TTRPG – Page 14 – The Dice Pool

Character Creation – Advanced Dungeons & Dragons 2nd Edition, Dark Sun

Showing some character

So the character creation posts have had some good feedback. People mainly seem to like it when it goes disastrously wrong for some reason. Schadenfreude maybe? Anyway, I thought I would continue the series with another one. This time, I thought I would go back to the game I think of when I think of my teenage years, AD&D 2nd Edition (TSR 1989), and, more specifically, the Dark Sun setting (TSR 1991). I have never been a player in a Dark Sun game, I was always the DM, so this will be interesting. Also, Dark Sun characters need to be pretty hardy to survive the scorching wastes of the magic-blasted world of Athas. So, if I roll bad, you sadists out there should get a kick out of it.

Step 1 – Ability scores

A photo of the “Rolling Ability Scores” section of the AD&D 2nd Edition Dark Sun Rules Book.

We see an immediate departure from AD&D norms with rolling your ability scores in Dark Sun. Because the setting is so brutal, your PCs get higher than average scores to reflect the hardness of life there. So, instead of the usual 3d6 for each score, you roll 4d4+4 for a minimum of 8 (even though the book claims the minimum is 5, which is numerically impossible) and a maximum of 20, unmodified. There are a bunch of optional methods for rolling included in the Dark Sun Rules Book but I am going to stick with the basic one. So, here we go:

Strength: 13
Dexterity: 16
Constitution: 19 (Suck it Canon Fodder)
Intelligence: 17
Wisdom: 16
Charisma: 10 (Oh well, they can’t all be winners)

First thoughts; obviously this method produces some high results. Also, I was very lucky. Also, these rolls mean that this character could choose almost any race or class.
Second thoughts; now that it comes to it, this is one of the reasons my players really liked this setting. They got to create some very powerful characters, even without cheating on their rolls (which was, I must be honest, the norm at the time)!

Step 2 – Player character race

A photo of Table 3: Racial Class and Level Limits from the AD&D 2nd Dark Sun Rules Book.

There are Racial Ability Requirements in this setting as there are in the base game, but some of them are very tough to achieve. The only one I think is ruled out is the Half-giant. If you want to be one of those big lads, you need to have a minimum strength score of 17. So here are the races I get to choose from:

Dwarf
Elf
Half-elf
Halfling
Human
Mul
Thri-kreen

Pretty much none of the races in Dark Sun bear any resemblance to the standard D&D ones, with the possible exception of bland old humans. There are also a few new ones here.

Dwarves are all hairless and obsessed with a focus that gives them bonuses to saves and proficiencies when performing them in pursuit of that goal. They can choose to be Clerics, Fighters, Gladiators, Psioicists, Templars or Thieves. Although all of these have level caps below 20 except for Gladiator and Psionicists. Some of them are really low. A Dwarf can only get to level 10 as a Templar for instance! But they can multi-class. They get a +2 to CON, +1 to STR, -1 to DEX and -2 to CHA.

Elves are tall and lanky and weather-worn with an incredible stamina needed for running long distances across the Athasian deserts. They are very insular and tribal. They get bonuses with long swords and longbows made by their own tribes and to surprise rolls in the wilds. They can choose to be any class except Bard or Druid. They get +2 to DEX, +1 To INT, -1 to WIS and -2 to CON.

Half-elves have to deal with terrible intolerance from both elves and humans and have to do without basic connections or friends (this shit is in the text, ugh.) Anyway, it makes them very much self-reliant loners. They get a free Survival proficiency at 3rd level and can make a pet friend at 5th level! All classes are open to them and they get to multi-class if they want. They get a +1 bonus to DEX and a -1 to CON.

Half-giants are a thing in this setting. And, although I can’t choose them, here is a little bit about them. They are up to 12 feet tall and weigh up to 1600 lbs! They have no culture of their own as a very young and dull-witted race. Once again, the text is pretty bad about this kind of thing. It really underlines for me the need for the push-back this sort of thing rightly received in more recent times. Anyway, they getting bonuses to STR and CON and minuses to INT, WIS and CHA. They can only choose from 5 classes.

A photo of the Halflings section of the AD&D 2nd Edition Dark Sun Rules Book including an illustration by Brom depicting two tattooed halflings with long, wild hair emerging from a cave.

Halflings are small humanoids from the jungles at the fringes of civilisation in the Tablelands of Athas. Their culture is concerned mainly with appreciating their local natural world and complex interactions of a social sort between their various villages and clans. They are not really into war and wealth. They get bonuses to use slings and thrown weapons, to surprise opponents and to save against magic and poisons. They get a -2 to STR, -1 to CON, -1 to CHA, +2 to DEX and +2 to WIS. They can choose any class except Bard, Defiler, Preserver and Templar. They can choose to multi-class.
As a side note, I had a memory of Halflings all being cannibals in this setting but it is not mentioned in the character creation section so it might have just come up in certain adventures or something. Not sure.

Humans are much like humans in other settings except they generally have some weird little traits, like mutations. This is a post-apocalyptic setting after all. So players are given latitude to come up with some little physical idiosyncrasy that is purely for flavour. They can choose any class and can be dual-class, but cannot multi-class.

Muls are yet another “half-race.” Its genuinely so distasteful, this whole business. Anyway, here we are, they are half human, half dwarf. They are the product of slave-owners “ordering their births” for gladiatorial or labourers. They are born sterile. FFS. My stomach truly turns at this description of this race. It’s just so cruel. They also “live out their lives in servitude, driven by hatred and spite.” Give them a break! They are tall and well built. They get a +2 to STR and +1 to CON, but a -1 to INT and a -2 to CHA. They can work longer and harder than others as well. They have to choose, at the time of creation if they are considered human or Demi-human. If considered human they can have unlimited advancement in any class and become dual-classed. If the player chooses demi-human, they can, instead become multi-classed and can only choose from Cleric, Druid, Fighter, Gladiator, Psionicist and Thief. This really puts a great big question mark over the entire idea of class restrictions on Demi-human races, if you ask me. This suggests that the reason a demi-human can’t choose any class or get all the way to 20th level in it, is not because of a physiological, racial impediment, it’s only because human society says they can’t… I mean, what?

Finally, Thri-kreen. They’re big mantis guys who have a base AC of 5 but never wear armour. They don’t need to sleep but they can’t use most magical items as they are generally designed for use by human shaped people. Their hunting packs control much of the Tablelands. They have a well-known taste for elves (maybe I was mixing up the Thri-kreen and the Halflings.) They get natural bite and claw attacks and a powerful leap. They get venomous saliva at 5th level as well as a bonus proficiency with the Chatkcha, a thrown weapon. They can also dodge missiles at 7th level. They get a +1 to WIS and +2 to DEX, but -1 to INT and -2 to CHA. They can choose to be Clerics, Druids, Fighters, Gladiators, Psionicists or Rangers and they can multi-class too.

This post is already much longer than I had intended. I started going through the races and couldn’t stop commenting on them. It was like watching a car-crash in slow motion.

Anyway, I think I will have to continue this character creation process in another post tomorrow. But, before I go, I think I will have to complete the choice. Obviously, as always, the race you select will have a direct effect on the choice of class due to the ability score modifiers. But, since we have a tradition of randomness in the character creation posts, I think I will stick with it and roll for it. There are seven races available to me and, luckily, I do have a d7 to hand thanks to DCC. Here goes:

I rolled a 6 on a d7, dear reader, but I just can’t accept it because that would have been a Mul and that makes me too sad. So I re-rolled and got a 4, Halfling!

So, that leaves me with ability scores as follow:

Strength: 11
- Hit probability: Normal, Dmg Adjustment: None, Weight allow.: 40lbs, Max press: 115lbs, Open Doors: 6, Bend Bars/Lift Gates: 2%
Dexterity: 18
- Reaction Adj.: +2, Missile Attack Adj.: +2, Def Adj.: -4
Constitution: 18
- HP Adj.: +2 (+4 for Warriors. This means Fighters, Rangers and Gladiators in Dark Sun), System Shock: 99%, Resurrection Survival: 100%, Poison Save: 0, Regeneration: Nil
Intelligence: 17
- # of Lang: 6, Spell Level: 8th, Chance to learn spell: 75%, Max. # of Spells/Lvl: 14, Spell Immunity: –
Wisdom: 18
- Magical Def Adj.: +4, Bonus Spells: 4th, Chance of Spell Failure: 0%, Spell Immunity: –
Charisma: 9
- Max # of Henchmen: 4, Loyalty Base: 0, Reaction Adj.: 0

The final task for today is to flesh out this Halfling a bit. I am giving her the pronouns she/her and calling her Rezina.

A page from the AD&D 2nd Edition Dark Sun Rules Book showing the Height, Weight, Age and Aging Effects tables for PC races.

She is 3ft 3in tall, 59lbs in weight, and 41 years of age.

Back tomorrow with the choice of class and probably everything else. See you then!

The Black Iron Legacy

The Gutter Prayer

I am in a sci-fi and fantasy book club, surprising absolutely no-one. We take turns picking the book we read. We usually give ourselves a month to read, meeting at the halfway point to discuss how it’s going and then again when we have finished the book. It’s fun, we spend a lot of time delightfully dunking on duds but, thankfully we also have plenty of time for praising the good ones. The Gutter Prayer by Gareth Hanrahan (AKA Gareth Ryder-Hanrahan) is one of those. It is rich and evocative and full of cool and interesting characters that you either hope won’t die or hope will die.

The author has a long and storied history as an incredibly prolific RPG designer. You can check out what he has written here. I personally only just encountered him through the recently crowd-funded Heart sourcebook/scenario, Dagger in the Heart, which he wrote. When I went and looked him up, I was intrigued to see that he was also the author of several novels. Since it was my turn to choose a book for book club, I decided to go for his first, The Gutter Prayer.

He has designed a city that is alive and full of fantasical and very dark elements. Guerdon is based partly on Cork city (Hanrahan’s home town,) Edinburgh and New York and you can feel the influences of all three in the writing. The story revolves around three scoundrels, Carillon, heir to a murdered aristocracy, Rat, a ghoul who is trying to fit in on the surface and Spar, a stone man, inflicted with a terrible disease and the son of a famous thief and revolutionary figure. They are the unlikely trio who find themselves embroiled in intrigue, the battles of saints and the magic of the crawling ones, fighting for the city itself against the most unforeseen of divine threats.

It reminded me so much of China Mieville’s Bas Lag trilogy and his own rich and lived-in city of New Crobuzon. It’s also got a lot of Cthulhu references what with the ghouls and the crawling ones and the menacing ancient gods and all. In our latest book club meeting we also talked about how it felt like a book written by a game designer. It was something about the richness of the locations, the depth of the “NPCs” and the deft construction of the set-pieces. Please go and read it! I can’t wait to start on the next one in the trilogy, The Shadow Saint.

The Book, the game

Also, he made a game based on these books! I mean, of course he did. You can get it for free on his blog:

The Walking Wounded

It’s only 17 pages long and contains both the rules and a one-shot adventure to play. Go check it out!

Are you a Gareth Ryder-Hanrahan fan? If so, have you played any of the games he has written?

Trophy Gold – Character Creation

Old school play, new school rules

I have a post in which I write a little about a couple of the podcasts that most inspire me to play and write about RPGs. One of them is Fear of a Black Dragon from the Gauntlet. In it, Tom and Jason review a different OSR module each episode (more-or-less.) What I discovered early on, while listening to it was that they often did not use OSR rulesets to play the modules. Instead, they usually used Dungeon World, World of Dungeons or Trophy Gold. These are much more modern RPGs and, I think, they tend to use Powered by the Apocalypse and Forged in the Dark style rules. I have only just picked up Trophy Gold in the Codex-Gold magazine published by the Gauntlet back in 2019. So, I thought I would have a go at creating a character in this much more rules-lite game (compared to OSE anyway. To see how character creation went in that, go take a look at yesterday’s post.)

About the game

Essentially, Trophy Gold is doing the same stuff as Old School Essentials or D&D for that matter. It allows you to play an adventurer or treasure seeker who is drawn to dangerous, forbidden or haunted locales. The locales will push back. Unlike its predecessors, Trophy and Trophy Dark, which were made to play one-shots and tended towards the horror genre, Gold is more geared towards campaign play. It just doesn’t worry so much about your encumbrance or confuse you with bonuses that are actually negatives. It uses elements of Forged in the Dark games in its ruleset. It is described thus in the opening paragraph:
“Trophy Gold is a collaborative storytelling game about a group of treasure-hunters on an expedition to a haunted environment that doesn’t want them there.”

Character creation

So your character is called a Treasure Hunter in this game. This is because treasure is the aim of it. Your character is there to emerge from the dungeon or forest or ruins with heaps of Gold. But is it worth it? Will they even survive it?

A blank Trophy Gold character sheet from Codex Gold magazine, 2019, The Gauntlet.

Step 1 – Choose your Name, Occupation and Background

So, in direct opposition to OSE, we are starting with our name. I like this since, we all get named long before we know anything about ourselves, don’t we? The rules include tables for names, occupations (what you do in the party) and backgrounds (what you did before your treasure hunting days) So I am going to use them.

Name: Valen
Occupation: Smuggler. Skilled in dexterity, spontaneity, stealth
Background: Retired Soldier. Skilled in tactics.

The rules encourage you to think about your background profession, why you left it and why you can’t go back. As a retired soldier, I think Valen has tired of killing at the behest of others. He left to put his skills to work for his own enrichment instead. He could never go back to taking orders now that he has tasted independence.

Step 2 – Choose your Drive

This aspect has an element of Blades in the Dark peeking through. Each character will have their own motivation for treasure seeking and I am going to roll on a table for it. But first it explains that you can stash the gold you earn from it in your Hoard. Once you get to 100GP, you can retire your treasure hunter. Blades in the Dark has a similar conceit where you get to hide away your coin in a stash until you have enough to comfortably get out of the game for good.
So, here’s my roll:

Drive: Free the serfs of Bandung Prefecture

So, I don’t know where Bandung Prefecture is but it has fired my imagination. Perhaps my ex-soldier, while on a recent excursion to Bandung, discovered a village where the people were down-trodden and despairing due to the conditions caused by their lord’s treatment of them. There Valen met a man, a former soldier, who reminded him of himself to such an extent that he felt as though saving him and bringing down the cruel and selfish lord was essential. He just needs some funds to raise a rebellion.

Step 3 – Backpack Equipment and, if desired, Combat Equipment

There is an interesting approach to equipment here. You have three different categories, Backpack, Combat and Found equipment. You can roll on a table to see what your backpack starts with or you can choose from the table if you want stuff that suits your character. Importantly, your backpack starts with three items and three free slots. If and when you need something in a given situation, you check the table of Additional Backpack Equipment presented in the rules, and, if what you need is there, simply say it is occupying one of these slots. Then you write it down and mark off another slot. This reminds me of the loadout rules in blades in the Dark. These state that, when you are going on a score, you decide if you take a light, medium or heavy loadout. This determines how many items you can carry and also how much you stand out. But, importantly, you don’t have to say exactly what your items are until you need them in the fiction.

Anyway, I’m going to roll on the table for my

Backpack Equipment: Fishing net woven of silver (!), Bottles, lead (6), Magnet

When it comes to choosing Combat Equipment, there is another rule that comes into play. That is Burdens. You start the game with a Burdens score of 1. That’s the amount of Gold you need to keep yourself on a day-to-day basis in between incursions (that’s what Trophy calls adventures.) However, it increases for every piece of Combat Equipment you choose. It will go up further as you are playing too. What an interesting mechanic this is! Yes, your armour will hale to keep you alive on an incursion but you have to spend money to repair and maintain it. Can you afford that? I like it. But after yesterday’s debate, I am definitely getting Valen some nicer stuff.

Combat Equipment:
- Armour – Breastplate, Helmet
- Weapons – Crossbow, Dagger

So, I guess that increases my Burdens score to 5.

Step 4 – Choose your Rituals, if any

You don’t have to be a wizard or anything to perform these, all treasure hunters can learn and use rituals, dangerous magic that can perform “miraculous feats.” Now, I can have as many as three Rituals to start, but, it says here that, for each one I know, I must increase my starting Ruin by 1. Let’s see what that means, exactly.
Cryptically, the rules describe Ruin as:
“…how much the world has dug its claws into you, including the physical and mental harm you’ve suffered.”
Similar to Burdens, it starts at 1 but, as stated above, it increases commensurate with the number of Rituals known.

I have no experience playing this game so I don’t know the true consequences of choosing to increase my Ruin like this, but for fun, I’m going to take three random Rituals:

Beacon – nearby invisible beings or hidden objects shine with a fiery glow
Enliven – give flesh and breath to a human effigy (!)
Germinate – compel plants to furious growth

This, I suppose, increases my Ruin score to 4.

Finally, set your Ruin, Burdens and Hoard

Easy.

Ruin: 4
Burdens: 5
Hoard: 0 (this number is always 0 at the start.)

Comparison

It’s possibly unfair to compare this experience with that of making the OSE character yesterday since they are based on two such mechanically different games. But that’s what I am going to do.

Over all, I found that the character I created in the Trophy Gold system was never going to be compared negatively, or indeed, positively, to other characters in the same system. And that is purely because it does not rely on numbers so much. You will have noticed that Valen does not have attribute scores or hit points, for instance. Despite this, the Trophy Gold character is just as unique as the OSE character. It’s just that the differences between my ex-soldier/smuggler are more descriptive than numerical.

You will also have noticed that the character creation process encouraged me to think about the character’s background while making my treasure hunter. I don’t remember this ever coming up in the OSE process.

I did a lot of rolling on tables for this process, which I didn’t foresee when I went into it. In fact, I ended up with altogether more on the character sheet than I expected from such a rules-lite system. But I enjoyed the process and found the details provided by the tables fun and interesting.

One aspect that I liked, though, was that I had to choose the Combat Equipment and Rituals. These directly affected my Burdens and Ruin scores. These are the scores that will have the most impact on the way you play the character. I read on a bit and discovered that, if Valen does not come back from his incursion with Gold equal in value to his Burdens score, he’s done… He is left in penury or sent to the workhouse. As good as dead. Not only that, but, if his Ruin ever reaches 6, he is lost to the darkness, transforming into a monstrosity himself, or he is simply dead. Makes my decision to take three Rituals look a bit foolhardy now, eh?

Conclusion

Anyway, as I said, it is not really fair to compare the two systems. One is deliberate in its devotion to the OSR and its historical roots. It made a character that probably won’t last too long but mainly due to luck. The other is more interested in the story the players tell and the narrative beats produced by the characters created. My treasure hunter also probably won’t last long, but this time it is due to my choices.

Dear reader, do you have any experience playing Trophy Gold? How did you like it?

Old School Essentials – Character Creation

Make an OSE character with me

So, in my last post, I was chatting about the fact that I’ll hopefully be taking part in an Old School Essentials game sometime soon. I thought I would familiarise myself with it by creating a character. Come and join me!

In the Creating a Character section of the OSE Rules Compendium it’s got a step by step guide to rolling up your new character. So I am going to follow that as best I can.

1. Roll Ability Scores

Just 3D6 for each one. No fancy alternative ability score rolling options here! Although there is a subheading here that says the referee might allow you to dump your sub-par character if you have less than 8 in every ability. I should frigging hope so!
Anyway, let’s see what I get:

STR 11
DEX 7
CON 8 (not looking brilliant at this point is it, dear reader?)
INT 11
WIS 13
CHA 14
OK, it ended up not quite as bad as I feared, but this guy ain’t no Conan.

2. Choose a Class

I have to skip ahead a few pages to choose from the full list of classes. So, the available classes in this basic rules compendium that I have are Cleric, Dwarf, Elf, Fighter, Halfling, Magic-User and Thief. You will notice that some of these classes are races/species/bloodlines/ancestries. That’s taken directly from the basic D&D rules and they decided to stick with it. Now, it is important to note that there are ability score minimums for these classes so, I would imagine, with my less than stellar rolls, I’m going to be locked out of several options straight away.

Dwarf: CON 9
Elf: INT 9
Halfling: CON 9

The other classes do not have requirements, technically, but, let’s be honest, a Thief with a Dexterity score of 7 is going to spend a lot of time in prison.

Each class also has a prime requisite, or a most important ability to put it another way. My highest one is Charisma but, guess what? None of these classes have CHA as a prime requisite! No bards here. So, I think it is clear that I will have to go for the Cleric, which is the only one with Wisdom as a prime requisite, and that is my next highest ability.

3. Adjust Ability Scores

In this step, you can raise your prime requisite by one or more points. You do this by lowering another ability by two points for every one you want to give your prime. The only three abilities you can lower in this way are Strength, Intelligence and Wisdom though, and you can’t lower any below 9. Oof. I don’t think I can afford to lower any of those, really, and I couldn’t adjust Wisdom up high enough to achieve better than the +1 modifier that my 13 already gives me. So, forget it.

Speaking of which.

4. Note Ability Score Modifiers

STR 11 No melee modifier and a 2-in-6 chance to Open Doors
DEX 7 -1 to AC, Missile Attacks and Initiative
CON 8 -1 to Hit Points
INT 11 Spoken Languages – Native only, Literate? Yes
WIS 13 +1 to Magic Saves
CHA 14 +1 to NPC Reactions, Max # Retainers – 5 with a loyalty of 8

Also, as my Prime Requisite, Wisdom, is 13, I get +5% increase to all XP awards. Not bad.

5. Note Attack Values

I did not realise they used THAC0 in this game until just this very moment, dear reader. For the, mercifully, uninitiated, THAC0 stands for “To Hit Armour Class 0 (zero)” and it is represented by a number that you need to get on a d20 roll + your attack modifier, in order to hit an enemy with an AC value of 0, where the lower your AC is, the better. So, this was also the way things worked in the olden days of D&D and AD&D, so I guess they are sticking with that too. Okidoke.

So, at 1st level, my poor little Cleric has a THAC0 of 19. Meaning I would need a modified roll of 19 to hit AC 0, 18 to hit and AC of 1, 17 to hit an AC of 2 etc.

6. Note Saving Throws and Class Abilities

I have to say, I am not a big fan of using the word ability for both the character’s basic attributes and the classes’ features, but that’s just nit-picking.

Right, anyway, Saving Throws first

In the handy table you get in your class description it lists them thusly for a 1st level Cleric:

D: 11
W: 12
P: 14
B: 16
S: 15
The key at the bottom of the table indicates what the letters stand for: D: Death/poison, W: Wands, P: Paralysis/petrify, B: Breath attacks, S: Spells/rods/staves. These are, once again, representative of the saving throws from the original D&D. Incredibly specific, aren’t they?

As far as abilities go, Clerics get access to Divine Magic:

Holy Symbol: yup
Deity Disfavour: not exactly an ability but good to know that can happen.
Magical Research: you can research new spells, effects and magic items!
Spell casting: Uh oh. I don’t get any Cleric spells at 1st level. Only 1 1st level spell at 2nd level. This guy is in serious trouble here.
Using Magic Items: can use magic scrolls as long as the spell is a cleric one.

Turning the Undead:

To turn undead, you roll 2D6 and the referee compares the roll against the monster hit dice on a table to see the number affected. It is possible to turn or just fully destroy undead this way, depending on the level of the Cleric.

That’s about it for “abilities” at 1st level.

7. Roll Hit Points

Generously, they tell me, my character has to start with at least one hit point. So, if I roll a 1 or a two, that’s what I will be starting on. Clerics roll 1D6 for this. Here we go!

Hit Points: rolled a 2 so due to my truly dreadful CON score, that’s a 1. Fuck.

Now, there is an option to re-roll 1s or 2s at the referee’s say-so. But my referee ain’t here. Going to just stick to the basic rules and hope I don’t kick any rubbish bins and die.

8. Choose Alignment

Illustration from the Alignment section of the OSE Rules Tome. It depicts a sphinx-like god on the left-hand side, holding a sword out towards a party of adventurers and a bearded, four-armed, muscle-bound god on the right, holding out a spike mace.

OSE don’t have no truck with your good and evil dichotomy. It’s Lawful, Neutral or Chaotic. Given this Cleric’s start in life, physically at a disadvantage, frail and weak prone to sickness, I think he is leaning towards Chaos. He is railing against the world and the laws of man and nature.

Alignment: Chaotic

There is a note in the Alignment section that if the referee does not think you are role-playing your alignment, then they can give you one that better suits your character. Interesting.

9. Note Known Languages

Known Languages: Common, Chaotic (Alignment Language)
Another language, with my intelligence? No way buddy. I think the inclusion of the secret languages of gestures, signs and code words, known by all peoples of a given alignment is kind of cool and appropriate for the genre. Weird though.

10. By Equipment

I get 3D6 x 10 GP to start:

GP: 50 (that was two 1s and a 3 on 3d6. FML)
Going to flip to p42 to check out the Equipment list. I must bear in mind what Clerics can use: any armour and shields but only blunt weapons.

Time to go shopping

Club 3GP (1d4 Dmg)
Leather Armour 20GP (AC 7 (12 this is if you decide to use ascending AC instead of the standard descending))
Holy Symbol 25GP
Sack (Small) 1GP
Torches (6) 1GP
Waterskin 1GP

So, because I have to buy a Holy Symbol, and I really want to have some armour to protect my 1 Hit Point, I cannot even afford rations. I feel as though my Cleric must have taken a vow of poverty.

11. Note Armour Class

The Dex Modifiers table from the OSE Rules Tome. I am using it here to illustrate how odd it is to use negative numbers to indicate that a character's low Dex score can make their AC worse, when using a THAC0 system. — The Dex Modifiers table from the OSE Rules Tome. I am using it here to illustrate how odd it is to use negative numbers to indicate that a character’s low Dex score can make their AC worse, when using a THAC0 system.

Well, my Cleric, broke and pitiful as he is, is also clumsy as fuck. His Dexterity score is 7 and that gives him a -1 to his Armour Class. Now the wording here is extremely confusing. And I don’t know why they did this. So, as we discovered earlier, the lower your AC, the better when you are using THAC0, right? OK, in that case, if you get a negative modifier to your AC, that should be a good thing! But it is not. In the description of the Dexterity Ability Score they write: “a bonus lowers AC, a penalty raises it.” ! Like, what!? Why not just change the table so that a lower DEX score gives a +1 or +2 and a high score gives a -1 or -2?! Baffling. I need to point out that this is not the way they did it in my extremely old and battered copy of the AD&D 2nd Edition Player’s Handbook. As the picture below proves:

Table 2: Dexterity from the AD&D 2nd Edition Player's Handbook. I am using this to show how the AC modifiers in the OSE Dex Modifiers table above should have appeared, in my opinion. — Table 2: Dexterity from the AD&D 2nd Edition Player’s Handbook. I am using this to show how the AC modifiers in the OSE Dex Modifiers table above should have appeared, in my opinion.

Anyway, what this means is that my Cleric, in his leather armour has:

AC: 8

12. Note Level and XP

Pretty straight forward:

Level: 1
XP: 0

13. Name Character

Canon Fodder

That is all.
This disastrous character creation post has been brought to you by Old School Essentials and very bad luck.

Anyone else got a truly desperate OSE character to share?

Turbo Tokens

Failure is failure

Nobody wants to fail, right? We frown on failure. We take it personally, even when it is no fault of our own. It is hard not to feel that way. It might even keep you awake some nights, remembering how you fucked up that one thing and someone blamed you for your failure, even though it was largely a matter of chance. It sucks, but here’s the thing, your brain will never let you forget that one time you messed up. You will almost certainly never make the same mistake again if it’s something you can avoid, right? You will avoid similar situations, you will learn to do the thing properly or you will let someone qualified do it.

But this is not the case in D&D and other similar games. If you roll a 12 and add your +3 bonus and you miss that guy with his 16 AC, that’s it. It’s over. There is nothing you can learn except that you better roll higher next time or hit him with Magic Missile. This feels so much worse than regular failure. This is failure with no upside. There is not even a fun narrative element to it, really, unless you shoehorn one in.

So, how do you fix this? I think the answer is pretty simple actually, and it was brought to my attention by Aabriya Iyengar and Brennan Lee Mulligan.

Adding interest to failure

In the latest season of Dimension 20, Never Stop Blowing Up, the gang are playing people stuck in an 80s action movie. They are not playing D&D this time. Instead they are using a version of the Kids on Bikes system that they have previously hacked for Mentopolis and Misfits and Magic.

I really enjoy the system and it suits the seasons they use it in really well. In particular, the exploding dice element of the mechanics makes a lot of sense for a show called Never Stop Blowing Up and it makes for some brilliant cast reactions when it happens.

But the mechanic I am interested in here is the Turbo Tokens they receive when they fail at an action. In the base game, they are called Adversity Tokens and they represent the lessons learned from failure and contribute to real swings of momentum during high-stress situations.

Kids on dragons

So, I am going to try it out in D&D. Not sure what name I will give the tokens yet. I might just start with Adversity Tokens and see what the players end up calling them. The idea I have is to use them the same way as they do in Kids on Bikes, basically. They will earn one token each time they fail at something, whether it’s an attack roll or a stealth check or an effort to wow the crowd in the inn with their musical genius. That way, failure won’t feel quite so bad and they will be able to spend them later to effect other rolls. I think a +/- 1 modifier for each token spent is appropriate. They will be allowed to spend them to add to or subtract from any roll happening in the situation they are involved in. So they could add a bonus to their own attack roll, help out a fellow PC when the chips are down or subtract from an enemy’s saving throw or attack roll for instance. I foresee some interesting behaviours when it comes to the saving and spending of these. I am thinking I might need to cap the number of tokens a player can have at 10, although I doubt they’ll be able to save up that many of them really.

What do you think, dear reader? Have you ever tried doing something like this in D&D. If so, how did it go?

DIE RPG – One-shot

Comic, not comical

The DIE RPG was developed by Kieron Gillen, writer of the comic of the same name. I really loved the comic book, mainly because the premise spoke to me personally. The premise of the comic is that a bunch of young friends were brought together by the one guy who wants to GM a new game for them. He presents each of them with a special die, one d4, one d6, one d8, one d10, one d12 and one d20 for himself. In the course of play they find them selves transported to the game world. They are trapped there for months and come back changed, having left their GM friend behind.
Cut to decades later, they are all grown, with families and traumas and problems. They are all drawn back into the world of DIE for various reasons and the comic basically goes from there, following their adventures to the metatextual unreality of this fantasy realm trying to find their friend and a way home again, or not. Meanwhile, they all deal with a melange of emotional issues that lead to some very high drama and high-stakes decisions.
It is pretty fraught most of the time, very relatable to many, and despite my sub-heading it is funny sometimes.

DIE RPG

So Kieron Gillen got together with one of my favourite game publishers, Rowan Rook and Decard, to make the DIE RPG. I followed the process and remember checking out some of the early beta material. As a game, it is working to do what the comic did but at the table with your friends. You have to create a character, who is the player of the game, as well as the character they play, so there is a sort of Inceptionesque quality to it, which is dreamy and cool. Now, your player has to come loaded with various real-world problems and worries for you to work through in the game within the game as well.

I have not read much of the fully finished game, although it has spent a fair bit of time on my shelf. I recently discovered, while reading the Burn After Running blog, that it is ideal for one-shots so that’s why I really want to try to bring it to the table soon. I want to unearth some traumas for my player’s players and express them through my player’s player’s characters.

Also, please take a moment to appreciate the beauty of the products. Yum.

Wildsea – Campaign

Give your players a home

It’s pretty difficult to give your journeying adventurers a particular place they need to look after. They are always schlepping off to the next dungeon or haunted house or wizard’s tower or whatever. There are ways around this. In one D&D campaign that we finished last year, the PC’s hometown was plonked right on top of a sort of nexus of worlds, an ancient tower, buried beneath a hill, containing dozens of portals to many different planes and other prime material locations. So, even when they popped off to Sigil or Mechanus or the Astral Plane or wherever, they were always going home eventually. Indeed, the focus of that campaign was to save their little island.

But I often find it gratifying to make the home they care about quite mobile. In the first of several interconnected campaigns, the PCs stole and adopted their own “turtling” vessel (like a whaling vessel but for giant turtles. You get the idea.) as the setting was a vast archipelago they needed the transport. Of course they took it and made it their home. Not much of their adventures revolved around that boat but I liked the idea that they had somewhere to return to, no matter where their travels took them.

A-thing-to-fuck-with

It was also a-thing-to-fuck-with. I never got the chance to seriously fuck with that boat since the campaign has been on a semi-permanent hiatus for a few years, but more recently, I got an opportunity to hassle their casino. I mean, this was a different set of characters but some of the same players and it was in Spire, not D&D. The Ministry of Our Hidden Mistress bequeathed to our “heroes” the poisoned chalice of a casino called the Manticore in the Silver Quarter. They put a lot of effort into it, hired entertainment and a succession of unlucky security guards. It did not end well for the Manticore or the staff. Threats to it made for real motivation and the fact that it was a public place meant their enemies could just walk in. That was a dream. Great stuff. But it veers wide of the mobile home to care about topic.

The most recent version of the mobile home in one of my campaigns is the Cadabra, a mirror-hulled squid ship in our Spelljammer game. It’s got a ready-made crew of spirits and a checkered past itself. They have had this ship since session 3 and they are now at the point where they are repairing it and upgrading it and even adding more boats! They’re going to have a frikkin’ armada! This is great because boats are a money-pit. They answer the question, “what are my characters going to do with all that gold?” As well as the “how shall I fuck with them?” question.

And I know the feeling of home-ownership within a game. In the Black Sword Hack game I’m in, we have a flying boat, called a slater. We are unreasonably paranoid about this thing getting stolen or burnt or otherwise becoming unusable by our characters. We park it miles from the locations we are trying to get to so no-one sees it. We always leave NPCs to guard it. It is our home and it’s where we store all our opium and it’s our greatest asset. I’ll be damned if any asshole wizard is going to take it from us!

A home in the canopy

A photo of a page from my copy of The Wildsea by Felix Isaac's. It shows a picture of a ship from the game.

So Wildsea is a good fit for me and my group. In it, the players make characters who crew a ship that plies the canopy of a world-blanketing forest under the power of chainsaws! Below the leafy waves, the poisonous substance, crezzerin makes descending into it just as dangerous as diving into watery sea. The characters are made up of a wild variety of bloodlines like the beings made up of a colony of spiders, cactus folk, spirits inhabiting the ruins of ship-parts and regular old humans. It is possible to start a campaign of Wildsea where the PCs do not have a ship, but I don’t think I would. In fact, the designer of the game, Felix Isaacs, recently suggested that the best way to start is by making your ship first, before your characters even! That way, the thinking goes, you can imagine them in place , posing upon the prow or hanging from the gunwale or climbing the mast. Also, the classes in this game equate to posts on a ship so it makes even more sense when you take that into account. I really like this idea and will probably ask my players to take this approach in session 0.

A photo of a picture of a Mesmer, one of the posts from the Wildsea book.

There is no doubt that this is a weird setting. In some ways, it should act like any other setting where you get around on a vehicle of some sort across a trackless expanse. There are plenty of sci-fi games where you have a spaceship to build and look after. Death in Space is like that. Then, of course, I have given a few examples in D&D above already. But this is pretty alien. Even the concept of the post-apocalypse that is so impossibly verdant that sentient life has had to scrabble for a foothold amongst all the greenery is unique and bold. Add to that the oddness of the playable bloodlines and the really setting-specific hazards and you would be hard-pressed to compare Wildsea usefully to any other single game on the market.

A photo of a picture an Ardent character from The Wildsea book.

On top of that, the mechanics are really interesting. It is known as the Wild Words Engine

From Wildsea, Chapter 2, Mechanics:
“It’s low on crunch, focusing instead on letting narrative, character and setting develop during play.”

Isaacs has said that, despite the similarity to certain other game systems, he came up with a lot of the rules independently or was influenced more by video games than other RPGs. The basic dice-rolling mechanic is very Blades in the Dark and he has, to be fair, indicated that he got it from that game. So, you build a dice pool to roll and take the highest roll (or two rolls in the case of a Twist). But there are elements such as the Twist, which happens when you roll doubles and adds a special little something to the effects of the roll, that feel new and fun.

Finally, it feels like the GM (or Firefly) and the players get to create the world together as they play, making a place with little magic or lots of it, with high technology levels or very low, with strictly faith based societies or entirely atheist ones. This is very appealing to me.

How about you? Have you had a chance to play Wildsea? If so, what were your favourite aspects of it?

More Troika! – One-shots

Appendectomy

When was the last time your mind was genuinely blown by an idea, a concept, a creature or a situation presented to you when you played a fantasy role playing game? Because I don’t think D&D is providing opportunities for that sort of thing these days. I don’t necessarily blame the writers of D&D books for that; Wizards of the Coast has painted themselves into a corner that they are very comfortable occupying. In fact, because D&D is responsible for much of the public image of fantasy games for the last half century, they have dragged a lot of the hobby with them. As a result you have endless polished and glittering iterations of elves and dwarves and dragons and wizards with spell levels and clerics with devotion to individual deities and all the same monsters repeated ad nauseam. It is particularly interesting when you look at Appendix N, the appendix to the original D&D, in which Gary Gygaxstated his inspirations for the game. It has a few names you would expect to see: JRR Tolkien, Robert E Howard, Fritz Leiber and Poul Anderson but you also have a few that might make you wonder about the connection to the D&D of today.

HP Lovecraft is well known as the author of The Call of Cthulhu and other cosmic horror stories but his influence on D&D might not be obvious to all. Jack Vance wrote fantasy novels but they were tinged with an element of science fiction and gonzo world building in his Dying Earth books. In fact, many of the authors represented in Appendix N were famous for science fantasy rather than straight fantasy books, just look at Roger Zelazny and Edgar Rice Burroughs. You can still see bits of that influence in Wizards of the Coast’s D&D if you think of Spelljammer and Eberron but they always feel little too clean and sanitised compared to the books those ideas came from.

What I am getting at is that the true spiritual successors to the game developed with Appendix N in mind are part of the OSR. I wrote just yesterday on this very blog about Dungeon Crawl Classics and that very much embraces those influences, but it’s Troika! from the Melsonian Arts Council that truly embodies them for me.

Stretching those imagination muscles

The cover of my copy of Troika! Numinous Edition.

From Acid Death Fantasy by Luke Gearing:
“To the East lies the Plastic Sea, a miraculous main of liquid plastic. Upon contact with living skin it solidifies, covering the coast with Coated Men dueling each other in elegant, fatal contests, having made the choice to die young and glorious, sealed in flexible plastic armour.”

From Fronds of Benevolence by Andrew Walter:
“Fletherfalloon is a floating Thinking Engine of a very basic sort, dating from a bygone age. Festooned with rotting ribbons and rusty curlicues, it hovers at varying altitudes burbling and whistling to itself.”

From Slow Sleigh to Plankton Downs by Ezra Claverie:
“Water: three billion years old, frozen by the perpetual
night at the edge of the Galaxy, compressed into glaciers
of midnight blue. Taste the weight of time and solitude,
darkness and purity. With Djajadiningrat.
Hear it crackle in your favorite spirit. The sound of time
calving into an ocean of premium flavor.
Cut by natural-born hand, never by machine, never by clone.
At night’s edge, taste the infinity. Only from Djajadiningrat.
— advertisement in Ice Tomorrow (trade magazine)”

Troika! Is a city at the centre of everything, and around it gathers a host of bizarre and fantastical settings dotted throughout the cosmos. Perhaps you traverse this universe in a space-ship, perhaps it’s a Golden Barge you use. Maybe your character is a Displacement Prosthesist, maybe they are a Hyenaman Scavenger. The possibilities are truly endless and the strangenesses abound.

A page from Acid Death Fantasy by Luke Gearing. It details of the background you can choose to play in that setting, the Hyenaman Scavenger.

We had the chance to play a single one-shot of Troika! A couple of months ago and it did nothing but whet my appetite for more oddness. The adventure we played was a published one, The Blancmange and Thistle, in which the PCs encounter a hotel. Saying any more would involve spoilers but suffice it to say, if you are a fan of the unusual, that hotel is the place to stay.

The inside front cover of my copy of Slow Sleigh to Plankton Downs by Ezra Claverie.

From that, I fed the PCs a hook that should, someday, when I find the time, lead them to the world of Myung’s Mis-step and the whodunnit adventure at the centre of Slow Sleigh to Plankton Downs.

But I have a few others too:

Some lads on a page from Frond of Benevolence by Andrew Walter.

Fronds of Benevolence is a short, point-crawl where the PCs journey in search of an item of great importance to their friend/ruler/patron/deity, Duke DeCorticus, which will lead them “to the Rainbow Badlands, across the precipitous face of The Wall and in the very vaults of the hump-backed sky!
Acid Death Fantasy is more of a setting book but could equally be used as a point-crawl adventure. It contains elements from Dune, Planet of the Apes, others from dying earth genre books and still others from classic fantasy.
Whalgravaak’s Warehouse also by Andrew Walter is an adventure “that centres the play experience on the classic tenets of danger, resource management, exploration and player engagement agency.”

And given the fact that I will probably only get to run these once every few months, these will no doubt last me a while!

Have you had any experience playing Troika!? If you met a Slug Monarch in an awkward situation, would you help them or attack them?

Dungeon Crawl Classics – Individual Modules

Dropped modules

I have a few adventure modules from the early days of my D&D career. A couple that hark back all the way to AD&D first edition and several more for specific settings like Dark Sun, Ravenloft and Planescape. I have a few for D&D 5E as well. But the thing is, I have never been that enamoured of them. Almost from the start I found it too restrictive to run a pre-written adventure. I had the feeling that I had to get everything right, according to the text and that, if I put a foot wrong, I would mess up the whole experience for the players. To be fair, that was absolutely the case in some instances.

Instead, after I had read a few published modules and run some of them, I was able to see how it was done. So, I wrote my own adventures. Usually these were pretty loose things with nothing but a beginning, a main villain and some encounters filling the middle but only a vague idea of where it was going. Honestly, my method has not changed all that much in the intervening years. Anyway, this approach allowed me to improvise much more freely and I think my players generally felt they could do as they wished, within the constraints of the setting, rather than the strictures of a preset narrative.

I still don’t run published D&D scenarios or campaigns much, even if I do occasionally buy them. I ran Storm King’s Thunder a few years ago and was equal parts appalled and underwhelmed by it. It’s a full campaign that took us the guts of two years to finish. During that time much of our play-time was spent farting around the Sword Coast, trying to remember what the PCs’ motivation was while having more-or-less random encounters and a few pre-written, essential ones. It was meant to be a sandbox but the area felt too vast and the individual locations too ill-explained to be easily useable without a huge amount of work by the DM. And so little of it felt important to the overall plot! On the other hand, when it gave me the chance to be creative, and come up with content that was entirely my own, I loved it. And, generally, those were the most memorable moments from that campaign, even if I do say so myself.

Modular construction

A photo of the front cover of my copy of the Dungeon Crawl Classics RPG.

So why do I want to run individual modules for the Dungeon Crawl Classics RPG from Goodman Games? More masochism? Could be, oh reader mine, could be. It might actually be a mistake. I probably won’t know until I try it out.

But here’s the thing, the modules I am thinking of have been written some time in the last ten years for the most part. They are modern, with modern themes and sensibilities in mind. They are structured for a modern RPG player and they are, generally, nice and short.

So, they are modern, meaning they have plenty of opportunities for the PCs to make important and potentially game-changing choices and very few instances of railroading. Also, they assume that the players, at least, have all agreed to be there to play the game and so they are not written with the utmost consideration given to how to get the PCs to do what the adventure wants them to do.

Themes and sensibilities are important. A lot of the older adventures make colonialism look good and normalise a sort of fantasy racism that is simply unacceptable. It wasn’t acceptable then and it isn’t now. But now, at least, the consumer won’t put up with it.

Structure and length kind of work hand-in-hand. A lot of these have a fairly loose structure where many events can occur at any time within the beginning middle and end portions of the modules. And they are short enough to play in an evening or two for the most part. Here are the page lengths for a sampling of the DCC adventures I own:

The Sorcerer’s Tower of Sanguine Slant – 25 pages
The Laughing Idol of Lar-Shan – 17 pages
Blades Against Death – a massive 32 pages
The Croaking Fane – 16 pages

Easy to read and easy to prepare with great maps and fun artwork too.

Also, these things are metal AF.
Here are a few extracts:

From DCC # 77 The Croaking Fane

A page from the DCC adventure module, The Croaking Fane.

“The transept ends in a small altar, atop which sits an idol depicting a grotesque frog with razor-sharp teeth and talons. Its mouth is full of the mangled bodies of sentient races – humans, elves, dwarves, orcs, and even ogres hang askew in it maw; limbs dangling between the giant’s teeth.”

From DCC # 74 Blades Against Death

A page from the DCC adventure module, Blades Against Death.

“You draw aside the clacking curtain to reveal an emaciated crone, her white eyes staring into nothingness. A third eye is tattooed on her forehead and seems to blink when she wrinkles her face.

From DCC # 77.5 The Tower Out of Time

“A grotesque wonder occupies this bright chamber. Three fleshy slabs stand at acute angles around a monstrous, bulbous mass that resembles an exotic jungle flower. Each slab bears a small, hairy anthropoid creature. Numerous crimson tubes extend from the horrible flower, greedily siphoning the life blood from these creatures.”

Finally, DCC has this rather unique phenomenon called Level 0 Funnels. I am mildly obsessed with them and am itching to get one to the table. You play one of these adventures in lieu of traditional character creation. Your players each roll up 4 or 5 0 level characters, essentially peasants with no special abilities or magic or anything (they might have a pitchfork or a pig) and you send them all into a dungeon. Any that survive the experience get promoted to first level. And some of these modules are pitting 0 level characters against the sort of things the average D&D party might think about facing at like, 10th level.

I haven’t even gotten into the rules of DCC really. Suffice it to say that they are close enough to D&D that most players will not have a hard time learning them. I’ll probably do a deeper dive on the rules another time.

So, have you played DCC? If you did, did you play any of the published modules for it? What did you think?

Tales from the Loop – Mascots and Murder

Indie mascot horror

Maybe I’m giving away a bit too much with the title of this scenario. What do you think? I mean, look, here’s the thing; when we set up Tables and Tales a few months ago, I was curious about the kinds of things new members were into. One of them said they liked Indie Mascot Horror. Now, let me tell you, dear reader, I did not know what that was. Since then, I have learned that it refers to video games like Five Nights at Freddie’s and Poppy’s Playtime. I had obviously not played these games but I looked into them a bit and got the vibe. I thought about the types of RPGs that would be good for those themes and tropes. It did not take me long to decide on Tales from the Loop.

Tales from the Loop

If you have never seen the artworks of Simon Stålenhag, do yourself a favour and go check them out. I have taken some photos of his work from his art book, Tales from the Loop and embedded them here but they don’t do the work justice. When I first encountered his work several years ago, it filed me with wonder. He created such a realistic depiction of a past that was largely recognisable to me from my own childhood, interspersed with or shockingly dominated by futuristic architectures and sci-fi wonders. His work excited my imagination like only RPGs had in the past. So when I discovered that Free League were producing a Tales From the Loop game, it didn’t take me long to pick it up. It took a little longer to get it to the table but when I did I discovered that the players loved it.

## Indie mascot horror
Maybe I’m giving away a bit too much with the title of this scenario. What do you think? I mean, look, here’s the thing; when we set up Tables and Tales a few months ago, I was curious about the kinds of things new members were into. One of them said they liked Indie Mascot Horror. Now, let me tell you, dear reader, I did not know what that was. Since then, I have learned that it refers to video games like Five Nights at Freddie’s and Poppy’s Playtime. I had obviously not played these games but I looked into them a bit and got the vibe. I thought about the types of RPGs that would be good for those themes and tropes. It did not take me long to decide on Tales from the Loop.

## Tales from the Loop
If you have never seen the artworks of [Simon Stålenhag](https://www.simonstalenhag.se/), do yourself a favour and go check them out. When I first encountered his work several years ago, it filed me with wonder. He created such a realistic depiction of a past that was largely recognisable to me from my own childhood, interspersed with or shockingly dominated by futuristic architectures and sci-fi wonders. His work excited my imagination like only RPGs had in the past. So when I discovered that Free League were producing a [Tales From the Loop game](https://freeleaguepublishing.com/games/tales-from-the-loop-rpg/), it didn’t take me long to pick it up. It took a little longer to get it to the table but when I did I discovered that the players loved it.

Tales from the Loop is a game about the 1980s that never was. It posits a world in which some astounding scientific breakthroughs occurred in the ‘50s and ‘60s so that, by the time in which the game is set, they are not considered so strange. You have your robots and your hovercraft and your infinitely renewable energy. But most of that stuff is considered mundane in Stålenhag’s world. Not only that, they exist alongside the ‘80s mainstay technologies like Walkmans, cassette tapes, VCRs and Soda Stream. In Stålenhag’s artwork this created some beautifully uncanny images. Most were set in the region of Sweden known as Mälaröarna, where the Loop project was based. This is where the world’s largest particle accelerator was built. Though it is not necessarily directly responsible for the many strange occurrences in the region, the people who populate such a scientifically rarified place usually are. Scientists and administrators and students flocked to the region and started families there. So many of Stålenhag’s paintings involved kids; a toe-headed child threatening an old Volkswagen van marked “Polis” with a giant robot under his control; a pair of woolly-hatted kids digging in the Swedish snow and gazing back at their homes, dwarfed by the cyclopean, other-worldly cooling towers used to release heat from the core of the Loop itself, the Gravitron; a little kid in cold weather coveralls leading his grandfather through the snow to a mysterious sphere, left abandoned in the countryside, its purpose and provenance forgotten. These were the inspirations for the RPG.

The game came out at the height of the popularity of Stranger Things, which helped it gain a lot of traction I think, and then it even had its own, unfortunately not so popular, spinoff [TV series](https://en.wikipedia.org/wiki/Tales_from_the_Loop), which I, at least, loved.

In the RPG you play kids between 10 and 15 years old. You get to choose a Type from such classics as the Computer Geek, the Hick and the Weirdo. You also have to choose some really fun things like your Iconic Item, your key relationships and your favourite 1980s song.

Once you have your Kid, you and your friends can go out and investigate weird shit on your bikes. Stuff like, where are all the birds gone? What are all the adults doing gathered around that weird machine in the field? What’s that dinosaur looking claw print in the snow? You know, normal kid shit.

## Roll mechanics
Tales from the Loop uses a version of the Year Zero engine, and, in fact, it was the first game I played using that system. It’s really straight-forward and intuitive, easy to learn and resolves situations quickly. “Situations” are generally and collectively referred to in the text as “Trouble” with a capital “T,” appropriately enough. For many, the Trouble you got into and out of when they were kids are some of the most enduring and treasured memories. In the game, you combine your ability dice and your skill dice into one dice pool and roll them all to try and get at least one 6. Since you only use d6s in this game, that’s the highest you can roll. The more 6s you roll the better, generally.

The only issue my players and I had with the rules is the Extended Trouble mechanic. The way this works is that, during the final showdown, encounter or whatever, every kid says what they are going to do and the GM tells them how many successes they will need to succeed fully. Then one player rolls all the dice in one enormous pool. Generally, if they don’t succeed fully but they still have a few successes, they might achieve what they were trying to but one or more kids will earn conditions or even become Broken. But, in play, we found this approach to be unsatisfying. Each player wanted their own cool moment to roll for and the all-or-nothing approach meant that they couldn’t attempt to take any rectifying actions if and when they saw things going wrong. Anyway, suffice it to say, we won’t be using the Extended Trouble rule next time.

## Mascots and Murder
Here are the very basics of the scenario I have planned:
Although the first Loop was in Sweden and much of the book is written as though it is the default setting, they do actually provide a second potential setting in it. That’s Boulder City, Nevada, the “Best city by a dam site,” which is a reference to its proximity to the Hoover Dam. There is another Loop in this region and all of the scenarios presented in the core book can be transposed very easily to the desert, believe it or not. This is where the kids in this scenario will be from. It is summer in Boulder City so it’s going to be so sizzling hot that you can fry an egg on the sidewalk. This will be a nice change as all the other Tales from the Loop games I have played were set in Sweden in autumn and winter.

Some teens have gone missing from Boulder City. Although their parents don’t seem too worried about it, our intrepid Kids are going to solve this mystery as they track down the source of the eerie, carnival-like music out in the Nevada desert and figure out what the connection is.

I have had fun writing this scenario, even though I have gone over it and over it to get it right. So, it’ll be ready to play in a few weeks.

The Tales from the Loop core book has some very useful advice for writing and structuring a scenario for it yourself. As long as you stick to that, you’re unlikely to go wrong. This is not actually the first one I have written myself, using these guidelines and, I can tell you, it works really well.

Have you played Tales from the Loop? What did you think of it? If you had to run a particular game for Indie Mascot Horror vibes, what would it be?

Tales from the Loop is a game about the 1980s that never was. It posits a world in which some astounding scientific breakthroughs occurred in the ‘50s and ‘60s so that, by the time in which the game is set, they are not considered so strange. You have your robots and your hovercraft and your infinitely renewable energy. But most of that stuff is considered mundane in Stålenhag’s world. Not only that, they exist alongside the ‘80s mainstay technologies like Walkmans, cassette tapes, VCRs and Soda Stream. In Stålenhag’s artwork this created some beautifully uncanny images. Most were set in the region of Sweden known as Mälaröarna, where the Loop project was based. This is where the world’s largest particle accelerator was built. Though it is not necessarily directly responsible for the many strange occurrences in the region, the people who populate such a scientifically rarified place usually are. Scientists and administrators and students flocked to the region and started families there. So many of Stålenhag’s paintings involved kids; a toe-headed child threatening an old Volkswagen van marked “Polis” with a giant robot under his control; a pair of woolly-hatted kids digging in the Swedish snow and gazing back at their homes, dwarfed by the cyclopean, other-worldly cooling towers used to release heat from the core of the Loop itself, the Gravitron; a little kid in cold weather coveralls leading his grandfather through the snow to a mysterious sphere, left abandoned in the countryside, its purpose and provenance forgotten. These were the inspirations for the RPG.

The game came out at the height of the popularity of Stranger Things, which helped it gain a lot of traction I think, and then it even had its own, unfortunately not so popular, spinoff TV series, which I, at least, loved.

In the RPG you play kids between 10 and 15 years old. You get to choose a Type from such classics as the Computer Geek, the Hick and the Weirdo. You also have to choose some really fun things like your Iconic Item, your key relationships and your favourite 1980s song.

Once you have your Kid, you and your friends can go out and investigate weird shit on your bikes. Stuff like, where are all the birds gone? What are all the adults doing gathered around that weird machine in the field? What’s that dinosaur looking claw print in the snow? You know, normal kid shit.

Roll mechanics

Tales from the Loop uses a version of the Year Zero engine, and, in fact, it was the first game I played using that system. It’s really straight-forward and intuitive, easy to learn and resolves situations quickly. “Situations” are generally and collectively referred to in the text as “Trouble” with a capital “T,” appropriately enough. For many, the Trouble you got into and out of when they were kids are some of the most enduring and treasured memories. In the game, you combine your ability dice and your skill dice into one dice pool and roll them all to try and get at least one 6. Since you only use d6s in this game, that’s the highest you can roll. The more 6s you roll the better, generally.

The only issue my players and I had with the rules is the Extended Trouble mechanic. The way this works is that, during the final showdown, encounter or whatever, every kid says what they are going to do and the GM tells them how many successes they will need to succeed fully. Then one player rolls all the dice in one enormous pool. Generally, if they don’t succeed fully but they still have a few successes, they might achieve what they were trying to but one or more kids will earn conditions or even become Broken. But, in play, we found this approach to be unsatisfying. Each player wanted their own cool moment to roll for and the all-or-nothing approach meant that they couldn’t attempt to take any rectifying actions if and when they saw things going wrong. Anyway, suffice it to say, we won’t be using the Extended Trouble rule next time.

Mascots and Murder

Here are the very basics of the scenario I have planned:
Although the first Loop was in Sweden and much of the book is written as though it is the default setting, they do actually provide a second potential setting in it. That’s Boulder City, Nevada, the “Best city by a dam site,” which is a reference to its proximity to the Hoover Dam. There is another Loop in this region and all of the scenarios presented in the core book can be transposed very easily to the desert, believe it or not. This is where the kids in this scenario will be from. It is summer in Boulder City so it’s going to be so sizzling hot that you can fry an egg on the sidewalk. This will be a nice change as all the other Tales from the Loop games I have played were set in Sweden in autumn and winter.

Photo from the book, Tales from the Loop by Simon Stålenhag.

Some teens have gone missing from Boulder City. Although their parents don’t seem too worried about it, our intrepid Kids are going to solve this mystery as they track down the source of the eerie, carnival-like music out in the Nevada desert and figure out what the connection is.

I have had fun writing this scenario, even though I have gone over it and over it to get it right. So, it’ll be ready to play in a few weeks.

The Tales from the Loop core book has some very useful advice for writing and structuring a scenario for it yourself. As long as you stick to that, you’re unlikely to go wrong. This is not actually the first one I have written myself, using these guidelines and, I can tell you, it works really well.

Have you played Tales from the Loop? What did you think of it? If you had to run a particular game for Indie Mascot Horror vibes, what would it be?