Showing posts with label meta. Show all posts
Showing posts with label meta. Show all posts

Wednesday, November 1, 2023

Jealousy

Azeroth.
Middle Earth.
Tamriel.
Planescape.
Dota 2's Setting.
Warhammer.
Norrath.
Dominaria (and Ravinica).
Centerra.

There are certainly more; but this is a good starting list. What is this list? For me, this is some of the biggest, most expansive fantasy settings I know about. I barely even know the surface level details of most of them, but I quite like reading about them. Spending hours going wiki-diving and reading in game lore novels and books just to absorb it all. I see such great inspiration here for myself; and yet I think of these settings the more I feel a specific negative emotion- Jealousy.

Specifically- Why haven't I made something like this yet?

I know it's not a fair comparison. For starters, we are talking about settings that have been around for a very long time- some longer then I've been alive- and have had teams of writers and professionals work on and create. But it goes beyond the simple depth or breadth of them, but also how 'real' and realized they are. Created to be in video games, board games, tabletop, movies, etc. lets these fantasy worlds be more and more cemented in the popular consciousness and have their characters, cultures, and have their fantastical elements displayed and portrayed by artists, animators, and so on. These, to me, make them feel more "real" then anything I could create, giving me a sensation of inferiority to my own creative works and ideas. Once again, not a fair comparison given that these are media giants- with exception to Centerra of course, we're getting to that later.  Even worse, I can't avoid the totally illogical desire and daydream of having my fantasy setting being read by others and being so inspiring, cool, or interesting that they begin to imagine it themselves; singing its praises or downright using it to run their own games and campaigns. Like I said- it's not at all rational. But I can't help it- especially when you consider many of these fantasy worlds did actually start as D&D homebrew worlds; The Elder Scrolls and Diablo I know for a fact are at least partially based on D&D and probably started as personal home-table settings and now they are household names of fantasy.

The other problem, which is more personal to myself, is I've never truly had a "world" to go to. I've never truly put down the foundations or built up a long running series of games or online stories set in a single world. For my DMing career, I've usually done one or two shots, often in totally different or unique settings each time, or in a generic "fantasy land" that's just middle earth with the serial numbers filed off without any actual worldbuilding or connections. This is also compacted by the fact I haven't really had a long running single gaming group or campaign in quite a long time- both from covid and various people moving away- leading to a diet of smaller bite sized roleplaying chunks and homebrewing in my free time for fun. While many recommend starting with a Keep on the Borderlands or West Marches campaign style- advice which I followed throughout many years of DMing- It has since grown to become boring and not satisfy me, especially now that I feel I have "nothing" to show for it. Logically, I know this is false- it's the memories and enjoyment of those games that matter and are worth the effort, but emotionally, I find my lack of having one big world to come back to that I've carefully crafted over the years to make me feel defeated and an imposter when it comes to DMing.

The one that burns me the most is Centerra. Made by the Goblin Punch guy, which is one of my biggest inspirations to starting my own blog, is probably one of my favorite fantasy settings of all time. Specifically, the gonzo weird ass edgy OSR funnel style of fantasy world- which is exactly what it's going for. It's probably one of the most inspiring fantasy settings for that reason- though I'll admit to not exactly wanting to get Isekai'd there, as you wouldn't last long and it's certainly not a fun place to live or die in either, lol. Routinely inspiring and interesting, I really cherish all of the regional and lore-related posts over there. It's a great read. But once again- even with only the specific images he sources for his posts and his words, Arnold creates a great fantasy world that leaves me feeling creatively impotent. This isn't meant to be throwing shade or a pathetic bit of hero-worship, just a simply observation and emotional dump- by the way, don't take this the wrong way if you read this Arnold, you produce good content. I'm just jelly.

It's also a bit silly as well. You don't need a dedicated fantasy world or setting to play or run tabletop games, and that's totally fine. While I'd much prefer just making something up over playing in Faerun or whatever, it's good enough for your game- depending on the scope. But everyone has that dream campaign of a world-changing or exploring game with intersecting faction, deep lore, and long unfolding histories of character choices and lineage, something next to impossible to run without a deep investment of time and energy in a concrete world that is detailed and filled in. It's also, secondly, the most concrete and final creation of a DM or GM, whose work is primarily within imagination and/or writing. Their fantasy setting is the more concrete and full encapsulation of their abilities, and without one, you feel more like you're playing pretend compared to the other pretend-players.

I'm not old enough to think I can't do new things still though. The solution is simple; just start making one. Makes sense, but even so, I can't help but feel like I can't do it. Without the same level of interest and time that younger-me would have had to put into creative ventures, mine will invariably be of lower quality and clarity. This also compounds with my own personality and method of creative thinking- where I loathe writing down or committing details because I will always invariably want to change them in the future. This sounds like it would be fine just to not care about this kind of pointless token of DM experience, but I do care about it, logical or not. I want the reward without putting in the work or cultivating the mindset to facilitate that change. 

So, as for now, I have no fantasy setting to default to, and it makes me jealous of those who do. Does anybody else feel this way? I hope this one didn't come out too whiny, I just wanted to share a personal experience of mine and maybe you can relate to it.

Thursday, September 16, 2021

The Ultimate Game + On "non games"

This is the ultimate game. The rules go like this. Whenever you try to "do" something in the game, roll a d6. The higher your roll, the better you do. Getting a 6 is like a really good or total success, where as getting a 1 is a total failure. If you get something between, then it has varying degrees of success.

If your character is really good at something, maybe add a +1 to your role do a few specific things. There are no stats or health points or anything, just the roll and maybe a +1 if you're good at something. There's no hit points, but if getting hit once and dying isn't fun then you can do a three strikes and your out kind of system. Everything else that happens in the game world happens because it makes sense to happen.

That was the ultimate game. You're welcome.


On "Non-Games"
Games that have no rules or have only fictional "in universe" rules are an interesting quandary. I've wanted to do a more complete dissertation on them for some time, but it's not a very highly explored or talked about thing, at least in any online circles I happen to frequent. I've written a few things that are close, though the Galaxy Far Away ruleset I talked about before is the stronger example.

In the few examples of these I've read, the most common of these follow the concept of the "game as a conversation", which is a nice way to put it and feels very open and approachable. Obviously this will require a consenting, well put-together group. I feel as though if the entire group are very strongly steeped together in the universal tropes and feel of whatever type of game or genre they are playing, this might one of the best if not THE best method of playing tabletop games regardless of context. Though most groups, even good groups, won't be quite as united together in synchronicity to go into this state of absolute "flow"- I certainly haven't, it is more of a theoretical concept.

Imagine, if you will, a group of people deeply invested in Sword & Sorcery and Appendix N material. They end up making a tabletop game with almost no rules- perhaps only a random table or two or a dice roll such as the "ultimate game" written above. Then, they run a tabletop game-as-conversation where the only real goal is to exactly emulate a Sword & Sorcery story as their own characters. In such an example, the exact rules, guidelines, dungeons, or other things that bog down a regular game attempting to emulate a Sword & Sorcery experience would only get in the way of such exact connection- and in this case I would feel the "Non game" of this concept would be superior.

However, these non-games have flaws and weak spots. I don't think they're some end all replacement for "simulationist" or "gamist" games. For starters, many "genres" are too wide spread for this to work. How would you run a non-game with the only genre concerned being a "generic fantasy adventure"? Everyone brings their own idea and baggage to the table when it comes to fantasy. It would be very difficult to get everyone to run and see the game in exactly the same light. Of course, a strong personality in the form of a DM/GM running the game would be best served here- but there will always be that slight disconnect. Oh, you find a trope of elves? Some people's experiences with elves are different then each other; an encounter with elves could be anything from a whimsical moment to a deadly encounter to a banal interaction in a fantasy kitchen-sink world. Though a group can move past this, there is always that slight hesitation that would come from the minds of those playing the game.

There are also a few games that try to emulate the idea of a "non game" by making a non-game a narrative game built around a fantasy milieu which is the real "game". An example might be something like FATE- which is NOT a rules light game, even though people bill it as. It's significantly harder to wrap your head around then an old edition of D&D or something where you control a single, well rounded character- an opinion of mine, sure, but a strong one. As such, FATE is a game based on the narrative beats of a story or experience, where character aspects and elements to scenes move the action forward; but the game's world is assumed to be the glue that holds it together, in the same way a more gamist game like D&D uses its fantasy game world to be its own glue, or perhaps ground floor where the absurdity of the rules is weighed and corrected. Concepts such as the peasant rail gun don't really exist because they are only "real" if the fantasy world beneath them didn't exist. The idea of a non-game game is to make the game about the fantasy milieu that "grounds" the rules without needing rules in the first place. 

(I am now realizing this turned into Vagueposting halfway through writing it.)

So in conclusion, for a "non game" to work successfully, the real challenge is not clever rules design since there are little to no rules, but moreso the ability to communicate the implied setting, theme, or backdrop of the game. If somebody put in a lot of effort to cleverly write or design a setting introduction, write with a strong theme, or use a pre-established base such as the Star Wars example game above; it would at least do the majority of the heavy lifting. I don't know if "non games" are ever going to be widesspread and popular outside of very insular tabletop groups since, obviously, that is where they flourish best. I don't think we'll ever see non-games as published and sold products since there really isn't anything to ship. The closest thing I could think of is a non-game textbook with lots of story ideas, pre-generator characters, or tables and lists to determine what happens whenever there is no agreement on what would happen next. The great thing about these non games though is that technically ANY book is a sourcebook. Just pick up your favorite fantasy novel, emulate the tone and setting, and that's an RPG source book right there- just for a game without any rules.

Thursday, July 22, 2021

Dungeons & Joe

Like many of you, I started playing tabletop games at a very young age. Actually, I didn't play the tabletop games, but I played imagination games, which I just called Adventures. I would often bother other kids, either at school or on my Boy Scout camping trips, to play pretend with me. Few did, of course, but the idea was always there.

Fast forward to when I had a stepfamily. We (the children) had a short summer job of dog sitting for an elderly couple. This was before cellphones and the old couple didn't have internet- so we'd go over there and just talk. My older step brother was a very intelligent youth (still is actually- he became an engineer) and I tried to get him to play imagination games with me too. He did, but his insistence on making things more realistic or consistent within the fictional world gave me a newfound insight. It was no longer just about imagining my friends and I fighting monsters, but it was about worlds.


Finally, after I graduated high school, I was introduced to a larger group of friends. These people were acquaintances. I was always very socially awkward, but having matured and being able to finally mingle with a larger group of people was extremely exciting for me. It was then I learned about tabletop games as they are; dice rolling games with rules, splatbooks or fictional settings, and many more. I was fascinated by these and began to read pdfs of rulebooks online- and it was just about that time that I found out about Joe.


Joe's Game
Joe was a friend of a friend. I had met and hung out with him a few times but we were not friends. Strangely, I knew about him for over a year I think and yet never knew about his game. If you're one of the few people who knew about this- shame on you not telling me about this shit sooner. To add to the mystique, I didn't even learn about Joe's game from Joe, but from another friend. We'll call him Leo. Leo was not a close friend of mine but we bonded a bit based on our similar taste in media and a growing love of tabletop games- I learned Leo had a Dungeons and Dragons group he played in, but he also told me all about his adventures in Joe's world, Joe's game. They called it Dungeons & Joe.

Dungeons & Joe wasn't actually D&D. It was a sort of free-formy kind of thing. This was before I knew anything about tabletop games, so this seemed pretty reasonable as far as rules went. As it was explained to me; Joe would just roll a d20 or d6 and then, based on how good the roll was + a character's general skill or power level, that would be how good they did on the action. Certain spells or abilities may have had their own rules- I later learned Leo's character had progressed to the point where he could cast Wish up to two or three times per day, but he had to get lucky and had only a 1 in 20 chance of succeeding on his magical wish.

Now before you create in your mind a bad impression- this wasn't just some tiny little game done among like 3-4 people. Oh no. Joe had been running this game for years. Something like 5 or 6 years of a single continuous fantasy world, with something like twenty odd people having played in it. The most amazing part to me was how Joe kept it all straight in his head; the world had a specific time line. He ran the games while pacing around the room, like he was organizing his thoughts. If you made a new character, he would let you skip ahead- like say take a few years in training for you to catch up to the rest of the players in the timeline, and you'd get stats or skills to match your new training. Every person playing in this game was a unique actor; sometimes they met or even had PvP duels, though I assume these were mostly not in person. Something like the magical arena where dying meant you lost the match, but the magicians would just heal you back to normal right afterwards was probably as high stakes as these battles went, I imagine. But there was politics and inter-character drama, with different characters leading the various factions as they grew in influence.

Now let's talk about the craziest part of all- the setting.

Joe's World

Dungeons and Joe had a unique setting that I truly wish had a published, or at the VERY least a fully written down master list of all the major stuff going on. As far as I'm aware, I'm the first person to write down all this information, or at the very least, make it public. Dungeons and Joe is a modern oral tradition. Sadly, I do not have even a fraction of the full lore, and what I have learned was from talking with second hand sources (the mutual friends, like Leo) from several disjointed talks about 7 to 8 years ago- my information is spotty at best.

So to begin, Dungeons and Joe had a unqiue setting that is very reminiscent of a kitchen sink styled world. Not exclusively fantasy, but having elements of sci-fi, modern fantasy, and super hero media all rolled together. There was a very advanced set of technology mixed with magic, or magitech if you prefer, which powered the world ine one of the different setting planets or worlds. The general theme of the game seemed to focus around powerful individuals (the players) running factions and taking over cities, often with a very D&D esque anarchistic bent. I don't recall any huge governments or empires ruling over the game world, it seemed much more open and free which is a nice way to encourage players to take action in the world.

I don't know the actual cosmology or lore of Joe's world, other then I know for a fact the Gods exist, several of them, and several supernatural magical powers and/or elements seem to have either a consciousness or have a spiritual bent. I therefore have no creation myth to share.

Instead- let's talk about the world(s) themselves. Firstly, there is the Earth. It is very similar to the Earth in the real world, which I think was intentional so players could just self insert and play as themselves. Then there is Gaia. Gaia is a second planet that orbited across from the Earth, perhaps always hidden behind the sun. Gaia and Earth both have very similar human-like primary species, but humans on Gaia are called Gaians and have magic, which humans don't. However, humans can perform acts of “Will” which are similar to chi. Leo once described this to me in a very interesting way; his character, a human, had no magic but his will was so strong that if his arm was chopped off, he would have a glowing energy arm take its place, because he was high enough level at this point in the game that a major debilitating injury like that could be overcome with his natural prowess.

Also; Gaia and the Earth somehow crossed over. This seems to be where the important shit in the setting “starts” as far as my knowledge goes, in terms of the different magic/technology crossing over. I'm unsure if this event happened in the ancient past or if it's relatively modern, but it's important as it allows the powers to cross over in a sense. There was also apparently a third planet called “Terra” but let's not get into that right now.

This setting featured a lot of magictech. I recall it being called something akin to Ether. Ether was essentially a mist-like substances that filled the canals and ravines that separated the landmasses of Gaia and/or Earth, which acted like natural barriers. Even then I could see this being a good set up for a campaign, as this meant infinite explorations to players who wanted to explore a new zone. Anyway, Ether was collected and refined into glass orbs called Ether Orbs. These orbs were used like battery packs to power all kinds of magictech machines, like hover bikes and magical 'force' guns.

I specifically remember the guns bit because my character (who I got to play for exactly two sessions- my life's biggest disappointment) had a gun. I was going for a sort of cyber cowboy thing. But Joe was adamant that my character only had six 'real' bullets. Real bullets were apparently either banned, destroyed, or just incredibly rare in this new world. Real bullets were incredibly overpowered, and did “realistic” amounts of damage to people, where as the vast majority of guns and projectile weapons used “force” shots, which were similar to powerful kinetic blasts or points. I really ended up liking this compromise later on, it keeps guns feeling closer to melee weapons in this type of setting.

Sadly, my journey with Dungeons & Joe ended here. I didn't get to play in that game any more, and the friend group this once consisted of slowly faded away and drifted apart. There's no good way to end this blogpost, so instead, let me list the cool shit I remember that didn't fit in with the above.

Cool Stuff

  • Color based magic system. Each "color" of magic had a different specific use. I remember Red being able to like project on surfaces and do something with that surface, and Purple appeared as smoke that could make things bigger or smaller. (This detail was especially cool because another player mentioned a group of assassins that used purple magic to kill people; mostly by making things in their room really big and crushing them to death with them). Of course, there were master mages of color magic who could learn white magic (all colors at once) or learn how to manipulate the color black (which meant they could cancel out other color magic).
  • Magic Item "Letters" owned by Leo at some point in the game. Set of 26 magic letters that granted magic effects to items based on whatever words were spelled out on them, but you only got one of each letter. Leo told me he used him to spell out "TIME" and "WARP" on his twin swords, letting him hit enemies and change time, warp them around, or hitting someone with both at once to send them through a timewarp.
  • Leo's character had a father named "The Green Grenade" who was a semi-famous superhero in the setting. Guess he fought like Batman with different grenade-themed gadgets on his utility belt.
  • The magic used by the Gaians (or through the Ether creation industry- don't remember which) creates a form of negative magical pollution. Most mages can only used the fresh magic energy and create pollution, but another player who I spoke to about the game had a unique character whose whole thing was he was the only one to ever be able to use the pollution as a magical power source, making him a bit of the big name in the setting.
  • At one point, Leo's character became big and important enough to own/rule over or otherwise run a city. I believe the city was quarantined as a vampire plague had spread through it- with Leo's character also getting turned into a vampire. I don't think this was a permanent vampirism though. Because everyone in the city became a vampire I think it was probably just a thirst for blood sort of thing as opposed to actual vampires with actual vampire weaknesses, but I do remember something about shields/domes over the city to stop people from leaving during the quarantine so maybe sunlight was a problem too?
  • Leo told me his character had gotten so powerful that he was seriously considering "starting over"- there was apparently a special fountain or pool owned by the Elves that could rebirth or regenerate someone, starting over from scratch as a mechanic for starting over. I don't remember if it made the individual more powerful afterwards, a sort of Disgaea-esque infinite recursion treadmill, or if it was more like a Doctor Who regeneration.
  • The advanced cities of Earth(?) had flying hovercars and technology, but these were powered by Ether orbs, glowing glass balls filled with magical mist. My character, short lived as he was, used these specifically as ammunition to recharge his force gun.
  • Beastfolk existed in this world; apparently some of them were like Viera in FF XIV, humans with animal traits, but some were more like full furries. More interesting; some of these also started their life cycle looking like actual puppies or baby animals, before growing into a more humanoid shape as they became adults.

I learned about everything here like 10 years ago too, so my memory is spotted. This is as best as my recollection can account. I don't know these people anymore. All I know is that Dungeons & Joe was as strong and inspiration for me as fantasy media was for many others; and I wanted to share the imagination within it. This blogpost was a bit personal, perhaps a bit more then I wanted it to be, so this one is just for me.

Thursday, March 25, 2021

Critique of an Expansion of a Generator (Pantheon Generator Review)

So Dan over at Throne of Salt made an expansion to my Pantheon Generator. Firstly, I'd love to say thank you for your kind words about my generator, it's actually my most popular post on my entire blog. It seemed incredibly popular and I'm glad people are thinking about it. Now let's talk about the expansion that Dan made.

Firstly, I'd like to start by saying that this is not supposed to necessarily be a value judgment of which one of us “did it better”, nor am I trying to claim stole my idea or anything. This is just seem feedback. It seems his post was pretty popular too, so clearly this concept interests people.

The Changes
Let's start with Dan's new “Where did they come from?” table is good. I like the subtle changes to my first table- his table feels more appropriate from “ground up” worldbuilding- what the people of the world actually believe happened, as opposed to my table which is more objective. I think making information more pertinent to the players is a better use of time then creating objective facts about a setting anyway, so I do think his table is better in that regard.

Now the change to the prime God / head of the pantheon is an interesting one. The concept of having the Prime God being a trio of beings instead of just one, or a opposite pair, or something even more complex (like absent entirely, which I think is a good one) is kind of cool. But here's where we get to the unpleasant part. The thing is I don't like the Moiety thing. I'm somewhat confused why it's even being included at all, but I think I have both a reason and a counter to it. Let me explain.

I think what Dan was going for here was the concept of creating a sort of scheme for the God(s) in the pantheon. Something like a Pantheon being ruled over by squabbling sisters of the Sun and Moon is an interesting concept- this exact setup is how two important Gods from Path of Exile are portrayed- Solaris and Lunaris. Here's the problem though- imagine if you wanted to expand out the pantheon more. Would you then create multiple Gods that fit with this theme of Day versus Night? Well, you wouldn't. I mean you kind of could, but it wouldn't feel the same. You see, the struggle of Day and Night between Solaris and Lunaris is its own thing. It's setting specific, and it works because they're locked in eternal conflict.

When I went to create the Pantheon Generator, I did so because I wanted it to be a way for people to create their own Pantheons similar to Greek, Norse, and Egyptian mythology. Other mythologies, such as Hindu, Japanese, or Chinese I'd also like to emulate somehow, but I'm less familiar with those. The issue here is these pantheons don't really have this idea of Moeity. I mean you have good and evil and yin and yang, but they aren't necessarily evenly split down the middle. What's the point of arbitrarily putting Gods into categories of “passive” and “active”?

Now here's my rebuttal to this- Humans are very good at finding patterns even where they don't exist. It's the basis of superstition and, by any metric, religion and religious practice itself. Goblin Punch had a good post about this just recently too. Here's my reasoning- I would never need to use Moiety for my generator because I would naturally find connections without needing to. The strange love or friendship between the God of Storms and the God of Wines is something you can extrapolate- Oh, those two Gods are paired up? Well, that's a good in-setting myth to explain why the ocean tumbles and makes waves during a storm- the ocean God must be getting drunk off the gifts of the wine God! It's an easy, cheap, basic explanation and easy myth to remember.

Next complaint (feels like this is just me complaining about Dan's generator at this point) I dislike the change to the appearance table. The reason why the God appearances are aged and specific are to encapsulate the ideas of mythology. I used the term “Mature” here to mean adult, probably bearded if a man, to fit stuff like Zeus and Odin as being the old and prime members of their pantheons, hence why Prime Gods are the aged ones. But I didn't feel right calling them “old”. In my mind, the inclusion of apparent age and sex to a God says a lot about their character and helps build the mythology. By breaking it down into a basic gender table I think you lose that. And while you could just determine the ages after you make the God, I think it's interesting to roll a God of the Underworld who is young and a God of War who is old. It instantly creates a dynamic that you wouldn't get if you just ran off a list- male, female, female, androgynous, etc. However, I did like the concept of having them portrayed as multiple genders, though I don't know how many examples of that there actually were in old mythologies, it does add to the mystique a bit. I kind of implied that with the androgynous appearance roll- the idea of things like Mercury/Hermes having both male and females traits or forms. (I mean Gods change their sex all the time so I guess you can argue it doesn't really matter, but a primary depiction is still more fitting with classic mythology anyway).

Now let's address the elephant in the room- this bit.

You can only have viable godly offspring between gods of different moieties (I mean, it's possible to get double hot and double cold, but that's where you get legendary monsters) - the god's typical physical representation has nothing to do with it.”

Here's the thing, if you're trying to emulate classic mythology like I am doing, a God's gender is supremely important to their pairing. Godly pantheons are incestuous families, at least in the sources from where I am pulling. While there are examples of exceptions of this, like Loki turning into a female horse, and he still had a wife who gave birth to several important Gods. I don't really want to turn this into some kind of discussion about sex and gender or whatever, but if you're creating a mythology that has godly parents and pairings, then the vast majority are going to be heterosexual. Doing otherwise just feels weird at best, and blatant pandering at worst.

I do like the changes to the relationship table, which gives it a bit more depth. Finally, picking domains off of tarot cards is interesting, though personally I think Gods are a bit more suited to embody physical phenomena then some of the abstract traits included there (for a more mythological pantheon anyway); but overall I think this is a very nice addition.

Conclusion
All in all, I feel a bit confused by what Dan's table is trying to accomplish, though I think you could easily use it to create a cool pantheon. Finally, the concept of the “Godhead” being something that isn't an original couple is a good idea that I didn't include in my own generator. I think I'd like to create a more complex, “fantasy religion generator” at some point that included things like Monotheism, Ancestor worship, and Lovecraftian outer-gods as potential symbols of worship along with a more traditional pantheon, maybe with each part as fully fleshed out as the Pantheon Generators we have made. Maybe one of YOU can work on this project- let me know! Thanks for reading, Dan. Bye.

Wednesday, February 24, 2021

Obligatory Sell Out "give me money" post (Not Patreon)

So there comes a time in any young(?) creative type's life where they consider when and how they are going to monetize their hobby. I've actually thought about the subject a lot in the past few weeks and after all considerations, I've decided on opening up tabletop game material commissions. Tables, Generators, encounter tables, whatever else. I actually have a lot to say on the topic, but let's keep this intro brief.

Before going to the attached site below; I want to make it perfectly clear that to anyone out there potentially interested; this blog and everything I make is a hobby. I am not in any kind of dire financial straits and the Covid-19 Pandemic has not negatively effected me in any significant way, as it has for many of you. I want to make it very clear that this is 100% a luxury product, that should be taken only for fun or as a kind gesture, I do not need nor would ever ask for your money in any capacity. With that said...

Check out my Fiverr and commission me sometime!

Monday, January 11, 2021

The Houses in my Dreams (ACTUAL DREAMS)

The reason why I put (ACTUAL DREAMS) up there in the title is so you didn't get baited into thinking this was a post about tabletop games with a weird or evocative title. It isn't. This is a post about my dreams, specifically, the houses in my dreams. I've written about my dreams before, and how they offer inspiration to tabletop game content, but this time this is just pure writing.

The Horror-House in my Dreams & Inside the House in my Dreams
This house is arranged a bit like a carnival ride. It may actually be a carnival ride. I've had this one twice, or one and a half times. I either walk or ride an airboat on a tract like an amusement park- but with scary things. Every room is a jumpscare. I get used to it pretty quick, though I'm pretty sure the ghosts are real. Eventually, I start getting excited about it- the room wide mirror becomes a new opportunity. I can feel the ghostly woman appearing and I know she will scream, the hair on my back rises as I smile.

Once, the dream was on an air boat ride. The air-boat ride went down into the scary basement- the current pushed us towards the end of a large rectangular room. The door behind us was closed; the water was freezing cold. The spikes at the end of the hall were real. I don't remember what happened next.

I'm trying to leave the house, or trying to see every room. The only way forward is to go through tight places. It's like that power from modern Wolfenstien- I can go through impossibly tight pipes. They start wide enough for me to crawl, then I'll hit a smaller hole. I squeeze through by pushing my face in- it's like my eyes are my whole body. I move by just pushing. The Freudians might attribute this to some kind of symbolic desire to be birthed, but it's more like getting pissed out a really long dick. Gross. But I don't think of it like that in the dream- I'm not so concerned about getting stuck, moreso just concentrating on the effort, perhaps even elated.

The Cars in my Dreams
Side note- the cars in my dreams are fucked up. I know hating the “subconscious fears and desires come out in dreams” thing is the new vogue, but there's gotta some truth to it. At least, things you think about are more likely to manifest in a dream, OR you just remember those dreams that are poignant to you. Right? Or I thought I read somewhere that dreams are ways to prepare yourself for things in the waking world? Only way I can explain it- because my brain must think I really need to practice driving more or something. My dream car is fucked up. I'm always slamming on the breaks and rolling through red lights as though my car is sliding on ice and not decelerating. It gets up to speed and doesn't stop- often times I'll turn backwards and be driving my car in reverse. I takes my car like two full city blocks to slow down, so it ends up I run through two lights or one and a half lights and finally slow down in the middle of a busy intersection. I don't think I ever really hit anyone, just run a lot of red lights and get honked at a lot. I think I'm more scared of my mom finding out then the police, which is weird because I've lived alone and driven my own damn self around for over 7 years now. I guess it's like getting in-class dreams years after you graduate.

In these “car” dreams I'm usually trying to get somewhere, and using my intuition of the homes and buildings around me to find my way through a mixture of residential and commercial zones. These neighborhoods are often like the ones from my childhood, but the houses are all different. Not different as in “weird” just different in that they aren't what I remember. I'll circle a neighborhood trying to pick out my grandma's house from the line and I'll come back a second time; all the houses are different. It's like the streets overlap, not that anything has consistency when not observed in dreams. It's a very strange feeling to be aware of the unreality of everything and the vagueness of form in a dream and knowing that it's not solid when you stop looking at it; but not being aware you are in a dream.

Often these dreams blend into each other. I often get disappointed when I wake up and I can't go to the fictional fast food places in my dream world. But sometimes I'll try to take a shortcut, or drive through a shady, tree-filled residential zone. And that's the last dream I'll talk about today.

The House at the End of the Lane
It's not a specific dream, but it's a specific place in a dream. I've had this one twice, I think. I'm driving down a road in a residential street- an area where its hard to see out into the city and know where I am or where I should be going. I just want to drive down this road until I come out the other end. But the road keeps getting smaller, more isolated. It feels like I'm squeezing through the pipes, but cramped up in a car instead.

Then I reach the end. The road keeps going until it stops at a residential foot path, closed up with a big fancy metal gate, looking more like the entrance to a golf course. It's like the end of a cul-de-sac but there's no turn about. There's no easy space to move, the road just ends. For some reason, I think there would be two houses here, one on each end, but I always remember the left one the most.

This house is big. It's the house at the end of the lane. It's nice, it's a two story ones you see in the nicer neighborhoods. I don't know why I'm so pissed at this house. Maybe it's a disconnected sense of jealousy towards the obvious wealth of the owner, or the nice greenery and local privacy of where they live. Maybe I just blame them for not letting the road go all the way through, for some reason.

This house is very reminiscent to me. I drew it when I first woke up that night. It had large dark bay windows with potted plants, a nice front lawn with a reddish brown stone path leading up to the house, and away from a central dais to the side yard, which was also fenced. The house itself was light blue in color, with white siding and stylish supports. It was a nice and “fancy” house, but had no pillars or anything like that. It was a respectable upper-middle class home. At least, that's how I would define it. The roof was made of dark blue tiles, giving the whole thing a very handsome look.

I remember this house very well, because I thought I imagined it. Now this could be the part I lie to you and tell you some long story how I saw this house in real life and I bought it like it was destiny, or then I learned it was a real house connected from me somehow through a long lost twin or something. Sadly no such luck. I had however assumed I had made the house up. But it was only a day ago at the time of me writing this- I looked outside my front door and right across the road and a little vacant lot from where I live and there was the house. Not a house though- it's not a real house. But there is a group of apartments with the exact same color- the baby blue and white almost nautical theme for the paint, the dark blue matching roof shingles, it's just like that. I had this dream some time near the end of 2017, and it was only now, years later, that I actually realized it.

Note- I'm not claiming at all my dream somehow influenced reality- I've lived here years before and after that incident. I know full well the house in my dreams was taken from this real life place; I don't claim some kind of supernatural power or precognition in the slightest. I just find it crazy after I finally where the inspiration for that house in my dream came from. I see those homes, those mini-houses, every single day when I leave my home. They were hidden in plain sight the whole time.

And that's all the Houses in my dreams.

Monday, November 16, 2020

20 Suspicious Murderer Search-Engine Entries

[1]
wikipedia [missing person's name]
[2] soundproofing materials fast shipping
[3] plastics can't be melted by acid breaking bad
[4] industrial wetstones ebay
[5] forensic files watch online
[6] what stores sell drain cleaner in bulk
[7] most common month for house/business foundation repair?
[8] heavy metal hours playlist
[9] best way to clean up blood hospital employee
[10] most realistic detective stories
[11] how to hide files on computer
[12] safety features on modern appliances
[13] how long do businesses keep their security camera footage
[14] iknowwhatyoudownload.com how to remove
[15] youtube unlisted videos policy
[16] average human visibility at night
[17] does antifreeze still taste sweet?
[18] most harmful corrosive foods for your teeth
[19] safe doses of strictnine
[20] porn

Saturday, November 7, 2020

Vagueposting- Boardgamification

I've heard a few interesting design philosophies (or more accurately, interpretations of design philosophies) from certain old school games. Back in the olden days of OSR, which was much before I was even alive, the game was smaller in scope. You can see this represented in the rules; Elves are immune to Ghoul Paralysis because in the game's scope, Ghouls are the specific threat with paralysis. There's less of an interest of holistic, setting or in-universe concepts. It's very game first. The same interpretation could also be said of the original five saving throw categories; these were almost supernatural luck or defenses against specific threats, not a full character breakdown or abstract saves that can be called into question for anything related; saves vs dragon breath or breath weapon specifically works against dragon breath. It's not a dodge, it's your defense against dragon breath.

I think this concept, which I am hearby naming Boardgamification, is something I want to explore more. I'm 100% sure this has a different, better name somewhere else, but until I find it I'm sticking to it. Let's define the term a little bit. Boardgamification is the reverse-engineering of a tableop game system or storytelling system which tries to break the game into core components, make them specific and as simplistic as possible, and rebuild the game with a similar tonal fidelity as to the original. You're trying to make your tabletop games play like board games, and not good board games, but the Ameritrash board games from your childhood. You know, that Dracula board game where you have to find the holy water, stake, and garlic to kill Dracula not because they do anything special or have associated mechanics with them that would make them a good fit to defeat him, but because that's what is used to kill Dracula.

HOWEVER, it should be stated here that this is not trying to make D&D or various roleplaying systems into board games. That's not the point, this is very much supposed to be about tabletop games. I like tabletop games; like many of you I'm sure, I got my start in this hobby by making up my own rules for board games I owned; opening up the idea space. In RISK, cannons could shoot from a territory away. It had nothing to do with the game balance or concept that a cannon was just ten regular soldiers; it was a cannon. I also know that “artillery” is the real term for these pieces, but I don't care. They're cannons. They shoot.

For the optimal, platonic ideal of a roleplaying game then, we could see the ease of rules and learning that a board game might have, in combination with the unlimited idea space and universe-sharing of a tabletop game. These two ideas are not mutually exclusive, but they don't mesh well either. The more you codify into rules the less arbitration you allow, but the more arbitration you allow the less it feels like a solidified “whole” ala a board game. I don't think it will be possible, or even necessarily desirable, to actually accomplish “Boardgamification” of your favorite tabletop game, but I felt like writing on this topic, and have several elements or suggestions as to how one could do it.

Make Things Binary (Combat)
I think one element of Boardgamification is the removal of game elements that have multiple states or variable values such as hit points, modifiers, currency values, etc. Monsters are either beaten, or beat you. There isn't a long battle sequence or blow-by-blow combat. There can be random chance here, such as with a simple contested roll adding a stat or character/combat value, but this takes away the directness of a cardboard token.

I think in the same way, the flat out denial of characters to do certain things (but on the flip side, ability to always succeed certain things) is an important element. If you try to Boardgamify a tabletop fantasy adventure game; you could take out combat stats entirely. Note: I'm using D&D classes, races, and archetypes for these examples but you could take this idea for anything.

Wizards, Hobbits, Lantern-Boys; these are noncombatants. They will get punked by a giant rat. It's not something to be ashamed of, that's just their place in the world.

Thieves, Elves, Hirelings; these can fight basic enemies. They can defeat skeletons, slimes, a lone wolf or goblin. Pairs of giant rats or a single venomous snake.

Then you have your Clerics, Dwarves, and Fighters. These can fight. They can defeat an Orc, a pack of wolves, a gang of goblins, a giant spider or wyvern.

Notice we're not caring about the individuals here. It doesn't matter if the Fighter has a bit more strength then another fighter, or has better gear or a bit more experience. It's like a set breakpoint of strength. Imagine in your mind the amount of strength and fighting skill a human could accomplish; this becomes your benchmark. But do you know what humans cannot defeat? Ogres. Dragons. Wizards. Powerful creatures or beings that go beyond what a normal person is capable of fighting in combat. It operates on horror movie logic; the monster of that caliber cannot be harmed by normal means, you have to find a special way to beat it. The combat system is abstracted to either one on one combat duels, or is kept at that abstract level. Doesn't matter if your party has three fighters and a bunch of hirelings or whatever; a band of orcs will beat you. No normal person can overcome an army that greatly outnumbers them. If an ogre is chasing you down, you can't beat them. You might be able to send a warrior in long enough to distract them, but all of your warriors put together will just get clobbered; you might injure the ogre or make enough time for others to escape, but you cannot achieve a meaningful victory. You can't kill it or make it retreat from you force of arms.

But even here we can see the gameplay and create interplay. The Wizard is weak and feeble, but can fry an ogre's brain.with a lightning bolt or blow up a room full of Orcs. The Thief isn't as powerful in combat, but can kill anything a normal human could kill with a sneak attack and a good stab; like a Wizard. This still applies to the fiction in the genre; a thief could sneak up on a Wizard but not an elf archmage; their long ears will hear you, or their magic is so advanced they can sense your presence. Maybe Fighters can equip the magic weapons that let them beat things beyond the keen of normal men; no human can beat a dragon, but with the magic lance they can. Clerics fight pretty well, but are the only force your party can muster to destroy a hoard of zombies or is the only person who has any defense against evil ghosts and intangible threats.

Make Things Binary (Saves & Spells)
Once again; I'm using combat as an example because it tends to be the most complex part of a game. But you could apply the above to anything. Only thieves can climb walls. Only Clerics can heal people. Only Monks can cross rivers by running over them, or know the tea-ceremony protocol to avoid upsetting the Emperor.

In the same vein, traps and saving throw style mechanics can also be removed or stream lined. Instead of a modifier or roll-under saving throw number, you could just pass or fail based on your character. Of, you're a Thief? You disarm the trap before it goes off, allowing for player skill and interaction or not, without needing to roll anything. This is also an element where leveling up or progression systems could come in; the higher level you get, the more you can automatically disable. Maybe thieves don't automatically disable traps but can bypass all of them without getting hurt, making them good at exploring but not always being able to clear the way for their fellows.

I also like the idea of traps and saves being conditional and direct. They do as they are written. You have a Dexterity of +1? You don't fall in pit traps. You have a Dexterity of +2? You can't get hit by blade traps. If you fall in a pit trap it hurts your feet and makes you move slower/makes wandering monsters more likely. No hit points or damage, just an arbitrary effect that lasts for the rest of the dungeon. You could pretty well match the tone and pacing of a traditional dungeon crawler with this; characters lose limbs and take wounds even if they don't have hit points, like a stack of status effect cards you'd shuffle into your personal deck in a deckbuilder like Slay the Spire. You just get worse as it goes on. The hole where you stick your arm in just cuts your arm off, that's it. The magic trap saps your mind, making your clumsy and stupid. Now you can't read; no spells or scrolls. It's that simple.

Spells work under the same effect, but I feel that in a system like this the one exception could or should be magic. Magical effects could have a degree of randomness, rolled by the DM in secret, just to keep things spicy. If you're not a Wizard trying pretty much any spell is a deathtrap. The DM might give you a 10 to 15 percent chance to successful cast the spell. Once again, the negative effects of enemy spells or failing your own spells is a set condition. Your life force is drained, take a hit or fight as one combat “class” weaker as per the binary combat rules as above. You get cursed, enemies target you first or you are subject to bad stuff. The spell goes haywire; anyone in your party without fire protection is toast.

Magic Users cast spells the best of course, and spells in this context could be items. Spells don't have levels or scaling, they just do what they do. That was always one thing I liked from the boardgame, Talisman, which I'm sure many of you played as an intro to or even at the same time as playing tabletop games. Talisman had different random event spaces or adventure cards where you could get “spells”. Certain characters in that game just always had spells or a certain number of spells; but even a troll with 1 craft or a warrior or amazon could still get a “spell” from a random event and just hold on to it. I also love how even that game has a Wish spell; the Demigod card is probably one of my favorites. Wishing with restrictions in a game like context like that is so much fun. I love the design of it, even if it is bloated trash. Also, I'd consider Talisman's combat to be about the absolute limit of complexity for tabletop Boardgamification; but I do love the disparity between regular and psychic combat.

Progression from spells could also work in a similar manner as above. Apprentice Wizard? Fireball can kill anything a Fighter/Cleric/Dwarf can kill. Master Wizard? Can destroy giants or dragons (who aren't red!), as the biggest threats in the game. I personally like lightning bolt as the single target killer in this game's context; I didn't set out to write another game based on Boardgamification though we're getting pretty close here.

Less Numbers
This is a similar but less extreme version of the binary success or fail states. Instead of hit dice, just have hits. Creatures with 2 HD now can take two hits before they die. Weapons and armor is adjusted similarly and player-facing mechanics don't have to be the same as enemies! Enemies just take two hits to die, but they deal their normal attack damage and effects to the party members- would make it feel less like the DM is picking on a single player if a monster keeps trying to kill just him.

Players can pick their weapons for boosted effectiveness for killing stuff. Swords and Axes deal 2 hits worth of damage each hit from the sharpness. Blunt weaponns like maces only deal 1 hit per turn, but it has an armored piercing conditional effect. Two handed weapons deal an extra hit worth of damage and get to go first. Maybe the special powers of Fighters in this system is they can deal one or more hits worth of damage, where as everybody else cannot. You could also tie this into a randomized to-hit roll, same with a d20, but this time fighters deal one hit on a miss and two hits on a hit, where as everyone else deals zero to one damage on their rolls.

Instead of having a ton of stats or attributes for characters, you keep them simple and direct. You instead fold the stats into the other mechanics of the game. This is something I am quite proud of from Dickhead Barbarians, a game I made that is rife with Boardgamification. Ice Warriors are just immune to fire and get an extra wound, thus they are extremely tanky. Cannibal Giants can intimidate enemies and, as such, are even more combat monsters then they imply. Dickhead Barbarians also featured random chances to get wounded and specific item counters to it; helmets don't increase an abstract AC value but instead grant damage to a specific threat in the form of slingers, who aren't super common nor have a high chance to wound you in the first place. As such, you could easily see helmets as a sort of late game bonus or way to optimize your army once more important items have been purchased.

Folding in probability into the mechanics of the game as above I think is another huge step. There is a lot to be said about designing games with probabilities in mind, if they be fair or unfair. That's something I want to explore more in the future.

Specific Use Cases
Typing up Dickhead Barbarians had me thinking specifically about use cases, especially for items. On the one hand, this is very tightly woven with the concept of Boardgamification and, in my opinion, very thematic and cool. Magic stuff especially- anything that can bend the rules in a game with very rigid rules becomes unique and interesting. Rope can only be used for climbing down pits, lets you explore areas with your limited resources. The map just prevents a “getting lost” random event or condition, weapons only allow you to hurt specific enemy types that are otherwise immune to attack. Nobody questions how your character can carry and use an axe, sword, bow, and magic sword. That's not really the point.

But on the OTHER hand, this concept hurts some of the openness of tabletop games in general. Why can't you use the rope to tie up prisoners, or the axe to help chop down a tree? It's part of the tabletop experience to allow that kind of freedom. It creates a disconnect between tightly woven rules and in-universe suspension of disbelief. Why can't the cannons shoot?

One solution to this issue could just be how rules are presented in tabletop game rulebooks. Every item in the equipment list is not listed just as itself, but as though it is an independent game piece with its own specific use. Rope is not listed as per price by the foot and that is all. In that context, the player is supposed to infer what rope does from the game and universe; it's a tighter fit for roleplaying and saves space in the rulebook, but doesn't fit with our ideal of Boardgamification. So instead, list rope as “lets you descend safely from walls and cliffs.” It now has a specific use. BUT the players can still use it in another capacity. You can tie a piece of meat around the end and drag it as a lure for a monster, or use it to tie up prisoners, or to make some hackjob armor that you wrap around your body with metal plates. It's still open for roleplaying, but in the context of the game and rules it's still a game piece.

Another example of this would be weapons. Touched on earlier; different weapons aren't presented in this hypothetical rulebook with stats or weights or anything. The spear isn't a d6 weapon with reach and versatile weapon. The spear just “Keeps charging enemies from hurting you.” This gives it a use, a specific advantage to carry it around, but it doesn't have combat stats or powers to be specifically considered at all times for a character's “build”. Some games, like Dungeon World, already sort of have this because of the abstraction of damage; your damage dice is primarily based on your character class, not your weapon, stats, or skills. As long as you have a “weapon” in our game, you fight to whatever degree you can, but each weapon is like a tool with a specific use.

Rules Transparency
However- all of this above hints at a certain concept. The entire idea of presenting upfront the use of weapons/spells/items/characters and so forth, the exacting and specific counters that each monster or threat has, the limited and reduced scope of the game (Elves are immune to ghoul paralysis) all hints at a certain concept; rules transparency. There is very limited room for incomplete information in a game like this. You wouldn't even want it, as it would be the same as an experience board game player beating a rookie with no experience and doesn't even know what all the cards do. The DM has little room to hide information from the players in terms of how to beat or deal with whatever they are facing- they can hide WHAT they are going to run into, but not how to beat it or what it does because by its very nature doing so would upset the game.

As such, we could safely say a game like this is very much like a collaborative experience. It's a bit like a board game; isometric and viewable from a distance. You can see past the walls on a game board, they're 2d and just drawn on. You have complete information. You may not know what's coming next, but you know what it does if you read every card in the box.

The concept behind this game then is one where all the players know what's going on, or have a good idea. But that doesn't necessarily mean a long tutorial session or having every player DM the game at least once to get an idea. The game's rules can be inferred and understood by the general understanding of reality- that I think is intended in all tabletop games to an extent, without trying to bog this in a realism debate. The understanding that a piece of armor protects you from damage is well understood; it doesn't actually matter how the armor is used to protect you, that can be rewritten to accommodate the game. But if you used it to enhance damage or combat value instead, it might be a bit tougher to teach and understand on a first playthrough.

DMlessness & Design
Another aspect of Boardgamification is, with a lack of needing arbitration and having a more refined scope with known entities in the game space, you remove the need for a referee. Perhaps not remove, but reduce. The game could be run as a collective with multiple players, as long as all of them were on board with what they wanted out of the game and had a rulebook to help guide them.

While I haven't actually played it myself, Kingdom Death has a similar concept going on with its monsters. You fight specific monsters multiple times; each monster has a pattern of attacks that change and evolve during the course of the campaign. The monster's attack deck is seeded with specific cards that are more or less difficult or situational hard for the players to deal with. In the same way, we can use randomness-within a set construct to enhance the game and stand in for a lack of information. Of course, this game follows a trend in a lot of other “modern” boardgames where there are legacy mechanics, hidden booster packs of content within the box that are opened as the game progresses, and are often explicitly stated to be used in a game blind so the players have no idea what to except. The “Dungeon Master” of the game is still there, but an ethereal designer that leads itself to an air of impartiality and wholeness.

This also leads into the concept of a game feeling whole and complete, which is a unique thing that only boardgames and certain tabletop games really end up “feeling” like. Games without need or even implied use of modules or homebrew material; they can stand on their own. This is of course a false messiah, it isn't necessarily better that the game is “done” in the box in that sense, but it just feels more whole in a way that is satisfying. This is one of the reasons why I like writing complete games so much on my blog- WASTED, Flashbang!, Dickhead Barbarians- I really enjoyed being able to publish them on here even if they aren't necessarily as good as a traditional tabletop campaign in terms of quality. These are so fun to make, I feel, because of the wholeness of design. Every part feels legitimate and warranted in the game, it isn't just a part of a boundless or hazy fantasy landscape that you invent in your mind. I'm not saying I don't like tabletop campaigns or endlessly tweaking my homebrew, because that's still a great joy- there's just something special about a complete, full thing being made and presented to everyone. It's Boardgamification, finished and ready to play.

Thursday, September 24, 2020

Iron Sarcophagus Concept + Character Retirerment for Karma

Your player character has just passed by the Celestial Guardians, defeating them. You have slain a great evil or found a secret place. Maybe you have Wisdom 18 or are a very holy man, maybe you have done great deeds.

Regardless of the reason, you are now offered a chance for a greater cause. By laying in the blue-iron sarcophagus; you will fall into a deep sleep the moment the lid is shut. At that moment, your body will be put into a magical slumber that purifies you, making you immortal and ageless, as well as giving you absolute health and the cure to all disease. The coffin is unbreakable, totally unable to be opened by any means. But you are asleep, and will remain that way for ages long since. The rise and fall of your people, and of many hundred more mortal races, will pass by without end as you sleep.

You will awake only at the end of time, when the fabled heroes of old awaken to battle with the most evil machinations long set in motion upon the first night of the world. You will be among the number of the great heroes, the Sleepers, who must fight to determine the fate of the world.

If you lay down in the coffin, you'll lose your character. Consider your character gone. They aren't dead, just asleep, and the world they will become awake in is so far from your campaign that nothing in it will matter in that lofty time of ancient prophecy. For every level your character had, or for every great deed they achieved, grant yourself one karma.

When you make your next character, you may spend Karma to;
  • Reroll one ability score at generation OR a failed save in game for 1 Karma
  • Increase starting Hit-Points by 1 for 2 Karma
  • Have a prophetic dream from your past self, grants knowledge for 1 Karma
  • Draw upon cosmic power; meditate for a turn, spend 1 Karma, gain +1 to hit and saving throws for one exploration turn or in-game day for overland travel.

Monday, March 9, 2020

Garden- Potpurri

Random Tables

What weird allergic reaction do you have from eating alien food? - 1d8
[1] Your stomach feels bloated. After four days, you realize the particulants are stuck.
[2] Big purple zits, all over your face. They go away once you pop them.
[3] You cough up a weird worm creature. It tips its hat to you; thanks you for birthing it.
[4] Permanent heterochromia. The second eye color is normal for your species, you think.
[5] Your hair falls out. It grows back at an astonishing rate, but it's the wrong color.
[6] You lose all color vision and see in black and white for about three weeks.
[7] You seem fine, but get a fuzzy feeling in your fingers. Touching lightbulbs makes them flicker and radios you operate spit out static and random words. Lasts for three days.
[8] Grimly, you feel as though you are going to die for a day. Then you wake up refreshed, with a scar across your belly like a crooked smile and a newfound appreciation for being alive.

What scavenged metal is your armor made from? - 1d8
[1] Soup cans, with a smiling alien face.
[2] License plates; etched with political slogans.
[3] Like a hundred pie tins. If you look at the edges you can see the layers pressed together.
[4] Car scrap. The hood ornament is squished in on the right shoulder.
[5] Rusty bolts and nails; melted down into a smooth iron with reddish streak.
[6] Struts from a cell phone tower- found in the forests around Garden.
[7] It's a barrel, with some cut out holes and a few joints, but mostly just a barrel.
[8] Not metal, plastics. Alien superplastics. Very strong, but difficult to shape into anything but the flat plates used for armor. Lacks intricate shaping without their native technology.

What is that gangster greasing his gun with? - 1d6
[1] Bastard Oil. Claims to be made of bastard sons, just a joke, actually clam grease.
[2] Oil from the Uskar Bean. The bean is carnivorous, so its price is inflated.
[3] Midnight Vinegar. It's a common cooking and lubricating oil in Garden. Made from moonplants.
[4] Spit. And a lot of it. He's from a rather drooly species.
[5] Conductive Juice. Used in certain batteries and power facilities on Garden, toxic.
[6] Animal fat, possibly from a wild hog or street lemur.

What's the name of the Talkie you're going to? - 1d20
[1] All's Fair in Love and War
[2] The Street Samurai
[3] Silver Screen, Golden Girl
[4] Night of the Leachbear
[5] Mrrkba's Growth & Enterprise (Company Propaganda/new employee training film)
[6] Spawn of the Flapper
[7] Speakeasy Slims
[8] Sex Around the Cosmos
[9] Postman's Dance
[10] Cigar-Smoke Curtsy
[11] The One AM Man
[12] Knife Fight!
[13] Creature from Behind the Sign
[14] Mr.Gumshoe
[15] Hovercar Exhibition- Garden's Rich and Powerful show their Rides
[16] Our City Speaks
[17] Service-Tunnel Spelunkers
[18] Radio Man
[19] The Haunted Apartment
[20] Chimneys- Maintenance, Operation, Safety, and Fun from the whole Family!

Garden Symbols
Garden is a city of signs. Neon signs to advertise businesses, hand painted posters for back alley shops, gang tags, hobo signs, new arrival graffiti, and many more. These signs and symbols may have more power behind them then just chalk or paint on brick and paper. The psychic powers behind Garden may also change reality itself from these symbols, and one who learns them may be able to manipulate them beyond what seems possible.

Symbolicists (1+1 HD, +1 Armor, +2 Resistance, 1d6 Guns, Jams on roll of 1, powerful symbols)
Numbers- One or 1d4

These cultists love and study the symbols present throughout the streets and back-alleys. They appear disheveled, with poorly maintained weapons, but are quite tough due to their inner drive and fanaticism. They are not typically violent, except to those who dare to remove their precious symbols while they are studying them, or on a 1 in 20 chance they think one of the party members are part of a secret group called “The Darkeners”. The Symboliscists have no proof that this group even exists, except for the black stud piercings they carry in their pockets; said to be taken from the bodies of the Darkeners agents. The studs are uniform, made of an unknown material, and are stained with blood from different alien races giving some credence to their insane ramblings.

Beyond their innate strength and psychic resistance from their beliefs; the Symbolicists are also known to have powerful symbols that they have cultivated. These symbols are difficult to replicate, as the mind only expands in a certain way if you have the capacity for it. Even if you copy the symbol, it won't have the same effect as if a Symbolicist drew it; it is believed the Symbolicists' power is yet another unexplored facet of psychic powers. Those with capacity for psionic power but no direct mental control may manifest it instead as symbol power; similar to what is believed to happen to those who develop the murderous intent of the Slashers. The Symbolicists each know one “magic” symbol. There is no “magic” in Garden, but the powers of the mind can seemingly cause the impossible to happen. Each symbol has no effect unless the victim of the symbol can see it.

Symbolicist Symbols- Roll 1d6
[1] Stopping Symbol. If you see this symbol on a door or by a passage, you must make a save to pass through it.
[2] Carstop Symbol. If you see this while operating a car, the car stalls and requires three rounds to get moving again. Only works on hovercars, traditional engines are unaffected.
[3] Marking Symbol. This symbol marked on an object makes it disappear if left alone and unwatched for at least one hour. One day, it will be found again in one of the mysterious lockers underground.
[4] Killing Symbol. This symbol must be drawn in blood. Whoever sees it takes 2 more damage on the next melee attack they are subject to. Symbolicists are not immune to it.
[5] Sign from Above. If you can hear a radio when seeing this symbol; strange coded messages are heard in the static. Causes 1d4 Psychic Stress. Symbolicists receive no stress, instead, they write the messages down to find a hidden meaning.
[6] Power Symbol. Grants Psychic Resistance of +1 and the power to sense nearby psychics capable of manifesting a fully fledged Psychic power. Symbolicists who know this sign have it stitched on the inside of their clothes, or can draw it on their body for its effects.

Among the symbols of Garden, some common symbols are much less serious and even humorous. The most common of these “cultural” symbols is the sign of the suicidal glider. This symbol lacks much formal use among the homeless, the symbolicists, mercenaries, or even companies. It's just a sort of funny image, kind of like that Cool S shape people like. This symbol is sometimes used in advertising or as a funny background gag in a show, and one local brewery uses it on their draft.

The suicidal glider image is based on a specific alien race. The race of pterodactyl-like creatures comes from a world with a hot, very active sun. They biologically have the ability to fly there, but only when the sun shines on their skin to give them energy (they are slightly green, to signify chloroplasts) and when the day is hot enough to create thermal columns so they can rise up into the air. In Garden however, it is always night and it doesn't get that hot, so these gliders are permanently grounded here. Needless to say, the ones that live here commonly commit suicide because of this; the ones who do not commonly get their wings disfigured with aesthetic holes or just removing the skin flaps entirely. Regardless of the small community that lives here for native-born gliders that live in the city, the image of them being all suicidal sad saps has lived on and ingrained itself in the public consciousness.
Inspiration & Ideas
Motorcars
Originally, and in all blog posts since I've started talking about it, Garden has always had a lot of hover cars. They're the one blip of sci fi technology in the setting that is commonly used. Originally I think the inspiration for Garden came from a bit of an “electropunk” angle, and as such it sort of had flying cars as a way to really sell the idea of unlimited or free flowing electricity as the primary driver behind the entire tech level. I still like this idea. In my mind, a mental image of a hovercar with a heavy teslacoil or exposed plasma orb as the engine, chromed up hot rods made with scrap parts and raced by scrappy street gangs sticks out to me the most about the car culture.

Of course, I still like that idea, and it is also entirely possible to use electricity to power a more normal car. But I also have had idea for the otherwise; motorcars. The oldschool model Ts and other nice old cars with an open top that look more like horseless carriages with cranks on the front to turn them on. I love these aesthetically and think it would nicely smooth out the tech level of Garden, make it a little more believable that a city with black and white movies and radio as the primary form of media used these instead of hover cars. Of course this presents a problem; where does the gasoline come from? This might potentially more interesting then the mystery of where the power comes from. Instead of a single source, it comes in from a million places. Maybe some members of certain species are hunted down as soon as they reach Garden, as their blood makes a nice fuel. Maybe biofuels from vegetables grown under the moonless night are what is used, or perhaps a strange oil from beneath the earth or even from the service tunnels. Eldritch Americana (the Goblin Punch setting which is one of the biggest inspiration to Garden when I first wrote it) used blood from an elder god, which is equally awesome for this purpose.

The City & Politics & Money
Garden was always meant to be anarchistic, but the exact idea of who owned or controlled the city was a little suspect. At first, the idea behind Garden was extremely closely tied in aesthetic to the real life Kowloon Walled City; less like an actual city to a single fortress. Extremely tied knit and cramped, this would be more plausible to explain where the people of this weird dark forest dimension could actually survive together- a fortress of lights among the darkness. I decided to change this, or generally expand upon it, so I could include more types of city, more districts, more scope and scale, and so on. Of course, I absolutely love Kowloon's aesthetics- I want at least one district of my Garden to closely mirror it. It may not have been a good place to live in real life, but it's too cool not to include.

Of course, the politics of Garden had changed a lot too. From a rag tag group of survivors in the darkness to a city with warring factions. I had thought of several types of governments; from councils of city elites being the most favored and most used “in practice” to the more perpetual chaos. That's another thing taken from Bastion, another huge inspiration to Garden, to which I think I may have kept too closely to the source material at first. While I by no means think settings (or make settings) with any kind of logical realistic good sense, I do think having some sort of authority gives more legitimacy to the government of Garden.

Of course with that said, we now need to figure out who actually owns Garden. Nobody does literally, but who is the most powerful? A particularly grounded reality warper? A group of gangsters dividing the city like a pie? A megacorporation? An otherwise well meaning OR extremist government, that is powerless in the bickering city state? All of these ideas and more had crossed my mind at some point, but I think I like all of them. For sure though, the money in Garden has to be printed by someone. I always knew the money was glow in the dark, it was papery monopoly money that glowed whatever bright shitty color it was dyed, but who actually makes it?

Granny X
I still never found a good name for her, or maybe I did and I forgot it. Granny 'something' was one of the my favorite ideas for a character or organization. Once meant to be either the leader of the city, or at least an important figurehead, the idea behind some harmless old lady being some criminal mastermind and ruthless tycoon was too good to pass up. I think Mom from Futurama might have been the biggest inspiration here- but the idea isn't bad on its own.

As for this Granny character- one of my favorite first things I thought of about Garden would be what mass produced goods would people need to get buy in this city, with so few engines and productive capabilities of its own? Remember- Garden uses everything again and again, everything is scrapped. I think originally the idea was that cars weren't used in Garden because everyone's cars were scrapped to make engines for the factories- with most people getting majorly ripped off. So heavy machinery was out of the question. I think my favorite idea for the Granny character was that she was a tycoon that sold cookware. While that isn't quite as instantly recognizable as something like tobacco or some kind of drug, I think it works. Remember, everyone that ended up in Garden was lost, probably in a car or on a riding beast, so when they arrive they need to have a stocked kitchen to live off of. Without modern appliances or less of them, mass produced scrap iron pots, pans, knives, and plates would be a huge business in the city. All of them would have Granny 'x' name or symbol on them, showing her subtle power over each and every member of the city.

Races
Some ideas for the races of Garden had come from a very, very old forum concept. The idea that humans would be visited by dimensional travelers from an alternate universe, called Ghouls. These Ghouls came from another world that was dying, and they teleported in and were essentially refugees in our world from this other realm. I participated in this thread before it died off, and the idea stuck with me, and eventually corrupted its way into something like Garden; except instead of one race it was many.

Of course, the desire to create a few set races was always there. A few different dimensions, with perhaps fully fleshed out tech levels and cultures. I let that slide by because of my love of the gonzo weirdness, and it means less work for me. Just saying “oh dude the aliens can be ANYTHING bro” is so much lazier then actually putting in some effort, which is probably why I went with that. Of course, I also once had an alternate idea to Garden. A “humans only” version of the city with people just of different timelines. I liked this idea after reading the book Wayward Pines, which has a semi-similar concept. The idea is that everyone in Garden is a person who is trapped from a different time period, all missing different people. Amelia Earhart was probably among one of their earlier inhabitants, though there could have been even older people there too, living on fire light.

Guns
Garden also went through a few revisions when it came to firearms. Some of the first ideas I was given was to make firearms ultra rare, a sort of useless weapon, due to the expense of trying to upkeep such a complex weapon with such a low tech level. These ideas didn't come from me, but from online discussion, which I didn't fully agree with. Later on, I decided to drop this idea in favor of something more mystic- guns were more like unique, quasi-magical weapons. Each one probably used its own ammo type and had a special power. The idea to make them like this is attractive, and better fit the idea of the inspiration from Goblin Punch again, but I also decided against this after writing FLASHBANG!

The idea of guns being omnipresent works to make the game more about tactical squad shootouts and big gang gunfights- less about sword and sorcery adventuring with a modern coat of paint. Not that I'm against that, that's one of the things I always wanted to evoke.

I didn't realize for multiple years it didn't scale up to full size whoops lol sorry
here's a link
Conclusion & Author Notes
All in all, Garden is one of the my weirder and also more fond ideas I ever had. It's grown quite a lot, and the near personal level I have to all the nights spent driving home past quiet walled communities and subdivisions with their little dimly lit garden paths and atriums was a huge inspiration to the concept of Garden, among many of the sources I have listed here. It's also regrettably something I don't post about enough I think; that is partially due to the difficulty of getting art- originally I probably thought of using this blog with art made by others, until I started to use more of my own simple drawings instead. Still, even then drawing stuff from Garden is really hard. It's not generic fantasy, it's not even really modern fantasy, it's gonzo modern electropunk fantasy. That's one of the reasons it's been one of those things I feel like I don't talk about enough; it's still something a little special to me.