Wednesday, 20 May 2020

Miniature Diversions

The last few months have been pretty intense for RPG stuff. I wanted to give Electric Bastionland a lot of love to help with its birth into the physical world, so I've created:

Why am I listing out all these things? 

Is it to help alleviate my guilt for the distraction that's currently tugging at my brain?

Yes. One small downside of the otherwise fantastic experience of working full-time on RPG content is that I sometimes feel bad for thinking about things other than RPGs. It's like a weird reversal of every other career I've had. 

For the past few days I haven't been thinking much about running games, describing locations, or... I'm so distracted I can't even think of a third RPG-thing.

Well now I'm facing up to the diversion. I'm confessing, but I'm also not going to let myself suffer. This is me channelling that distraction into something useful. Maybe not useful, but I need to release the stream of consciousness. 

It all goes back to where I started in the hobby, and how it fits with the way my brain works. 

Almost exactly 25 years ago. I was 10 years old, and during a show-and-tell at school one of the boys in the year above had brought in a bunch of what looked like toy soldiers. One squad were desert-themed troopers with guns. Their enemies were weird reptilian-insect aliens. They were tiny, full of detail, and something about them was just innately compelling.

There were magazines too, showing more of these little models in increasingly complex dioramas. I could stare at these things for hours, imagining the situations, the characters, learning about the weird fantasy world. At the risk of stating the obvious, this was pre-internet. The closest thing I'd seen to this sort of thing before was literally toy knights and soldiers, but this was clearly different. The magazine even showed a bunch of scruffy-looking grown-ups playing the game! These weren't kids' toys. 

The next day I bought a copy of White Dwarf from the newsagent on my way home from school. I was in.

The game itself was almost secondary. I certainly don't think I would have given it a second look if the physical artifacts weren't so compelling. I needed to get some of these. But they aren't cheap. The decision of what to buy weighed heavy. 

I suspect my logic was that swords are cooler than guns, so I committed to fantasy. In hindsight I wish I'd gone for the much more interesting 40k.

But which army? When it comes to this sort of decision I'm usually a contrarian. I like to pick the underdog, the least popular option, something that will surprise people when I tell them.

So I picked Skaven. I knew about orcs and elves and dwarves but I'd never heard this word before. Weird little rat guys with some ninja elements, a weaponised hamster-wheel, and a giant rat demon that could lead them into battle. Sold!

At this point the idea of going to an actual Games Workshop might as well have been migrating to another country. Luckily, we'd visit my Grandma every Saturday and there was a shop nearby that sold model railway stuff, airfix models, so maybe they would have some.

Success. For the bargain price of £5 I was able to get ten plastic Skaven Clanrats. I also grabbed a starter paint set and was ready to go!

Those same plastic clanrats that I painted twenty-five years ago are now glued to my desk lamp after they were liberated from my parents' cellar. Their static poses and blotchy paintjob taunt me as I write this post.




I had fun painting them but was a little disheartened. This was more difficult than I expected. Now, 1990s Skaven Aficionados will notice that three of those miniatures are actually metal Stormvermin. Not just metal, but full-on lead! These were the spoils from my first pilgrimage to a genuine Games Workshop, about three months later. To the distant land of Dudley, West Midlands, to the incredibly exciting Merry Hill Shopping Centre. 

I've since revisited Merry Hill, and comparing it to my childhood experience was a stark experience in rose-lens-shattering.

But at the time the excitement was intense. I remember scouring my issues of White Dwarf in bed the night before, struggling to get to sleep. I'll admit I even remember having a stressful dream about getting to the Games Workshop and it being closed down.

My brain sometimes acts in ways I don't understand, and I still find it difficult to explain why I get excited about such trivial things. Other people seem much more focused on living in the moment, spreading their attention between hobbies, friends, and work commitments in an even way. Mine tends to latch onto something and gnaw away to the detriment of everything else. Even in my mid-thirties my mind seems to revert to this childhood anticipation when I'm looking forward to something, and emulate an adolescent sulk if those plans fall through or get changed. I still feel a sort of excited anxiety when I know I have something due to arrive in the post. Looking back at that childhood mind I wonder how many other people feel like on some level they've hardly changed at all.

We arrived at the shopping centre, which in my memory is colossal in scale, but the twist is that we weren't just there to go to Games Workshop. We were Christmas Shopping. I always enjoyed Christmas Shopping with my family. It was a day out, we got to look around big shops, and on at least one occasion we got to have KFC afterwards. However, this year I couldn't focus on the usual seasonal joys. I just wanted to get to the Games Workshop. I'm sure I was unbearable to my parents, hurrying them through each shop we visited, peering around each new corner of the shopping centre until we were there.

It lived up to my expectations. I hadn't realised there would be display cabinets filled with expertly painted and converted armies! I knew you could try out a demo game, and intended to, but today all the tables were pushed together into a giant battlefield. An eager red-shirt could see I was ripe for indoctrination and took me to the table, my dad shadowing me with infinite tolerance.

"We're doing one huge battle today, so you'll just have a small part of the army. When we get to your turn I'll tell you what you can do and you decide"

Great. I have some Dark Elves, the hot new army of the moment. I have somebody riding a Dragon and a unit of crossbowmen. The enemy are just a bunch of humans, we've got this. Aah! It's my turn!

"Okay so this guy is riding a Dragon, so he can probably fly far enough to reach most of these enemy regiments! Or if you want you can fly over and attack these cannons at the back of the army"

I'm ten years old. I'm a tactical genius. Of course I attack the weak, unprotected cannons.

"So you can either charge the crew and attack with your claws or land in front of them and breathe fire all over them"

Again. I'm ten years old. Of course I choose to breathe fire.

"Okay roll these dice, and these, now they roll. Okay, you burned two of the three crew to ashes!"

I'm great at this!

"Now its the Empire turn. The last crew member turns their Hellblaster Volleygun towards the dragon and fires all nine barrels! That's... fifty hits. The dragon is blown to pieces."

At least my demo game was short, so I got more time to look around the shop before my mum and sister returned. Armed with weeks of saved-up pocket money I got the Stormvermin pictured earlier, on the recommendation of the redshirt, and a copy of Warhammer Armies: Skaven, my bible for the next few months.

With the limited income I had, I couldn't dream of getting my hands on the Warhammer Fantasy Battles box until Christmas, but I bought every copy of White Dwarf, before then. I was never very good at reading novels, but I could re-read Battle Reports over and over. Once Christmas rolled around I had a giant box of plastic and rules, and happily spent Boxing Day snapping sprues and wedging goblins into bases with blu-tack.

Then to the game itself. I'd either play with my dad or my best friend. Goblins (with the few Skaven allies I had) vs High Elves (with some allied Dwarves that I'd gotten a small regiment pack of). It was fun, but it never quite lived up to the promises of White Dwarf battle reports. It didn't feel quite as alive.

My terrain was an old brown bedsheet thrown over some books to make hills. I had a few trees from an old model railway set and the essential toilet-roll-tower. Worse than that, my armies were a field of naked grey plastic. I worked away at painting them but I was slow, my attention would drift, and I never liked the results. I wanted to have painted models but I didn't want to paint 60 goblins and 40 elves.

But I almost forgot the Doomwheel! The weaponised hamster-wheel that drew me towards the Skaven in the first place. It was all lead, and I've always been clumsy with my hands, so putting it together was an ordeal. It would fall apart on the battlefield and I even had to resort to using putty to hold the rider in place. Later on I bought a Screaming Bell and I don't think I was ever able to get it to feel stable. Maybe we just had crap superglue in the house, but I was working with what we had.

The game itself was easy enough to learn, but it took a long time to play a battle. Maybe we were slow with checking rules, but it felt like we'd spend a lot of the game slogging over the battlefield, then have a grinding clash before one side fled the field. It was fun, but it wasn't generating war stories like I'd hoped.

This isn't a review of Warhammer Fantasy Battles 4th Edition. I'm sure it ran more smoothly for other people, but this whole post is about how miniature game have made me feel over the years, not so much the nitty-gritty of rules systems.

But forget painting, what about converting? That's where the really exciting stuff would come from. You'd see conversions in White Dwarf that looked unlike anything you could get off the shelf, and you could try whatever weird combination of miniature parts you wanted.

Rat-centaurs with skaven-bodies? Goblins with bat wings? I had lots of ideas, but soon those ideas hit a wall of lead. If I couldn't even assemble a miniature properly out of the box how was I going to create a conversion? The flimsy Stanley-knife pilfered from my dad's toolbox didn't stand a chance of chopping through thick lead. And where do people get the money to buy a whole regiment of models just to use their heads for some other unit? My plastic clanrats came in three pieces. Rat, shield, base. With so few spare-parts going spare my bits box was barren, so I soon gave up on the idea.

I carried on with the hobby but never felt like it ever lived up to my initial excitement. I stopped collecting around my mid-teens, but there were fond highlights before then:

  • Getting Warhammer Quest and playing day after day one summer holiday, using whatever miniatures we could find to represent the array of enemies you could encounter, and embracing the randomness of the between-dungeon event tables.
  • Playing Necromunda on the amazing 3D terrain that came in the starter box, including our attempt to recreate the Purge scenario from White Dwarf, where multiple gangs face off against a menagerie of underhive monstrosities. 
  • Finally getting to play Blood Bowl after only knowing it as an out-of-print game I'd see in old Citadel Catalogues. My Dark Elf team were the closest I've come to having a full painted squad of miniatures that I'm really proud of. 
Noticing the pattern there? 

I always felt like if you weren't playing full-scale battles you were somehow getting a lesser version of the Warhammer experience, but I had so much more fun with those "lesser" games. I could spend a little time painting a handful of miniatures to a decent standard and then I was halfway to a Necromunda Gang or Blood Bowl team. Terrain was often included in the game, like the fantastic tiles and doorways of Warhammer Quest, the pitch and dugouts of Blood Bowl, and the aforementioned towering Necromunda cityscape. My lack of craft capability wasn't holding me back here. My tabletop didn't look like the pages of White Dwarf, but it wasn't bedsheets and bog-roll either. 

This drift away from huge craft projects and long games towards tighter, more personal experiences is probably the seed of what led me to RPGs.  

Twenty years later. I've just turned 35 and I'm facing the next few months mostly confined to my house.

I've occasionally looked at what's happening in the miniature gaming scene, stared in awe at a particularly beautiful diorama, and lamented how bittersweet my experience with the hobby had been. But now we've all got extra time for indoor activities. I've got a birthday amazon voucher burning a hole in my pocket. Maybe I'll buy a squad of minis and some paints and relive my youth.

I go down the online rabbit hole. INQ 28. Narrative wargaming. New Necromunda. Kitbashing. Blanchitsu.

Everything is plastic now, and I have a proper craft knife.

My box of ten Clanrats had 30 pieces including the bases, but these new squads have over 100 pieces. There's no shortage of spare-parts.

Some of the factions that were previously just weird bits of lore now have full ranges of minis.

There are places you can just order individual components for your conversions? I can just buy a Plaguebearer head or a set of wings or a pick-and-mix of weapons?

You can get entire boxes of Necromunda-style modular cardboard terrain?

People are giving away stripped-down one-page versions of all the GW games?

YouTube and Twitch are full of painting tutorials and modelling guides.

All the people I like on Twitter and Discord are sharing their projects and supporting each other.

Okay, I'll get two squads and kitbash them together.

And some paints obviously.

And maybe some spare bits for a few weird conversions.

I don't really need that cardboard terrain. I do like it though. Oops, I bought it.

This all arrived last week, and since then I've been tinkering with an ultra-lite warband-level ruleset, because of course I'm writing my own, and creating an increasingly heretical band of misfit miniatures.


Tech-Apostate Argastes, his Cyber-Familiar, and the rest of the Rusted Order

Rat-headed Maniacs. 

Unnamed Augmented Gladiator and Hanz Skorpion


Flavia Helstrom, Bounty Hunter

This week I'm priming them, hopefully painting at the weekend. I've told myself I won't playtest my ruleset (codename GRIMLITE) until I've got them painted.

Expect normal RPG service to continue, but I wanted to be open about this diversion. Like I've previously stated, my mind sometimes struggles to let things go. During the writing of this post I snuck downstairs to stick a few extra bits to one of my minis. I have twenty (mostly) unique little guys to clash on my cardboard shanty town, and I feel like I did when I was ten years old looking through White Dwarf issue 187. This blog was born out of my passion for games, and it's something I'm often not very good at putting into words. This resurgence of an old passion inside me felt like something I should share.

Next time, what exactly do I want out of a miniatures game, and can GRIMLITE do that?

Tuesday, 19 May 2020

Intergalactic Bastionland - The Living Stars

In Electric Bastionland the Living Stars serve as a relatively blank slate. A source for weird alien stuff to drop into Bastionland and a canvas for locations that don't fit anywhere else.

It wasn't always going to be that way.

Originally I was going to give them an eight-page section just like Bastion, Deep Country, and the Underground. Principles, Spark Tables, Touchstones, and procedures for mapping and conducting there. I had that section partly written when I realised there was just too much redundancy there. If you had an idea for a weird city, that could go in Bastion or one of the Failed Cities. If you wanted a weird wilderness then Deep Country has more than enough room for it. If you want weird space-time-bending locations then the Underground is already built for that.

I wanted Bastionland to a place where you could find a home for any of your ideas, and having the Living Stars as a quarter of that setting felt like it was muddying the waters too much, so I decided they would be more useful as an open canvas.

But I knew I'd come back to them.

Just like the other parts of Bastionland the Living Stars can be seen as a sort of mirror to Bastion itself. While Bastion is chaos under a veil of order, the Stars are a rigid skeleton of order fleshed in chaos. However, the more I think about this part of the setting, the more I think they could be seen as mirror to the whole of Bastionland instead.


The general concept for the Living Stars is:

  • It’s not like real space.
  • Everything is changing and moving.
  • Each star represents something, has an agenda, and the means to act on it.

But just like Electric Bastionland, it's going to be broken down into three separate areas with their own part in the whole. At the moment they have loose placeholder names.

The Sprawl
The space between Stars is anything but empty. A web of paths between Stars, dotted with stopping-points, wandering planets, cosmic debris, and fellow travellers. Some of them might be useful, some want to make your journey more difficult, but they all want something.
  • Things are strangely familiar.
  • Everybody is on a Journey.
  • Everybody needs something.







The Light
The places that exist in the full light of a Star. Worlds, structures, things that don't quite fit in either. They're all connected to their Star, maybe even born out of it. Whatever the Star represents is reflected in these places. The rules are clear, though born out of an alien logic. You're fine here as long as you follow them. Those that find the right Star claim to have found a sort of heaven
  • Everything is alive.
  • It welcomes travellers that follow the rules.
  • Those that serve the Star have variable interpretations of the rules.







The Dark
Out of the Light, off the beaten-path of the Between, it's all bad. There's no sugarcoating this. No silver-lining. If Bastionland has a Hell, this is pretty close. You'd better have a good reason for being here and a solid plan for getting out.
  • Everything is terrifying.
  • Anything living here was banished here.
  • Nothing wants to be here.





The Rest of Bastionland
The Living Stars exist above Bastionland, but it's isn't quite that simple. Remember that the Living Stars don't behave entirely like our own version of space. It's a three-dimensional space, but it's not always clear which way is down as in "back down to Bastionland".

  • Bastion's position beneath the Stars isn’t quite clear.
  • The Underground connects Bastionland to the Stars, but not the Stars to each other.
  • Wondering if this person is from Bastion? Don't worry, they'll tell you. 

Friday, 15 May 2020

Intergalactic Bastionland - The Spark of an Idea

I've probably talked about this too often for it to be a secret anymore.

The project currently sat on one of my front-burners is...



Currently in the form of a very messy draft document.

So what's the general idea?


GIANT DISCLAIMER: This is the initial spark of a game. Just as Electric Bastionland grew and evolved out of what was originally a number of "Odd World Supplements", I expect this idea to shift and mutate as I work on it. If this is something I take to completion I think we're talking 2021 earliest.


Elevator Pitch

If Electric Bastionland draws from Warhammer Fantasy Roleplay, Intergalactic Bastionland draws from Rogue Trader. Again, this isn't about drawing on the specifics, just as Electric Bastionland's specifics have little in common with WHFRP, this isn't some clunky grimdark wargame/rpg hybrid, but draws on some of the ways that reading over the original Rogue Trader makes me feel. It was a space setting with a lot of bonkers imagination and felt open to narrative creativity.

It's Space, but built for a game rather than for realism.

There's big-scale cosmic stuff, but the game still focuses on people fixing problems with talking or weird schemes.

This isn't my "Electric Bastionland in Space". Playing this should be a distinct experience to playing EB.

Do for helmets what EB did for hats.

You definitely don't start with a ship.

Sources: Planescape, Guardians of the Galaxy, Outer Wilds, Red Dwarf, Star Control 2, Cosmic Encounter.


Expandalone
  • It would work on its own if you’ve never touched EB.
  • It would work as a supplement if you’re already playing EB.
  • You can take your EB characters into the Living Stars or generate new Intergalactic characters and drop them into Bastion.

So What's Different to EB?
  • Core Rules: Nothing. The EB system is solid and I want to keep things directly transferable.
  • Structure: EB is about trying to pay off a huge debt with the crap you got from your Failed Career. IB shifts the focus to one or more Journeys. Less scrabbling around in the dirt, more hitch-hiking your way from one weird alien environment to the next. With alien settings I feel like you need a grounded element, so at the moment I'm doing that by tapping into those feelings of travel, journeys, and the places between destinations.
  • Characters: I'm experimenting with leaning hard into Pre-Gens. This is contentious but I've seen it done well in games like Silent Titans and Lady Blackbird and it lets you go a bit more crazy with the characters. Imagine if each Failed Career was a totally unique character that could break the rules in more interesting ways.
  • Setting: EB was all about teaching the Conductor how to sit down and create their own Bastionland. IB won't have a canon, but it will be focused more on library content. Ready to go one-page locations and NPCs. Lots of them.


The Big Questions
  • If this game is more based on ready-to-go library content than Conductor prep procedures, could it explore the Collaborative Play ideas I've been messing with?
  • Would Collaborative Play this be the primary mode of play or a secondary an option?

And finally, have a sneak preview of a couple of very early ideas for... stuff. No further context provided.










Tuesday, 12 May 2020

Collaborative Appeal and Challenge

So if you have Electric Bastionland, this post and maybe this one then you have everything you need to start running a game with two players and no conductor. It's a bit like cramming two people onto the driver's seat of a car and having them share the wheel and pedals while taking turns on the gear stick.

It might not be entirely smooth, it might not become the new standard method for driving, but with the right person it will be memorable.

Still, I came out of those posts wanting to explore the idea a bit further.

My Other Collaborative Games

Way back before I started designing Into the Odd, I'd mess around with collaborative games I could play on forums or IRC channels. There were three similar games:

Teen Island: Lord of the Flies meets Breakfast Club as twelve highschoolers are stranded on a desert island. Coordinate them to stay alive and eventually take a raft home.

Booty for Booty: Lead a pirate crew to on the high seas until you get enough Booty for your captain to retire.

Space Team: Go out on a mission in deep space and return with as many surviving crew as possible.

I don't want to share these right now, as I'd like to go through and tidy them up to make them more fit for consumption. Stay tuned.

Now these really weren't RPGs. They were much closer to a solo or cooperative boardgame, but at this time I didn't even realise that sort of game existed. When I played it with a group we'd just take turns in the driver seat or talk through the decisions together and laugh at the results.

The four pillars that all three games had in common were:

  • Tense resource management with harsh consequences for running out of food/fuel/grog.
  • Random starting points. You'd roll up a random crew/group just like an OSR character. You get a bad group? Deal with it. 
  • Lots of random events, usually as d66 tables. Teen Island and Booty for Booty each had three of these, Space Team had a huge mess of nested d6 tables that was actually pretty clunky.
  • A clear victory/failure point. You could have your whole team die, or you did whatever the main objective was (escape the island, retire as a rich pirate king, complete your space mission). 
These games were messy, clumsy, not especially elegant, but they captured something I want to tap into for my collaborative RPG ideas. 



Me and You Against the World


In Teen Island when your Gluttonous islander sneaks out in the night and eats your entire food stash, then the next day a storm hits and tears your camp to pieces, it's funny. Maybe I'm a masochist, but then it's even funnier when you have somebody to share it with.

Likewise, when you finally make it off the island against all odds it felt great. You beat the harsh, uncaring wilderness with a team of useless adolescents now honed into a survival force.





It all comes back to making sure the element of Challenge is there.

I touched on this last time, but to summarise:
Obstacles are supported by Integrity. If all signs point to this place being guarded by well-equipped elites then give them the appropriate mechanical backing. 

This is a fine starting point, but Obstacles and Challenge aren't quite the same thing. Obstacles are usually small-scale, short-term, but a sense of challenge spans across the entire game.

A method I'm messing with to get a real sense of challenge is a shifting of focus. In Electric Bastionland your challenge is "can you make enough money to pay off your debt without dying?". That's designed around going into a location designed by a Conductor and overcoming a series of obstacles, but it doesn't work as well when you don't have a Conductor to place an appropriate amount of obstacles in front of your reward. It's not always that linear, but the Conductor does a lot to give the game a sense of pace and progression that can feel missing in a more collaborative experience.

To consider a new focus I want to identify some of the pitfalls I can see looming.

Pitfalls
  • One player slips into being the GM and managing the pacing all by themselves.
  • The players keep their characters' lives too easy and things get boring.
  • Things go too far into resource management and you're playing that game rather than thinking about the situation your characters are in.



So I'm going to try out a new focus, the Journey. It's an Oregon Trail classic for a reason. 

Add the below to your mess of collaborative play rules that I've been putting out, or wait until I eventually turn this into one document, which might be sooner than you think.

The Journey

The group share a single Journey, choosing one from the list below or creating their own. It could be reaching a physical location, or be more abstract in nature. 
  1. Find a truly safe place.
  2. Preemptively destroy an invading force.
  3. Confront the place in your nightmares.
  4. Find the ultimate weapon.
  5. Destroy your evil clone(s).
  6. Discover the lost shrine to peace.
Throughout play you can flesh out the details, such as the nature of your evil clone(s) or why you seek a shrine to peace. 

In addition, each player has their Private Journey, which is kept secret. This is left blank to begin with but should be noted down at some point within the first hour of play. 


Progress
  • You track your Progress against each Journey. 
  • Each Journey begins with 0 Progress.
  • Gain d6 Progress when you reach a Milestone and discover where you must go next.
  • Lose 1 Progress when you rest, delay, or otherwise stray from your Journey.
  • No Milestone is straightforward. They can be physical locations or more abstract achievements.

Arrival

When it feels appropriate, you can move from gaining Progress to Arrival at your Journey’s destination. This the final push, make-or-break. 

When you Arrive, roll d20:
  • If you roll equal or lower to your Progress, then success is in sight. Just one last Milestone to reach.
  • If you roll higher than your Progress, then your Journey ends in failure. There’s no going back. You should consider a new direction for your life. 


Wednesday, 6 May 2020

Now Taking Print Orders

If you missed out on ordering your print copy of Electric Bastionland the webstore is now open for new orders!

Audiovisual Bastionland

The Audio Commentaries that were part of the Kickstarter stretch goals are now complete! There are six episodes you can listen to over on the Bastionland Podcast.

Episode One welcomes the Rowan Rook & Decard team to give an overview of  what exactly Electric Bastionland is trying to be.

Episode Two features the real talent of the project, as Alec Sorensen joins me to discuss the artwork.

Episode Three welcomes Arnold Kemp from Goblinpunch to discuss the Failed Careers and how to give players compelling characters at creation.

Episode Four is all about rules, so John Harper joins me to discuss how Electric Bastionland compares to some of his games and the impact of its sparse rules.

Episode Five focuses on Running the Game, where Ben Milton joins me to discuss what makes for good GM advice.

Episode Six finally gets to the world of Bastionland, with Sean McCoy discusses the different ways a game can present its setting.

I want to make these podcasts in seasons, rather than an eternal weekly release, so expect some information on my plans for Season 2 soon.

And if that's not enough detail for you, I'm working my way through the entire book one spread at a time over on the Bastionland Broadcasts Twitch Channel, every Tuesday at 9pm BST. I put the streams up onto YouTube a few days after broadcast, and you can catch up on the first right below.


Monday, 4 May 2020

Collaborative Exploration - Asking the Stars

Beyond messing around with this and doing a whole lot of reading I've not delved too far into collaborative RPGs, but so far the two biggest elements I enjoy that feel under-supported are Exploration and Challenge.

It's tough, because I've spent so long trying to work out how best to support those elements in a traditional one-GM many-players structure, so I've always felt they were innately tied together.

Maybe they don't have to be. With things like Ironsworn I'm certainly seeing a growth of support for these two areas.

So how would I encourage a feeling of exploration in a collaborative game?

The games where I've felt a real sense of exploration have had a few things in common:

  1. Mystery: What's around that corner? Can I get into that tower on the horizon? Why is this town abandoned?
  2. Obstacles: You can't just decide you want to go into a dungeon and hit a button. Maybe you have to ask around, maybe they're all hidden, maybe they only open at certain times of day.
  3. Spectacle: Seeing things that you couldn't have imagined yourself. 

See, when you have a dedicated GM it's easy, right? For Mystery they have the answers all hidden away, for Obstacles their entire job is to challenge you just enough, and for Spectacle they spent all week prepping this awesome place for you to explore or bought a pre-made adventure with amazing artwork.

But I think we can get a taste of that if we throw ourselves fully into the ideas of Fate,  Integrity, and Co-Deduction.

Let's revisit those three ingredients that support Exploration.

  1. Mystery is supported by Fate. We're going to rely on random chance to at least give us the spark of ideas or answer key questions. Playing with minimal rolling is great, but use the dice rolls at your disposal to let things go in unexpected directions. 
  2. Obstacles are supported by Integrity. If all signs point to this place being guarded by well-equipped elites then give them the appropriate mechanical backing. Deep down, do you think the diplomat will fall for your ruse? Sure, you can roll, but maybe it's just a bad idea and you need to think of something smarter.
  3. Spectacle is supported by Co-Deduction. If you bounce an idea back and forth enough times you'll come up with something that neither of you would have created alone. 


A key thing to remember is that this isn't about simulating what it's like to play with a GM. It's a different type of play that maintains some of the same feeling.

So if you're playing a collaborative game with two players, see if this is useful.

The Watcher (secrets/truth)


The Unknown

When you enter an unknown situation, you will co-create new truths using one or two methods, or a combination of both.


Pursue the Truth
  • Ask the other player a Deductive Question about the current situation. See below for what makes a Deductive Question.
  • Instead of answering yourself you can roll a single d20 and Ask the Stars for an answer.
  • Continue back and forth until the truth begins to take form. The players use these truths to explain the situation.

Deductive Questions
  • Closed: with “yes or no” answers.
  • Exploratory: not trying to reach an immediate conclusion.
  • Interesting: Both yes and no lead to interesting places.

Ask the Stars
  • Each player rolls a d20, the brighter die for the Symbol and the darker die for its Position. 
  • A die may also be rolled for a more straightforward yes/no answer.
  • This may create more questions than answers, so players can choose to Pursue the Truth to hone down the results.

Recording Truths
  • When a truth is agreed on it should be recorded. This may be on a character sheet, map, or general notes.
  • Some truths are recorded as seeds before they fully develop when the time is right.
  • Truths are not permanent and can be rewritten as they change.

Symbols and Positions
  • Symbols and Positions are used by the stars to communicate truths.
  • Their meanings depend entirely on the context and no interpretation is incorrect if it feels right.
  • Literal interpretations are just as valid as symbolic, so a blade can represent division, but also “just a blade"


ASK THE STARS
d20
Answer
Symbol
Position
1






NO



The Reptile
(instinct/fear)
Distant
(future/distance)
2
The Hawk
(knowledge/elitism)
Entombed
(the past/patience)
3
The Lost
(chance/travel)
Shadowed
(intimacy/dependency)
4
The Painter
(creation/illusion)
Seated
(the present/calm)
5
The Statue
(stillness/preservation)
Shielded
(strength/burden)
6
The Glutton
(pleasure/excess)
Bowed
(charity/mercy)
7
The Enemy
(opposition/argument)
Aflame
(change/violence)
8

The Mask
(beauty/shame)
Bright
(honesty/pride)
9
MOSTLY
NOT
The Flock
(freedom/nature)
Open
(faith/trust)
10

The Blade
(separation/capture)
Veiled
(ignorance/acceptance)
11

The Voyager
(hardship/struggle)
Nested
(home/hunger)
12

MOSTLY
The Watcher
(secrets/truth)
Alone
(isolation/autonomy)
13

The Elder
(wisdom/manipulation)
Drifting
(ease/submission)
14






YES
The Child
(innocence/learning)
Crowned
(ambition/ruin)
15
The Spear
(direction/desire)
Reflected
(introspection/vanity)
16
The Council
(tradition/cycles)
Feasting
(plenty/decay)
17
The Speaker
(authority/law)
Caged
(promises/safety)
18
The Legion
(purpose/unity)
Afloat
(resting/uncontrolled)
19
The Hand
(agency/action)
Upright
(prestige/sanctity)
20
The Mind
(thought/inaction)
Rooted
(resilience/growth)



The Elder (wisdom/manipulation)

Sample Readings


Reading a Character
  • The Lost (chance/travel), Veiled (ignorance/acceptance)
  • We lean into the combination of chance and acceptance, somebody who completely submits to the whims of fate.
  • A wanderer without a ship, hitch-hiking their way at the whims of strangers.

Reading a Location
  • The Glutton (pleasure/excess), Bright (honesty/pride).
  • Excess and pride suggest a flaunting of wealth. A glutton with no shame.
  • Maybe a grand mansion-style orbital station where visitors are welcome to bask, but not indulge.

Reading an Attack
  • The Reptile (instinct/fear), Open (faith/trust)
  • Let’s take these images very literally, an open set of crocodile-like jaws. 
  • The attacker lunges and grabs you, dragging you down into the mud below. They pull a blade and try to press it against your throat, their weight pressing the air from your lungs. 
  • You can stray from the standard type of reading as you grow more confident.

Chaining Details
  • Here we’ll use the Answer and Position columns to ask, “Is this Outpost abandoned?” 
  • We get Yes, Feasting (plenty/decay)
  • It’s abandoned, and both sides of Feasting fit well. Let’s repeat with the question “Has it been abandoned for long?” this time with a Symbol to help. 
  • We get No, The Spear (direction/desire)
  • The outpost was abandoned suddenly and urgently, taking only the bare minimum with them. There are plentiful supplies, but why were they in such a hurry? Let’s roll one more Symbol/Position combination for a clue. 
  • We get The Flock (freedom/nature), Shadowed (intimacy/dependency).
  • Checking through the ship’s logs, some sort of parasite was spreading through the population, and leaving was the only option.

The Child (innocence/learning)
Notes

Obviously there's a long history of RPGs using Tarot cards as an oracle for generating ideas, but here the use of a table to generate combinations is deliberate. You certainly use two decks of cards for this, but I still feel like the act of throwing the bones feels more appropriate here. 

You could straight-up replace the symbols and positions with tarot cards if that's your thing, but I found some of them too focused, some of them too vague. A lot of their meanings are centred around seeking advice, and felt like it was worth creating a distinct set of sparks for the specific purpose of generating game content.