Monthly Archives: June 2021

Kickoff Setups for ttRPG Campaigns, Pt. 4

Fourth part of a series on setups to kickoff ttRPG campaigns.

You can find Part One here.

You can find Part Two here.

You can find Part Three here.

Event

An Event kickoff begins with some big happening that has long-lasting consequences, and that the PCs are intentionally part of one way or another. If the PCs are all contestants in a bloodsport that determines the fate of the world (or just has prize money they all want), that’s an event set-up. If they are all arriving in the Big City for the World’s Fair, Queen’s Birthday, Anniversary of the End of the Z-Wars, Inauguration of the Jack of Graves, or Battle of the Planar Rock bands, and plan to partake of those happenings, that’s an Event setup.

An Event can often be tied to other setups, as a lead-in to a longer-lasting framework for the campaign. If the annual Demigod Trial Festival is a continent-wide celebration the PCs are all attending, with various chances to get up to mischief, and at the end of the first adventure the PCs are all going to be accepted in the Demigod Academy, then it’s an Event leading into an Organization.

An Event can be particularly useful for new players if you can have their participation in the events help showcase individual elements of the rules. If the PCs are all young adventurer-hopefuls attending the Adventure Academy Admittance Trials, those trials can highlight the game’s various systems (a mock combat, a lockpicking speed trial, tightrope walk, insult-duels, riddle contests, and so on) allowing the players to see how their PCs do in those situations and how the rules world while the stakes are fairly low.

Wrong Place/Wrong Time

The difference between an Event and Wrong Place/Wrong Time is largely intentionality of both attendance and what spawns the adventure. It can be on a large or small scale. If a dragon (or kaiju, alien starship, floating castle, demigod, zombie hordes, tank battalion–whatever is genre appropriate) attacks a city that is home to all the PCs, or is hosting a major festival the PCs are all attending, turning it into a ruin from which they must escape, that’s a Wrong Place/Wrong Time setup. If the PCs are on a train headed west when it’s hijacked by teleporting snakemen, that’s also a Wrong Place/Wrong Time setup.

Wrong Place/Wrong Time is a great way to get quickly and directly into some action. All you need is to have all the PCs in one place, and then the adventure can come to them. This works best if the action that occurs naturally leads to more adventure, so the PCs don’t just go their separate ways when the first adventure ends. For example, if the PCs are all on a fantasy-themed roller coaster, and it warps them to an actual fantasy realm, not only do they have to deal with whatever is waiting for them when they arrive, they now have to figure out how to survive in this new realm, and make a living, or make it home.

Wrong Place/Wrong Time can be a good addition to a longer campaign setup. Even if you are doing Family, Organization, Patron, or Tavern as on ongoing setup, you can start with a Wrong Place/Wrong Time to get the PCs into the action, together, quickly.

Right Place/Right Time

The difference between Wrong Place/Wrong Time and Right Place/Right Time is that while the former is about misfortune arriving wherever the PCs are, the latter is about something good (in the broad scheme of things) occurring and leading to adventure. If the PCs are all hanging out at the Taco King parking lot when a Dark matter meteorite bathes them in cosmic radiation turning them into superheroes, they have been thrust into a world of adventure by being in the Right Place/Right Time.

Right Place/Right Time can later be revealed to be Destiny, if you want. While it may seem the servants of Sir Gerginald got lucky by being present when he was slain by a dragon, bathing them all in martyr’s blood and anointing them with eldritch magics, that may in fact have been the fulfillment of the Blood Guild Prophecy. Or perhaps Mr. Cellophane has been injecting hospital patients with experimental super-serum, and the PCs as survivors of a train wreck were just the first recipients to survive his efforts (which, obviously, they find out when they see right through him).

Right Place/Right Time doesn’t automatically assume the PCs are going to agree to participate in the adventure those events open up for them, so it may be useful to combine it with anther setup. It’s easy to have Right Place/Wrong Time blends by having the triggering event be random and a mixed blessing. Perhaps the PCs were in the same hospital as the Ghoul Outbreak, forcing them to fight for their lives against bloodthirsty undead, but as a result they also have immunity to the ghoul virus, and develop various necromantic powers. The outbreak forces them to deal with the Wrong Place/Wrong Time survival threat, getting the campaign started, but it also gives them powers which are going to make survivors in the ensuing Ghoul Apocalypse turn to them for help and leadership.

Obviously there are LOTS more kickoff setups you can use, but hopefully this short list will give you some options and help get you creative juices flowing.

Game On!

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Kickoff Setups for ttRPG Campaigns, Pt. 3

Third part of a series on setups to kickoff ttRPG campaigns.

You can find Part One here.

You can find Part Two here.

Organization

Using an Organization for the setup of your campaign kickoff can make things extremely easy at first, but may come with hidden work for you later-on. The simplest form of Organization setup is that the PCs are all members of the same Organization, and it sends them on missions that create adventures. This can be a military organization, a knighthood, an NGO, Star Fleet, a mercenary company, adventuring guild, thieves guild, wizards guild, the Honorable and Holy Order of Sewer Guardians, SpecterBusters, a newspaper, the FBI, a Lady’s Sewing Circle, insurance claim investigators, doctors without dimensional barriers, CDC field team, the Imperial Diplomatic Corps, starship crew, space trucker union, Lamplighter’s Guild, Library Overdue Asset Network and Interdiction Team (LOAN IT)– whatever fits the genre and tone of the campaign, and that the players are all willing to be members of.

Of course just because you start a game with players as part of an Organization (or even just trying to get in — a first session that is the Admission trials of the troubleshooter’s Union could be a lot of fun) doesn’t mean they have to stay in it. Here in my experience the two most important issues are player expectation and current player satisfaction. If you have proposed that a game is the adventures of the Stellar Alliance Battlecarrier Valorous, and you plan to have the characters all cashiered out over something that isn’t there fault by session 3, you may have a lot of unhappy players who were excited to be part of a big starship crew. OTOH, if the players end up hating how Stellar Alliance regulations hamper their desire to help non-member citizens and want to go it on their own, forcing them to stick with the organization they dislike can also be a big problem.

One good way to subvert expectations in an Organizations campaign is to have sub-organizations, perhaps secret ones, that the players can find out about and choose to join (or not). If the Lamplighter’s Guild has a secret “Bump in the Night” department that handles horrific things their lights sometimes illuminate (an awesome idea I am stealing here from my friend Carl), the players can work with that group, or look to join them, or even work against them if they think the Bit-N are actually traitorous vampire spawn.

Patron

The idea of a Patron setup is that the PCs are working for, or at least aided by, a powerful Patron who can direct them to adventures, and help them gain access to resources and/or people when it might otherwise be beyond the PCs’ reach. A Patron setup can be a nice mid-point between Organization and Wanted Posters — the PCs need not be as wantonly mercenary as an entirely Wanted Post campaign might suggest, nor as beholden to a set of rules as is common in an organization-style campaign.

A Patron might be just a wealthy or well-connected individual, but there can be other interesting options to. A Patron could be someone unable to operate in society easily on their own — a sentient magic item, or a strong AI, or a member of a marginalized group the culture won’t take serious or treat with respect. Or they could have legal or societal limitations based on standing and position — Commissioner Gauthier can’t be seen operating outside the law, but instead makes a deal with a group of vigilantes that as long as they play by his much looser rules, he’ll feed them intel and not pursue them himself.

One common trope is for a Patron to actual be evil, and planning to betray the PCs, and/or destroy them. While this is pretty well expected in some genres (noir detective stories especially, and things inspired by those tropes), I am personally not a fan of that “twist” unless it’s actually a stated part of the game’s assumptions. I find it much more interesting to do things like have the Patron trust the PCs more and more, in time setting them up to be independent or even take over the patrons wealth and power, because betrayal is no fun in real life, and when it comes in my entertainment, I like it to not be a huge surprise or have a big impact. YMMV.

Mysterious Patron

The big difference between a Patron and a Mysterious Patron is that there’s some big element of the Mysterious patron the PCs aren’t aware of. Perhaps they only communicate through a speaker in an office, send coded messages through the bottlecaps of daily milk deliveries, or meet the PCs in the back of an abandoned opera house while wearing a all-concealing cloak that suggests they have a massive hump… or maybe wings and horns. In my experience it’s much harder to get players to trust a Mysterious patron (which can be fun), and they almost always want to Solve the Mystery, which means only use this setup of dealing with those issues seems likely to be fun for you and your players.

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Kickoff Setups for ttRPG Campaigns, Pt. 2

Part two of the series on setups to kickoff ttRPG campaigns.

Family Ties

This setup is a lot like the Organization, but you may not have any choice about being part of it. The campaign is driven by PCs’ ties to a family, which they may all be members of, or may have some different connection to (such as all working for the same noble clan, or all having been infected as hosts to related strains of the same sentient fungus). At their simplest Family Ties can drive forward a campaign through familial connections, ranging from helping out other family members to working to expand and protect all family holdings.

Family ties can be little more than an excuse to be in the Wrong Place/Wrong Time, such as if the reading of a family scion’s will brings all the characters together into a haunted house (or onto a secret seabase, into an exclusive club, at the lost keep, in the big boardroom, or around the meadhall fire, depending on genre). They can also come with duties that are hard to refuse (such as being the nobles who oversee a territory, or being the only bloodline that can activate the planetary defense grid… or the bloodstone altar, or whatever). Family ties can also come with enemies who don’t care if the PCs want to be involved in family business or not, from demons sworn to end all descendants of a great champion (or great champions sworn to end all descendants of a given demon), to rivals for a familial claim to a throne–whether the PCs have any interest in claiming it, or not.

One great way to subvert this is to make it family of choice, rather than blood or marriage. In a session 0, players can all be asked to create one NPC that is close friend and beloved companion to them all, even if the PCs do not themselves know each other (or do, but don’t like each other much). This gives players power to help define their driving force, and no player will be a bit surprised if that group-generated NPC is kidnapped, or needs help dealing with blackmail from the wererat mafia.

Wanted Posters

At their simplest Wanted Posters are literal posters offering a reward for some deed to be accomplished, from bringing in known criminals to coming along on time travel expeditions. Players can all be told they are answering the same Wanted Poster, or get caught up on some NPC’s attempt to make good on on. The format can vary as needed, from the town crier to personals columns in newspapers, late-night public access shows, spraypainted messages on underpasses, online forums and electronic bulletin-boards, or Dark Curve InfoSphere Sites.

Many fantasy and scifi settings have formalized versions of Wanted Posters, and assume a self-employed persona can make a living answering one call after another. There may be a big Notice Board just outside the city’s biggest auction house where offers of rewards for quests are posted, or a Bounty Hunter’s Guild that passes out tracking fobs for specific freelance reacquisition jobs. If there are enough such tasks, an Organization may evolve to bond and insure the best adventurers to answer such offers, but it’s perfectly possible for individual middlemen, fixers, and “Agent Johansson” underworld figures to connect employers and for-pay-troubleshooters on an ad-hoc, if frequent basis.

The less common way to use Wanted Posters to drive a plot is for the faces of the PCs to appear on them, turning the mercenary community against the characters. This can be a subplot at any time, but if the PCs are all selected by some nefarious force to be blamed for a crime, it can kickoff a campaign to have the unknowning character all wonder into the new town on the same day, and discover they have a collective price on their heads, even though they’ve never met. This can become a variant of Wrong Place/Wrong Time.

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Kickoff Setups for ttRPG Campaigns, Pt. 1

Kicking-off a ttRPG campaign can be tough. You need a setup that gets all the player characters in the same place, working toward the same goal, and in most cases you want that setup to both not take a lot of time to explain, and have long-term impacts on the ongoing campaign so what time you take explaining the setup remains useful as the campaign moves along. Setup is connected to, but separate from, the plot, theme, and tone of a campaign. Some setups remain the backbone of the campaign for its duration, while others are mere starting points that are discarded once the PCs are comfortable working together and have their teeth in the meat of the game’s adventures.

Basically, anytime you think “That’d be a cool way to start a campaign!,” you’re considering a campaign setup.

Over the course of this week, we’re going to look at some common (and less-common) kickoff setups, including Tavern, School, Family Ties, Wanted Posters, Organization, Patron, Mysterious Patron, Event, Wrong Place/Wrong Time, Right Place/Right Time, and maybe a couple more.

The Tavern

It’s a well-known trope, and overused, but that doesn’t mean there’s no utility to it. The idea is that there’s a gathering place where you can go to get into an adventure. It may be the home of your Patron, a favored hangout of members of your Organization or the School, or the place where Wanted Posters get put up.

I actually think the most interesting idea for the Tavern as a campaign kickoff is to look at Lloyd’s Coffee House, which lead to the creation of Lloyd’s of London. What began as an effort to have reliable news for maritime patrons turned into a global insurance market. It’s not hard to see how a popular tavern (or meadhall, cafe, diner, or intergalactic truck stop, depending on genre) near areas that need adventurers might work to have news of potential adventures and people hiring same.

You can subvert this setup in a few ways. One is to lean hard on the Lloyd’s example, and have “taverns” have simply evolved over decades from primarily places to get drink and lodgings to primarily places to do adventuring-related business (or maybe the evolution of function means those places aren’t called taverns anymore, but Hire Houses or some other term you introduce to the campaign). Another is to make a tavern itself the primary site for early adventures–perhaps a famous and massive tavern was abandoned after some horrific tragedy, and now new owners need the stables cleared of dire rate, the stockroom cleaned of psychic fungus, and the zombies in the basement dealt with.

The School

Whether it’s Backrazor’s School of Berserking and Skulldudgery, the Starknight Academy, Eerie Indiana’s Stranger High School, or Miskatonic University, the idea behind the School setup is that all the PCs are students of the school, and that is what’s going to get them into the adventure.

If the school is training people to BE adventurers, or something similar (military academy, space knight squire class, witches and wizards community college, whatever), it’s easy to see how both minor adventures may be part of the standard class and exam methodology and lead to bigger adventures. For schools with less esoteric curriculum, adventure may come in the form of a locational threat (your school just happens to be at the center of the zombie apocalypse, or the hellmouth, or where the aliens land, or where the Queen of Love and Thorns sets up her fallback command post), or the secret headquarters of an Organization, or again as the home of a Patron.

School can also be easily blended with other setups. If the PCs are all AbHumans with superpowers, learning how to control those abilities at the Kenson Academy while participating as members of the Young Crystal Knights hero team, the academy is obviously also part of an Organization, and may even have a Patron in the form of Professor Kenson. If the school is ground zero for the Dragon Invasion, then being there put the PCs in the Wrong Place, Wrong Time.

One way to subvert this setup is to make the “school” something very different from a big building on a formal campus. Perhaps all young nobles of the realm must spend one full year with a touring knight-magistrate, learning about their lands and its problems. Maybe there is a specific starship for training cadets, and easing them into their final roles and duties. You could have a French Foreign Legion-like group that operated airships with sign-on-mercenaries (no experience needed) to patrol the Diesel Mountains, facing off against Sky Pirates, Wand-Runners, and Panzerdemons.

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Random Idea Generation Methods. 1. The Reverse and Twist

Sometimes, I just need an idea to play with. I may need a starting point for a new project, or some color and side-thoughts for a bigger ongoing work. Often I just generate new random ideas as a palate-cleanser when I need a break from something I am grinding on. Other times I want to throw ideas out to other people, either for fun or to jump-start their creative processes.

Now if I am lucky, a random idea just comes to me when I need it. Or, if one comes when I don’t need it, I can jot it down with just enough detail to come pick it back up later.

But more often than not, i have to generate an idea, and when i have to come up with dozens at a time, I have verious methods I use to do that. Here’s one”

Reverse/Twist The Starting Point

This is one of my favorites, and it’s a good way to use inspiration without turning everything into a pastiche (or rip-off). The basic idea is to take the core premise of an existing setting or story you like, and make a major change to it. Then, you follow the permutations of your new set-up.

For example, take Moby Dick. It’s a captain’s obsession with getting revenge on a whale. It’s compelling, but it’s also been done and redone hundreds of times. So, what if we reverse a number of elements.

Our Captain is still a whale hunter, but he has not a care in the world. The Red Demon, which may or may not be a whale but is certainly a sea creature, seeks to destroy the captain as revenge for the captain slaying the Demon’s mother. We still have stories of obsession and revenge, but now our focal human point is ignoring the risks, his arrogance convincing him that even if the Red Demon is real, it’s a brute animal, and he has all the advantages of human civilization and intellect to overcome it if it ever finds him.

Now, the inspiration for that idea are pretty clear. That’s fine–the starting place of a story, setting, or even writing prompt is only a small part of the work of making something. But once you have that nugget, you can twist and add/alter as you see fit. Instead of a whale-hunting captain hunting you could have a famous ivory poacher, clearly a villain and an up-and-coming local warlord–who does worry about human threats (and perhaps kidnaps a journalist to tell “his side” of his story, giving us our narrator), but ignores local legends of a Red Demon elephant out to get him, even when other poachers are slain by it.

The further we get from the trappings of the original idea, the more our end product will be clearly its own thing.

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Letters from a ttRPG Dev to a Freelancer, 3. Bad Words

This entry in the Letters from a Dev series is adapted from a letter about doing research on words and terms you want to use in a game manuscript. I have sent variations on this same letter to numerous freelancers as part of their feedback, as it has come up surprisingly often.

(As an aside, it has come up so often I have considered making it part of a “packet” of advice I send to all freelancers I contract. The reasons I haven’t yet is twofold. First, while it comes up “often,” in the grand scheme of things that’s less than 1-in-10 assignments. Second, the more stuff I ask ALL freelancers to read, the more burden I am putting on then and the more likely it is they’ll skip some of it. Since 90% of the time freelancers don’t need this advice, it hasn’t ever actually made the cut for me to consider it crucial to ask everyone to read every time they work for me. So, instead, it goes here where people can check it out if they want to, and I can easily point to it if needed.)

Also, I want to say that when I refer to “bad words” in the title, I don’t mean morally repugnant words. I mean bad word choices, often for reasons we don’t realize, which is the entire point of this letter.

So, here’s the letter, taken from one specific example.

“On another matter, I want to recommend you get in the habit of doing an internet search every time you create a new word, or borrow a word from another language (even just archaic versions of existing languages) to use in your manuscript.

It turns out, a surprising percentage of the time “new” words are identical to existing words that have meanings and context very different from what we want be associated with the concept we are trying to name. Sometimes, we even run into trademarked terms that were created in various industries using the same sources of inspiration that lead to our “new” words.

Another risk is finding a term in a specific context and not checking to see if it has a broader or more common meaning that is very, very different. To wit, I see you used the term “Kanchō” as a classification of ninja spy. And, sure enough, if I go looking for “types of ninja” or similar online searches, the Kanchō-as-spy turns up fairly often.

However:

If I just do a search for the term “Kanchō,” by FAR the more common meaning is a highly inappropriate form of “goosing” common as an East Asian children’s ‘prank.’ And then, after that meaning, it’s used as the medical term for an enema in Japan. Neither of those conveys the implications we want for a ninja spy, and sources that use the word for a kind of ninja don’t generally warn of its more common meanings.

Also, I recommend you keep a “clean” browser for such searches, by which I mean one that hasn’t been tied to your search history and involves an algorithm trying to give you the results you most want to see. Sometimes Google is too good at guessing that I am doing research for game content, and skews its results towards those sources, rather than give me the most common meanings and context.

So in my experience, it’s best practices to carry out a search for any term or word you think up, or borrow from other languages or dialects. I have also come to consider this a form of due diligence when working outside my home dialect and experience, even if I think the terms I am using are new and fictional.”

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Otherworld: A Mode for Wayward

One of my Shower Projects recently (things I only spend time thinking about while showering, making lunch, and so on) has been what my Modes (pocket parallel worlds that overlap with the “normal” world of the Ecumene may look like in the  Wayward campaign setting I hope to eventually release (as a private individual) for Modern AGE through the AGE Creator’s Alliance.

I’ll want my Modes to be distinct, different, yet feel like they belong in the same sets of stories. Two have already suggested themselves to me.

The first of those is Otherworld, a mode where creatures from various afterlife mythologies (Valkyries, angels, devils, ghosts, and so on) live and interact in a version of the modern world where every town, or every neighborhood in big cities, has a single distinct character. Svanrcroft is tall stone buildings, broad, tree-filled lanes, and massive rock municipal buildings and concert halls; Latssvin is another neighborhood in the same city across the river from Svanrcroft, and is entirely rusting steel, cracked concrete towers, and brutalist sprawls with homes and businesses and offices crammed in with little rhyme or reason.

Each of these distinct neighborhoods is controlled by one afterlife group that serve much like some combination of street gangs, neighborhood watches, local beat cops, organized crime, and community centers. Major otherworld creatures mostly believe they are agents of divine beings, getting their “orders” from what appear to be entirely random sources — the Valkyries of Svanrcroft believe they receive orders from Freyja in the form of messages written on Brísingamen-brand food and drink packages, but to anyone else they just seem to be random, common commercial quotes.

Common citizens of the Otherworld are shades of Ecumene folk who have died, living agelessly in very much the condition they were in shortly before they died (though obviously ways to get better if sick, or younger if old, will be major potential plot drivers for Otherworld adventures featuring shades). The status of shades within Otherworld influences how they are remembered in Ecumene — a great writer whose shade has suffered misfortune and poverty within the Otherworld slowly loses their place of relevance and fame in Ecumene.

When major forces from Otherworld influence Ecumene, they tend to be voices heard by Ecumene commoners, who are driven into zealotry. A single Otherworld creature may be occasionally whispering to dozens of Ecumeners , or be spending vast amounts of time influencing a single person. Those affected are encouraged to perform acts, rituals, or influence world events in Ecumene that grant an Otherworld faction more prestige, power, and territory within Otherworld. Left unchecked, Ecumeners under Otherworld influence become Zealots, and begin to actually be able to bring tiny bits of Otherworld (and its Mode rules) into corners of Ecumene.

Within Otherworld, heroics are commonplace and easy, spellcasting is hard. This will be handled with some combination of special rules for stunt points — something like, whenever you reference the value of the stunt die (including when you roll doubles and need to determine the number of stunt points you get) you use the highest value die of your roll, rather than the stunt die–and special hindrances for spellcasting.

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Hero’s Call

Twelve robed figures stood in circle facing each other, in the center of a large room. A plastic trash can sat in the middle of them, though there was no sign it had ever been dirty. Twelve sword hilts jutted from its open top. The room’s décor was that of an ancient temple, with altars, columns, and long tapestries, with no hint that it lay on the third floor of a building in Tacoma.

Though if one was to examine that old brick building, you would see it’s three floors were marked, in order, “Discount Jeans” at the bottom, “Air Force Surplus” on the second, and “Knights of Damon” on the top, each in peeling white paint.

One of robed figures stepped forward, toward the center of the circle.

“It is exposed. Its work is now threatened. Forces will move to destroy it, and break the Seal it keeps.” The figure’s voice was deep but quiet, as though all the wind had long since left it.

A second pf the twelve stepped back, away from the circle.

“The Purpose is old. Our reach has shortened, and no long includes the heights of rulership. The Seal may never have truly existed.” This one’s voice is strong, sharp, and full of barely-constrained energy.

A third figure stepped forward, to stand near the trash can of swords.

“One call for action. One call for restraint. A question for the blades. Now, we draw.”

One by one, each of the other 11 robed figures walked past the trash can, each handed a sheathed sword from within. The handles and sheaths were identical, simple in form with dark red leather and gold-stamped sigils into dark steel. As the gloved hands took the hilts, each sought a small notch found in every hilt. Some grasped the handle notch up, and others with the notch down.

When 11 figures had all walked past, the last one by the trash can took the last sword and returned to his original position in the circle. A heartbeat later, all twelve pulled their swords halfway out of their sheathes. Each revealed a bright, single-edged steel blade. Seven of the blades were held edge up, and five edge down.

The first voice spoke.

“We have accepted a call to action. Who, among us, shall leave FortressHall and undertake this quest?”

All twelve drew their swords completely. Eleven of the blades were identical, but one had a single golden mark of an eye just short of the blade’s tip.

The figure holding the eye-marked blade held it up slowly, turning it so all could see. The blade wielder took a deep breath, and spoke with a clear voice of high timbre.

“Welllll, shit.”

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On Sticking To Word Counts

So, here is one of the very few things I ever told a room full of freelancers, that made one of them cry. (I felt terrible, btw).

“A note to freelancers, writing for print books. If I contract you for 10,150 words, and you give me 11,800, you are *not* doing me a favor. You are instead forcing me to figure out which 1,650 words to cut. Print books only have so much room, and while going over by 1%-3% isn’t a major issue (though I’ll love you more if you don’t), exceeding your word-count by 10% or more is creating a lot more work for me.

Don’t under-write by more than 1%-3% either!

Now for pdfs and blog entries, things are significantly more lax. But print products have finite space, and your writing has to fit in that space and look good.”

Apparently, one freelancer in the room had been told by a different developer, working for a different company, that overwriting by 10-20% was “always” good.

And there ARE things I contract extra words for. Mostly, crunchy, rules-heavy things with lots of chances to get it wrong. If I know I want 3,000 words of new spells of feats or specializations in a book, I often contract (and pay for) 4,250-or-so words, so I can cut needless extra verbiage and entire bad ideas (or badly executed ideas), and still have what I need.

But mostly? This is yet another way it’s important for freelancers to ask their contractors what is preferred, and have a high level of communication.

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Putting the Use of Critical Hit/Fumble Decks in Player’s Hands

Lots of game systems have Critical Hit and Critical Fumble decks. Pathfinder 1e and Starfinder are two well-known examples (and, full disclosure, I wrote the ones for Starfinder).

Many groups find them hysterical, chaotic fun, Others find them hateful, swingy, and absolutely no fun at all.

But what if the PLAYERS got to decide when they came into play? That introduces the rules and their funny, unexpected effects into a game, but doesn’t force them on anyone who doesn’t want to deal with them.

Here’s a simple set of example rules for doing that.

When an attack against a PC is a success, the player can earn one Crit Point by deciding the attack draws from the Critical Hit Deck.

When an attack by a PC is a failure , the player can earn one Crit Point by deciding the attack draws from the Critical Failure Deck.

When an attack by PC is a success, the player can spend two Crit Points to cause the attack to draw from the Critical Hit Deck. If the player has 3 or more Crit Points, they can spend additional Crit Points before any cards are drawn to increase the number of cards they draw on a 1-1 basis (spending 4 extra Crit Points means you draw 4 extra Critical Hit cards). You select one Critical hit effect from one drawn card to apply to the attack.

(As an alternate rule, you can also allow a player to earn Crit Points when they use these rules, by having GM draw 3 critical hit cards for an attack against the PC, or by drawing 3 Critical Failure cards for an attack made by the PC).

All Crit Points are reset to 0 at the end of each game session.

The reason a PC has to suffer more card effects than they get to inflict is that players can be quite cunning about timing and resources, accepting critical hits and critical failures that go against them when they can afford the hit and saving up the Crit Points to turn the tides when they need it. However, by making it a 2-1 ratio, and not letting players save points between games, this tactical use of the rules is balanced out.

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