The rest of the day passed quickly, like a train speeding towards a broken rail. My heartbeat struck out the seconds like a countdown, echoing in my breastbone. I felt sick.
Some of my friends noticed, and gave me hugs between the last few classes. Lindsey found me in the parking lot after school, and offered to drive me home. I declined, and drove myself after getting another tender hug from her.
The walk up the driveway was the longest it had ever been.
Immortal Lich Henry Kissinger, by Graham Gentz, is an artifact of its time.
It’s hard to explain what Henry Kissinger is to people who don’t know. It’s very easy to explain who Kissinger was, but what “Kissinger” is…
Memes of Death playing a claw machine, Steven Colbert dancing in his office, and a prevailing sense of an omnipresent cruelty existing in the world; its easy to see why The Immortal Lich Henry Kissinger was made. Henry Kissinger was, in many ways, a complicated person.
It would be easy to mistake Night of the Hogmen for a module, easily adaptable to any system or setting you’d like. It’s meant to be played in a single evening, encompassing a single event: a panicked run from a crashed carriage to a church, chased all the while by a swarming sea of ravenous hogmen.
But it’s not a module: it has its own small ruleset and premade characters. It’s Forged in the Dark, and while it is a part of a larger setting, it has no concrete connection to anything beyond its single run. It’s a One-shot RPG, similar to Lady Blackburn or Honey Heist.
I found the ring when I was sixteen.
It was buried deep in my grandmother’s things, in an old dusty chest in the closet. Everything in it belonged to my great grandmother, at least, that’s what my grandmother said.
I had spent the summer looking through old photographs and antique letters, curious about my past for the simple reason that I had no other part about myself with which to be curious.
Diceless Universal, by Michael Raston, is a very simple Universal Deterministic RPG. Only four pages long, the rules of the system are barely worth calling rules. Being deterministic, the rule section mostly details how the GM describes the world, and the players react. It is shared storytelling at its most basic; little more than a collaborative argument.
But I talked about that kind of play earlier. What I’d like to discuss now is the very last page, where the system details its progession mechanic: what it takes for characters to level up.
Darkest Days is a dark fantasy RPG designed by Bell Moon Games. A bit souls-like, the game sees its players as former legendary heroes returned to life by ancient ritual, in a desperate attempt to save the world from demons and monsters. It has an interesting “pip” system for skills, which gives you bonuses from both your stats and your equipment.
One of the more interesting parts of the Darkest Days ruleset is how it handles skill checks. In most modern RPGs, when a player wishes to undertake a task, they are given some measure of difficulty. Most systems call this a “difficulty rating” or a “target number.” You have to roll “better” than this number to succeed at your task.
Okay, but where does this number come from?
Bally walked all the way through the castle to the other side. He had to turn around several times because the settling stonework had begun to sag into the doorways, jamming the solid wooden doors shut. It was becoming a process to work through the winding maze of hallways.
At last he reached a door to the outside walls. Clamering his way through the stonework, he slipped out of the castle and across the lumpy hills back to the cliff overlooking the sea. Was it a shorter walk than before? Had a large part of the cliff fallen away into the blood-dark waters? He didn’t know. He didn’t much care, either, come to that. He’d rather just sit back and watch as the Spot grew imperceptibly larger.
Sellswords, by Pagentry Games, is, quote: a tabletop roleplaying game about the sorrows of war and those who sow them. It’s medieval in its trappings, though magic and monsters are not in the expected setting. Instead, the world is plagued with war, banditry, and politics. It’s a world filled with the worst excesses of power-hungry warlords draped in religious finery and exotic furs.
The PCs play as mercenaries, masters of brutality and flexible morality, who will do anything and serve anyone for the right price. Perhaps they will do horrific things for the right reasons, or be righteous for the wrong reasons, but only one thing is true: they serve only themselves, their coin, and Lady Fortune.
Sellswords is a diceless game, and rather than concoct an elaborate method of juggling points to pay for results, like Noblis or the Four Points System, Sellswords has a far more elegant system for deciding what happens: GM fiat.
Cast Away, written by by Joe O’Brien & Reilly Qyote, is a survival RPG. Your characters are survivors of a disastrous event, anything from a shipwreck to a zombie apocalypse, and must manage their health, fatigue, food, and shelter in a hostile aftermath.
The system is quite good at what it sets out to do. This is a game of struggle and strife, fighting to survive, and every mistake you make or failure you suffer results in more trouble for you down the line. Failures beget failures, and death for your character is permanent. This game is so good, in fact, that it brings up a significant question about RPGs in general:
This is a difficult game. You’re not expected to survive; not without some serious luck. You’re going to fail, fail hard, and you’re not even allowed to roll up a new character. This game is hard, and if you fail you’re done.
Does that sound like fun to you?
There was a crowd, or what counted as a crowd, these days. Almost thirty people.
They had tried their best. That fact alone made Bally more angry than anything else he had heard the entire evening. He watched as the small group of peasants sauntered their way up the hill towards the castle gates, waving their three torches and two pitchforks. A scythe was there too, which was a nice touch, but all in all, their heart wasn’t really in it.
