Category Archives: Articles

How does crowdfunding come to your table?

Kickstarter has left an indelible mark on the tabletop roleplaying game hobby. Starting in the early 2010s, the site opened the gates to RPG crowdfunding, which has gone from a curiosity to a first-move favorite all the way to literally more than 10% of the hobby by revenue. There is no single more high profile way to get your game attention, financing, and hopefully, success.

And…so what? We know how much money flows into crowdfunding, but how does money translate to influence over the hobby?

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Crowdfunding Carnival: November, 2026

Welcome to Crowdfunding Carnival for November! It’s a big one here; apparently holiday shopping has gotten everyone riled up, because there are campaigns everywhere! My first pass caught a dozen and a half, and even more have started even in the last 48 hours. As always, if there’s a game I didn’t cover that you think is deserving of notice, sound off in the comments.

For now, though, let’s get into it. A bunch of the majors are campaigning this month; even beyond the campaigns below we also have Pinnacle and Magpie with new supplements for existing games Savage Rifts and Avatar Legends. Needless to say there’s a lot, so let’s get into the big ones first, including Paizo’s Backerkit debut and the first official translation of a Japanese legend.

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Worldbuild to find out what happens

I’ve previously discussed my misgivings about worldbuilding, at least my misgivings about how the (separate) hobby of worldbuilding interacts with setting design for an RPG. Of course, if you are one of those lightly deranged folks who insists on writing a setting from the ground up, you know that you cannot ignore all the brass tacks of worldbuilding, even if said worldbuilding is nowhere near sufficient for making a gameable setting. For what it’s worth I’ve spent most of my GMing time over the past several years engaging with existing settings or games which encourage shared setting creation; the eldritch swamps in which my Apocalypse World game took place are just as attributable to my players as they are to me. Now, though, I’m writing a setting for a somewhat more traditional game, to be run in GURPS. I’m trying to balance two elements in setting creation: First, I am writing something specific, with different assumptions and conflicts than other settings I could bring to bear. Second, even in a traditional setting I don’t want to give up that sort of engagement with my players, who bring in not only interesting ideas but also clear opinions about what they want to interact with in the setting. So, without a system like Apocalypse World that cements that player input, how should we be prepping a setting to ensure that the game will involve “worldbuilding to find out what happens?”

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Getting Out of the GM Chair

The online gaming group that (in part) gave birth to Cannibal Halfling Gaming works on a rotating roster of gamemasters and campaigns. The typical  arrangement is that two campaigns are being run by two different GMs, trading off our weekly slot so that we can maximize the number of games we play, give GMs a rest between sessions, and get back into thing quickly if we have to scratch a week. Exactly who those two GMs are also changes; in terms of first session to last session most campaigns last about a year, with perhaps 15-20 sessions, and many GMs then step down to let another step up.

This last July, I wrapped up a game of Cyberpunk RED that had lasted three and a half years with 42 sessions.

Depending on how you count things (because Aaron built a DIE-shaped trap door into a Burned Over campaign, cheeky bugger that he is), Cyberpunk RED: The Alleyway ran alongside/outlasted 2-3 other campaigns. Unsurprisingly, I’m no longer in the GM seat for that group. It will likely be a few years before I return to the GMing chair in that group, actually, and that’s okay! However, after a few weeks I realized that, for the first time in maybe a decade… I wasn’t running anything for anyone.

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Premise Matters

A roleplaying game is an event where players take on agreed-upon roles within an agreed-upon premise to accomplish an agreed-upon objective. Those roles make it roleplaying (somewhat tautological, I know), and both the objective and the premise make it a game. That objective and that premise are defined in combination by the players of the game and the ruleset they have chosen, and that objective and that premise are more foundational to assessing a roleplaying game than either the players or the ruleset.

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System Hack: Dreadship playtest report

We’ve gone and done it! Just like I threatened, last weekend I had a chance to test run Dreadship at our group’s gaming weekend. The game was certainly fun; I ran Gradient Descent in one-shot mode, with the players as artifact hunters trying to get a big score and retire. As far as Dreadship is concerned, though, the playtest revealed a few things about the game’s workings. Thanks to both my own evaluation and feedback from my players, I know what I’d do differently in the future.

This is one of the first playtests that I’ve run, so I also learned a lot about the process. Most importantly, seeing the process in action is likely to make it easier for me to test new rules and games in the future. So with that all said, how did mashing up Mothership with a Jenga tower actually work?

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