fact, player vs player conflict should probably be rare unless you have players who are seeking it out. New To Roleplaying? If the paragraph above means little or nothing to you, don’t worry. All you need is a friend or three who are willing to sit down and tell stories about strange folk in search of their strange loves for a few hours. It’s just like watching and then talking about a Current Hot TV Show together, except the stories you’ll be talking about are also the ones you’re making. What Do I Need? In no particular order: * At least one friend. As a theoretical maximum this game can handle fifty-two players, but the practical limit tops out at around five. * A spare afternoon or evening. You should be able to create a complete story for each protagonist within a few hours. * A large blank piece of paper, and pens to draw on it with. This is going to get messy with lines and words and crossings-out, so you’ll probably want several colours of pens to signify different things, and maybe some replacement pieces of paper if you feel the need to copy across ‘only the relevant stuff’ to clean things up a bit. * A set of element cubes. If you don’t have them, a handful of six-sided dice will work almost as well. * A pack of citizen cards. If you don’t have one, a deck of regular playing cards will work almost as well. You’ll probably also want some scratch paper and writing utensils for each player, some snacks and drinks, a table to put the blank piece of paper on, a house to put the table in, a job to pay for the house… you know, all the things millenials dream of. Overview Each player controls a single protagonist, who is a citizen of the fantasy city of Sylthar. They’re trying to find and win the heart of their true love, a task which will require them to undertake quests, learn new skills, question their own integrity, and manoeuvre through the shifting social network of Sylthar’s notable personalities. Play happens in cycles, each one of which contains a social phase and an action phase. During the social phase characters -- all characters, not just the protagonists -- manipulate and manoeuvre on the relationship map. During the action phase the protagonists do whatever they feel is necessary in order to win over their true love -- or at least get themselves one step closer. After [xx] cycles Sylthar refreshes, and protagonists can choose to keep their old true love or move on to a new one. Games can be run to a set number of refreshes, providing a clear end-point to all the romance. While doing all this the protagonists must manage their hope and integrity. If they lose all hope then they make an exit to live as an embittered hermit somewhere. If they lose integrity then the other characters in Sylthar will trust them less, making it harder to attain their ideal relationship. XXBOX Everyone is Pansexual; Everyone is Polyamorous The city of Sylthar is so full of alien beings and strange dimensional travellers that the population have long since moved beyond the models of gender and relationships that we are familiar with. And they’ve got sorcery to handle all kinds of edge cases! In Sylthar, with a little effort, any set of freaks can get their cumulative freak on. Also, it makes the game much easier to manage if you just assume that anyone can be attracted to anyone. /XXBOX
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Sep 3, 2016 23:29
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Too many Cooks spoil the Police – Fallout (a game of conceptual forces overlooking worlds) Part 1 - project outline The elevator pitch: The players primarily take the role of concepts/forces acting on the world, abstract nouns such as “honour”, “chaos”, “love”, so on and so forth. They will generally want to push the game world in one of a few directions, which they do by possessing npcs from a setup and, depending on whom possesses who, different kinds of scenes occur. Manipulating the npcs, the players must try and use these npcs to push things in their direction without the npcs freaking out, noticing your possession or some other form of negative reaction from breaking character. The game organizer/referee’s role will vary depending on how much players input into creating the setting. In general, the organizer has two main roles outside of setting building: Firstly, they may suggest/call in non-central NPCs in order to fill out a scene (these can either be taken by the GO or another player) – secondly, they are there to provide extra challenge, complications and basically throw wrenches for people to work around/deal with. How do you get players interested in npcs? The simple answer is by attaching points and success to them while having cool designs – from there, things will occur naturally as they get to ‘know’ the characters. The longer answer is much more complex and psychological in nature. While the simple answer does work into the longer answer, one thing which I think could be inherently interesting about a game like this is the idea that, ultimately, how the players approach the npcs will vary wildly from person to person. Some people may simply wish to game them because they are, after all, simply means to an end – others may instead get attached to certain npcs and their relationships. So what, ultimately, makes a central NPC? In a game like this, it could be any number of things. However, the npc design system must be capable of covering a whole platitude of setting designs – for example, gender can’t be included as central because a group may want to make a game based on organizations, attaching dramatic personae to them later on. At the same time, you can’t come up with a set list of attributes because for example in a traditional fantasy game where one central NPC is a Dragon and another is a basic human - the differences in say, strength would be insane, to the point where the human would likely lose to the dragon 10-0. In light of this, I believe it would come down to a number of small traits with a multitude of extras being added as appropriate to the group/setting: Identifier – basically a name, but for unknown people (like a slasher killer), this also covers their nicknames and such. Proficiencies/Skills/gently caress – some kind of central traits (no more than 2-3) for overcoming the central issues in the game world. Dice would be d10 comparative – for example, persuasion/manipulation may require getting closeness, overpowering could require going over, underhandedness going under, etcetc. The basic idea is one d10 roll, contested or otherwise, takes care of each conflict. Desires – What the character wants. Traits – personality traits/beliefs which define the character. Their purpose is twofold; firstly, to act as a limiter on players so they don’t go “lol I instantly fall in love”. The other is to make them feel distinct and to create avenues for completing force goals(I really need a new name for the forces). Force unique traits(name is wip) – unique traits that grant more flexibility to players by expanding their personality, while showing the less defining/less common sides of the npc. This, in theory, could add to character depth. Assets – objects, contacts, places, etc. Can be gained/lost as fallout. Incorporating the “Fallout” As per the challenge, “Fallout” was my given title. I plan to incorporate this in two main manners – one, it will tie into one of the game’s primary themes (and potentially one secondary theme). Secondly, the primary mechanic for the extended campaign/Legacy style play (which aims for 3-5 sessions before a generational change or some such) will be the “fallout”, which looks as the good/bad the players did and looks at how it would change the world around them. Example: In a warring kingdoms kind of setting, if the central NPCs(Actors? Pieces? Lingo, man) hoard food then there could either be an in-game famine or a massive food boom which tanks prices, both of which effect the game differently. The general effect will be forcing into/out of existence elements or adding certain universal traits, as appropriate. The forces Aka the Player’s role in the story. In contrast to central NPCs, these beings are defined purely by mechanics. This in part to let players make each interpretation of a force their own via play. As things work in their favour(i.e. relationships become closer for a “love” player, people make/keep important promises for an “honesty” player, etc etc), they gain two kinds of unnamed points – one is raw score, part of determining fallout and scoring, and some form of ammo which can be used to activate powers which can(but don’t always) help your force, such as, for example a Law player can write a new in-universe law, call in police, dictate the course of any legal decision, etctc. The stage The backdrop/locations/items of importance where poo poo can take place. The first few should be pretty detailed, the rest can just be added as they become appropriate (i.e. a murder scene, a grave site, streets in protests, etcetc). Can also be destroyed by fallout. Flow of play(roughly): Step 0: Players make forces, GO or GM/Players make setting/npcs. Step 1a: GM gives session introduction, some recap as to last time(optional), players make bids/interest for certain characters known(Some kind of hidden counter system?) NB: Not every player needs to compete in every scene. Step 1b: The people who have their characters work together to think of a scene of interaction for them, in part based on traits and in part based on the stage and previous play. Step 1c: The GO interferes at this point, adding some form of complication/extra NPCs/etc to gently caress with the players plans and make them work for their goals. Overcoming adversity is important, after all. Step 1d: Any extra npcs should be assigned to spare players/the GO as appropriate. Step 2a: Players begin going through the scene, with the GO introducing the scene. For premade settings, some ideas for scenarios based on characters will be included. If players act contrary to a trait there may be fallout, if they act in assistance to/directly upon traits, things are more likely to be rewarded. Step 2b: At some point during this, something will cause the scene to shift in tone/construction, either by GO action or, if things are spiralling out of control on their own well enough, they can just sit back and relax. Step 3a: The players evaluate what happened and determine by how much certain measures (i.e. relationship with other npcs, “chaos”, “honour”, etc etc) have changed. Step 3b: Any logical consequences are confirmed and implemented. Step 3c: Some kind of player priority change, guaranteeing some other kind of priority. Return to 1A bidding stage, unless the group has a decent enough scene in mind which changes who is control of whom and the GO is cool just to transition into that. Contents -This took me a while to decide on, mostly because of the ordering of two of the chapters. In any case:
Why no talk on themes/settings? - They are being covered in Challenge 1b, where I’ll be covering 1a. Suspense! Trollhawke fucked around with this message at 11:37 on Sep 6, 2016 |
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Sep 4, 2016 07:22
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I will be taking Low Life
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Sep 4, 2016 10:38
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I intentionally didn't give myself a choice so I'm going with Contact by default.
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Sep 5, 2016 04:43
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I didn't think an RPG about the bleakness of suburban life would be that much fun, so I took some of the song's basic themes and played around with the title until I landed on this. I constantly fiddle with my prose, so I reserve the right to edit for clarity as I go. Updated 9/18/2016 to include fiction and Google Doc of progress Here's a piece of fiction for On Any Other Day. It uses three fonts, three font sizes, and is as cheeseball as I can make it. Here's my progress so far in a Google Doc. I think my work is about half done as of 9/18. On Any Other Day A science fiction role-playing game of disaster, forgetting, and entropy for 3 to 8 players. “It’s like an episode of Star Trek narrated by Werner Herzog, with the lethality of Game of Thrones.” – some reviewer, probably Pitch In the black void between the stars, the ship is dying. The players wake to choking smoke, screaming claxons, and a failing life support system. Who are they? What happened to the ship? How will they survive? Gameplay begins with the players collectively reconstructing who they are, where they are, the nature of the ship, and the vague details of what happened. Once prepared, the characters begin a 24-hour odyssey to survive and attempt to repair the ship. Every choice they make will have consequences not just for themselves, but for every other survivor on board. On Any Other Day uses the innovative D11 system to keep the action fast and focused on a collectively-told narrative, while providing a built-in mechanic that keeps players on their toes as the ship continues its spiral towards destruction. Can the characters survive? Will the ship reach its destination—or become a tomb scattered across the empty space between worlds? Game Overview On Any Other Day is a short role-playing game designed for one or two short play sessions. The players take on the roles of people aboard an interstellar ship—and fill in the details of who they are, what they’re doing on board, and what the ship itself is. On one playthrough, they might be scientists aboard a massive, plodding generation ship. On another, they might be crack marines on a battleship making the jump to the front of a galactic war. The two constants are that their ship is badly damaged, and the players need to work together to try to survive (and, if they’re very lucky, repair the ship enough to reach their destination). Time is against the players; On Any Other Day uses the D11 system for conflict resolution, where players roll 2d11 against a series of skills to determine if they succeed or fail. Any roll of 11 on either die means disaster, and the ship lurches even closer to complete destruction. In the first part of an On Any Other Day session, the players spend time building their characters and the ship itself in several rounds of collective storytelling. The remainder of the game is spent in a race against time to survive and repair the ship. To play On Any Other Day, one player needs to take on the role of game master (the narrator and rules adjudicator). Being a game master requires a little bit of extra preparation before you play, since that person will have the responsibility not only of narrating the action and driving the plot forward, but of determining how the players can succeed at repairing the ship. Chapter 5 provides a complete overview of the game master’s role. Chapter 1: The D11 System The D11 System combines a narrative approach to player skills with an explosive twist on percentile-based conflict resolution. A character’s skills come in three tiers: general, focused, and specific, representing an increasing amount of competence in more specific areas. For example, a character might have the mechanic, propulsion mechanic, and FTL drive mechanic skills. A character may not necessarily have a focused or specific expertise in a skill for which they have general knowledge; for example, he might have weapons and firearms, but not disintegrators. Characters can use general skills in more situations, but have a much higher chance to succeed at tasks for which they can use narrow or focused skills. Any time a character attempts to perform a task that might fail, the player indicates what skill she wants to use and how it applies to the situation. The more precise a skill the character uses, the greater his chance of success. To resolve the task, the player rolls 2d11, indicating one die as the 10s column and the other as the 1s column (the same as percentile dice, or 2d10). Using a general skill requires a roll of 40 or lower to succeed; using a focused skill to resolve a task succeeds on a roll of 60 or lower, while using a specific skill succeeds on a roll of 80 or lower. For example, the group is in Engineering trying to fix the ship’s interstellar jump drive. A character that only has the general mechanic skill can fix the drive on a 40 or lower; a character with the focused propulsion mechanic skill fixes it on a 60 or lower, and a character with the specific FTL drive mechanic fixes it on an 80 or lower. Failing at a task means that character cannot attempt the same task again using the same skill (the exception is combat, explained in the combat chapter). When a player rolls an 11 on one or both dice, something bad happens. First, the player rerolls the die and uses the second result to determine whether her character succeeds at the task. Rerolls that result in an 11 are also rerolled. When the task is either resolved or failed, the player tallies up the number of 11s rolled, then consults the entropy table (Table XX on Page XX). Entropy events result in the ship continuing to fail and fall apart, and get progressively worse as the game continues. Chapter 2: Character Creation Chapter 3: Ship Creation Chapter 4: Gameplay Chapter 5: Game Mastering Chapter 6: Inspiration and Reference Chapter 7: Tables Iconic Characters Commander Peter Brickman Peter “Dick” Brickman enlisted in the Terran Marine Corps straight out of high school, where he was a straight-A student, star quarterback and homecoming king. He liked the Marines’ sense of honor, patriotism, and duty to the Terran Alliance, and quickly rose through the ranks to command his own squad. He’s a veteran of a dozen military actions, including the pacification of the Centauri Colonies and the Vegan Wars against the vile Nat’ari Empire. There isn’t a problem Brickman can’t solve with his fists, his raygun, or his laser knife, and he’s ready to rocket into danger and put the enemy in its place. Captain Emily Van Den Berg Captain Van Den Berg is one of the youngest starship captains in the Martian-Earth Confederation. She began her career as a scientist studying microbial life on Enceladus, where her natural leadership made her the de facto commander of the entire underwater research station. From there, Van Den Berg studied at the M-EC Academy, earning her first command at 30: a mission to the Kuiper belt to probe for organics in the ice blocks at the edge of the solar system. When the M-EC decided to send research vessels to nearby star systems, they offered Captain Van Den Berg the prize command: the ship headed to Proxima Centauri b. Captain Van Den Berg is fair but decisive, keeps a cool head in moments of crisis, and commands a great deal of respect among her crew and the support staff aboard. Talia O’ren Talia O’ren makes her living as a thief and con artist, stowing away on interstellar freighters and hopping from system to system. When the locals realize their valuables are missing and the charismatic new fast-talker may be more than she seems, O’ren is already aboard the next ship, ready for her next adventure. She can read people like books, can sneak past guards, open locks, and hack any terminal she’s encountered. As her list of enemies grows ever longer, O’ren is running out of places to hide, and it won’t be long before she will need a complete change of identity rather than a change of scenery. Titus Obafme Titus Obafme spent his formative years in a penal mining colony on Triton, with the majestic blue crescent of Neptune perpetually turning overhead. He began augmenting his body at age 10, adding minor physical enhancements (better eyesight, stronger musculature), and eventually branching out into full biological and mechanical augments. Obafme is a leader in the transhuman movement, and he, along with several thousand other augments, was given a choice by the United Nations: board a generation ship, or be executed for violating the Tharsis Convention. Obafme chose the ship. Thanks to the medical staff on board, Obafme and the other transhumans have extended their lives well beyond the normal span, and are busy engineering various plants and animals they intend to use to colonize the rock they call New Jaxartes. They arrive in another five hundred years, and the fact that they’ve lost radio contact with Earth and Mars matters less and less as the ship plods on. Fatima Fadel Fatima Fadel is an itinerant Imam aboard the interstellar city-ship New Mecca. She makes her way through the city’s lower slums, preaching and administering to the poor, who feel they’ve been forgotten by the “elites” in the city’s upper rises. She was trained as a nurse before her calling to the cloth, and has enough connections in New Mecca’s vast bureaucracy to acquire the antibiotics, sterile supplies, and doctor’s tools that the poor desperately need to survive. She’s part of a network called the Turquoise Butterflies, and while she’s officially a wanted criminal, those she’s administered to will shelter her without question. Fadel’s medical training is invaluable, and her ministry gives her access to a network of information beyond the reach of many other inhabitants of New Mecca. Peas and Rice fucked around with this message at 20:31 on Sep 18, 2016 |
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Sep 5, 2016 05:53
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About This Project Are you sick of RPGs where you explore dragon caves? Blast into the future of RPGs with When The World Is Running Down, You Make The Best Of What's Still Around, and explore cybernetic robo-dragon caves! After all, why be a 'fighter' or a 'wizard', when you could be a Laser Commander or a Technomancer? WTWIRDYMTBOWSA takes place in a dystopian future occurring after the mysterious event known as the electroverlode. Billions of people were killed when cyber-reality began to seep into real-reality, and the internet of things turned deadly. (Few remain who can recall the horrors of the jihad of robot butlers.) The last hypercorporation Zaibatsu LLC struggles against the maddened AI they formerly controlled to achieve some sort of control in a world that is beyond control. But who looks out for the needs of the common people? Only the techno-scavengers. You look out for the needs of the common people In When The World Is Running Down, You Make The Best Of What's Still Around, step into the boots, clogs, or sandals of a techno scavenger. Do you have what it takes? Power on by assigning your attributes: Vitality, Skill, and Leadership Intangibles. Boot up by sorting your technoquipment into your Circuit Diagram, a new system governed by real laws of physics. Input administrator password to continue by slotting each of your spell hacker routines into the Zatch Billfold Now you're ready to Double click the executable of infiltrating Zaibatsu LLC's abandoned arcologies in search of the resources people need to survive. But if there's trouble techno-scavengers have one more trick up their sleeves. With the Synchronicity II system on your side resolving armed conflicts will be a breeze whether the foe is mechanical, electronic or the monstrous mutant Chimeras. If you survive your trip you can finally, Restart and install updates by returning to the ravaged communities of the wastelands to rest, refit, and refocus. What's in the book? Chapter 1: When the World [Opening Fiction that I'm not actually going to write] Setting Description and a basic overview of flow of play Chapter 2: Is Running Down Character Creation rules Explanation and rules for Circuit Diagrams and the Zatch Billfold Explanation of noncombat resolution Explanation of combat and the Synchronicity II system Chapter 3: You Make the Best Equipment List Spell Hacker Routine List Chapter 4: Of What's Still Around Advice for game runner Monster List and Chimera creation rules Introductory Adventure (This is way too much content. I am doomed.) DalaranJ fucked around with this message at 06:50 on Sep 5, 2016 |
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Sep 5, 2016 06:39
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Kwyndig Hypertechnologies somewhat proudly presents: Mother- A Game of New Beginnings On a far off planet, a new colony is about to begin. You are the small team of scientists, explorers, and caretakers who will raise the First Generation from their artificial growth chambers. Master the challenges of teething, alien life, and exotic weather. Generate a new planet using a variety of charts! Generate pods of children also using a variety of different charts! Generate alien life using even more charts! Play begins as soon as you're done creating your character! As your colony ship approaches its new home, learn about it and plan your new colony using the planetary generation and colony creation chapters, while your GM uses the alien and child generation chapters to determine the challenges ahead! Planetary generation uses discoveries in planetary science while being aligned towards life supporting planets. Colony creation is a detailed system where the players use their colony budget to purchase the pre-fabricated structures needed for survival such as hydroponics farms, solar panels, and storage bunkers as well as the required nurseries, dormitories, and schools for your young colonists. In play, the Mother System allows you to roll d8s to determine results of various checks. Players will use their Education, Empathy, and Energy stats to determine the number of dice to roll against a static target number with the number of successes required determined by the difficulty of the task. Chapter 1: Overview Chapter 2: The Mother System and Character Generation Basic rules rundown, How to make a character Chapter 3: Planet Generation Star Type, Planetary Surface, Mineral Density, Satellites, Weather Chapter 4: Alien Generation Appearance, Aggressiveness, Abilities Chapter 5: Child Generation Ethnicity, Stats, Temperament Chapter 6: Building Your Colony Colony Layout, Technology, Defenses Chapter 7: GM Advice Child behavior, Running an Adventure Chapter 8: Sample Adventure: Food Shortage at Formalhaut
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Sep 5, 2016 16:41
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Bombs Away! is a tabletop simulation of life during an airstrike. Players take up the roles of people on the ground while the HC (Head Chef) takes up the role of a strategic bomber. Players have to balance their character's role in the town while also trying to survive the eventual apocalypse, because when the HC shouts "BOMBS AWAY!", all hell breaks loose. When making a character, players choose from the following three categories: civilian, military, or rebel. Civilians make up the large majority of the population, while there are less military and there may or may not be rebels. Each group has their own objectives. Civilians are just trying to go on with life in a war-torn city, the military is trying to out the rebels (if any), and the rebels are trying to find out when the bombs are going to drop and then warn the populace. Once the HC calls "Bombs Away!", objectives change. Civilians are trying to help other civilians escape the city, the military has orders to fire on any suspected rebels, and the rebels are trying to take back the city. The game ends when one of the groups meet their objective. Chapter 1: An Exhaustive Look at the History of Strategic Bombing A. Origins B. History C. Legacy Chapter 2: The Degree of Difficulty system A. How to use the Degree of Difficulty system B. Examples of play Chapter 3: Character Creation A. Basic creation B. Civilian classes C. Military classes D. Rebel classes Chapter 4: The City at a Glance A. Map overview B. North quadrant C. East quadrant D. South quadrant E. West quadrant Chapter 5: The First Round A. Planning phase B. Intrigue phase C. Life phase Chapter 6: BOMBS AWAY! A. Bombing strikes B. How to Survive Chapter 7: Aftermath A. Possible endings B. Scoring and XP Chapter 8: Combat and Skill Actions A. How to roll B. Combat modifiers Appendix 1: How to Use Your Cookbook with "Bombs Away!" Appendix 2: Sample Characters
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Sep 5, 2016 18:30
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I picked a bad time to lose Internet for most of a week. I think I'll take Spirits in the Material World. Peanuts just makes me want to write the RPG of the comic strip, and I really don't think I can do that. Reggatta de Blanc says nothing to me and has no lyrics to draw inspiration from. Spirits ... though, that I can work with. I'm thinking an anti-establishment, anarchic destruction of the wealth obsessed society, with a resolution mechanic involving the Bible. Think Liberal Crime Squad the RPG, only with fewer secret service calls, hopefully. I've just started a job in the civil service so that would be bad.
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Sep 5, 2016 20:34
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No Thyme This Time - Running a restaurant is no laughing matter. It takes hard work and dedication to keep a restaurant afloat, and this is perhaps no more true for any restaurant than yours; able to cross space and time, and even the boundaries of reality, you can serve breakfast during the Hundred Years War, lunch on Mt. Nevermind, and dinner a long time ago in a galaxy far away. You can prove your culinary mettle in ways that most restaurateurs can only dream of, and you do it every day. Not that it doesn't come with some unique problems. When you see the Kra'vaanian warlord threatening to decapitate your head server because his nalarnian osloss worm sautee was too oily, hear the alarm of your reality stabilizers beeping from the engineering sector, and your busboy has called out because his Alternate Reality Nega-Twin has arrived and is taking his shift for him, well, it's almost enough to make you want to hang up your hat and retire to some world where nobody's even HEARD of cooking something sous vide. But in the end, it always seems to work out. And when the restaurant is empty, and you're cleaning up the mess, there's no time for anything like that. After all, dinner is only eight centuries and twenty-eight thousand light-years away. Serving Suggestions - The goal for the game is to be a The game is meant to be a fast-paced, hectic, light-hearted game about people who really shouldn't be able to deal with insanely difficult problems working them out with relative aplomb. It could include, for example, winding up in a fantasy world and having a dragon perching atop the restaurant and demanding to be fed a single, perfect dish, or beaming into a superhero world and not realizing what you've done when you take simultaneous party reservations for a 'Charles X.' and a 'Max E.'. The most important parts can be broken down into the following sections - Game fluff A. Intro B. Themes and Pacing C. Example of play Game setup A.Character creation - 1. Each character has a role, three stats, and a small number of perks/flaws. 2. Your Role determines your job within the restaurant – Chef, manager, busboy, ect. 3. The core stats are 'Prowess', 'Tact' and 'Fortitude'. 4. Perks and Flaws give small bonuses and penalties in specific, rare situations. B. Restaurant creation - 1. Players work together to design their restaurant's theme. 2. It does not have stats, but does have Perks and Flaws. 3. Gets a bonus if the name is a pun. (My personal favorite is 'Pizza Thyme'.) Game mechanics A. Each game session is defined through it's Problems. B. Problems have an Intensity and a Difficulty. C. Players roll against the Difficult; if they win, lower the Intensity. D. Otherwise, raise it, inflict a Flaw, or spawn a new Problem. Never keep the status quo. E. A player who intentionally uses one of their flaws gets narrative control over what happens as a result of a failed roll. F. Players must take turns rolling against Problems, and the same person cannot roll against a given Problem twice in a row. G. If a Problem is ignored too long in favor of other Problems, its Intensity grows. H. A session is over when every Problem is reduced to Intensity 0, or when one hits Intensity 13. Grill Master advice What did you think GM stood for? Part 1a. - Iconic Flair Elemunster, Cheese Wizard. "Behold, as I call forth from the void the most sought-after of confections! Elemunster is a master of his craft. Low-born, he started his life as a pickpocket in the great Cheese Bazzars, until his natural intellect caught the eye of a passing Sauceror. His skill in dairy manipulation is unrivaled among mortals, and further he is blessed by Melon, Goddess of Cows. He dwells in great tower made of cheese in the Astral plane, with connections to multiple other places that makes it difficult, but possible, for non-magical individuals to find him. Because of all this, Elemunster is, naturally, quite arrogant and aloof. He constantly seeks to expand his power over dairy products, and his research has inadvertently caused several great cheese-based calamities, including the horrifying Cheese Amalgam that nearly destroyed two kingdoms before a group of adventurers subdued it. If the players have need of an extremely exotic cheese, Elemunster might be the only one who can help them, using his cheese-divining powers. Alternately, if they have already ACQUIRED said cheese, the wizard considers all cheese his right to take if he so desires and might find it have vanished out from under them, needing emergency replacement. De Da Da Da, Betlegusian Health Inspector. "What is this? When was the last time you cleaned behind there? And people EAT things that come from this kitchen!?" When one can travel through time itself, it's more important than ever to keep one's work space sanitary. Populations will have no innate immunities to nasty bugs at all, and nobody wants a visiting gourmet to bring a scourge upon one's home world. Most of the time, of course, the players are in and out too fast for any kind of authority to come a-knockin'. Unfortunately for them, De Da Da Da is very, very good at his job, and part of his job is getting there very, very quickly. DeDa, as he's usually called, strongly resembles a six-foot-fall, bright blue, bipedal locust. He usually wears a pair of slacks, a button-up shirt, and a simple white coat when he arrives to give a place for an impromptu inspect. He demands to see the chef immediately, usually presenting a badge and threatening to shut the whole place down if not permitted run of the facility. He interrupts kitchen activity, he searches high and low, he talks to customers, he does everything in his power to make sure everything is up to snuff. And heaven forbid he find something! Best case scenario, your customers will be waiting for hours for him to make you file all the proper paperwork. It should ALSO be noted that having a health inspector go missing during an inspection is considered extremely suspect, and so the crew should do his best that he isn't swallowed up by any rouge pasta demons or disintegrated by sauce pirates. Willowbough Sweetflower, Elven food critic. "This chimera, is it free-range?" Willowbough is a sweet young elven woman – Well, young by elven standards, at least, merely 370 years old. She looks frail, nearly emaciated, but her eyes are bright and her platinum blond hair is always perfect. She wears unassuming clothing and usually enters with a chipper hello and patiently waits for a table. This is all a trap. She is aware, down to the second, of how long it takes to seat her, and only after being seated does she introduce herself, neglect to look at a menu, and ask for the chef's recommendations. Miss Sweetflower is one of the most vicious, cut-throat food critics the world has ever seen. She spent almost a century in the fae realms, wherein she, as the top aide of an elven ambassador, got to sample regularly from the meals prepared for Queen Titania and King Oberon. To say she has a refined pallet is a massive understatement, and her poisoned pen can make an entire planet into a place where even some of the finest of restaurants the multiverse has to offer can't turn a profit. As such, any establishment who wants to return to the world she lives on had better be prepared to give her a royal experience. Like most elves, she is completely carnivorous, preferring to not eat plants at all because their spirit often remains within their body long after they have been picked and prepared, for they die very slowly. Ideally, the meat itself should be from a carnivore. A wild carnivore. An apex predator, at that. This should be delicately spiced and only mildly sauced. Further, like most elves, she is very sensitive about her surroundings during meals. Music should be provided, but not too loud. Other patrons should be able to enjoy themselves, but not impinge upon other guests' abilities to enjoy themselves. Lastly, she has a thing about untidy bathrooms and lobby areas. Impressing her is a sure sign of great things to come. Failure means that the chef should probably steer clear of her homeworld and a few neighboring dimensions for a few years, if they plan to attract anyone with an even slightly refined pallet. e: Added flaire! Black Wombat fucked around with this message at 19:47 on Sep 7, 2016 |
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Sep 6, 2016 01:34
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Black Wombat posted:3. The core stats are 'Prowess', 'Tact' and 'Fortitude'. This seems familiar, but I can't imagine why.
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Sep 6, 2016 02:24
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 Outline The following page/s present a basic outline of the project as named above, delve into some of the general secretes as used, the theme, mechanics proposed as well as the general structure of play. The outline is concluded with an overview of some pre-written in-game „in-universe“ texts to present style and idea of the game background/setting and the chapters the game is supposed to use. Name The proposed game will bear the name “Truth Hits Everybody”, as inspired by the song from The Police. The song evokes both a feel for energy, a call to action and transmits well to the proposed theme of the game with its lyrics, from people becoming doorways to blowing heads in two, broken dreams and the idea that the truth, above all, will hit everybody. From here on out the proposed game title will be shortened to T.H.E. for all purposes. Theme The game uses the following general themes: Sleep, Dream, Violence, Truth behind Lies, Psychology, Collective Unconscious, Jungian Ideals, Horror, Madness, Family, Connectivity (filial/communal), Death in Dreams as in Life, Secret Organization, Appearances, Secrets, Scheming, Dissonance, Stress, Modern Life, Dualism, The Nineties The game deals with the players as part of an illegal secret organization in the early to late nineteen nineties to fight monstrosities of a world beyond our own, called the dreamscape, which has begun to seep into the real world, while at the same time having to keep up appearances in their normal day-to-day life and manage their relationship to the people close to them to keep a healthy mind and strengthen themselves against intrusions from the dreamscape and the Unwished, horrific realizations of violent dreams made real and the main antagonists, all the while revealing a greater truth about their actions. Target Audience The target audience is the general tabletop RPG market, focused on the niche of story gamers and those willing to deviate from those. Potentially those focused on products equal to White Wolf/Onyx Path products, as the proposed game focus is on social and mental interaction. A secondary audience might be found among general book/novel readers, depending on further novelization and the availability of authors for the product. Profitability Expectations Considering the general tabletop RPG market is a niche market, the general profitability as expected as low. Unless cross-promotional methods or avenues are found/used, the general expected income set at about 20$ per product and an expected sales number of up to 100, won´t overcome about 2000$ of revenue, costs for art, writing and production not yet subtracted. Potential cross-promotional methods can be found by adhering to standards as presented by KICKSTARTER, INDIEGOGO and those projects most successful. An industry name can increase the projected revenue by a factor of 2 to 100, depending on the name in question. Common experience has taught that the general product art quality doesn´t influence the expected revenue beyond 20% of the revenue amount possible. Using household names/brands (akin to WOTCs Dungeons&Dragons logo), or mechanics (referencing the OSR movement) can further add to projected revenue by increasing the target audience. Finally, further revenue can be generated by deluxe versions of common gaming items and small merchandise accompanying the proposed game, though all released within the release schedule after the main product to increase the number of base units sold. Mechanics T.H.E. uses a combination of several systems to achieve its goal of immersing the players into its own world. All parts combine into the Destiny Engine, a standalone collection of mechanics created for T.H.E. especially to guarantee further marketability and to assure non-interference from possible mechanics copied over from other tabletop game systems. Number of Players: Gameplay requires participation of a game coordinator leading general game play and at least one or more player. Character Abilities: Characters possess both a number of very general character attributes (Fury/ SLyness/ Vigilance/ Influence) that serve as basics for their skills, which play the main role and are gained via lifepath decisions or players characters engaging in these abilities via advancement. General Task Resolution: Uses a number of cards, common poker-card size. Called Destiny Cards and will be sold separately as a card deck, though buyers can create a DIY-version with the base game. (A deluxe version will be sold about a month after game release to increase general profitability). These cards achieve task resolution in combination with character ability. Depending on the level of player ability, the cards are shuffled and players choose among those cards a number equal to their level of player ability for the task in question. Players can achieve one of three resolution states (Failure/Partial Success/Success) which determine the outcome, which is afterwards given by a game master. Advancement: Player advancement is connected to the task resolution, as player characters “collect” resolutions to develop their abilities. By collecting a number of resolutions corresponding to the target ability value players can spend these resolutions to increase their characters ability. Character Creation: Players create their character by choosing “lifepaths”, building the character piece by piece. At the end of the lifepath-system, players can choose to add a small number of points to abilities of their choosing to personalize the character. Relationship: Players create connections to people during Interludes that can become tangible gameplay advantages but are prone to interference by Unwished and Twists. Relationships are abstracted in that sense via numerical values. Character Duality: Characters act within two worlds, the normal, daytime world, and the darker Dreamscape. To support this duality of game states, mechanics differ in their usage and correspond differently to either state. Ethos: Player characters pledge themselves to a certain ethos while in the dreamscape, borne out of their lifepath creation decisions. Ethos is akin to a class or profession in that they confer mechanical dis-/advantages and abilities while in the dreamscape. Tension/Twist: Abstracted Drama Meter, builds itself up for every action players take and allows the game coordinator to enter dramatic twists and story turns into the game or increase the tension in relationships the players have and use. Combat: Using static numerical values, characters fight narratively via i go-you go. Corruption: Working with T.H.E. over time poisons minds and people, and the Corruption meter depicts this slow and steady fall to the other side. Players gain corruption by further developing their ethos abilities and prolonged contact with the dreamscape, the loss of healthy relationships, or the gaining or keeping of damaged ones. Character Document: Players use standard A5 paper pre-printed as “character documents” for reference and noting down general play state information in relevance to their character. The document should, in design, mirror the games´ themes and duality of the setting. Target Structure of Play The following presents a general structure of play as targeted, though not necessarily the only structure possible. At the core of the SoP stands the free play, a kind of general free roleplaying that may or may not impact current game states or mechanics. As follows: Introduction > Free Play > Investigation > Twist > Interlude > Conclusion As such, the targeted structure would be equivalent to a five-act play, with the introduction serving as a prologue to the events. The Twist concludes the second act with tension at its highest point, and rising further until the conclusion, or falling from the interlude onwards. The entire Structure can be shortened by excluding parts, or prolonged by including more complex themes or ideas, or a general increase in freeplay. Introduction In this phase the game coordinator introduces the current game state and explains the themes/conflicts that are at the center of the current game session/arc. The Introduction serves to bring the play into general play. Free Play This designates the core playing state, alternating between both game states of Dreamscape and normal world, where the conflict and theme of the current arc are played into. From here all other game phases are reached and brought back from. Investigation During Investigation, the players have started upon the theme in question and most of the factual or in-game factual knowledge is dispensed. The entire phase contains most of the abstracted interactions players make. Twist Following the investigation, tension has reached its high point and may include several combat encounters within either world, where players need to juggle with the demands of secrecy and sanity. In this phase, most of the game coordinator actions happen, as Tension points are used to enter dramatic twists into the current story arc. Interlude The Interlude is used to break up tension by including a part within the real world of interactions and relationships, confronting players with problems that may mirror those of their dreamscape-counterparts. Conclusion With the finale, the conclusion of the game reveals further or future plot threads or concludes the arc of a character or event in question. Players may check whether advancement is possible. Examples of in-game Texts In-game fiction will introduce a number of notable or “iconic” characters for further development and use in future supplements. The following texts are examples of in-game fiction to establish the game universe and its component. Be aware, that at the moment, these pieces of fiction are abbreviated for representative purposes. Matthew Grim, Psychological Report “I wish to again express my worries about Matthew. Despite all attempts to the contrary, he continues to roam the streets at nights and has been brought back into custody several times, always after some sort of incident. Furthermore, his delusions have increased and even in therapy he rambles on and on about how we are all blind to the truth that he has seen within the people and how he was justified in attacking people he believes to be sleeping or close to sleep in public. I believe that the loss of his family in that great factory fire several years ago has dangerously unhinged him, as even several sessions have not seen any profound effect upon his psyche. He may be, for all intents and purposes, a ticking time bomb.” Aleza Laikonova, Mission #12 – Report “Having knocked on the targets door, we got no reaction at first, when Myers and Sweet claimed to hear something break. Fearing the takeover already complete, we broke through the apartment door into the corridor, only to become witness as Agent Grim AGAIN interfered with an ongoing investigation, as he crashed into a nearby cabinet. As Myers and I moved into the apartment, we witnessed the target, already in state 4, trying to rip through the air and widening a before unknown rift existing at the location. Myers engaged the Unwished immediately while I went to help Grim get up…” James Maborough, Personal Diary “Another bad day at work. Felt like poo poo, as my boss pulled the rug out from under my feet and basically pissed on every project I worked on for the past month. Especially great of him, to do this in front of the whole department. When I got home, at least I had Daryl. Fuzzy little pirate. Went onto the couch for the night, Daryl on my stomach, curled and purring. Sleep was even weirder. Felt like I could do everything in my dream, but something…I don´t know, like there was something always at the edge of my eye, something just quite out of view watching.” Xi´ao Aolan, Dreamers Mantra “Sleep lies behind you, a broken ocean Strange dreams before your eyes unfold Lying there, sleeping, an open doorway Step outside yourself and feel the cold” Proposed Base Game Chapter Structure T.H.E. content can be broken up into 16 different packages or chapters, The following structure starts at Chapter 0 and ends with chapter 15. 0 - Introduction (Example of Play) Used to introduce new buyers into what the game is and represents, its general theme and story, what you need to play and how such a play may look like. Should be short, concise, and to the point. 1 - Game Mechanics (Base Game Engine Explanation) Explains the general and most basic game mechanisms, starting from the use of cards instead of dice and going over all mechanical pieces needed to understand the greatest amount of mechanical content of the base game. Will contain expansive examples. 2 - Your Alter Ego (Character Mechanics) Explains game mechanics on the character document with images to help process of understanding, followed by more complex/advanced character concepts including Ethos, the relationships and the network attached, corruption and how players need to manage them. 3 - Sleeping Like An Open Doorway (Advanced Character Mechanics) Contains character creation with life paths-system. 4 - Blow your head in 2 (Combat) Rules for combat situations, how to deal with them, and what their mechanical state and effects are. Is divided into Daytime and Dreamscape combat. 5 - T.H.E. Truth (Background) Includes explanations about the game setting via fiction as if reader is newly minted agent of T.H.E., continues on into historical outlook of organization and explanation of the real world implications and work the organization does 6 - Dreamscape (Explanation of the Other world) Follow-up chapter from the previous, delves into the Dreamscape, its special circumstances and how it affects the collective human unconsciousness, how to delve in and what to expect, might also reference first hints to corruption, depending 7 - The Unwished (Delving into the main antagonists) Concludes three-chapter part of base game about game background with main antagonist of the setting, the Unwished and the experiences other agents had with them, as well as cutting into the corruption and effects onto the real world 8 - Equipment (As written on the Tin Can) Contains lists of possible character equipment as well as value and other game values important to interaction and usage. 9 - Coordinating T.H.E. Games (GM Material) Written mostly for the game coordinator, chapter includes hints on how to use the different gaming mechanics, and how they interact, how one would build a common T.H.E. module using the five-act-structure and what pitfalls need to be avoided 10 – Creating Opposition (HowTo for creating Enemies) Gives rules for easy replication of enemies and special abilities they might possess for further use by the game coordinator 11 – Introductory Example Adventure Presents both example character sheets for immediate play but also an introductory adventure that leads the characters directly into T.H.E., both as a setting as well as the organization. Should be concise, but not overly short, will contain tutorial parts. 12 - Character Documents / Destiny Cards Blank page with photocopier quality character documents and destiny cards for DIY buyer. All others will be referred to full-colour deluxe version coming out a month later. 13 - Collected Tables Collects all tables as found within main book for easy reference. 14 - Design Comments (Directly from the Design Team) Shows perspective of design from different members of the design team of 1 designer and explains decisions made for the game and their outcome. Might be cut from work later on. 15 – Index Mr.Misfit fucked around with this message at 11:51 on Sep 8, 2016 |
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Sep 6, 2016 14:00
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I missed the memo that the games we design were supposed to delve into the deepest recesses of humanity's ubermind through an applied mandala of Jungian archetypes or something. Gotta step it up. Next to You "I'd rob a bank Maybe steal a plane You took me over Think I'm goin' insane" Intro The Cabal has existed since before the beginning of recorded history. Made up of a small group of powerful psychic masters, the Cabal has labored for a thousand generations to ensure that humanity suffers from untold pain, fear, and terror. Conquests, genocides, the rise and fall of entire empires, have all been carefully managed behind the scenes to guide the path of humankind according to their ancient and twisted philosophy. The Cabal only wishes pain for humanity, for (according to them) only through brutality can humanity grow stronger. But recently things have changed. The rise of worldwide background radiation from the atomic bomb, the Cabal's crown jewel in inspiring fear and inflicting horror, has had the unintended side effect of awakening a new group of psychic warriors. This new breed, called Spoilers, are able to break psychic conditioning on innocent people, as well as a number of other abilities which the Cabal has a hard time countering. Slipping through the shadows, Spoilers have taken on the mission of saving humanity from the Cabal and spreading a new philosophy of hope. The catch? All psychic powers, for good or ill, have a range of about three feet. This turns the burgeoning Shadow War into battles of access, capers designed to get close to people and change their minds ... literally. In other words, the only way for a psychic to affect your mind is for them to stand ... Next to You. (Yeah, boo, I know.) Game Structure Next to You is a storytelling game based on the patented GM-less NGNM Structure, which runs on the concept of collaborantagonism (copyright 2016 me, Do Not Steal). Players must work together to provide in-game challenges as well as overcome them. Each game session, players either choose or randomly roll a Game Setting and Game Objective. The players also vote for three Player Characters from a pregenerated list of 12 basic archetypes. (The extended ruleset includes collaborantagonistic rules for creating your game's own characters.) The players then take turns guiding this three-man squad through numerous challenges in pursuit of the Game Objective. Any player can control any character during their turn, though all players have a randomly assigned Affinity Character and receives small bonuses for using that character during their turn. Along the way, players receive Victory Points for successful actions and feats of valor beyond the call of duty. The game's progress is charted using a numerical Tension Level, which increases steadily and triggers events when it reaches various thresholds, depending on the actions of the players. In the end, once the Game Objective is won or lost, each player totals their Victory Points with the Victory Points accrued by their Affinity Character. The player with the highest combined total is declared the winner. Game Mechanics Players all start the game with an Active Pool of 10 six-sided dice. Some or all of these dice are rolled and combined with a character's stats and skills to overcome obstacles or complete objectives. They're also rolled and combined with the games Tension Level to provide obstacles and objectives for the squad to overcome. As players roll for actions, some or all of the dice rolled may be deposited in a Dice Cache. Cached dice are unavailable to roll until released, usually by succeeding at actions. Players can also give up their turn and uncache up to four dice. Activating psychic powers requires a player to place a number of their dice in a special Bleed Cache. Bleed dice return to the Active Pool at a rate of one per turn. The game map is made up of square tiles with a locale written on each, for instance "Control Room" or "Library." Relative size doesn't matter that much. Players can (and are encouraged to) actively add locales to the map as their action in a turn. When a tile is added, the player rolls one die for each open edge; on a roll of 1-2, that edge is closed (a blank wall, for instance). Otherwise the PCs can move about the map freely at a rate of one tile per turn. Player Actions During a turn, a player can perform one of the following actions:
Non-Player Characters Players who introduce NPCs (be they enemies, allies, or neutrals) take control of those characters until they die or become irrelevant to the current game session. Victories by Enemy characters give Victory Points to their player. Victories by Allies or Neutrals do not. List of Enemies Coming soon List of Allies Coming soon List of Average Joes Coming soon List of Player Characters Coming soon List of Psychic Powers ... you get the idea.
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Sep 6, 2016 20:55
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Don’t stand so close to me is a game for two or more players about a class of students, one of whom is unhealthily obsessed with the teacher. **Important Note ** Real relationships between students and teachers are extremely problematic at best, and outright predatory almost all of the time. Still, that’s what the song is about, so we’re gonna play it for cute “hot for teacher” chuckles. Seriously, these relationships are bad, and you should feel bad if you think otherwise. At the beginning of play, each character secretly makes a cootie catcher, hiding a heart under one of the flaps. A partial version is below:  Gameplay consists of a series of scenes, with a pair of the characters in the spotlight role. For example, a scene could be a conversation during after-school activities between two students. During each scene, the two players in the spotlight exchange cootie catchers, and choose a word that describes their behavior during the scene. For example, one player could be “mean” while the other player could be “friendly.” Each player moves the catcher a number of times equal to the number of letters chosen in the word by the other player, and then secretly chooses one of the four available windows. The window exposed determines the reaction of the character who “owns” the cootie catcher. With various symbols sometimes having mechanical effects. Gameplay continues until either two characters both reveal a heart (those two fall in love and deal with the consequences) or for two complete cycles (each character is in at least two scenes). Still to come: Character Creation Symbols and what they mean Sample Classes Sample Scenes + Resolutions
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Sep 7, 2016 02:46
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Three restarts so far brings us to: Deathwish What is Deathwish? In the not so distant future, the streets have crumbled under their own weight as urban decay consumes once vibrant communities. With the collapse of public infrastructure, and the privatization of policing, sustained services into the cores of the mega cities vanished as profits dropped. With gangs rampant, crime at record breaking highs, mail delivery was deemed unsustainable, unprofitable, and impossible. You would have to be insane to even try to see the mail through. You would need to have some sort of deathwish to even try it. It is the year 20XX, where basic chronology has been abandoned, and no one cares about kickstarter delivery dates anymore. You take on the role of one of the last Couriers. Armed with only your motorcycle and your grit, you will see these deliveries through. Oh, and your chains, and caltrops, and maybe a trusty shotgun. A few grenades might also help if you run into a lot of congestion or competition. With extreme speed, bloodthirsty aggression, and a ruthlessness that only comes from working on commission, you will pick up your packages and make your deliveries. Just watch out for the roving gangs and other couriers. Create your own courier! Outfit your motorcycle! Arm yourself and choose from dozens of abilities, perks, quirks, weapons and items! Components In the box, you will find 4 double sided map tiles. You can configure these into any arrangement you would like, creating the map for your scenario. You will find 12 pre-made Courier Cards, and 12 courier motorcycle tokens. There are 4 objective markers, 6 dice, and a set of movement guides. There are 48 item cards, 36 ability cards, and 24 objective cards. Courier Cards You can't have your character without knowing who they are. Create your own following the advanced rules, or choose from a pre-generated character, with their pre-made Courier Card. Each Courier has a card with their relative information. Their name, their affiliation, their maximum speed, their maximum grit, and then their stats: Determination, Accuracy, Handling, and Endurance. Finally each card has the Courier's Deathwish. Maximum Speed is how fast the courier's motorcycle can physically go. Adding all manuevers together must be equal to or less than this total, and it cannot be exceeded without the condition [Ignores Speed] triggering. Maximum Grit is a representation of how much the courier can endure before they lose control and activate their Deathwish. Grit is gained by being safe, staying in control of your motorcycle, and avoiding conflict. It is lost when the courier is damaged, goes faster than they are comfortable, or engages another courier in combat. Determination represents the courier's desire to win, their ability to pick themselves back up and get riding again, their drive to ride. High determination helps ensure that the courier's actions take priority, that they edge out their competition, and their risk tolerance. [2d6 + Determination - (Speed x maneuvers) = 7+ okay, 6- remove a point of grit] Accuracy shows how likely the courier is to strike a target while riding. Highly accurate couriers will be much more likely to disable or incapacitate their rivals. Couriers with lower accuracy will likely refrain from melee and ranged weaponry, and instead use the environment to their advantage. [2d6 + accuracy - (total speed) = 7+ success, 6- miss!] Handling allows for more techniques to be performed in sequence, while at speed. Each point of handling increases the number of maneuvers that can be executed without the serious risk of losing a point of Grit. [Total maneuvers <= Handling, okay! If > Handling, Determination check!] Endurance is a rough estimation of how much physical damage the courier can sustain before they aren't getting up again. Concussions, broken bones, torn muscles and gun shot wounds all get stacked up against the courier's endurance. When the courier's endurance drops below 0 (-1 or lower) they are knocked down off their motorcycle. The Courier's Deathwish is their super power which kicks win when their Grit drops to 0. Each Deathwish is unique, but they are all incredibly powerful abilities that change the flow of play. They might allow for the courier to execute multiple move actions, to draw multiple items, to ignore handling and accuracy checks for a limited period of time, or even to shrug off damage as if it were nothing. But beware, when the Deathwish expires, the courier is extremely vulnerable. Other Components Objective Cards It wouldn't be much of a game if you didn't have a goal. Objective cards provide randomized incentives to the game session. Each player starts with 2 objective cards. One is public and the other is private. Each player decides which objective card to display as public information, and which one to place under it, face down, as hidden information. Ability Cards Your Courier wouldn't be very unique if they always had the same skills and abilities. Change them up, switch them out, find the most powerful and broken combination possible. Each player starts with 3 abilities. Abilities come in three types: Active abilities, Passive Abilities, and One-Shot Abilities. Active abilities must be activated to be used, and can only be used once per turn. These powers usually require a successful die roll to activate, or consume a resource of some type. Passive abilities, once revealed, are in play and will remain in play for the rest of their duration. Some passive abilities will expire after a set number of turns, others will last indefinitely, or until they are removed by a hostile action. One-Shot abilities are played, they take effect immediately, and then they are discarded. One-Shot abilities are typically counter attacks or special powers that vanish after being used. Items While the world may be falling apart, there does seem to be plenty of things to pick up and use, almost everywhere you go. Each player starts with 2 items. Items, like abilities, are often single use consumables, which an have a dramatic impact on game play. ===== Order of play Each player selects their courier and then their objectives. They then select which board segment they will be deploying from. Each player selects at least 1 maneuver. They may stack as many maneuvers as they would like together, however each maneuver increases the difficulty total. If a player puts down more maneuvers than their handling total allows, they have to make a determination check. If they pass, they continue their turn. If they fail, they progress to the last legal maneuver they placed before they failed their determination check. All other maneuvers are discarded and they lose a point of grit. Once the first turn begins, all actions are resolved simultaneously. TBD... ==== Maneuvers Each maneuver increases the courier's current speed by at least 1. A courier may move safely at any speed up to their maximum. A courier must move, at minimum, the speed from their last turn -1 in their next turn. The courier's last speed should be tracked with a counter beside them. Straight Ahead : Straight aheads increase the distance traveled in increments of 1 speed. Quarter : Gentle round turns that are generally quite wide. Sharp : Tighter turns that make more of a 7 motion, cutting speed dramatically in order to nail a very tight turn. Weave : Narrowly weaving around obstacles, avoiding wide motions. Stop : Move your current speed, then 1/2 your current speed and then halt all movement. The courier will have to accelerate again when they start moving. Dangerous maneuvers Slide : sliding the motorcycle under a dangerous object, risking serious injury vs inevitable death. Corner Cut : hitting a Quarter turn at high speed. Allows you to use a smaller turn radius than your speed would normally allow. Jump : Jumping the bike over an object isn't that hard. Landing it is. Hard Brake : Come to a stop in a very short distance (Speed -6). Will likely dump the rider. Burn Out : Rapidly accelerate from not-moving to twice your handling. Costs grit. J : Performing a 180 turn in a tight area. Hard braking, some skidding, and then rapidly accelerating in the opposite direction. ==== Hardcover book expansions: History of the World Campaign Setting NPC Factions Enemies and Allies Advanced Rules - Dismounting - Non combat environments - Social interactions
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Sep 7, 2016 03:50
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I apologize in advance for all the terrible Math Crimes that I may inflict upon my future play-testers. Anyways, here's an outline! Too Much Information A Roleplaying Game of Secrets, Memory, and Horrifying Empathy Overview Too Much Information is an urban fantasy roleplaying game for three to five players. It is intended for short campaigns of one to three sessions, but can be used for extended campaign play. It is played with several dice of five sizes: a four-sided, six-sided, eight-sided, ten-sided, and twelve-sided die. In this game, players roll against their Game Master, and whoever has the highest result gets to determine the results of the action. Players use their skills, memories, aspects of their identity, and small scenes called Soliloquies to turn the rolls to their favor. Game Masters use obstacles known as Threats and a resource known as Aether to turn the rolls to their favor. Premise It is 1990, the dawn of the final decade of the millennium. The Soviet Union faces a crisis it cannot possibly hope to survive, and the United States waits with baited breath as victory in the Cold War appears imminent. This is what the newspapers would want you to believe. In truth, a white hot battle of ideas will determine the course of the next thousand years, and you’re on its front lines. Once, you were an ordinary person. You had family, friends, and a place to call your own. Whether or not you were happy with the way you lived, one thing was certain: it was a life lived on your own terms. That was before you found The Library. That was before the US Government found you. The Library is a place outside of time and space, a bizarre labyrinth containing every thought, event, and emotion humanity has experienced over its millennia of existence. Once the domain of only the most experienced occultist, the span of the twentieth century has weakened the veil that hid it from mortal eyes. Whether it was through intentional effort or a spot of bad luck, you discovered that you can travel into the Library freely. Soon after, you were drafted by the Defense Intelligence Agency as a “Burner” for a special task force known as Furnace. On paper, your new job is simple: you and a team of agents enter The Library, find “unsafe objects” within it, and bring them back to be destroyed. In practice, it’s a lot more complicated. A host of dangers lie within, such as Intrusions, Tulpas, homo gestalt, desperate KGB agents, and agents of the mercenary company "Snowman". There is only one way to come out of this alive and whole: you must put everything you are on the line, even if it means becoming a completely different person to do it. Are you up to the task? Flow of Play 0a. Players create characters by assigning starting dice sizes to four stats (Violence, Negotiation, Fortitude, and Empathy) , selecting skill packages, and developing Identity and Memories. Players also create one Secret, known only to the Game Master. The Game Master receives a starting pool of points, known as Aether. 0b. The Game Master creates chambers in The Library to explore. Each chamber has a Memory, an Identity, and a Threat. One chamber must have a Memory, Identity, or Threat that is the Mission Objective. One chamber must serve as an exit chamber. 1. The characters explore The Library in search of the Mission Objective. A player may choose to install a chamber’s Memory or Identity into their character any time before or after a conflict. 2. The characters encounter a conflict. The Game Master always begins a conflict with a pre-set combination of dice, determined by Threat. 3. The Game Master spends points of Aether to increase the number and size of their dice pool. 4a. One of the players describes how they will approach the conflict, and selects a stat that best represents that approach. 4b. The player uses Skills, Identities, and Memories to increase the number and size of their dice pool. 4c. The player may choose to begin a Soliloquy around a Memory or Identity to double the size of their dice. 4d. The player may use their Secret as a Memory or Identity, but must reveal it to the entire party when doing so. 5. Both parties roll their dice at the same time. The total sum of each roll is compared. 6a. If the player has a greater sum than the Game Master, they describe how the results of the conflict went completely in their favor. If the player used a Memory or Identity on the conflict, they make one check beside each that was in use. 6b. If the player lets the Game Master add a minor complication to their victory, they may erase a checkmark placed on a Memory or Identity during a previous conflict. The Game Master adds a point of Aether to their pool. 7a. If the Game Master has a greater sum than the player, they describe how the efforts of the player has led the party into greater peril. The Game Master places half of the Aether points they spent on the encounter (rounding up) back into the pool. 7b. If the Player used a Soliloquy on this roll, the player places two check marks next to the Memory or Identity that triggered it. If the total number of checkmarks exceeds three, the Memory or Identity is lost. 7c. If the Game Master lets the player add a minor opportunity to the player’s failure, an additional point of Aether is added to the Game Master’s pool. 8. If a player has lost all of their character’s Memories and Identity, and there are no available Memories and Identities to take from the current chamber of the Library, the character is eliminated from play. 9a. When the party obtains the mission objective and overcomes the conflict in the exit chamber, the game ends. 9b. When every member of the party is eliminated from play, the game ends. Book Outline 1. Opening Fiction - "Last Will and Testament" 2. Introduction - "What is a Role-Playing Game?", Basic Setting and Mechanic Explanation 3. Chapter I: The Approach - Character Creation, Character Sheet Breakdown, Explanations and Advice on Creating Identities, Memories, and Secrets 4. Chapter II: The Traversal - The Three Phases of the Game (Debriefing, Exploration, Exit), Task Resolution Details, How to Use Skills, Identities, Memories, and Secrets 5. Chapter III: The Atrium - Setting Explanation: The Cold War, The Esoteric World, The Library, and details about Furnace. 6. Chapter IV: The Librarian - Game Master Advice, How to Create Library Chambers, How to Create Threats, Example Threats, Extended Campaign Play Rules, Alternate Settings 7. Appendix: Quick Reference and Resources: Character Creation Summary, Task Resolution Flow Chart, Game Master Mechanic Sheet, Character Sheet Bonus Challenge 1-A: Iconic Flair Commander Reese Evans You have a gift. I'll make sure it's put to good use. Major General Reese Evans is the head of Furnace, and considers it the most important job of his military career. He keeps the organization efficient, and knows just the right people to make sure it keeps its funding. He sees the push to cleanse The Library as the set up for the end of history itself, and likes to use positive current events as evidence of this. Despite his cheery demeanor, he seems to harbor feelings of jealousy towards Burners. Faith Clarke When we return to the compound, I'll have to show you how to grow roses. They're my favorite flowers! Or was that posies? No, no, maybe it was... Faith Clarke is the oldest active member of Furnace, and a legend ten times over. She is the only surviving member of the very first expedition into The Library. She's often the first member of Furnace that a recruit meets on the compound, and is usually brought in when a Burner has a breakdown over their new, permanent position. The constant loss and gain of Memories and Identities from her Library trips have dramatically shifted her personality and worldview over the years, but in all versions of her, she remains fiercely loyal to Furnace. She keeps an old childhood diary in her room and reads it often, to try to reconnect with who she once was. Crane Of course I'm not going to kill you. If I wanted to, it'd be a done deal. Crane is a top agent of Snowman who specializes in wet-works and extraction, tasked with retrieving the most important ideas from The Library to sell to the highest bidder. She moves gracefully, kills mercilessly, and harbors a deep seated grudge against Furnace. Her hatred for the organization is so strong that she has a habit of abandoning her mission just to engage a Burner in combat. That said, she is not above cooperating with strike teams, especially if she feels that she can turn the agents to serve her own agenda.
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Sep 7, 2016 05:06
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oh god I'm never going to find playtesters.... Darkness: Accelerated Revised Edition We’ll be posting the rules to Darkness: Accelerated Revised Edition (as the second strech goal of 74059 Yen has been reached! Also unlocked is the leather bound Deluxe edition shipping November 2017!) which will give you a taste of the Darkness: Revised Edition rules (available chapter by chapter monthly via Patreon). The Grand Picture The Players are the only people Alive who can Repair the current world and abolish the Constructs who have given rise to the Darkness in the period after the Cold War. However, with great power comes great Karmic Debt; the only way the Players can Succeed is to Fail at their Tasks. Darkness: Accelerated Revised Edition is a game for 3 Players and 1 Obstacle Authority (OA) to experience the crushing Debt Mankind has to Overcome through Adversity. The full rules of Darkness: Revised Edition are for 12 Players and 4 OAs, and are based on the Darkness POO (Physical Obstacle Overcoming) LARP rules (Note: that's not these rules! The full POO LARP rules will be part of the second Kickstarter; Darkness: Revised is the "tech demo" as it were for the POO LARP licensing system. The World Welcome to 20xx, after the Cold War heated up, the world was left with pockets of civilization scraping by in the Endless Night. One such pocket is the tepid wastes of something that used to be recognizable as the Columbia Gorge. Pirate Windsurfers maraud across the blood red river; Scaravans of gangs roam the broken highways. Fortune hunters, relic hikers and the closest we can find to The Average Populace eke out what future scholars (if they exist) would call Life. You and your friends aren’t responsible for Mankind’s failure to recover, but you might just be positioned to do Something about it - that is, if you cared. Or were capable. Life Was Easy When It Was Boring - The Rules All dice rolls are handled with the DLD10 system; roll two 10-sided dice* and subtract the smaller from the larger. This is added to your stat (Ennui, Incapability and Carelessness) to see how poorly your fared in your task. That’s right; the secret to the Darkness: Accelerated Revised Edition is that you only roll to see how badly you fail at your task. If you want to succeed, you can automatically do so. Rolling (this is Important) is only for Failure. *Why d10s? Because they aren’t Platonic. Darkness the RPG rejects the idea of Regularity and Symmetry as Constructs. Constructs represent the Unthinking which has lead to the Basics Any time a Player wishes to accomplish a Task, they can State the Task as being Boring and automatically Succeed, or can roll DLD10 and Declare an Obstacle, either their Ennui, Incapability or Carelessness. The roll is added to the Obstacle Score and the Player then narrates the Failure and gains an equal amount of Karmic Cool. Karmic Cool can be spent by Players to Demolish a Construct; Constructs are the failures of the World writ large; and only the Players, by coming to grips with their own Failures can Overcome them. When the Main Construct of the adventure is Demolished, the Players can then spend remaining Karmic Cool on new Obstacle Abilities. Accelerated Revised Edition Chapters (Note: The ARE will be available Only in hand-written Zine formats for our So Tired Tier backers and as Markdown files for all other tiers). Chapter One: Darkness - the World (4 pages) Chapter Two: Darkness - the Players (character creation: 4 pages) Chapter Three: Darkness - Dreams of Schemes (How to play: 4 pages) Chapter Four: Darkness - A Key to A Door (Demo Adventure: 4 pages) Could there be any meaning to the number 4 in Darkness? Hmmm. You’ll find out if we hit the fourth (!) Stretch Goal.
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Sep 7, 2016 06:42
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Synchronicity II - The Role-Playing Game for 20XX's Best Selling Game, Zybourne Clock Part 1 - project outline The elevator pitch: Players take the roles of investigators trying to solve a mystery put into action by the ZC (Zybourne Clockmaster). Should the Zybourne Clockmaster succeed, then the steampunk world as we know it is over! But never fear! In the event of catastrophe, players can always 'reset the clock' so to speak... By knocking one of the Four Red Balls that comes with the Super Special Deluxe Edition 64 version of the game off of a Metaphorical Cliff. The setting:  Honestly, any amount of exposition I do on the setting will probably wind up being more work than goons actually did on Zybourne Clock. But in the lack of their design document, I'll simply make it up as I go along! Nothing could ever go wrong with this approach. Basically, Synchronicity II takes place within a steampunk world where time can be a little... subjective. The Ordering Principle of this Universe is based entirely upon the mythical device known as the Zybourne Clock, which was constructed with technology that is well beyond that of the current steam-based science. In recent years, the clock has become somewhat... ill-tempered and some forces seek to use it to manipulate time for their own ends. The Rules Players will need to acquire two decks of Tarot Cards, which shall be lovingly supplied by our Kickstarter. Separate these decks out into Major and Minor Arcana - we'll get to these later. In addition, remove the major suites (King of Cups, Queen of Staves, etc.) from the minor arcana. Each player will draw four cards from the minor arcana. In addition, instead of 0 - The Fool, our Tarot decks will ship with six copies of the Five of Aces. The fifth card that players get will always be the Five of Aces. The game starts with the ZC declaring the barest minimum of the plot that players need to start with. One of their relatives could die under mysterious circumstances, or perhaps an event that seems completely ancillary and coincidental (one might even say synchronic), but nevertheless represents a dire omen, occurs. The game proceeds in phases, with the first phase being the action phase. The ZC has his own hand of minor arcana that he uses to establish the difficulty of beating his action. He plays these face-down first. Players then engage in their phase, the investigation phase. They take their turn at the same time, but can only play one card which must go on one of the ZC's cards. Whoever has the highest numbered card, between the players and the ZC, is considered to 'win' the encounter. Players always have the option to play the Five of Aces, which they only have one of per plot. When they play it, they automatically win the encounter and may describe what happens in the most badass of detail. As a warning, whenever you play the Five of Aces, you have to play it like this:  In addition, Fives of Aces really don't get along well together. Don't play them at the same time or bad things will happen. The ZC also has his own Five of Aces, which he gets back every single time loop (unlike players). At the end of every investigation phase, players and ZCs will draw up to their full hands. Cards played are discarded. In addition, the player discard pile is never reshuffled or replenished until players decide to knock one of the balls off the cliff and reset the time loop. Seeking the Clock: Character Creation and more detailed mechanics The Ticking Clock: Being the Zybourne Clockmaster The World of the Clock: Setting Details Bonus Challenge I-A: I would describe some of the major characters, but since I'm taking an established setting I would consider this cheating. I am reserving this space, however, for coming up with shameful characters of my own design. Jiminy 'Cyberpunk' Schultz: A young man who idolizes 'Steampunk' Scholtz, Jiminy attempted to copy him in any way possible. However, he realized that he needed to put some effort into becoming his 'own man' so to speak and adopted the moniker 'Cyberpunk'. Nobody actually know what this 'cyber' stuff refers to, and for that matter neither does Jiminy. Sticking a bunch of wires in random places to some of his steam-powered prosthetic and focusing a red light through his monocle, Jiminy goes around confusing most of the citizens of Rasenni, but ultimately they accept his good-natured attempts to help them out and locate the Zybourne Clock for Scholtz. In addition to his obvious 'cybernetics' Jiminy has a penchant for wearing black trenchcoats and wielding a long, slightly-curved sword based upon apocryphal accounts of warriors from millennia past. Jiminy also hides a deadly secret under his trenchcoat - he's wearing another trenchcoat! Unbeknownst to Jiminy, Scholtz secretly despises his for being a 'poser' and biting on his style. Nevertheless, he readily Mona Millions, Flapper Extraordinaire Few people in Rasenni, the Capital, or even Bookworld for that matter are unaware of Mona Millions. A starry-eyed temptress of a singer, Mona has traveled across the land and knows more of the world than almost anyone - a fact which infuriates the subterranean mole people who inhabit Bookworld, whose knowledge of the world is limited to what has already been written of it. Despite her smooth voice and phenomenal dance moves, Mona is also renown as one of the meanest drunks this side of Walliston's Hill, with her charming demeanor changing into that which one survivor described as 'an ungodly melee combat monster'. Regardless of her state of inebriation however Mona is also an extremely bad gambler, and Johnny 'Five' Aces has exploited this fact a number of times to help himself live a comfortable life. Dryden Down-Under, Mole-Man Mercenary  Few people in the lands of Rasenni or even the capital have seen an inhabitant of Bookworld. Those who travel there are said to never return, oh god what am i doing and what have i done? LuiCypher fucked around with this message at 03:18 on Sep 11, 2016 |
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Sep 7, 2016 21:18
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LuiCypher posted:oh god what am i doing and what have i done? God's work.
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Sep 7, 2016 21:33
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