The Princess Lies Story Game

THE PRINCESS LIES

Setup: You and at least 2 other players who have seen the movie The Princess Bride get 5 six-sided dice each. Each of you writes at least 2 agendas (goals) on note cards. The agendas should be in conflict with the goals of characters from the movie. For example, you might write “Vizzini secretly loves Buttercup and wants to get her away so he can marry her himself.”

The film’s framing device of the grandpa and kid are not included in game play, with one exception (described below). So your agendas cannot include them.

Shuffle all the agenda cards and place the stack upside down. Each player then draws 1 card. This is your narrative agenda. Outside it, you can guide the story however you wish, keeping to the movie’s story if you prefer.

Keep your agenda entirely secret! Lie to conceal it, if you must.

Play: Someone starts by describing a scene. It doesn't have to be in the movie... it can be a scene that was implied but not shown, or one that you invented that fits into the story.

For example, you say the story begins with child Wesley arriving at the Farm as an orphan. The first thing they ask him to do is muck the stalls in the barn. When he enters the barn, he sees Buttercup playing. She says something smarmy like "You're supposed to be working."

At this point, your narration ends. You set up the scene and introduced a conflict. But you cannot be the one to narrate the outcome. Another player must step up and decide what happens next.

If more than one player wants the honor, they roll 1d6 each and whoever rolls highest wins that honor. If a player strongly wants to do it, they can gamble dice from their pool of 5d6, rolling as many of them as they wish until they run out of dice or win the roll. These gambled dice rolls are added to the original total, not counted as separate attempts.

You never recover spent dice. Once you roll them, they are gone. Regardless of an empty pool, everyone gets to roll at least 1d6 when they want to compete for narrative control. The only player excluded from competition for narrative control is the one who setup the conflict. Once a different conflict is introduced, the original player can rejoin play - even if it is technically the same scene.

When you have narrative control, you can describe the outcome of a conflict and/or change scenes. If you change scenes without resolving the conflict, someone can interject in a high pitched, worried voice with “But what happens to [fill in name of character]?” When this happens, another roll-off is initiated.

Goal: Your goal is to weave and guide the narrative to achieve the agenda written on your card. If your agenda is satisfactorily completed and the game is still going, draw another agenda. If that agenda no longer makes sense due to events that have already been described (example: "make sure Inigo fails to get revenge"... but Inigo has somehow already died), then draw another card.

The game ends when a player has no agenda and the agenda bank is empty. That player then narrates the final scene. The end.

If you really want, you can count how many agendas each player achieved and whoever has the most is the best Princess Liar.

Notes: Obviously you can play this game with another movie or story. You could do Supernatural, Lord of the Rings, Buffy, War and Peace, or whatever you want. But the whole group has to be familiar with it and agree on it.

This was just a silly idea that hit me at work Friday. I'm open to questions or suggestions, but I doubt I'll do much more with it other than maybe putting it into a PDF. 

Artists I Like: Cassegrain Didier

I think I found French artist Cassegrain Didier's Instagram a few years ago and followed him, but didn't pay much attention. I mean... I follow a few thousand people on there. I don't pretend to keep up. Stumbling upon his work again, I'm quite blown away.

I know absolutely nothing about this guy other than he's French and does comics. What strikes me about his work is that he draws very lovely figures and his approach is naturalistic... not Frazetta, but in a similar mode. Which is kind of catnip to me.

Anyway, good stuff.

 

Legendary Lives

Last year, at the suggestion of a friend, I hunted up a copy of the RPG Legendary Lives (Second Edition, 1993) by Joe Williams and Kathleen Williams. Published by Marquee Press, which I believe was the Williams' imprint.

This is a hell of a book. I mean... it's of a time. It's a wonderful example of desktop publishing and early 90s RPG design. It has many, many flaws. It has difficult material that, for that time, felt perfectly OK... just fantasy stuff. But in 2026 having a "gypsy" as a race template is quite problematic at best. But all that being said, it's a hell of a book and I'd like to talk about it a little.

"In Legendary Lives™, you'll play a hero in a fantastic realm of epic adventure." says the back cover. It boasts 26 races, an open-ended magic system, and emphasis on fast action and storytelling. It also boasts that it is the first game to have player-facing dice rolls. But they don't call it that, they call it "semi-diceless", meaning that the GM doesn't roll anything. An innovation, it seems. I'm unaware of earlier games that had this baked into the rules.

For characters, you pick a race, generate or assign stats to a healthy list of attributes, make adjustments, pick skills, and roll 1d20 to resolve tasks. Pretty standard stuff for RPG design of the time.

You have a bunch of races like nethermen, foresters, witches, and hillfolk. The term "race" is used loosely here, which I think is kinda nice. Who ever heard of the "race of foresters"? But I think maybe each race is linked to a region of the world, which means race encompasses culture. If this was made in 2026, they might go with heritage instead, which would be a better fit.

There are also a bunch of character types, such as shaman, sorcerer, bard, knight, etc. So you end up with a netherman sorcerer or a nomad spy. 

The magic is nice. There's a list of 16 or so spells that, like Ars Magica, are very broad in application. If you have the Illusion spell, then you can make all sorts of illusions. You describe what you want to accomplish and the referee (they use that dreadful term... oh well, I can just change it to Legendeer) decides how much it would cost. If that cost is more than your current spell points, you can't do it. Spell points are equal to your skill level with the spell. 

The book has a chunky section about religions and cults. A hell of a lot more than you would expect, which is pretty awesome. This kind of stuff is spread out through the game from the races, types, magic, and the setting material itself. So the world is baked right in, but not heavily. It's a game you could play in a generic world or some other setting, with a little trivial effort.

Unfortunately it doesn't appear that the game is available for purchase or download anymore. I got my copy via eBay. But here's the official website and it has links to a bunch of adventures and resources for the game. I think there was a lot of love for it, at least for a time, and at least among a small cadre of gamers.  

Artists I Like: Bryan Baugh

I've spoken about my love for Bryan Baugh's work before in this post. But he needs to be officially immortalized in my Artists I Like series.

Baugh hits the dark, campy, Halloween horror vibe like a champion. His Wulf and Batsy comic is delicious. But I already said this in my other post from 2023. But some of the links in that post are now dead, so here's where you should go to find his work: Instagram and Bryan Baugh's Monster Art and Comics.

Dead Wizards Design Log 03

Almost all my game designs include some form of "meta currency". Luck points. I got the idea originally from the TSR AD&D adventure module CB1: Conan Unchained. In that module, David "Zeb" Cook gives us a cool luck mechanic invented for the adventure to help mitigate the disparate outcomes of a typical AD&D game vs. what you see on the big screen (the module cover is literally a photo of Arnold in the Conan movie). In other words, Conan does amazing feats that are difficult to simulate if you're just playing the game straight.

Cook's idea was simple. Each PC has a set number of Luck Points that only the DM knows. You as a player have no idea who many points you have. Here's a screenshot of the text. 

I actually adore this. I've tried to use it a couple of times in one-shots with mixed results. Players need to embrace the idea and you gotta remind them to use it or they just keep playing normally.

Anyway, for Dead Wizards, there is Sand. Sand is the meta currency. Players know how much they have and they can spend it to auto-succeed in tasks or to take over narrative control of the game for a very short time (kinda like The Pool).

The auto-succeed is called a Sand Storm. The idea is the Judge rolls a secret d6 to see how many actions you can get away with. You start describing your actions. You stop when you feel like it, but once you exceed the number of actions rolled by the Judge... you're run out of luck. If you exceed it, your excess action not only fails but it fails in a terrible way. So it's a gamble.

Dead Wizards Design Log 02

Last post was about Cunning and Prowess, which are the stats PCs roll against to accomplish almost everything. But that's not the first part of character creation.

First, you come up with two Marks, or "specials". There's a list of 20 fleshed-out examples to build from. Here are a few to give you an idea what I'm talking about.

"2. You have a silver flute that was given to you “for luck” by an old woman on her deathbed. Playing it clears your mind and lets you focus. Sometimes playing the flute allows you to see solutions to problems or divine facts you could not otherwise have known."

"17. A vicious vulture plucked out one of your eyes. You know its name and nature. A desert devil, it is. A supernatural monster with part of your soul inside it. When you close your good eye and concentrate, you can see through the evil old vulture’s eyes. You can often make it fly where you like so you can see distant places. One day it may find you and try to finish the job."

Marks don't include game mechanics. The way they work is to be sorted out between player and Judge, but usually comes down a modifier to an Action Roll (Prowess or Cunning) or an Oracle (1d6)... the two mechanics used in the game.

I'm trying to keep this focused on the setting's theme, on characters, and the stuff that develops naturally through play. The mechanics underpin it, but I wouldn't call this a crunchy or fiddly system at all. 

Dead Wizards Design Log 01

Dead Wizards is a sword and sorcery RPG set in a sandy land. A bit of sand and sorcery, if you will.

The idea came up about ten years ago as an OD&D hack inspired by Corben, Howard, and Tanith Lee. Revamped it later and it changed into something completely different, becoming GOZR.

But now I'm back to the original concept. I started with GOZR mechanics as a base and I've been working from there. I stripped a few things away, added other things.

I'll try to do this as a series of posts over time, just talking about one aspect of the game or another. If you read this, feedback is greatly appreciated.

First up, the core character "stats": Prowess and Cunning. Prowess for all things physical and Cunning for everything else. Why just these two? Because in all the sword and sorcery tales I enjoy, characters deal with their world through only these two modes. I don't think any more are needed.

You roll for your stats. But like GOZR, lower is better because the stat is the target number to meet or beat on a 1d20 roll.

The roll to set the stat is 1d4+2 for each, so you can only get 3-6. A very narrow range, which is extremely on purpose and I spent a lot of time thinking about it, running simulations, and all that. It means the guy who gets a 3 and the guy who gets a 6 are still fully compatible in terms of skill.

The rolled target number is for a Basic level of difficulty. Then each level higher adds 3 to that target number. The difficulties are Basic, Arduous, Grueling, and Epic.

So if your Basic Prowess is 5, then you'd have a spread like this:

Basic 5
Arduous 8
Grueling 11
Epic 14

As with GOZR, this simply means you look at your sheet to see what your target number is. Quick and dirty. But here the Judge has options for increasing difficulty. The Judge can decide case-by-case how difficult a task is.

Bonuses to rolls are low. In most cases, you're not getting one. But you can get a +1 for some things and maybe even +2. That makes those target numbers more challenging, but not daunting. You are playing heroic, capable sword and sorcery characters... not farmers and zeroes.

Once your target numbers are set, they do not easily change. There's a way you can swap points between adventures, making Prowess 1 better and Cunning 1 worse, for example. But 3 is the hard limit. Nobody has a stat target lower than 3.

Characters are more differentiated by their histories and their special traits. More on that later. 

Setting Survey 2

Continuing from this thread, here's a few more random RPG pulls and my off-the-cuff thoughts on how they handle setting.

The Black Sword Hack by Kobayashi is a sword and sorcery RPG based on David Black's The Black Hack and is essentially Elric the RPG. It's fantastic. The majestic art of Goran Gligović makes the book shine.

Anyway... setting. In this book, the setting is strongly implied by the tone and themes with the names of locations and kingdoms scattered in random tables, such as a list of languages. There is no default map or specific setting details. Instead, you invent the setting as a group, using the setting elements of the game. For example, there's a "dusty, crumbling empire" called Askavian and a little set of events that could happen in relation to it. But that's about it. The rest is up to you.

The book includes a nice little example setting by Evlyn Moreau.

It's a good approach. If I remember correctly, Orkworld did a similar thing. In that game there is a map without names and you put the various setting locations wherever you want. Either way, these approaches are a hybrid between a written setting and tools for creating your own setting.

Heavy Metal Thunder Mouse by Derek A. Kamal with illustrations by Jacob Hunt is a game about mice and rats in motorcycle clubs. I think this is a FATE-based game and is explicitly called a storytelling game by the author. The way it handles setting is very simple: the game is set in Thunder City, a fictional city on the west coast (of the USA, I think). It's a commerce town, a young town, a place to seek your fortune. The first page of the game is a little map of Thunder City.

So that's a pretty straightforward way of handling setting. But since this is a storytelling game, they aren't overly concerned with laying out every street and dive bar. It's pretty open ended, I think. There's a lot of descriptions of motorcycle gangs, clubhouses, and so forth. Fun.

 

Setting Survey 1

It's hard to write a good setting. I'm working on Dead Wizards and when I hit a struggle point, I like to grab books off my shelf and take a peek at how other people handle setting.

Random pulls...

Fever Swamp by Luke Gearing and Melsonian Arts Council is a thin little hardback that reminds me of a kid's book in how it feels to hold. I remember assuming this was a Troika! book since it was Melsonian, but no... this is OSR. And nowhere in the book does it ever explain what it is. There's no "use this with x game" statement. No... the inside covers are tables and the book just kicks off and never stops until it runs out of pages.

Only because I know OSR shit and I know D&D do I know this is that kind of book. I see little short stat lines for monsters with AC, HD, ATK, etc. There are two new character classes and their HD, XP, and saves are based on other classes. They mention Specialist as one. The game this is probably originally written for is Lamentations of the Flame Princess, which has the Specialist instead of the Thief.

Anyway, the setting is presented in little bursts and in tables and hex descriptions. It is a hex crawl kind of thing. There are not walls of text explaining the history of the region. Little bit here, little bit there, mostly delivered through tables and hex descriptions.

Takeaway: Getting straight to the meat of it is pretty nice. 

Yoon-Suin by Noisms is a table-heavy setting. Most of the setting is implied through copious amounts of writing written from the perspectives of people in the world. And the rest is mostly random tables. But it's a lot. The book kicks off with The Journal of Laxmi Guptra Dahl, a 28 page affair written in first person as the author explored the region. Now... I'm not a fan of prose-heavy RPG books. The reason I haven't knocked myself out trying to collect all the D&D Gazetteer series is because they're just too god damn heavy handed on the writing (we went from the minimalist X1 setting info to the maximalist Gaz series!).

But Yoon-Suin is very special. I'll happily take notes from how it is arranged. Mainly the way it uses random tables to do most of the work... an approach I took with GOZR.

Takeaway: Random tables build setting more evocatively than descriptions, in my opinion.

Anomalous Subsurface Environment ASEI by Patrick Wetmore is a self-described "gonzo" adventure location set in a kind of future post-apocalypse with all the trappings of Mad Max meets Waterdeep. This sucker is at once weird and sci-fantasy and also OSR as all hell. It's set up and presented in the classic way that old TSR modules were done. You get an overview to explain what it is, then he just goes straight into a X1 Isle of Dread style Gazetteer-lite, 40 page setting description. It's a beefy but compact read. This is a whole ass setting laid out just so you can have a place for PCs to be before they go down into the megadungeon.

Takeaway: You can just tackle the setting bit by bit, with short descriptions of what is needed and whatever history is necessary. You don't have to avoid all that shit if you don't want to.

Yeah... so what have I learned tonight? That I have a lot of game books written for old school D&D type games.

Also, just do it. Dead Wizards isn't a D&D game, but it is an adventure fantasy game. At minimum, I have to explain the overall setting, then drill down into the specific elements that are super important, then I can hand wave a bit and use random tables to give the Judge the tools necessary to flesh out the rest. That's how I like to do it. 

 

Quick Thought on DTRPG

You see, I do all this stuff for fun, not for a living. I admire and respect my friends and cohorts who make a living at it. I do not.

I also never look at my DTRPG earnings. I'm terrible. I even neglect comments so that I see questions asked a year later. I'm terrible.

Anyway, I did run some quick numbers just out of curiosity. I predicted that the Black Pudding Heavy Helping books would be the ones that sold the most, and it's true. By a country mile. But I was pleasantly surprised that GOZR came in second to them. I had this feeling that while GOZR was the most labor intensive thing I'd ever done, it was a big fat super unknown. And it is... in the grand scheme who the hell knows about GOZR?

In terms of pure downloads, the Black Pudding zines are far and away the highest (5,678 "sold" for BP 1, for example). But they are also free (pay what you want), so that makes sense.

All told, if I had to live off what I'm earning on DTRPG, me and my family would have died a decade ago. But I kinda knew that already. I'm just stoked when anyone buys a copy of anything I do. I appreciate it! You help me keep going.

Rabbits & Rangers Ten Years Later

In August 2016 I published Rabbits & Rangers. That's ten years ago! Time flies.

I thought I'd look back on the book since I haven't touched it in many years.

First, I went with a traditional digest format, which is nice. The POD print book is compact, cool. Good job, me.

Layout was done by Matt Hildebrand and I have to hand it to Matt... this thing still looks cool to me. Thanks Matt!

Speaking of thanks, flipping through it this morning I didn't spot any errors. Oh I'm sure there are some that slipped through, but Andy Solberg lent his meticulous editorial eyes to this thing and I'm forever in his debt. Thanks Andy!

The Monday Doomslakers RPG group played this game. I ran an adventure called Sheep on the Borderlands... get it? So thanks to them for enduring it. We started gaming in 2014 and, with a few changes in membership, we're still going strong today (currently playing Boot Hill 3e!).

Ok, so anyway... here are some things about the book I had forgotten that I believe are quite good.

1. Size differential table. I kept it simple. Sizes are small, medium, and large. You get +1 or -1 based on where you fall on that scale compared to your opponent in a fight. Small vs. small +0, small vs. med the small guy gets +1. Small vs. large, small fry gets +2. I think that's elegant and simple.

2. Natures. Inspired by the exaggerated personalities of old cartoons, you pick or roll for a Nature. If you're a Bully, then you act like a Bully. If you're Rascally then you're always one step ahead. And so forth. I think this reinforces the cartoon inspirations, but isn't too intrusive.

3. Death options. This has become something of a theme in my games. GOZR certainly has this. In R&R, you get to decide if your character dies at zero HP or not. The choice comes with cost, of course. If you die, you get a benefit to your next PC. If you live, you're knocked down a few levels until you earn 1,000 XP. I'm not sure why I did it that way, honestly. If I wrote this today I'd just say you're knocked out for a few rounds and get back up with 1 HP. But that was 10 years ago and I was firmly entrenched in OSR thinking... the idea of letting a PC live after the dice called for death?? Preposterous!

4. HD limits and XP mods. I put a lot of thought into this book. Looking at it now, I see hundreds of files of revisions and ideas. I spent a long, long time on this bastard. The tone and logic had to work. So it mattered to me that a mouse Fighter and a moose Fighter would have the same HD and stuff. It doesn't make sense. So I put limits on them. The mouse has a d4 HD limit, even as a Fighter. But they get a beefy +20% XP bonus. I also applied ability score modifiers quite liberally, but with balance. The mouse, for example, gets +3 to Dex but -3 to Str. They also get +1 to Cha (cute mice!) and a bump to AC for being small and quick. All animals get similar considerations for their size, speed, and traditional characteristics.

5. 21 new spells, 18 new magic items, 14 new creatures*. Notes and advice about armor and weapons that work for the vast array of animal shapes. Like... you find some plate mail in a dungeon. You're a polar bear and your companion is a bat. What are the odds this armor fits either of you? Well, unless the LL already knows the answer, you roll 1d6 to see what size it is. Then maybe you roll a percentile to see if it's specialty. Maybe you'll get lucky and find a rare All-Fitting Armor, which is described in the book.

Some of my favorite little bits:

Stoat

The first level spell Ahkme's Catalog. The mage sends gold and a request by way of a magic bird to the laboratories of the geniuses at Ahkme. Within the hour, the bird returns with a package delivery containing an item that may help in their situation. You roll on a table to see if the thing explodes in your face or works like a charm. There's also a magic ring of Ahkme you can find.

Spells that target certain types, such as Down to Earth, a spell that grounds avian creatures.

The cute little animal portraits! I did one for each of the 50 animal types and I adore them, even if I drew them. I'm not above loving my own work. And it's so rare that I adore my own work from so long ago.

 

I'm waxing nostalgic now, but I have a hankering to run this again. What's more... there exists an expanded edition that started as a sequel. I did all the work of adding 50 more animals, some new spells, etc. I just didn't finish the work. It's something I'd like to do... but I would have to put myself back into a full on Labyrinth Lord mode and beg Matt to do an updated layout for the expanded edition. It would be worth it, though. Hopefully I would hold firm and keep to the classic LL format... complete with descending AC.

But there's also the strong possibility I'd want to change the whole thing to mesh with Black Pudding Play Book... and that would be awesome too.

The PDF is free to download. 

*Fun fact: the zard makes its first appearance here! I ported them over to GOZR later and I don't even know if I remembered they came from this book originally. 

 

Dead Wizards Ground Zero

Going on 10 years ago I got inspired by various sword and sorcery things to create a game called Dead Wizards. It's set in a sandy desert city. Very much a "sand and sorcery" idea inspired by mummy movies as well as Lankhmar and Conan and a bit of Al-Qadim.

My first pass at it was a hack of Swords & Wizardry where I think the main difference was that spells were cast by burning hit points. I ran that a couple of times.

A bit later I revised it and ran it again, briefly. Then I changed the whole system to be based on the image above, using the old to-hit matrix as the core mechanic of the game. Partly, this was a grognard response to anti-THAC0 folks. Just a bit of tongue in cheekiness.

I sometimes went hard to defend descending AC...

The idea shifted in 2020 and became a "let me see if I can make this a game based on those animalistic goons from the movie Heavy Metal." So I did. And it was called GOZR.

 

I say all this because I've been working on Dead Wizards again after a lot of years in limbo. I want back to the last and fullest draft of the game, which was pretty good, actually. The rules in that version are essentially GOZR.

 

I've abandoned the THAC0 matrix, mostly. But there is a small "to hit" matrix on the character sheet. Much simplified, it has 4 categories of difficulty (Basic, Arduous, Grueling, and Epic) with target numbers for each of them for only 2 basic skill areas (Cunning and Prowess).

 

I think this is a really nice amalgam of GOZR's simple target number system and the old to-hit matrices. It's easy on the eyes and intuitive. You're trying to do a daring leap to grab a sacred relic off the giant demon's head? Sounds like an Arduous task, at least. You roll 1d20 vs. your Arduous Prowess target.

 

Once set, the targets never change. But you can pick up various benefits here and there and acquire situational boosts. The idea here is to keep it player-facing and as math-less as possible. Target is 9, you need to roll a 9. You have an advantage? +1 to the roll. Oh, the demon takes notice and now is actively protecting the sacred relic from your grasp? It's now a Grueling task.

 

So those are just some thoughts about the game in development. Clever observers will note that I still haven't produced that space fantasy game, ZSF. Hell's bells, West... you already playtested it, you already have Troika! based books about the same setting. What's the hold up? Yeah, I'll get to it. Inspiration is fickle, you know. 

B/X Tomb Robber Hack

I wrote this little B/X D&D hack recently to emulate a gritty, scummy, city style sword and sorcery experience using the classic game rules.

You can download a zine PDF of it here.

B/X TOMB ROBBER HACK

IN THE DIRTY CITY OF HOGBONE, or Tombsburk, or Sluckbucket, or whatever filthy name you give it, the tomb-robbers, treasure-hunters, and murderous criminals thrive. There are no safe shires here.

This B/X sword & sorcery hack is inspired by Conan (the barbarian), Thieves’ World, Lankhmar, The Black Company, and a bit of Ankh-Morpork.

PC RULES

1. Everyone is human. If the GM allows elves or something, they’re inhuman aliens from another dimension or space or Hell and everyone hates, fears, and/or distrusts them. Your campaign is now defined by this fact.

2. There are no clerics. High priests might be sorcerers, but they’re not healing anyone.

3. Good and evil are not linked to alignment. Alignment is related to powers of Law and Chaos. A Lawful monster might be evil as a devil. PCs are most likely neutral, but it’s up to you.

4. Every player character is a 7th level Thief because those are the skills needed to be a crypt-raider. No levels are gained or lost. Level drain drains Ability scores instead.

5. This is your stuff: 3d6 x 100 gold. Roll 2 magic items using the General Magic table (page X44). Re-roll consumable items (like potions) if you prefer.

6. You get these perks based on your highest or second highest Ability.

•Str: Additional +2 to hit, +7 HP.

•Int: +3 (or +1d6) languages, 2 (or 1d4) 1st level Magic-User spells.

•Wis: Re-roll failed initiative; glean 1 useful fact about anything (once per encounter); good ventriloquist.

•Dex: All your Thief Skills are as level 10; climb upside down.

•Con: Save as level 10 Thief, +5 HP.

•Cha: +1 Morale of retainers; 1 devoted follower per Cha score above 10 (as 3 HD bandits); good at mimicking voices.

7. Rest to regain your strength. Heal up to 7d4 HP per day, rolling up to a total of 7 dice at any intervals you prefer. Taking a breather after that alley fight? Roll a couple of d4s to get your spirits up.

8. You know fear. When faced with undead, cosmic entities, or dark sorcery, save vs. spells or be gripped with fear for 1d6 rounds, unable to do anything but run and hide or stand there wetting your pants. Only for the first encounter, per occasion.

9. Gain 1 Hit Point after every adventure.

10. Spell-casting PCs can learn more spells, but it ain’t easy. Make a hard Int check (-4 to the Ability for the check) to learn a new spell from a book or scroll. Only 1 spell can be learned from any discovery of books of magic.

11. They will tell stories of your exploits. When you’ve played enough adventures that it feels like a proper hip-pocket paperback’s worth of short stories, everyone gains +1 to attack and saving rolls. At this time, you can retire a character, making them a level 9 NPC.

GM SUGGESTIONS

1. Monsters. Make them as unique as possible and never say “it’s a goblin”. Instead, “the locals say there’s a bog beast lurking about” or “the old temple is haunted by the angry spirits of the dead” and that’s that. There are no tribes of goblins, but there might be bandit gangs in masks.

2. Make monsters weirder. You can use monsters from the book as templates, but mix them up. Take abilities from three different creatures and hammer them together. That’s not a hill giant, that’s an abomination of human flesh stitched together by sorcery and leaking poison gas… with a big club.

3. Creatures of the night. Monsters of this world hate the sun and mostly only come out at night… mostly.

4. No clerics, but the dead rise. And they are afraid of the gods. PCs using relics of the gods may force morale checks on the walking dead.

5. Nothing is free. If you can waltz into a broken ruin and find a hoard of gold… it’s almost certainly cursed. Either cursed directly and each PC now has a death warrant, or it’s sacred to some ancient guardian who is now awakened and will not relent until everyone is dead. Watch a mummy movie for ideas.

6. Get to the action. Don’t let the players waste time debating their next moves. Keep the pace up. Assume a real time clock is ticking. They’ve been discussing how to or if they should open that crypt door for five minutes straight? Angry spirits show up to run them off. Other tomb raiders ambush them. Etc.

7. NPCs can be based on PC classes from the monster list, such as Acolytes and Bandits. More important ones can also be 7th level of their class. Boss NPCs should be treated as 9th level or better of their class: Fighter, Magic-User, or Thief.

8. Start local, don’t lore-nuke. Do NOT let yourself get caught up in too much pre-game world-building. Make up the dirty city, some NPCs, and nearby locations as needed. Let the adventurers guide your next move. Let the world grow from this local seed into whatever it will be, even if that means the PCs never really leave town. Cities have crypts, sewers, and assassins aplenty.

9. Luck of heroes. Taking a note from the classic 1e Conan modules, PCs have Luck Points. Only you, the GM, knows how much Luck they have. Players can spend Luck to accomplish feats of adventure that would be very risky if they relied on the luck of the dice. Like leaping roof-to-roof in the rain without dropping a fragile glass egg or putting an arrow through the tiny hole in the dread warlord’s demon scale armor.

Players cannot spend Luck to affect dice rolls and Luck must be announced before actions are taken. Luck doesn’t replenish, but you can secretly give a point here and there for incredible moments of gaming or for completing a book of adventures.

Ask each player to roll 4d6. Now secretly determine which result goes with which PC. That’s their Luck… until it runs out.

Happy sword & sorcery gaming!

Artists I Like: John McKenzie

I started seeing John McKenzie's work on Facebook a while back and was immediately smitten by it. John has the perfect balance of silly cartoonery and grit. It's almost as if Basil Wolverton and Mike Mignola conspired to create a new life form and I truly love it.

My instinct is to say his work begs to be animated. It FEELS animated. But I don't want to suggest it would better if animated... It lives and breathes as is, but it would translate to animation quite easily.

Also sounds like he's making an RPG. Gotta have that for sure.

Format Doormat

This post serves two purposes. 1) To demonstrate how my broken mind works and doesn't work. 2) To talk about a little passion project eating my broken brain. Read this post only if you want to be subjected to me meandering and ranting about mostly nothing important.

Formats. Sizes to print your book. They vex me. Always have.

See, I come from the 80s-90s small press scene. In 1987 I partnered with pals to make our first comic zine Fast Lane and we did it on my friend's dad's work Xerox machine on a Saturday when nobody was there. We understood that 8.5x11 was the standard paper size, so we made our book fit 8.5x11.

It was easy. I even drew the pages of my comics on 8.5x11 typing paper, so when we made copies it was as easy as laying the original in the machine and pushing the print button. We fiddled around until we got the front and backs correct, ran off 50 copies of each, then laid them all out on the floor to collate. Then we put a couple of staples in them and BAM. Comic book magic.

Next issue we decided to go with that sexy "digest" look. All that means is we did it half the size as before and arranged the pages side by side to fit on a sheet of paper. Same process, just a little bit fiddlier. Since 4 pages were connected by a single sheet of paper, you had to be careful to get the order correct. But we did it and it was fun.

On into the 90s I generally worked alone. I made my first mini-comics, as I understood the term. If our first book was full size and our second was half size, then these minis were quarter size. You can make an 8 page mini on a single sheet of paper. There are tons and tons of tutorials about this online.

4.25 x 5 inch book

This is the fiddliest of the standard versions of the zine sizes because each sheet of paper is 8 pages of your book, so the arrangement is crucial. You can't just go 1-2-3-4, you gotta make sure 1 flips over to be 2 and so forth. Easy to get fucking confused unless you're a right genius at spacial thinking, which I am not.

Anyway... there's also the classic comic book format. In the USA, currently, that means 6.625 x 10.25 inches. If weird numbers bother you like they do me, you can just call it 7x11 or 6.5x10 and be done with it. The slight difference won't mean shit.

The reason this format matters to me is because it's what comic books look like. And I want to make comic books. I have made proper comic books... and I want to keep making them. So I fixate on this. I worry that any comic I draw that doesn't fit that format can't fit into a comic book at some nebulous point in the future.

For example, I did some comics for The Merry Mushmen and Tuesday Knight Games and none of those are US format. If I reprint them on my own at some point, they won't look quite right on a floppy page.

It's a trivial thing to be bothered by. After all, Europe and Japan have entirely different comic book formats and I'm not worried about them am I? But hey, it's my nostalgia we're talking about here.

Anyway... I'm thinking of this RPG series in mini format. My idea was to do this series of books at 4.25x5.5 and roughly 16 or 24 pages each (minis have to be in increments of 8 pages*). I can do this, but it's a pain in the ass to format so someone can print it from a PDF. I'm not aware of a good way to do it so that you can read the PDF like a proper book and also print it like a mini. I'm not saying it's impossible, I'm saying I don't know that secret sauce and it sounds like a lot of work, man.

Which leads me to the good ole workhorse of small press publishing: the digest. A sheet of paper folded in half. PDF brochure printing handles this automatically like a champ. It's a super common format, a nice pocket size, and is easy to set up. So I should probably go that route. It just makes the most sense.

But those sexy little minis... they call to me. That fiddly work you put into them can be fun. It's a bit novel to have a RPG book series that's tiny. (See how I talk myself into spirals?)

Yeah, so... that's where my brain is today. Oh, what's the game? It's just a simple micro game system for funsies. Something I can fit in 16 mini pages. Then crank out some adventures and shit for it. Just a silly idea I have. I have a lot of them.

*Well they don't HAVE to be. You can make a 4 page flat repeated twice on sheet so that you're at 4 page increments... but it means you gotta make 2 copies of the book each time. You can't just print 1 copy.

It's April

Random notes.

After having ran and played in multiple games with player-facing dice rolls, I gotta say I strongly prefer them. Having players roll all the dice frees the GM up to focus more on what's happening and what happens next and it keeps players being active contributors.

Player-facing rolls have moved up the ranks in my gaming preferences right up there with luck points and death choices.

Speaking of gaming... shit I'm behind. I playtested ZSF and I'm in a spot where I could hone it, focus in, and get the game done. But right now in this instant I do not have that fire. I'll get back to it later.

Meanwhile I've dashed out a few other game ideas. I wrote one the other day based an older idea called Dirty Dozen Death Squad. You make a unit of 4 or 5 characters, then all the players bring all their characters and you just go through a violent mission. I guess it's more of a skirmish game and RPG.

Made another one this week. No name yet, but it's got a neat little core where you roll a d20 if you've got a skill and a d12 if you don't. Each hit you take knocks you down a die step. But it's not a combat game... it's more of an explore and interact kind of thing.

Sketching is always on the table. Tons and tons of drawing and doodling and coming up with ideas. I've written many comic book scripts lately. I just can't seem to find the oomph to focus on one thing long enough to get it done.

But I'll get there.

Shotgun Game

When I got into gaming in the 80s, my other gaming friends and I used to say "shotgun game" when we got together and had no plans and decided to play some D&D. "I'll run a shotgun game" was a common phrase. It just meant you were going to run something on the fly, zero prep or low prep.

Comes from the idea of a shotgun wedding, where a guy knocks up a girl and then her father forces him to marry her, at the point of a gun. The idea, I think, is that since you are typically the DM, you're kind of forced into the arrangement when you friends wanted to game all of a sudden.

I've fished around online for this phrase and I can't find where it is in use in this context. If anyone knows otherwise, has used it themselves in the past, or understands where it came from, comment and let me know. I'm just curious about it.

Is this hyper local RPG lingo? Maybe just my gaming friends invented it. I don't know. I picked it up from them, though. I didn't originate the phrase. I believe one of my original DMs got it from some older kids who taught him how to play D&D in the early 80s. 

Game Design Hoots 1

I love old school D&D, but I don't want to tie all my work to it. The setting implied or described in Black Pudding is important to me and I want it to have its own original RPG at some point. Of course the Black Pudding Play Book will always be around, but I'm probably going to do another game at some point for the world of Pan-Gea > Yria.

Here's a system I'm mucking around with right now. It's from 1998 or so, before I even got online. It's very basic, which is what appeals to me. I ran it many times back then and it was mostly GM rulings because there was almost no rules written down for it other than this:

Spend 20 points on any kind of traits you like. Roll 1d20 + Trait vs. a target number or an opposing roll. Each adventure you earn 1-3 points and you can spend them to add or improve Traits.

In recent times I've developed the idea further to give it more tooth and grit. I like it.

Of course it's also very possible that the game will use GOZR rules. Right now I'm torn between these two darlings of mine. Story of my life.

But both feature rolling 1d20 + mods vs. a target number so you can call me a basic bitch all you want. It's fine. I own that shit.

Comic Grabs

I picked up a few comics this weekend. Here they are.

I got this Toxic Avengers book because the cover looked fun. I figured why not? I do like the interior art by Tristan Wright.

Eventually I'll read it.

I will never pay money for any of these Ultraverse comics... unless they have a Dan Brereton cover. Putting his art on your cover is like reaching into my pocket and taking my money.

But the interiors... I mean, no shade the creators and all that... but this shit is shite.

I tried to read a few pages but it was difficult. I know this is like mid-story. It's just irritating to be thrown into an epic and expected to buy a whole line of comics and respect all these characters you've never seen before as if they were classic icons of superheroes. Spoiler alert: it did not work out for Malibu.

This Thundarr #1 just sang to me. I love that cover art by Michael Cho (one of MANY ALTERNATE COVERS... but that's a whole other rant).

The real treasures I found! I got that fat Nexus book for $2 and that complete Eternals for $5. Amazing. This is what flea markets and vendor malls are for. I'm actually excited to read these! I might never read any of the comics I mentioned before this, but I'll probably read Eternals (I've never read it before).

So yeah, that's my little haul. Got me in a comics mood.

GOZR Scraps and Bits

In the process of creating GOZR, I left a bunch of stuff on the cutting room floor and changed a lot of it as I went along. Just the process of editing and what-not. Here's the original GOZR map vs. the final version.

Really happy I went this direction. The original map is fine, and I think if I had finished it up it would still look pretty good. But the final version feels more intuitive to me. The north-south direction of the river is a line that grounds the whole thing and helps place all the elements where they are supposed to be. To the east you have endless dunes and to the west you have endless badlands. Down south you got endless bogs and forests and up north... endless mountains. And there's the city right in the middle.