Tag Archives: Mothership

Crowdfunding Carnival: November, 2025

Welcome to Crowdfunding Carnival for November! There are a ton of campaigns out there this month; my initial pass easily got to 20 even after I realized that there were a lot and started filtering more aggressively. We’ve definitely got more designers putting in the juice, but there are some other interesting developments going on.

First, Gamefound has come roaring onto the scene again. While the provider got some recognition during the Kickstarter blockchain kerfluffle, their network was pretty weak until recently. First, over the summer Gamefound acquired Indiegogo (not the other way around). Second, Gamefound is currently in the midst of RPG Party, an event that started in mid-October to help promote and drive engagement with RPG campaigns specifically. Chaosium and Magpie got on board with RPG Party, so between their involvement and the recent access to the Indiegogo mailing list, Gamefound has jumped from also-ran to contender seemingly overnight.

But let’s move onto the games. This month features campaigns from all three major crowdfunding providers, meaning the space is starting to heat up a bit. Competition is a good thing, and supporting competitors to Kickstarter is a great idea when Kickstarter United is still on strike.

Continue reading Crowdfunding Carnival: November, 2025

On Specificity

Why is Mothership, well, Mothership? Put another way, why isn’t it Basic Roleplaying, or Call of Cthulhu? The core mechanics are all very similar; basically everything in Mothership that isn’t specifically about starships is adapted from Call of Cthulhu in one way or another. And that little starship aside does point to the answer: The reason Mothership is Mothership, Call of Cthulhu is Call of Cthulhu, and neither of them are BRP has to do with the specificity of their missions. Both Call of Cthulhu and Mothership frame their ideal game experience as horror, which lends itself to specific mechanics in the designers’ eyes. Mothership more specifically is science fiction horror, so the designer adds rules about spaceships and space travel. Specificity isn’t limited to genre, though. Mothership is also intended to be light on mechanics; famously the game has no mechanics for things like stealth which means that the adjudication of things like hiding and following are circumstantial and entirely in the lap of the GM. Whether you agree with this mechanical decision or not, it is deliberate and it is specific.

While specificity of game outcomes is produced by having more and more concrete rules (Mothership’s take on stealth is completely non-specific, while a game with one or more stealth skills and a laundry list of modifiers would be much more specific), specificity of game design is much more interesting, especially as there’s an entire class of games that deliberately avoids it. When I looked at QuestWorlds, I saw a game designed to try and do everything, at the expense of doing anything in a particularly interesting or engaging way. It’s hardly the only generic game, and one could make the same complaint and direct it at Fate, or GURPS, or Savage Worlds.

But hold on. If we go back and look at Mothership again we have, broadly, a fairly non-specific game. Yes, it’s about space horror, and the character options are tuned to space horror. The GMing advice is very good. The layout is very good. The game, though? It’s, outside of the space horror part, stripped down Call of Cthulhu. So where does that Mothership ‘vibe’ come through besides the design ethos? A good part of it is the modules (hardly a controversial opinion), but I think a specific and interesting point is that the modules bring with them hyper-specific mechanics. While GURPS has mechanics meant to be at the level of physics and D&D has mechanics which reinforce genre, Mothership has a good chunk of its mechanics corpus supporting specific stories, designed for and included in the pages of modules like Gradient Descent and Another Bug Hunt. And this is kind of important: While Mothership clearly takes inspiration from the DIY and hack-and-borrow ethos of the OSR, it’s presented a bit differently. The modules, in addition to providing the setting and conflict and everything else for a solid few sessions of adventure, also provide the hacked/modified rules to make that adventure feel different or play different than the base game. It does make me think, though: If you’re hacking the rules (or using the designer’s hacks) for every module, how truly different is that from using a generic game? Put another way, what really makes Mothership different from BRP, really? It’s not rules, after all.

Continue reading On Specificity

Crowdfunding Carnival: December, 2024

Welcome to Crowdfunding Carnival for December of 2024! I’ll be honest, one of the best things about this year right now is that it’s almost over. It’s been eventful, perhaps too eventful, here in 2024, but lo and behold we’re back into another holiday season, and that means that there’s a lull in crowdfunding. It’s not a complete lull; there’s still some solid campaigns out there, including a few big ones and even the tail end of a major event. That said, seven campaigns is a low watermark, and that’s even after poking around on the hanger-on crowdfunding sites. Even so, there are some gems here. We have journaling games, games in Scots, and even an entire month of Mothership. So let’s check out what’s in store.

Continue reading Crowdfunding Carnival: December, 2024

On Modules

My gaming group consists of roughly 10 adults, each able to commit to any given gaming session only when the vagaries of their schedule allows. We run two campaigns at a time, taking into account the availability of two GMs and whichever player has a character who is a ‘hinge’ to the upcoming session. Sometimes, we cannot get a session of either campaign together but still have 3 or 4 players. In the last year or so, I’ve finally acknowledged that the only effective way to pull out some quick gaming when such an attendance squeeze arises is to pick a backup system and pull out a module.

Continue reading On Modules

System Split: Death in Space and Mothership

Most big science fiction properties today err on the side of science fantasy. Star Wars is basically swords and sorcery in space, and Star Trek’s post-scarcity antimatter economy is built to support its storylines, not the laws of physics. In the tabletop RPG world, though, there are a few options for somewhat harder space sci-fi, especially if your definition of hard sci-fi includes horrors man wasn’t meant to know as well as the strong possibility of explosive decompression or straight up getting sucked out an airlock.

Today we’re going to look at two gritty space horror games which, through relatively light rules and strong emphasis on random outcomes, are easy for players but very tough on characters. Death in Space is created by Christian Plogfors and Carl Niblaeus, members of the Stockholm Kartell alongside the creators of Mork Borg and CY_Borg. Mothership is created by Sean McCoy and distributed and developed by Tuesday Knight Games, who are in the process of bringing the new Mothership box set into distribution as of this writing. Both games are about freelancers trying to survive deep in space, and quite often failing to survive deep in space. Despite similar rules and character survivability, each game has a degree of nuance with how it approaches the gameplay loop.

Continue reading System Split: Death in Space and Mothership