It’s been a while! We talk a little about what some of our contributors have been up to when it comes to designing games of their own, including a look at a creative challenge that will be coming around again. Then, we get down to the real business of the episode: ending tabletop roleplaying game campaigns, from how to avoid premature endings, to making the endings you reach satisfactory, to moving on to the next game (sequel or otherwise)!
Welcome back to System Hack! In the past, System Hack has been about new games and experiences, either building out mechanics for a generic system (Genesys Mecha) or using an existing game as inspiration to create something new (Cyberpunk Chimera). This new System Hack series, In Practice, is about looking at common hacks and modifications that can be used when your group brings a new system to your table. For this we’ll be using the new system that my group is bringing to our table: Cyberpunk Red.Continue reading System Hack In Practice: Cyberpunk Red House Rules
Every American child gets introduced to the concept of “house rules” at a relatively young age, when their parents bring out Monopoly for the first time. This old standby has any number of modifications from the official rules which are passed down from family member to family member, like skipping the auction portion of buying property or putting money paid in fines from Chance cards on Free Parking. This also means every American child gets introduced to *bad* house rules at a young age, because both the examples above slow down the game and, in the case of skipping the auction rules, might be more responsible for Monopoly’s reputation as slow and interminable than the game itself.
Just like Monopoly, Tabletop RPGs are catnip for people who like to prod and tweak. House rules are not really a form of hacking the game; they are small changes to make one of the game’s rules-as-written work better for a specific group. They’re also an increasingly small part of the RPG experience as the rulesets on the market get more streamlined and in some cases just better written. Still, one of the best parts of playing an RPG, especially if you stick with one game for a long time, is making it your own.Continue reading The Hows and Whys of House Rules
New Campaign day is a very exciting day. Your group is ready to try something new, and everyone’s agreed on what it should be. Now you may be getting ready to run a Session Zero with something like Apocalypse World, where the feeling and the aesthetic of the game’s implied setting is broadcast to you, loud and clear, from the first page of the book. You may be getting ready for character creation in D&D, where the implied setting is strong but allows for a lot of variation within its fantasy tropes. Or, you might be walking into a game where the world has sprung from the mind of the GM, and you don’t know what to expect beyond maybe a few sentences that have been shared. Regardless of what situation your campaign will start with, now is the time you’ll most benefit from some soft prep.Continue reading Soft Prep for RPGS
The world of role-playing games has been expanding outward ever since Dungeons and Dragons was first released. Within five years of the first published system, games which used different fundamental assumptions and mechanics not only existed but had started to find popularity. Within 15 years, games existed which used the medium in a completely different way than D&D ever intended or expected to. Now, over 45 years later, the RPG world is a vast plane of games with GMs, without GMs, games with dice, with cards, with block towers and with no randomizers at all. There are games which exist to simulate worlds, games which exist to be played optimally, and games which trace out the creation of a story scene by scene. It is, as they say, a glorious time to be alive.Continue reading How Exactly Do I Play This?
When we play RPGs, we tell stories. For some it’s a fun consequence of the characters’ exploits, while for others it’s the whole point of the game. These stories can often have great power for the groups who create them, creating characters more personal and compelling than any novel ever could. It’s natural, then, to want to share these stories outside the group. The problem here, really, is that a tabletop campaign is a big, extended instance of “you had to be there”. As fun or dramatic or gutwrenching as it was at the time, you cannot recapture those feelings by turning your campaign into a novel.
Usually we talk about playing games – how about an episode about making them? From house rules to hacks to wholesale creation, the Cannibal Halflings take a delve into all things tabletop game design: tips, tricks, advice, history, systems, and games worth taking a look at!
Tabletop RPGs are not realistic, and this is a good thing. On one extreme we don’t really want to simulate the hygiene of our fantasy worlds, and on the other we don’t really want to play Apartment: The Playstationing. What RPGs should and do have, though, is verisimilitude. Verisimilitude is the appearance of being real, and in RPGs this means that the characters exist in a world which behaves in a way the players expect. One place where games fall down in this respect is in having a world that changes around the characters, one that might even be responsive to their actions. That is why I’m returning to my old stomping ground, the field of economics.
A good RPG campaign usually takes on a life of its own. The longer you play, the more the characters, the places, and the events of a game overshadow the rules which you use for the game. Ironically, it’s this shift in importance away from mechanics which can sometimes reveal that the mechanics you’ve been using aren’t going to work for an important part of your ongoing game. In another situation, your campaign has taken a dramatic, albeit temporary, turn. Your grizzled heroes find themselves masquerading as schoolteachers, or your starship crew finds a rip in the space-time continuum, or your cyberpunks have to chase a villain into a virtual reality game. Whether it’s a mid-story diversion or a permanent change, sometimes you’re going to want to jump systems.
Spiderman in the Marvel Comics has had a lot of memorable foes. From the more comical such as Shocker and Rhino. To the deathly serious in Green Goblin and Kingpin. Peter Parker and his many fellow Spider-Folks have no shortage of villains who left a mark on the minds of fans. But for me, it was always one villain that was memorized in this ol’ skull the most. Or rather, as I soon came to discover, a group. More like a plague when you think about it.
The Symbiotes. These alien menaces would bind to the most heroic of crusaders, granting them a boon of immense power. At the cost of what made them so heroic. They would prey upon the impulses that, in moderation, make us human. Anger. Hate. Jealousy. Pain. Only, they weren’t content with those impulses remaining moderate. They would take the knob and wind it all the way up to the max. These symbiotes would turn heroes into villains.
And as a kid, that both fascinated and scared the ever living hell out of me. These beings were like the zombie virus storylines on adrenaline. They don’t just turn you into a monster. They do it slowly. They whittle away at who you are, amplifying the parts you’d rather forget and minimizing the aspects you hold dear, bit by bit. They turn your love to obsession. They turn your courage to fanaticism. They turn you into…..well, NOT-you.
And when I think of the idea of horror stories in Marvel, I can’t get closer than the idea of a well done symbiote story. Barring Immortal Hulk, cos that’s friggin’ amazing.
So, let’s discuss how to do a symbiote story in Masks. Let’s discuss horror in Masks: A New Generation.