There’s something about these AI-generated pieces of art that are quite neat…. certainly not photorealistic by any stretch of the imagination, but certainly images that do indeed stretch the imagination. They’re very much like abstract concept art, which I think is perfect to use for tabletop RPG games to set a mood, feel, tone, or theme. They’re evocative and let the player’s imaginations run free, which can be even stronger than a full polished piece. Plus, they don’t tie you or the players to something so specific it creates an inadvertent straight jacket.
My gaming group and I are getting ready to return to the Broken Lands, a campaign some of us had started many years ago that unfortunately ended soon thereafter as the main GM and another player had drop out. Back then we ran the campaign in FATE, but this time I’m shifting us to using Cortex Prime with some hacks to bring a few more FATE-like elements into the game.
Also back then I, no surprise, made a character sheet for our game. This time around we’ll likely be keeping most of our records in our shared OneNote instead, especially since we’ll be mostly remotely gaming… But, do you think THAT would keep my completely non-obsessive and totally healthy character sheet design mania at bay?
Of course not! What fun would that be? And so:
I’d probably tweak it some more, but given the uncertainty as to how much use it would actually get, this is probably a good place to leave it for the moment.
(As an aside, I am a bit enamoured with Cortex Prime right now, there’s a bunch of nifty aspects to it, and it is one heck of a wide and extensive toolbox. I’m looking forward to seeing how it plays out at the table.)
The Troubleshooters RPG is a game based on the action, adventure, and mystery genre of Franco-Belgian graphic novels (aka bandes dessinées), especially those of Tintin and Spirou & Fantasio. Now, if you’re like me, just that tagline is enough to excite you! And if it does, you’ll be equally excited to know that the game is now out for all. It’s a definite beaut, well put together with art and layout that do a great job to evoke the genre. Even better, so do its rules, with the core system being solid enough and with some nice mechanical nods that provide support towards playing and creating those types of stories we love.
Having backed the Kickstarter, I received the PDF a few months ago and have greatly enjoyed diving into it. And while I have no major issues with the base system, I immediately began wondering how it might play using the Aurora RPG Engine.
I think you can see where this is going…
Enter: The Aurora Casefiles! A conversion that aims to bring the advantages of both Aurora’s dice mechanics as well as its narrative tools to the world of the Troubleshooters. This is not attempting to design the game from the ground up; rather it strictly keeps as much of the core Troubleshooters rules and all its nifty subsystems (such as dice flipping, karma, dice challenges, duels, story points, and more) intact. It’s the best of both worlds!
(Note that this conversion document only contains the bits that are necessary to modify the base Troubleshooters core rules to use the resolution mechanics of the Aurora Engine. As such, you will need a copy of the core Troubleshooters RPG, which you can get direct from Helmgast here or also from modiphius.net)
It might… just be time… for a little bit…. of vehicular mayhem!
And lo did most of the goods from the new Car Wars 6th Edition arrive! Definitively a different feel (both rules-wise and the aesthetic of the vehicles) than the old school game. For which, perhaps hilariously, I made dozens upon dozens of designs though played only a few times…
I’ve not done any test games of this edition yet, but looking forward to kicking the tires and lighting the fires to see what it’s got.
Yeah, I backed it (at the Deluxe level) with the added plush so darn fast. Looks like it’ll be a fun and sweet game. Go and snag some dragons of your own here!
I got a chance to play Wanderhome recently and wow, it was a complete delight. It does take some getting used to, if coming in and approaching it like a typical game or RPG. I’m going to say something that might start out sounding like a denigration or trying to be edgy, but know that’s not at all where I’m headed. It’s just that Wanderhome might best not to be called a game. It is much closer to a semi-guided shared collaborative storytelling experience. It is very rules light, there is no need for dice, and there’s very little in the way of defining a proper path or success. Going in with the view of trying to work it like a traditional RPG is going to inspire little but confusion and perhaps frustration.
But that is its beauty. Because it totally works inside the much broader and even philosophical view of “a game”. The game here is to create a most engaging and amazing narrative. The story is the thing, and the richness, wonder, excitement, coolness, and involvement is the game.
To that end, having played Mouse Guard was a good primer for us, for in some ways Wanderhome is akin to an extended player turn from Mouse Guard. There is no GM (though one of the players can take on that role, either for a part of or for the whole session) and almost all is created on the fly, including the world and any challenges along the way (though more on this latter bit in a bit). There is a structure that guides and prompts you to help generate all that, but again the joy of the game comes from taking those simple keyword starting points and spinning them out in interesting ways.
For our own game, as we journeyed we wove together the prompts to imagine a town surrounded by tall cliffs on the edge of a lake. A large waterfall dominated the town, as did the giant waterwheels that harnessed the falling water, the crankshafts disappearing it into a large workshop where it powered giant looms. A legend in the town spoke of a ghost story involving never-ending tapestry, a fable that tied into the waterfall itself which, from a certain point of view, was like a never-ending tapestry, always being woven from the cliff face to the lake below. It was autumn, and while the area had colourful leaves and warm drinks, our prompts asked us why didn’t it have long shadows? Because of the mists, the hovering fine films that diffused and rendered light into ambient omnidirectionality, with the cliffs turning day into sudden night as the sun slipped behind them (which also prevented any sun angles that could generate long shadows). From just that the town was already appearing to us as quite a magical place. It was very pastoral and fable like, and I would definitively call this a pastoral game in the best possible way, something the wonderful art does wonders to evoke.
As delightful as this world building is, it also serves a purpose, which is to provide a driving backdrop to your story. I use this slightly contradictory word choice deliberately, as Wanderhome is a game that is not centered around external challenges. Rather, it is a game/story about internal challenges. It is about who the characters are and what they are dealing with; it is about their metaphysical journeys; it is about what the players learn about the characters and, through that, what the characters learn about themselves.
Which is actually quite cleverly indicated in its name: Wanderhome, or Wander Home. In some way, and in their own particular way, all the characters are either away from their home or not yet home or feel a loss of home (or lost). And through this journey, the question is (and it is an explicit question at the start of a session that you, as a player, ask quietly to yourself in-character) “where is home for me?” And maybe the character will find it this session. Or they won’t, and their journey will continue. But finding home, and that peace and solace and completeness and comfort and clarity, is what the story is about.
And through that lens/intent is where the driving backdrop comes into play. How will your character interact with the world? What will the world ask of your character? What obstacles or opportunities will arise, and how will you respond? How do you interact with your fellow travelers (the other characters)? Sometimes the challenges will arise from the world – a missing object, a house in need of repair, the weather bearing down on you. But even in those situations, the prime bit is not so much the resolution, but again what it tells us about the characters, and how they react and change as a part of it. Any physical challenges are a vehicle to delve into the internal challenges, which in turn can beget more internal challenges. Not that the world need intervene; the internal challenges can engage with the environment or its denizens (called Kith in the game) as a backdrop catalyst to highlight and conceive and draw forth the internal challenges. All in service of the rich story being woven.
Likewise in service of that story is the “resolution system” of Wanderhome. Wonderfully tuned for effect, it has but one metric: a token. If you have a token, you can spend it to solve a material challenge, or even more powerfully to ease someone’s pain, to keep someone safe, to offer a chance to deeply connect, or to reveal something about the world or someone. You’ll notice that the traditional RPG-type challenge is resolved handily by spending a token – once again it is but a vehicle for the inner story and journey of your character, and the rest of the tokens are similar, either creating an opening for you or to craft something about the place and hence enhance the story. Even better is how you gain tokens, for they likewise all work to support the feel of the game and the story being generated. Many are character-driven, such as giving away something you hold dear, or speaking your true feelings on a subject, but others are wonderfully tranquil, such as allowing you to marvel at beauty, and either create it or else ask the table to describe it. You can even just pause for a moment to get some rest. That it. Just like that, to gain a token. It fits the mood of the game perfectly.
There’s plenty more to love here, including a lovely calendar and defined seasons that are an important part of the narrative, along with regular festivals. The game can be played light and serene, or it can delve into more serious issues of trauma and recovery (with solid tools and advice for ensuring everyone at the table is onboard and up for it). And while the various prompts are meant to be picked from, they’re very much set up to be rolled if you choose, as we did, allowing the randomness to further engage our imaginations.
As you can tell we thoroughly enjoyed playing Wanderhome, and I heartily recommend it. It’s a delicious chance to switch from the usual RPG modes and craft a deep, rich, and moving story while savouring the scenery along the journey.
This is for an upcoming tabletop game where artisan dragons come to roost in a small town to make tea and coffee and cakes and jewelry and work the forges and it already sounds like such a delight, but the artwork being created for it is also 1000% adorable:
I gotta keep an eye out for this one when it’s released!
Delightful art all by Sandara
A blast from the past, in the form of one of the best dragon paintings ever…
by none other than the famed Keith Parkinson!
“Vermeer celebrated real people. Doing ordinary things. He offered the radical idea that you didn’t have to be special, or important, or magical, or legendary to be worth being painted or thought about or remembered.
So it turns out there are two ways of explaining history. We can be like the early Romans and invent these magical, wonderous, brilliant people who gave everything to us.
Or, we can be like Vermeer. A bunch of ordinary, everyday people built Stonehenge just by working together and putting time and effort into it. A bunch of ordinary people make video games by working together very hard for hours and days and years to make it. A bunch of regular, ordinary people built Rome over the span of a very long time, contributing to what would later be remembered as the exploits of one man.
This way is no where near as magical as we like to imagine put our worlds together.
The truth is often very mundane.
But maybe that’s OK.”