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I'm Sorry - Gator Days

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Bestiary secrets

So I recently added a sort of bestiary for the game.

Now i know I am not yet good at layout, hence why I used a template, because i am not at a Triangle Agency level (though I stole some ideas). But I like what I have done on the Meeting Point section of my game. There were thoughts behind some thing. Answers hidden inside the layout and not the text itself. Maybe an influence by the ... what's this trope name again...Interface spoiler?

There were internal consistent rules that went into writing this section.

There is a reason for which beings have a Visions ( not a trivial name). There is a reason why some have more than one paragraph of text for their description. Some words are hidden. Alignment may matter.

Find the game and delve into its secrets here :

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There is a left hand of god, gabriel.

There is a right hand of god, michael

There is a mouth of god, metatron.....

Is god a combination of angels ? Representing different parts ?

But a hand is kind of a big part....

Is god a megazord ?

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I get that being an indie creator is difficult, especially when your competition includes industry monoliths, but it's starting to feel like half the word of mouth about Eureka is attached to long-winded pedantic posts about how the popular thing is bad. Seeing this project become rooted in spite instead of the passion that brought me in has me starting to regret backing it.

I’m sorry you feel that way. If the content of the A.N.I.M. tumblr blog doesn’t suit your tastes, you can still keep up to date on our progress via the Kickstarter updates we put out every month, free of the personal musings and philosophizing about TTRPGs as a whole.

I do have a whole lot to say on the subjects of passion, spite, and the “most popular thing,” though.

Passion and spite go hand-in-hand. I would not have been driven to create Eureka: Investigative Urban Fantasy, a TTRPG that does investigative gameplay really well, if not for existing popular TTRPGs like Call of Cthulhu doing it badly. The desire to improve upon obvious flaws is something that drives most of all of my creative work. That passion you were drawn in by is the spite you’re complaining about now, if you were drawn in by somebody’s love of clean spaces, you shouldn’t be surprised that they hate dirt and grime.

Eureka: Investigative Urban Fantasy isn’t good just because I have passion, it’s good because i examined what came before in the artform, looked at where it succeeds, and more importantly where it fails and sucks and why, and sought to make targeted improvements there. This is, like, how all art and science evolves and improves.

Next, I think that most of the “long pedantic posts” about how “the popular thing is bad” you’re referencing are actually posts by @thydungeongal that I reblog, and if you think those posts are just pedantic and only criticize D&D5e because it’s popular, I think you may have a misunderstanding of tumblr user thydungeongal, the content of the posts, or the relationship between D&D5e and the wider industry and artform as a whole.

First of all, she is passionate. She doesn’t even have a financial incentive to pay living expenses like I do, she’s posting only because she cares. (She isn’t a part of the A.N.I.M. team, she’s just a friend of several of us.)

Next is the fact that her posts tend to be more about the toxic play culture and lifestyle brand of D&D5e more than the actual content of the rulebook. When she talks about the content of the rulebook, she’s actually really positive! More positive than the rulebook deserves a lot of the time in my opinion. The main thing is the super toxic play culture cultivated by WotC marketing.

Pathfinder, Call of Cthulhu, Lancer, Mothership, Monster of the Week, these are all TTRPGs that are much more popular than our team’s projects, and even though you’ll see me criticize many design elements of Call of Cthulhu from time to time, and I just plain personally don’t like Monster of the Week, you won’t see me or thydungeongal rail against any of these games the way we talk about WotC, D&D5e, and its playerbase.

The thing is, as a monopoly, Wizards of the Coast and the small A.N.I.M. team are not simply in competition, we are in a war of extermination. The tactics and force of arms employed by WotC are not simply to harmlessly promote themselves and get more customers for it, but rather to destroy the entire population outside of themselves and the entire ecosystem to boot. Their tactics aren’t so much focused on bringing people to them as they are preventing people from going to anyone else. If it was just a popular game like any of the others I mentioned, it wouldn’t be a problem, but WotC with their flagship D&D5e are maintaining that popularity not by providing anything to their fans, but by hiding the existence of any other alternatives, and where they can’t do that, they are constantly, in so many words, redefining what a TTRPG even is to exclude any other game.

One of the main ways they do this is by encouraging a complete detachment from the rules, encouraging DMs to do all the work of providing a one-man-show experience, and through these things teaching the massive playerbase of D&D5e, created by its more conventional massive marketing budget, that the content of TTRPGs does not matter, and if the content of TTRPGs does not matter and they’re all basically the same one-man-show, there’s no need to go through the effort of checking out any other ones besides the D&D5e you’re already familiar with, even if it doesn’t suit your needs. This is the very first thing taught to basically every new person who enters the hobby, who then go on to perpetuate it themselves, and often raise a stink when that teaching is challenged. When it comes down to it this is what pretty much every @thydungeongal post that gets reblogged on this account is about. It’s not that they’re popular, it’s that they salt the earth.

Anyone who doesn’t want to see that sort of discussion can follow the Eureka: Investigative Urban Fantasy Kickstarter page, or our itchio page, for updates instead, but anyone who doesn’t want TTRPG developers and enthusiasts to complain and rail against D&D5e and WotC, well, you might as well tell the Lorax to shut up about the lumber industry too.

And when you see your entire home getting destroyed around you by a massive, nigh unstoppable force, how chipper and positive can you really be about it?

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In the name of my sisyphean struggle to connect with more rpg designers:

What are you working on? What kind of table is your audience?

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by sa1k_a

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Need to share my new ttrpg idea

So a new game idea. Or games. Don't know which one would be more appropriate

So 4 references : Triangle agency, Yazeba's, Dungeons of Hinterberg, UFO 50

I started my design journey with one page games. The idea of a published collection of these and some more was something that visited my head for quite sometimes.

But what if....what if all these different games, with different rules and themes, where all linked together in a story ?

in dungeons of hinterberg, dungeons have started appearing in a small village in the alp. They made a tourism out of it. Almost not stats or capacity is yours alone. Depending on the zone, you can use different exclusive magics. The dungeon are doors and are reality malleable...

So imagine our world, but with pockets of reality gone awry, without warning.

and a same team of characters

with one mechanic to link it all and progress... : the progression bars from triangle agency

depending on roleplay actions and choices during play, certains tracks advances. At certain point a "secret" is unlocked in the form of a specific game who, instead of being able to be played separatedly from the whole game idea, is made to advance the story. Until the end of a track

and each 1page game would give a one use item/power to be used in any other games, that's also an idea

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told my girlfriend that if she proposes i want a secondhand wedding ring. i explained i don't want to contribute to a vanity-based industry like diamond mining, and that it would be important to me to continue marriage traditions in a way that causes minimal environmental and personal harm. she asked me if i was just trying to roll the dice on obtaining a haunted object, and i told her i can want two things.

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Silk & Dagger: A Sensible Drow RPG

Drow: Intensely matriarchal, tunnel-dwelling, scantily-clad warriors obsessed with an evil spider goddess. Why would anyone with access to magic and resources live in tunnels and fight half-naked? Enter: Silk & Dagger: A Sensible Drow RPG.

These dark elves have a long and sordid history, but now they live in a network of tightly constraining social rules, entangling them like a useless servant in the webs of a domesticated spider. Every Drow is the matriarch of a household of servants, and together (and apart), they must navigate the edicts of the Spider Goddess and keep up the Reputation that keeps them safe against other Drow.

Asymmetric Gameplay 

Silk & Dagger: A Sensible Drow RPG features two distinct player-character classes, and two distinct game master roles.

Players either take the role of a brutal mistress whom everything she says goes, whether she understands what she’s talking about or not, and whose position of dominance is maintained by the respect of her peers, respect that hinges on how brutal and controlling she is to her subordinates; or an array of pathetic servants who are helpless without their mistress’s “leadership,” (and maybe even be more so with it).

In addition to the standard game master role, the one who sets up the scenario and runs the NPCs, there is a secondary game master role, that of the Spider Goddess, representing the social scrutiny weighing down on every caste of this strict, ruthless society. Silk & Dagger encourages rotation of players in and out of these roles, rewarding them with points that can be spent to give their own PCs an edge next time they play a PC.

Satire and Deconstruction 

Silk & Dagger: A Sensible Drow RPG takes many of the established trappings of “dark elves” and asks “what kind of society and environment would actually produce individuals like this?” This question is the springboard off which the satire launches, and lands uncomfortably close to home.

Comedy 

Taking inspiration from games like Paranoia, Silk & Dagger: A Sensible Drow RPG presents a situation where survival often hinges on working together, but social pressures, class divides, and constant scrutiny encourage player-characters to do anything but, resulting in a sitcom-esque comedy-of-errors in a grimdark, lightless world.

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We just launched Silk & Dagger: A Sensible Drow RPG in alpha on itchio, please go check it out!

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Did an interview in french (sorry) about my games, my projects, the multi language actual play I will be part of

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Sometimes things happens at just the right time with each other. The recent discussion with @anim-ttrpgs and @the-ampersand about the gm controlling the outcomes of every encounter, the performance and overuling dice in favor of a prewritten story mixed with my reading of the game Eldritch Escape : Tokyo and it's combat.

The PC will die. The PC can win. Coexistance of the two.

Let's talk about it

Eldritch Escape Tokyo ( which I will shorten into EET) is Bloodborne in an contemporary urban setting. A really simplified explanation. 7 years ago, the sun disappeared. Eternal night. No one cares. Gigantic eldritch beasts called the Eldritch roam the streets and eat people. No ones care. But you do. And you shall fight, with only what's available to you. And you will die.

Then the Bellwether shall revive you, turning back time to the beginning of the fight, raising your ascension level by one, making you stronger.

Let's talk about this big boss fight against an Eldritch These are the only ways to lose your character in this game : Ascension reach 7 or goes down to 0, Insight (your other stat) being at 0 or 7 at the end of the scenario OR giving up. Just giving up. Tired of this endless fight.

The "battle map" is a circle of 6 cells, with the Eldritch in the middle. Another game like Wilderfeast where distance and positionning is center around the monster. 1 is in front, 4 is the rear, 2-3 on the right, 5-6 on the left.

In a fight, a character dies when their shields (equal to Ascension for PC) reach 0. The Hit damage, for either the PC or the Eldritch is 2 on a critical. So yes, the PC will die rather easily at the start.

But here is the thing...

The GM does not control the Eldritch. They play the Bellwether, the advisor.

The Eldritch fight according to Trigger actions that activates anytime the condition is met. It can be the PC is in cell 1, 2, 6. The PC attacked from cell X and did not do a critical hit. The Eldritch rolls and the Gm describes, read what happens. And tell the PC which trigger was specifically activated . Back to the first example, telling the PC that the trigger was "The PC was in cell 1". No they don"t add the 21 and the 6. Then during the Eldritch turn, their combat is ruled by doctrines. Who also have conditions. The first on the list where the conditions are met is done. The PC is warned of the condition. The Eldritch turns end. No input from the GM on Monster behavior. With each loop, the PC learns. They're encouraged to take notes. And when theyu learn enough ? then glorious victory is at end. Because they know the path to victory.

So here it is. A scripted combat not by the GM but by the game itself, like an enemy ai in a video games. Where the outcome where the PC dies will happen. Where victory is achievable. it helps that they are other character loss option than death. The Ascension 7 character loss ( which I will not spoil) means the fight is on a timer. When you start at 1, you only have 6 rounds to learn. So victory is not a certainty.

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posted a month ago on my patreon, original post by @turing-tested, @dog-on-it-tm, @khazel-t, @prettyboy-bigfoot (@clearcutcasualty), @rankeluck, @world-heritage-posts, @icecreamsavant, @yumiiiiiii, @jessbeinme15, @spacepaprika, @rat-on-fire, @thehottestmess, @vang0bus, @royal-random-the-yogurt-queen, @astraltrickster, @rubykgrant, @vaultoffaggotry, @adamsmasher, @cartoondog, and @unstablebill can be found here

like my omagpies comics? consider supporting me for early access and the simple pleasure of gently taping a $1 bill to my forehead here!

edit: thank you for all the love! reminding that there are many, Many more comics in my omagpies tag, and honorably mentioning @things-about-cars-in-posts​ for unveiling the mystery

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Sometimes things happens at just the right time with each other. The recent discussion with @anim-ttrpgs and @the-ampersand about the gm controlling the outcomes of every encounter, the performance and overuling dice in favor of a prewritten story mixed with my reading of the game Eldritch Escape : Tokyo and it's combat.

The PC will die. The PC can win. Coexistance of the two.

Let's talk about it

Eldritch Escape Tokyo ( which I will shorten into EET) is Bloodborne in an contemporary urban setting. A really simplified explanation. 7 years ago, the sun disappeared. Eternal night. No one cares. Gigantic eldritch beasts called the Eldritch roam the streets and eat people. No ones care. But you do. And you shall fight, with only what's available to you. And you will die.

Then the Bellwether shall revive you, turning back time to the beginning of the fight, raising your ascension level by one, making you stronger.

Let's talk about this big boss fight against an Eldritch These are the only ways to lose your character in this game : Ascension reach 7 or goes down to 0, Insight (your other stat) being at 0 or 7 at the end of the scenario OR giving up. Just giving up. Tired of this endless fight.

The "battle map" is a circle of 6 cells, with the Eldritch in the middle. Another game like Wilderfeast where distance and positionning is center around the monster. 1 is in front, 4 is the rear, 2-3 on the right, 5-6 on the left.

In a fight, a character dies when their shields (equal to Ascension for PC) reach 0. The Hit damage, for either the PC or the Eldritch is 2 on a critical. So yes, the PC will die rather easily at the start.

But here is the thing...

The GM does not control the Eldritch. They play the Bellwether, the advisor.

The Eldritch fight according to Trigger actions that activates anytime the condition is met. It can be the PC is in cell 1, 2, 6. The PC attacked from cell X and did not do a critical hit. The Eldritch rolls and the Gm describes, read what happens. And tell the PC which trigger was specifically activated . Back to the first example, telling the PC that the trigger was "The PC was in cell 1". No they don"t add the 21 and the 6. Then during the Eldritch turn, their combat is ruled by doctrines. Who also have conditions. The first on the list where the conditions are met is done. The PC is warned of the condition. The Eldritch turns end. No input from the GM on Monster behavior. With each loop, the PC learns. They're encouraged to take notes. And when theyu learn enough ? then glorious victory is at end. Because they know the path to victory.

So here it is. A scripted combat not by the GM but by the game itself, like an enemy ai in a video games. Where the outcome where the PC dies will happen. Where victory is achievable. it helps that they are other character loss option than death. The Ascension 7 character loss ( which I will not spoil) means the fight is on a timer. When you start at 1, you only have 6 rounds to learn. So victory is not a certainty.

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Do you have any (solo, duet or more players) that deal in some way with the relationship and feelings between a knight (or knights) and their liege?

Theme: Knights and Lieges

Hello! I have a few games that I think work for this; some of these games are specifically about romance, while others employ romance as an option among many. I hope you find something you like here!

For the Queen, by Alex Roberts.

Build your court of 2–6+ players and weave together a tale of devotion, secrets, loyalty, or betrayal of your Queen. Create your own Queen, or choose from one of the 25 gorgeous illustrations to inspire the journey of your story. Using the 91 included cards for game-play, there are an endless number of stories. In the end, decide if it is your protection or betrayal that makes you declare, For the Queen!

For the Queen is one of the simplest ways to introduce someone to roleplaying, as it mostly consists of drawing cards and answering prompts in order to tell your story. However, it's also really emotionally deep and resonant, asking you, the Queen's retinue, why you love her, even when there are moments when she might not deserve it. At the end of the game, the Queen will be attacked. What will you do?

Avalon Society, by Martian Machinery.

Avalon Society is a game about courtly love and intrigue, and the conflict between passion and duty. You'll play knights, lords, ladies, upstarts, pretenders, unknowns, or possibly a changeling or a sorcerer. Pull swords out of stones, break curses, ascend to the round table, duel your rivals, or even fall in love with them. It’s up to you.

As a Penned to Good Society expansion for the Jane Austen tabletop role-playing game Good Society by Storybrewers Roleplaying, Avalon Society requires Good Society to play. Avalon Society adds the tools to create characters and tell stories in the Arthurian vein, whether in a traditional mode or in modern re-telling of the tale. A new mode of play shifts the story cycle to a seasonal court, and tables are given the ability to define their own codes of honor.

You do need another core rule-book in order to play this game, so I think Avalon Society is a great option if you love games about relationships in general. Good Society games care about character connections, reputation, and the way your characters communicate with each-other, so if you can see yourself wanting to relish the nuance that can come in a simple glance, or the brushing of fingertips, you might find your home in this game.

A Goodly Knight, by MKailus.

A storytelling micro-game to be played with friends. Requires scratch paper, writing utensils, a randomizer (a coin to flip will be fine), and a standard Tarot deck.

In this game, you and your friends will, inspired by prompts from a Tarot deck, tell the story of an underestimated knight, a heroic adventurer torn between Honor and Passion.

Inspired by Arthuriana like the poem Sir Gawain and the Green Knight, the lais of Marie de France, films like The Green Knight and Legend, and games like Shadow of the Colossus and Bluebeard's Bride.

This game is about a singular knight, though their story is told by your group. A forbidden romance with their monarch is definitely a possibility, though it is one among many. The bulk of the game revolves around using tarot spreads to determine how knight's quest will resolve. The game also uses two traits to pull the knight into two different directions: Honor and Passion. Over the course of the game, you'll have to decide whether their actions reflect on or the other, and whichever trait they favor will determine the way the game ends.

If you want a communal storytelling game that allows you to dive into your personal interpretation of the cards, you'll probably like this game.

Hearts of Camelot, by Adrian Randall.

Hearts of Camelot is a game of Arthurian romance, telling tales of battle and heartbreak, with players in the roles of champions, errants, lieges, paragons, sorcerers, and villains.

Inspired by Lowell Francis' Hearts of Wulin, Hearts of Camelot is standing on good bones if you want fraught romance and the burden of honor. The conflict between characters isn't merely a romance between a Knight and a Liege, but the space is there for it, and you could complicate the relationships by having multiple characters all in love with the same person, or have heroes and villains feel pulled towards each-other.

Right now the game is still very much in development, but the rules and all of the characters are available in an Excel spreadsheet if you want to check it out.

Other Thoughts...

Misericorde, by Andrew White, is a game of knightly romance, but you are a squire pining for a knight, rather than a knight pining for their liege.

My Chivalric Bromance, by R. Rook Studio, is a game of queer and thirsty knights in exile, inspired by LUMEN!

The Oaths We Swore Amid Autumn Leaves, by ehronlime, feels adjacent to this request.

Grail, a 24XX game by dandibuja, has hints of a chivalric romance, although it never overtly dives into the relationships between sovereigns and their loyal knights.

Princely by Michelle Jones and For Her Lady's Hand by Lynne M. Meyer are sapphic twists on the genre, about women risking everything to be with the one they love.

If you like what I do, you can always leave a token of appreciation at my Ko-Fi!

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i've got a game recommendation for some of the people on this website

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Eureka: Investigative Urban Fantasy beta March 1st update is out!