Khrux

I don’t mind it being deep, just don’t fill it with your actions and deeds. A big part of fun for TTRPGs is ‘play away from the table’, which for the players is typically making art, backstory or builds for current or future characters. Most long backstories I read don’t invalidate a level 1 character but mostly explore values, just as my real life story could be as deep as I choose to write it and I’d not even have the skills to be level 1.

My suggestion is:

• Get people together for a session 0. Only pitch the campaign and tone then, if not construct it collaboratively too.

• Hand out pieces of paper or card face down, have each player take 1, and ensure there is one between each player. These cards say Love, ally, rival, or enemy.

• Explain that players should make an NPC for their backstory that matches this word, and should make a shared NPC with the person next to them based on the card between them.

• Now let them take another card of their choice. They can either make another NPC with this, or use it to make the relationship to one of their shared NPCs asymmetrical.

• They can design their NPCs and backstory now or before session 1, up to them.

Finally, explore what the players can choose to do to contribute between sessions to the game. If they don’t do anything, that’s fine, but they should have a way to meaningful contribute to something. Typically I encourage world building and cultural lore, such as unique foods and why that has a thematic resonance.

This is hard to structure, I had a player who was a former forever DM, who played a knowledgeable librarian in a former monster hunter guild. I asked her to make some monster statblocks, as she’d know them inside and out in character.

My advice to players:

Make your backstory show that your character has done no huge deeds yet, and most importantly, have everything that matters in it revolve around NPCs. Not just is this the best drama, but NPCs can move, join factions, be redeemed, betray you, die and everything else.

• That cost halfling village you design that perfectly exemplifies your character, but will never be seen in this urban campaign halfway across the continent? Make the most important part of it the mayor’s daughter who happens to be your childhood friend.

• The strange necklace that made you stronger but more angry when you wore it? The final time you saw it was when your brother stormed out of your co-owned business after a bitter argument.

• The lord who helped you smuggle your liquor into the city? That’s the same lord that wrongfully imprisoned the player character next to you.

One of my favourite scenes from a campaign came when a player, after spending a session getting the chance to meet with a resistance leader, turned to the others and said “this is my ex-wife”. That whole dynamic was interesting too, as both had come from a warrior culture and initially parted due to neither being the “strong warrior”, now both trying to fight against that same faction a decade later.

My all time favourite NPC was a talented tailor in an urban campaign, who owed one player character a favour and was generally fond of them all. Nothing like the party having a go to guy for fancy or silly outfit amendments.

I’ve never made the link between that and gender before (linguistically), it seems obvious in hindsight.

Purple: Magic??

Green: Life/death??

Red: Life/fire??

Blue: Magic/cold??

Honestly the only colour I don’t feel uncertain about is orange, that’s always bad.

Also on the topic of health potions, a great piece of advice I once heard was that if your players are in a foreign land, remove health potions. Give them health biscuits and watch them reconcile with God.

Microsoft has absolutely been preparing for the end of traditional consoles more or less since the flop of the Xbox One. Their entire push a few years back to make “Everything Xbox” was a bit mistimed and disloyal to their console war cultists but they’re right that it’s the natural end point.

I think we’ll probably see streaming games from their servers reoccur in popularity pretty soon, as much as I’m not a fan of it, because it’s the total end point for non tech savvy consumers, they just pay a subscription, get a controller which can connect to the TV or phone and download an app, no hardware required. Meanwhile every consumer who is resisting the death of tech literacy (everyone else), is going in this direction. The physical console will reduce in popularity year by year as it fills a niche that nobody needs anymore.

That being said, the popularity of the switch and steam deck interests me, because it’s a third direction away from traditional consoles that I’d not have predicted.

I’m the opposite, I want romance, character death, low magic, a later era (1700s theming more than 800s), safety tools out the wazoo and in-game bigotry that my party can rebel against.

Back in 2013, I bought an old PS3 + GTA5 for £150 or so just to play the game, then once I had it, picked up two more exclusives, before never touching it again pretty quickly.

Getting a console for GTA6, plus the game, this time may set me back more than my expendable income after rent and bills. It will absolutely sell consoles but I’d wager people are actually able to buy a console much less than in 2013.

I had it from release and honestly, even day 1 it smoked the competition in the city sim genre, releasing with features and scale than Sim City ever had.

The DLC often introduced more systems, but they did feel ‘extra’, the game was perfectly functional before parks or tourism or natural disasters etc.

The reason CS:2 felt so necessary is because the first was bloated and had underlying issues in it’s simulation logic, like unrealistically inefficient driving, or a large expansion to residential areas causing all the new residents to die of old age at the same time, crippling the city. Every part of the GUI and logic just felt clunky compared to modern, polished games.

Green flame blade is a great horde killing spell while still feeling cool. IMO everyone picks booming blade because it’s more useful against single targets, which is more fun against a larger range of enemies, from bosses to your equals, plus thunder is rarely resisted compared to fire.

Some people implement minion rules where overflowing damage from killing a weak enemy flows on to the adjacent enemy, which of course is simplified and incorporated into green flame blade. One of the hardest things to capture in the standard D&D rules is that in fantasy, the warrior (Aragorn, Holga, Achilles) typically cuts down hundreds of mooks while the mage battles the giant powerful monster who cannot be defeated by a sword (Gandalf Vs Balrog). In D&D, either it’s totally inversed or the mage is better at both, largely because spells like fireball suit both situations better.

Green flame blade is a very easy option to balance this scale, albeit via magic.

One thing I did notice a while back, was seeing the 2022ish interface for YouTube and Google search and feeling how dated it was, still absolutely usable mind you, just clearly with a design ethos from an older era.

Most the time, I feel that changes Google make are absolutely arbitrary, rounding a button and then squaring it again, but I need to give them credit that there is something more, something about staying at the forefront of GUIs. It’s still all bullshit of course, the old one looks older but is identically useful.

I think being assertive and more socially active meaning you’re more likely to be a bully is a bit of a myth. Although the cliché school or work bully may be assertive and socially active, there are many unpopular and awkward people who bully those around them, and it just goes unnoticed.

If you get around to Microscope and enjoy it, it recommend both The Quiet Year and For the Queen.

When I played Microscope, I found that the game was a little too unconstrained and it was very hard to keep things from becoming totally silly, then in the close up scenes, everyone would basically want to default to playing a super rules-light generic TTRPG, and two or three of those scenes would dominate the session. I feel that it may get better with frequent play, but that’s not really what it’s designed for. Ben Robbins, the creator is a very talented game designer and is also famous for the West Marches style of D&D play, and has made numerous GMless TTRPGs since, and I’ve only ever heard great things about them.

The Quiet Year is a game with a more constrained setting, that basically uses a map you fill in as you please and a bunch of prompts tied to playing cards to play out the 4 seasons of a small settlement moving from it’s founding to a final point where either the settlement is implied to die out, or is a fantastic springboard for a traditional TTRPG to take over. There are plenty of hacks online that move the tone from a post apocalypse feeling survival focused game to basically anything that charts a settlement for a year, including one by the creators called The deep forest which I understand to be a decolonising focused and a bit more cottagecore / cottagecore. I preferred this to Microscope mostly because of the fact that it’s prompts constrain the tone from becoming all out silly.

Finally For the Queen has been one of the best games I’ve ever discovered. I’ve played the first edition but there is a second created by the same creator, Alex Roberts, produced by Critical Role’s Darrington Press. If you’re Critical Role averse for some reason, the first edition was not tied to them at all. This game is by far the easiest to teach new players, and is the first game I’d bring to play with absolute TTRPG newbies. In my opinion it generates the best story, although rather than being solely worldbuilding, it places a primary interest on your characters and relationships to a queen figure. I find that despite this, the world’s that comes out of it are far more evocative and exciting to develop than other GMless TTRPGs, and a large part of that is the hard to hack reality that it’s just got good prompts. Despite that it’s got the most hacks of the original of anything here, as the original game is so streamlined and well playtested, which really shows while playing it.

I think modern TTRPGS in general steer towards things like temporary summons because of how it lets the players actually use them in combat. Nobody wants to play the necromancer who is suddenly just some guy because there are no corpses available where the battle kicks off.

I have an enormous soft spot for narratively putting in the legwork to assemble your undead hordes, and when I’m the GM, I’m always keen to set up good moments for the necromancer to build an army, but it’s so easy for that to set up a situation where a player doesn’t get to actually use their features. Making them temporary summons from nowhere in particular is the easiest fix.

I had a similar experience in my 5e game, no real combat but basically the intrigued that drove the game got tenfold more complex and was revealed to involve each member of the party in a varying but believable way.

Seperatly, I also played Alice is Missing the month before and it lived up to the hype I wanted, but it’s very up.my street. What I seek in an RPG is being able to move between being immersed enough to feel what my character feels when I want it, but when I don’t, be able to act as my own drama maker for later. AiM absolutely delivered that for me. It also didn’t need magic or tech to deliver any agency which is a big plus to me.

Funnily enough The Witcher 3 is one of the games I always think of for the trope of not following the plot. Often I think of the ludonarrative dissonance specifically between Gestalt’s paternal drive to find and protect Ciri Vs Gwent.

For large scale, AAA open world games, I mostly think of Breath of the Wild, which transparently sets itself up as being about taking as long as you need to get strong enough to save the world and Red Dead Redemption 2, which doesn’t care about the stakes of the world.

I sometimes can’t wrap my head around the fact that Witcher 3, BotW and RDR2 were each two years apart. I don’t feel any open world game has occupied the cultural space those games did since.

Long before ZA/UM closed, I was certain that we’d never see a new game of that quality again from the same studio.

I’m not confident any of these new teams will pull it off, but I’d rather have four attempts than one.

Also the toxicity that is implied to exist by this post is pretty rare really. Even back when I was using Reddit, toxicity generally sank to the bottom of comment sections, and even more so here. When I got into D&D close to the beginning of 5e, some online voices on YouTube for example carried this toxicity but nowadays, most voices are far newer and friendly.

In general, most people are more interested in what happens at their table instead of all tables, and the rules are just guidelines to aid that.

I deleted my comment because I came from the TTRPG network homepage and didn’t realise I was responding to pathfinder. I gave quite a few D&D 5e specific examples and was a little worried people wouldn’t be happy about it.

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There’s a book called Tabletop Role-playing Therapy: A Guide for the Clinician Game Master by Dr Megan A. Connel that’s a really standout resource about this, she appeared on the official D&D podcast a year or so ago talking about it.

I’d say that this is more a resource for therapists to use TTRPGs than it is for DMs to act as therapists for their players. There’s a fine line between accommodating your players’ preferences and needs and providing unwanted therapy; if you want to actually put any therapy techniques into your game, ask your players approval first.

I don’t want to throw the word enshitiffication around, especially when I’m not sure if I can spell it, but the platforms that people jump ship to when that happens are probably especially vulnerable to people jumping ship again.

I can’t imagine Mozilla effectively marketing Firefox as anything but the bullshit free browser, and when they lose that, people will just move to the next actual bullshit free option.