Category Archives: Uncategorized

Survey Redux

A study! This survey focuses on how people use social media. Some questions may look familiar. This will allow me to look at how beliefs have changed over time. You may already have received an email invitation if you previously expressed interest in surveys.

You may notice that there is a principal investigator mentioned who is not me. I am a grad student and I may wish to publish research in peer reviewed journals based on this data. Dr. White is a professor that I work with. We are collaborating on research involving social media use.

Here are the details:

Tabletop Roleplaying Games Study

  • Take a 20-minute survey about tabletop roleplaying games and social media for researchers at the University of British Columbia.
  • The principal investigator of this research is Dr. Katherine White.
  • We will ask you questions about your preferences in games, your beliefs, your social media use, and basic demographics (only age, gender, and country of residence). All your answers will be anonymous. You can skip questions.
  • This survey is expected to take 20 minutes.
  • This survey involves no compensation.
  • This survey will help researchers understand how people incorporate social media into leisure activities.
  • Choosing to comment, “like”, or “follow” posts or web pages associated with this study may associate you publicly with the study.

To participate, click here.

Let me know if you have any questions in the comments below or directly by email.

Feel free to share the link with anyone you think may be interested.

Adventuring by Other Means

James of Mythic Fantasy takes aim at the doctrine of combat as fail state. I agree with the sentiment, especially contra the strong position that getting into combat always indicates poor playing. That said, combat can be tedious and boring, particularly if repetitious or lacking distinct circumstances.

This is engaging combat:

—Le Guin, A Wizard of Earthsea, chapter 1: Warriors in the Mist

The D&D equivalent: showdown against 30-300 bandits with a fog spell and some tactics.

(I imagine someone may object that Ged’s spell is more powerful than fog cloud. Well, of course. Ged is the the future archmage of all Earthsea. You go to war with the army you have.)

Also: remember to use morale rules.

—Fog Cloud, from AD&D (First Edition)
—Fog Cloud, from Fifth Edition D&D


This post is for people that have played or discussed tabletop roleplaying games with Zak. If the context seems unclear, you are probably outside this audience. That stated, this reflection seems to belong here.

I am going to write about online aggression. Offline aggression has more substantial consequences, especially when embedded in professional or romantic relationships. I discuss online aggression because that is what I can speak to honestly, rather than to equate the two forms of aggression. While Zak’s behavior online and in his personal life may share some causes, the second deserves more severe condemnation.

I retained greater distance from Zak than some, but was close enough that I feel warranted and perhaps obligated to discuss my experiences. I have interacted with Zak online since around 2012. We played in a handful of online FLAILSNAILS games together as players. I defended Zak once proactively against charges of homophobia, when he was in the midst of some controversy, and more low key in many other instances. I met Zak and Stokely in person at Gen Con in 2017. I saved seats at the Ennies for him and some of the other Lamentations folks.

Not long ago, Zak preemptively blocked a friend of mine for associating with the wrong people, seemingly out of the blue. This was a person who had gone to bat for Zak against unfounded accusations repeatedly in the past. At the time, I assumed Zak must be lashing out to deal with something else going on in his life. This was the most recent instance of several where I found myself using back channels to warn others about potentially engaging with Zak. For example, in a direct message on January 11th I wrote:

“I know you already do, but probably best to take care around Z; I don’t know what’s up with him.”

There are others. In August 2018, in another direct message I wrote:

“I can’t entirely tell whether Zak just has a blind spot around Apocalypse engine games due to the way he thinks or if he is fighting against the style and framing more instrumentally.”

Other people recount similar experiences. Patrick (of the False Machine blog) wrote a book with him and ended up totally disavowing any relationship. All of which fits into a broader pattern.

My approach to discussion differs from Zak’s, but participating in his discussions to the degree I did was a form of passive assent. I disliked how his approach would spill over into adjacent spaces and how he would involve only tangentially related grudges whenever possible. His scorched earth tactics probably did discourage some trolls and prudes, but they also drove away many other valuable voices. The collateral damage was too high.

People who criticized Zak for whatever form of prejudice were missing the real issue. Zak was, as far as I can tell, an equal opportunity aggressor. I have been in his gaming circles ever since he encouraged people initially to join Google Plus, based on the promise Hangouts technology presented for Constantcon and other online gaming. Accusing him of prejudice, so absurd for anyone who knew him even in the slightest, provided cover for his aggressiveness and lack of compromise, which caused indisputable harm. People stopped engaging online to avoid having to deal with him. I wish I had been there more for friends and acquaintances that Zak assailed directly or for those caught in the splash damage.

People are, in general, uncomfortable with holding inconsistent attitudes toward related objects. Understanding every positive thing Zak did as a form of manipulation is almost certainly a mistake. People are complicated. Assuming people can easily be classed into worthy and worthless was Zak’s consistent conceptual error. I try to avoid this error, but being welcome in social spaces is contingent upon behaving well, on balance, over time.

Zak, if you read this, a few points. First, putting your statement on a separate blog was cowardly. It only makes sense as a search engine optimization technique, to help keep this dirt from sticking to other aspects of your online presence as much as possible. In contrast, Mandy and Vivka posted their statements on their personal social media accounts. Comport yourself by your own rules and do the same, even if you lack the sense to engage in further reevaluation or introspection. You may feel the urge to argue about this or some other tangential detail, but my opinion or belief is irrelevant in this matter. The only thing you can do is demonstrate by your actions a better character. I believe that everyone deserves the opportunity to tell their story. Even people that have done worse things than those alleged. You have that opportunity elsewhere, however, and everybody knows your blog, or can easily locate it using a search engine, so I feel no obligation to host your response here or link to it directly.

No homework!

Forbidden Lands Gamemaster’s Guide, p. 6

I am somewhat averse to manifestos, in game design and elsewhere, but if I were to champion one manifesto for tabletop roleplaying games it might be this: No homework for players! This principle is implicit in many classic/OSR cultural traditions, but is rarely stated explicitly, even in the secondary commentary of blogs, forums, and other ephemera. But if you look, you can see the various traditions all working toward the principle of minimizing player homework.

Some such traditions include aversion to complicated character creation and aversion to canonical setting material (“lore”). Classic/OSR play culture tends to be relatively hostile to the idea of character builds, which really took off in D&D 3E with the profusion of character option (“splat”) books. Complicated character creation takes at least two forms, which I will call character optimization (similar to the older term min-maxing) and character backstory. (Character optimization seems to capture the idea better because min-maxing focuses on the competitiveness of individual players rather than the affordances of game or play instances.) Players optimizing characters engage with rulebooks rather than socially with other players. This is good for companies that make money by selling books, but character optimization moves game engagement away from play at the table. The mantra “we explore dungeons, not characters” captures the related aversion to extensive character backstory, prioritizing the definition or discovery of characters based on events that occur in play at the table. See the following discussions for representative examples: Hack & Slash on character builds, this wishlist for oldschool games, and Noisms’ Theorem of Character Generation Length and Player Cautiousness.

Forbidden Lands, which I have been reading recently, is one game that tries to communicate this principle directly in the text, and succeeds reasonably well, directing the referee to expose players to the setting only through play at the table: To convey the history and myths of the Forbidden Lands to the players in-game, you use legends. … In this way, the players build their own knowledge of the Forbidden Lands and its denizens (Forbidden Lands Gamemaster’s Guide, p. 6). Forbidden Lands also includes a fictional device, the Blood Mist, which functions like fog of war in a video game, obscuring both fictional geography and history: “The demonic Blood Mist that covered the lands for three centuries, draining the life out of anyone who dared to wanter too far from their village, has suddenly and inexplicably lifted. You, and other restless souls like you, are finally free to leave your homes and travel far and wide in the Forbidden Lands, looking for treasures and adventures” (Forbidden Lands Player’s Handbook, pp. 5-6). The Blood Mist works to identify the extradiegetic (player) experience with the diegetic (character) experience. What other games attempt to state this principle directly?

For a player that wishes to fictionally position their full engagement, the Blood Mist justifies lack of adventurer knowledge regarding locations and other details of the fictional culture. In effect, to use a buzzword, this kind of device mitigates metagaming through setting design choices. There is precedent for using similar strategies to kick off campaigns, such as adventurers in Empire of the Petal Throne (1975) beginning as barbarians fresh off the boat. Any establishment of setting truth independent of a particular play group (canonical “lore”) comes into tension with the no homework principle, because player-accessible lore affords extradiegetic learning (homework!), allowing players to discover the setting outside of play at the table.

Homework is engagement with a campaign outside of social play. Character builds, character optimization, and studying lore are all examples of player homework. Homework means that players can hone their effectiveness, what OSR jargon calls, somewhat contentiously, player skill (see Matt Finch’s primer), by dedicating effort on their own, apart from a gaming group. For clarity, I phrase the principle imperatively, but as with most aspects of gaming (and life), there is a continuum. One could see choosing a class in OD&D as homework too, but this would miss the broader point. The more a game or campaign affords or rewards player homework, the less engagement with the game will exist in play at the table, the social interaction between players.

Share reviews

A couple days ago, LS/Beloch, of the Papers & Pencils blog, started a conversation (public thread) on Google Plus about what concrete, immediate actions people can take to foster a functional OSR community. People had a lot of ideas, which he then summarized. It is a good list, and worth checking out if you missed it.

I want to highlight one particular suggestion, and add to it. Specifically:

The number 1 thing the OSR needs is more reviewers. People who do the hard work of finding new stuff that nobody has ever heard of, reading that stuff, and getting into the nitty gritty of what is good and what is bad. Bryce Lynch of 10′ Pole is a great model for how to do this right, but there’s more stuff being produced than he can parse on his own.

Personally, I was surprised at the number of people that mentioned wanting more reviews. I write them sometimes, mostly as a systematic way to prompt myself to get familiar with a product, but I rarely feel like many people pay attention to them, especially since, I think, I am not primarily a reviewer and my blog is not primarily a review outlet. I post more about other topics, such as rules hacking, necromancers, and Dark Souls. This means that any readers I have probably come here primarily for things other than reviews. This is true for most gamers writing about, or evaluating, the content other people create.

I can only think of two dedicated review outlets for DIY D&D/OSR products: Bryce Lynch’s Ten Foot Pole and Ben Milton’s Questing Beast YouTube channel. Being so focused on a single topic or function is a good way to distinguish yourself, but it is also a lot of work and I doubt many other people will step up to create and regularly update comparable review outlets. There are, however, lots of people who post reviews with some regularity, either as G+ comments or on blogs, even if that is not the focus of their output. For example, Ram also regularly posts reviews, but that is not the main subject matter of his blog either. This means that people, especially those that might be most interested in many of these reviews, rarely see them.

There is something you can do to help make this situation better. If you come across a review someone else wrote that you think is useful, insightful, or impartial, consider sharing it to a relevant G+ community or other fan-specific outlet, such as a subreddit. I rarely share my own reviews this way because it feels like spamming someone else’s space. Such sharing will help people interested in the material find the relevant reviews and avoids the problem of ulterior motives in self-promotion. If someone other than the review author shares the review though, this serves as weak form of peer review. Just sharing a review to your own social media feed is probably less useful. People looking for, say, modules or supplements to use with DCC are more likely to see reviews if they are posted to DCC-specific outlets.

Unless the review is snarky clickbait. Burn that shit down and bury it in the poisoned ground.

(This is an expanded version of a comment I left on LS/Beloch’s original thread.)


Image from Dorohedoro

Looking back through one of my notebooks, I came across this monster. Along with some of the details, I like the format, so it seems worth a post.

  • Devilspawn are a pale echo of Satan’s majesty
  • They cannot speak the truth
  • They sometimes believe they are truly Satan
  • Attended by animals that speak or speechless, beast-like humans
  • They have forked tongues
  • They can grant spells if bound or through mystical covenant
  • Will claim the fallen as additional attendants, mutating them slowly

And roll 1d6 each for detail, attendants, power, weakness, and motive:


  1. Wields a weapon of crimson devil metal, magical and always hot as a furnace
  2. Solid black eyes
  3. Crippled legs, but floats always several inches above the ground
  4. Wrapped in silken cords
  5. Mouth extends to ears
  6. Glorious multicolored enameled plate armor


  1. 1d6 horses with lizard heads that speak and drool or vomit lava
  2. 2d6 moths the size of hawks that gibber constantly and have long, corrosive, hollow tongues
  3. 1d6 floating silver cages containing vicious birds of paradise that mock the weak
  4. 2d6 naked, filthy humans with filed teeth that can climb like spiders, mad and grinning, fitted with collars and leashed
  5. 2d6 naked, beautiful humans clothed only in faceless, eyeless helms and metal gauntlets fused to the skin
  6. 2d6 naked humans, half starving and half obese, carrying rusted weapons


  1. Turn into a cloud of moths at will
  2. Conjure fire at will and invulnerable to fire
  3. Paralyze mortals from the waist down (save to avoid, and each dungeon turn to recover)
  4. Take form of nearby person, gains their abilities (50% chance of success to use)
  5. Steal prepared spells from the minds of magicians (save to avoid)
  6. Immune to cutting or stabbing


  1. Slowed by mirrors
  2. Courage (will not face the bold directly)
  3. Unable to harm same or opposite gender (determine randomly)
  4. The color blue
  5. The scent of flowers
  6. Hounds


  1. Eat the flesh of cats
  2. Walk under the sun
  3. Sex
  4. Gaze upon Satan
  5. Wine
  6. Eat the flesh of devils

Optimal strangeness

I remember reading somewhere that good speculative fiction (including horror, sci-fi, fantasy, etc) takes a widely understood backdrop, whether that is modern day, Tolkien-style fantasy, or something else, and tweaks one, or at most a handful, of key factors, and then works out the consequences of the tweaks. I have forgotten the source, but the idea stuck with me.

Various traditions of vanilla fantasy serve as examples of potentially well-understood backdrops, depending on particular audience. The Tolkien-derivative or swords and sorcery in the Leiber/Howard style are two examples. There is something to the formula of a known baseline modified just enough to add interest without becoming overwhelming. Maybe unworthy of being considered an iron rule, but something.

This seems similar to the figure/ground distinction in Gestalt psychology. If everything is ground, nothing stands out, leading to boredom. If everything is figure, all is confusion and nothing makes sense. Also: to the neophyte, even vanilla fantasy can seem strange enough while the seasoned player may require excessive marginal weirdness to get a successful hit of strange. Of the people that play fantasy games at least partly for the pleasure of exploring an imaginary world, most seem to be between these extremes, wanting a bit more uniqueness than Tolkien sans serial numbers but a bit less than a setting which avoids all pop culture or mythological landmarks.

Test-driving Dungeon World

2015-09-26 11.25.53 dungeon world 640I finally got a chance to play Dungeon World on its own terms (as opposed to just reading and borrowing ideas for D&D). Other than myself and the GM, there were three other players, none of which had ever played a tabletop RPG before (but were familiar with the general idea and had experience with computer RPGs).

In addition to general play impressions, I was also particularly interested in seeing how long and complicated the character creation process would be. My previous experiences with powered by the apocalypse games have been Apocalypse World itself (a whole session, rather complicated) and Undying (a whole session, rather complicated). Since this game was explicitly pitched as a one-shot (or maybe a two-shot), clearly character creation would have to be less extensive, so I was curious if an AW lineage game could also do a more expedited intro naturally.

We had four PCs: druid, bard, paladin, and thief (that was me). As far as I know, the setting was mostly undetermined beforehand, with the exception of a few leading questions used for creating bonds and setting the stage. The main such question was a quest hook, something along the lines of: why does your character want to destroy the Chimaera-Hydra? The Paladin’s answer was that the Chimaera-Hydra had been gathering powerful holy books from many religions which were the key to some dark ritual. My (thief) answer was that the Chimaera-Hydra guarded a fabulous treasure which would allow me to get back my lover who had been tempted away by a rich man. There were lots of other leading questions that I forget right now, but it actually did not take very long. I think it was about 30 minutes.

2015-09-26 15.06.57 dungeon word map 640In addition to this collaborative world-building, we dynamically created the beginnings of a world map using post-its based on the setting questions. I think the GM had previously decided that the Chimaera-Hydra lair was in swampy woods (though that might also have been a result of a question that I am forgetting). The starting area was a trade route in the desert called the Crescent Road. To the south was the Sapphire Isles, which was the home of the druid PC and his order. I had stolen maps and other secrets from the druidic order to gain info about the Chimaera-Hydra, which the bard knew about but had not revealed to the druid PC. The paladin had been consulting with the druids about the theft of holy books when the thief was on the isles and at one point protected the thief (probably before meeting the druid PC, though I forget exactly how that went). The level of background ended up being just about perfect, and pretty much all the details were used in play, though I do not think we ever remembered to roll+bond.

The inhabitants of the Crescent Road were wolf-people and worshiped a wolf-god that was controlled by the druids from the isles. The thief was wanted by the druids so the fiction began in media res as we were trying to enter a city on the trade route. We eluded the guards, fled into the city, and lost ourselves in the crowd, though not before distracting the guards with a dramatic display of druid shape-changing. From there we needed to decide how to reach the swamp of the Chimaera-Hydra, which was south beyond the sea. The three obvious potential routes were to the southeast past a ruined temple of the paladin’s order (which I think was destroyed by the Chimaera-Hydra), south over the sea through the Crescent Isles (where the druidic order ruled), or southwest over the rich man’s estate. The rich man’s illegitimate son was a stableboy who died in mysterious circumstances and also happened to have been the bard’s past lover. (It turns out that if you put five gay guys around an RPG table and share narrative control, 90+ percent of the NPCs turn out to be gay guys.)

Clearly I was not interested in dealing with the druids again. We settled on going southwest through the estate, though not without the help of the thief loading the dice that we rolled to decide the direction after voting yielded an even split between southwest and southeast. The rich man turned out to be a wizard, his estate a flying castle, and his stables were filled with pegasi. My elf lover had somehow been brainwashed or something and once the wizard figured out who we were he attempted to snare us and summoned a fire medusa to kill us while we were trapped in the castle’s great hall.

The combat was smooth (though starting with such high HP always feels a bit strange to me since my reference level has become OD&D’s 1d6). Some highlights include the paladin trying to force the medusa’s gaze away by physically wrestling it and accidentally partially petrifying the bard, the druid rallying the dogs in the great hall as a pack, and the elf lover being totally turned to stone. After defeating the medusa and wizard we had to carry the statue with us since we did not trust him enough to de-petrify him immediately. As a side note, the polyhedral damage dice seem unnecessary (1d6+STR would sufficiently advantage martial classes). The extra game pieces introduce complexity that will likely only be appreciated by someone that takes pleasure from D&D allusions.

2015-09-26 13.42.48 dungeon world 640After the combat, the castle began to lurch sideways and lose buoyancy. (Apparently castles need live wizards to fly. Who knew?) So then we needed to decide whether we wanted to flee and save ourselves (leaving all the castle inhabitants to fend for themselves) or try to fix it. Lore Spouting by the bard (who had informal magical knowledge) revealed that there was probably some sort of magical device at top of the central tower. So we split up with the bard going after that and the rest of us heading to the stables for some pegasi to use as getaway cars. If we couldn’t fix the castle, we figured we could still fly away.

We managed to figure out the required ritual, which required bleeding all over it as a sacrifice of life energy. This also resulted in the duplication of the bard’s consciousness within the castle because the flying depended upon an animating spirit. (This was probably my favorite session development.) That is where the session ended. We didn’t reach the Chimaera-Hydra, but we did end in possession of a sentient mind-linked flying castle and with my disloyal lover reclaimed (though he happened to be made of stone). Details.

One aspect of play that I found somewhat surprising was how the rules facilitated archetypal thief behavior. I am not sure I find this completely positive, considering how disruptive such behavior can be in more traditional games where I tend to prefer teamwork, but I was impressed that the rules when followed had this result. For example, in addition to loading the dice to influence the group’s choice of path to the swamp, at one point when in the starting city, I was tempted to craft wolfsbane (clearly highly illegal in a settlement of wolf-people). I also got the party into trouble after trying to persuade a wolf-youth to become a druid zealot follower. I failed the roll+CHA and was chased over the rooftops by guards. Luckily they were less sanguine about an acrobatic four story drop than the thief and so we avoided a fight, but still. The thief is a trouble-maker.

As I understand it, ideally Dungeon World is intended to be entirely fiction-first, with mechanical resolution of moves always flowing from fictional actions and events. In practice, it seems almost impossible to do this with the Spout Lore and Discern Realities moves. Especially Spout Lore. I can see how Discern Realities could naturally follow from a narration such as searching an area, but Spout Lore is really more an improv trigger. Though the rules place the responsibility on the GM, in practice we handled it more collaboratively.

Overall it ran smoothly and the procedures seemed easy for the new players to understand. The collaborative world building and bonds could easily be overlaid on D&D for a referee that did not want to spend time in more detailed prep and seems lighter than many other procedural alternatives such as running a game of Microscope. It might be difficult to calibrate hazard clues and difficulty by improv, though I think it would be doable with practice (I have certainly improvised fair but deadly traps in OD&D before). An exploration game could possibly be done by roughly outlining some key spatial and structural relationships and then determining the interstices during play. This would allow a sense of impartiality beyond collaborative interchange (though that is a form of discovery as well). By default, the content included in Dungeon World seems to shift the tone and atmosphere toward D&D style fantasy. Resisting that would require extensive preparation (new classes, new moves, etc), though perhaps still not more than required for building settings and dungeons for traditional D&D.


Well-written RPG books

Back in June, Noisms had several posts about writing quality in RPG texts (initial post and his examples of good RPG writing). I was also curious about this empirically, so I created a survey to see what other people thought. I didn’t define well-written but rather left it to the respondents to interpret as they chose. Don’t consider this a representative sample of anything other than people who follow me on Google Plus (and the followers of the several people that reshared the survey link).

The survey asked age, gender, the top five best-written RPG books, the game played most frequently, the game started with, and any general comments about the books chosen.

92 people (mean age = 39.51, standard deviation = 7.84) listed a book in top place. Gender was 88 male, 3 female, 1 other. Almost 100 engaged responses is not bad, though sadly not very gender diverse. I unified different entries that obviously were meant to be the same book (for example: “Dungeon Master’s Guide 1st Edition” and “1e DMG”). Since the format was free-response, unsurprisingly the results were not heavily clustered. 51 of those 92 responses for first place best-written book were unique. The top ten most mentioned titles were, with counts:

7 ad1e dmgd 1e dmg
5 yoon-suin
5 red and pleasant land
5 d&d b/x moldvay
3 dungeon crawl classics
3 call of cthulhu
2 vornheim
2 torchbearer
2 nobilis
2 lamentations of the flame princess

Looking at mentions in all five places, the results move around, but remain largely consistent. Traveller, Deep Carbon Observatory, and Warhammer Fantasy Roleplay surface while Nobilis, Torchbearer, and Vornheim disappear.

19 d&d b/x moldvay
19 ad1e dmgd 1e dmg
15 red and pleasant land
12 lamentations of the flame princess
8 yoon-suin
7 traveller
7 dungeon crawl classics
7 deep carbon observatory
7 call of cthulhu
6 warhammer fantasy roleplay

The standout trends seem to be toward high-concept settings or adventures (A Red and Pleasant Land, Yoon-Suin), general but coherent rule sets (Moldvay B/X, DCC RPG, LotFP, Call of Cthulhu), and influential, nostalgic classics (the AD&D DMG, B/X, maybe Call of Cthulhu).

71 respondents left general summary comments explaining their reasoning. Everyone who left a general comment also listed at least one book (and most listed all five). Reading through them, I identified six broad categories of concern: usability, evocativeness, mechanics, coaching, personality, and focus. Usability includes both direct, functional prose and also organization. Utilitarian concerns, basically. Evocativeness is about the aesthetic value of the text and communication of setting. Mechanics prizes elegance, preciseness, or innovativeness in terms of the game procedures. Coaching encompasses pedagogy, explaining how a game is intended to work, and theoretical development such as discussion of game concepts. Personality covers a unique creator vision or strong authorial voice. Finally, focus is concern with and strength of theme, tone, or highly specific intended play experience. Some comments counted in multiple categories.

Category n Percentage (n / 71)
Usability 41 58%
Evocativeness 27 38%
Coaching 11 15%
Personality 9 13%
Focus 9 13%
Mechanics 5 7%

Usability and evocativeness are the clear, high priorities, but were not necessarily shared and could be conflicting (such as with dense or extensive flavor text).

Some example comments (all quoted, some partial):

  • Put words to play principles and behavior that I didn’t have words for before. Set tone or setting very well.
  • An abundance of technical information and solid technical writing that prioritises the clarity and accessibility of information over evocative but unplayable flourishes.
  • Ability to entertain while informing, conveying the game information in a genuine and sympathetic authorial voice.
  • Ease of read is not really a factor for me. When I pick up the book, I pick up a manual that needs to teach me how to play the game and those games listed earlier do just that. They are not easy or “good” reads, but they convey the rules in approachable easy to understand manner.
  • They’re all written with clear discussions about what themes the games are exploring and what the mechanics are trying to achieve. Not just, here are some mechs, now go play.
  • They are books vivid in a sense of their world; they are books I re-read for pleasure; they are books I have learned how to be a better writer from reading.
  • Simplicity, clarity, not-up-it’s-own-arse prose, not trying to hard to be different, full of idea springboards.
  • I don’t like many of the rule changes implemented in AD&D 2e, but I have to admit that the core rulebooks are very easy to read and understand, even enjoyable to read. I especially liked the ecologies from the Monstrous Manual.
  • Evocative, dense, treat the reader as an adult with his/her own ideas and thoughts. Reading them makes me want to run them, and makes me think about gaming.

Almost everyone started playing with some flavor of D&D. The top ten answers listed (which made up 71 of 91 responses to this question) were all D&D, the top five being Moldvay Basic, AD&D, Holmes Basic, Mentzer Basic, and D&D (version unspecified). Nobody started with Vampire or other White Wolf game, which is the other major system I might expect.

Hexagram reborn

Adapted from Wikipedia

Image adapted from Wikipedia

The working title for the dark fantasy rule set that I have been working on for a while was The Final Castle, after the tentpole dungeon of its default setting. However, for some time now I have been thinking that it would be better to give the base rules a different name and perhaps work on the setting and module part separately if for no other reason than to expedite finishing the rules (which are very close to being done).

I still like the name Hexagram (based on a previous, incomplete rules experiment). Parts of it influenced work on The Final Castle anyways. Also, as a potential base to build from, Hexagram has a more pleasing ring than The Final Castle.

So, The Final Castle is a setting/mega-module. Hexagram is a rule set built around the Hazard System and a flexible, classless character progression system. Hopefully the change in naming is not too confusing. I am not sure exactly what to do about the blog tags but whatever.