Game Mastery, Gaming

The four levels of success

Taking an idea from improv theatre leads me to four levels of success you can use in your game. To keep the action rolling for the characters.

I’m still waiting for the book, Improve for Gamers from Evil Hat, as it’s released in November. It distils a workshop series also called Improv for Gamers. The basic idea from improv can be summarised as You cannot say No. As this can stop the scene.  You can get away with No but or No and. This leads to the four options listed below and how I mentally relate them to gameplay.

  • Yes, and. This is a critical success with it’s yes you succeed and another good thing happens.
  • Yes, but. This feels just like a regular success, but as a GM you throw something else in there to keep things spicy.
  • No, but. This is the standard, “I did not succeed” or failing, which tends to stop the action cold. However, if you describe how close they are and give a +1 to the next roll, then it keeps the story flowing. In essence, this delays success.
  • No, and. This is a fumble, critical failure, or similar. Here’s where The Alexandrian’s Three Clue Rule becomes critical as it can avoid the impassible roadblock. So still resolve the disaster of action and move on to the new.

Some bad examples of the four levels of success

The idea does not always work, but here are some examples.

Epic level bullshit. The critical success is great on the dice, but how does it translate into the game world. A crit feels less important when knocking out a mook with 1 HP. So as a GM, it’s worth having something flow on to give that advantage to the table. The mook’s weapon bounces into the villain, lowering their defence. The ganger’s head flies across the room wedging the villains’ escape path open to enable pursuit.

Business as Usual. This is where the character tends to pass every check and leads to a lacklustre session with few highs & lows as there is little tension. And this is the point to spice it up with a “yes but” to complicate matters. But a word of warning is that you don’t want to just keep heaping on the complications as the session will need to move towards a resolution.

EG. The PCs are facing a hostile bard in the tavern, and the PCs deal with every social conflict the bard can throw at them. The jilted barmaid, the rowdy patrons, and the song of ridicule all make for good conflict in a game session, but it should not go on forever. The bard is forced to leave by the PCs. Maybe to get more help in the form of street thugs, wizardly curses, or the town watch.

One chance only. Characters do stupid things. While you provide opportunities to succeed, or even survive. Sometimes the dice lay on the hate. So jumping from a building to grab the swinging arm of the crane on a nearby building is an example of one chance only. if they miss they are likely to plummet to their death.

If they fail, then having the +1 to another try makes little difference. But +1 to smash through the window below, grab and slide down the side of the building, or even make the landing. All make for good narrative developments.

Oh my God No! What happens when a character fumbles SO badly that they derail the campaign? The equivalent of a magical supernova.

I’ve had this happen and I was at a complete loss of how to proceed. As Web DM and others have talked about, the only thing you can do is take a break to give yourself some time to think. Steal from character backstories, brainstorm some possibilities, or work with the players for ideas.

While not completely on point, once playing Crucible at Conquest, I had the privilege of watching a GM masterfully reassemble the climax of the game session into something truly special.

So…

Constantly using the simple Yes/No success idea of early roleplaying can lead to some dead ends for the story. However, by using the four levels of success, you can enhance the flow of your game. This should lead to better sessions for you and your players.

Gaming

Cyberpunk 2020 Initiative – Version 1

Cyberpunk 2020 initiative system favors solos with the idea of “move first kill first“. So to help balance out the turn order, to limit the number of multiple actions, and provide a chance to the others to act before the solo team laying waste to everyone.

Version 1 (the ’95 draft)

The first draft of these is from ’95 when we had a large group to test them on.

  1. The turn is in order of initiative with the highest going first. Ties favor Combat Sense, then Reflexes.
  2. Every character can have 1 multiple action per 10 points of initiative or part thereof.  So an initiative of less than 10 will still get an action. 10+ 2 actions, 20+ 3 actions.
  3. Characters still suffer a -3 per each additional action to every skill roll, but each an action will be resolved at the appropriate initiative count.
  4. Once a character action is complete, their next action is 10 points down the initiative order.

For example

A Solo & Fixer face off against 3 gangers. Their initiatives are 22 (Solo), 15 (Fixer), 16, 13, & 9 (for the Gangers).

Round 1: Everyone will take their maximum amount of actions. Solo (3), Fixer (2), Gangers #1 & #2 (2 each), Ganger #3 (1 action).

The Solo will take 3 actions, the fixer 2, and the Gangers 1 each as they aren’t that skilled.

  • At 22 the Solo acts, shooting a Ganger #1, in the head, but misses as all actions are at -6.
  • At 16, Ganger #1, shoots the Fixer, doing 1 point to the Left Arm.
  • At 15, the Fixer shoots Ganger #2, who takes 10 points to the Torso.
  • At 13, Ganger #2, shoots the Solo, for 3 points to the Torso.
  • At 12, the Solo acts for the second time, shooting Ganger #1 again, for 10 points to the Head. <Pop>
  • At 9, Ganger #3 shoots the Fixer in the Right Leg for 3 points
  • At 5, the Fixer acts again (with the penalties), shooting Ganger #2, finishing them off.
  • At 2, the Solo has their final action, popping Ganger #3.

Review

All in all our groups found the rules easy to follow and it makes for an interesting combat as the situation evolves around the characters. It  works, however, it limits the style of game play to back and forth gun-play.

Game Mastery, Near Future

A cyberpunk life

One of the things that I had not considered when playing Cyberpunk 2020 & Shadowrun back in the ’90s was how people live, day to day. The cyberpunk life consisted of doing jobs until you die. They may be a little lip service to the background world, but it was rare to inhabit that world in your game.

This profile of Serge Faguet provides some insight into the life of a Corporate character. The article goes into the mix of lifestyle, drugs, and technology all focused to give himself an edge. It may be a set of extreme steps to take, but it may become to the norm.

A story from Mirrorshades (or I think it was) about a medical student regularly using a drug to enhance her mental state to be able to absorb the huge quantity of information needed for med school. So taking this to its logical extreme. If drugs, cyber-technology, and any form of enhancement you can make could give you an edge. Then those technologies become required to run with the pack, or even to be in the race.

A few questions emerge from this.

  1. So what do characters need to compete?
  2. What enhancements are needed and the consequences that could involve?
  3. How can you create this in a game?
22 by Akira Miyagawa
22 by Akira Miyagawa

Character Roles

Cyberpunk, Shadowrun, & Cyberspace provide useful definitions of character types, the gear they will need, and the tech they are likely to use. So while the game-systems are different, the intent behind them is the same.

Soldiers, Fighters, Gangers, Punks, Killers, Street-samurai are all examples of the Warrior Archetype. In the cyberpunk genre, it all about who shoots first kills first and enhancing those critical combat skills.  Cyber-optics, neural links, and reflect boosting become the order of the day.

Facemen include Fixers, Corporates, Mr. Johnson, and Tricksters in general. The goal is to win social conflicts to get the best deal, persuade the right person, or intimidate the gangers. To this end, they will need cyberware that enhances the social encounters.

Knowledge brokers (aka Wizards) include Netrunners, Deckers, Jockeys who access the digital web to find stuff that others can not. It can also include a character with specialist knowledge, like a Tech or Ripper Doc. The cyberware will be focused on enhancing the mind and allowing access to new data sources.

Arm Fix by EJ Dela Cruz
Arm Fix by EJ Dela Cruz

While not exhaustive, this really just provides a gateway into the character’s world and the lives they could live.

The exploring the Lows

As a GM the challenge here is to balance the good with the bad. So how do you set up the consequences of cyber-enhancement? What enhancements are needed and the consequences that could involve?

The use of cyberware tends to lead to a loss of Humanity (in Cyberpunk 2020) or Essence (in Shadowrun). These are common ways of regulating a character’s actions. However, there are other GM techniques to manipulate the character’s behavior.

Peer pressure plays a part in any sort of social game. As a GM you can use NPCs reactions to your advantage.

  • A street punk would look for obvious enhancements, like cyberware and skin tattoos.
  • A sleek corporate looks for high-quality cyberware, as examples of wealth and sophistication.
  • A Neo-Luddite would look on any cyberware as abhorrent.

Regardless, of why NPCs react they way they do, the effect is still the same in flavoring the cyberpunk life.

Excessive drug use can lead to addition. Cyberpunk 2020 has rules for that. Not too sure if Shadowrun or Cyberspace does.  Regardless of the game-system media like, there is media other there that provides some examples of the consequences. So the question now becomes how could you model the pitfalls of addiction for a character?

Starting the Cyberpunk life with Session Zero

Inkpunk 80: Datahunter by Marthe Jonkers
Inkpunk 80: Datahunter by Marthe Jonkers

One way to create the feeling of the world is to explore a character’s daily life during session zero.  During it, you can bring in all the cyberpunk elements that you want in your game. Focusing on the particular things that are important, with the others becoming faded into the background.

To help set the foundation of the cyberpunk life, you can explore a day in the life or common experiences. Some examples that you could explore are;

  • Use the character’s Lifepath as a starting point for session zero.
  • What was a character’s first piece of cyberware?
  • What crime has the character committed?
  • Has the character ever been caught for something?

The whole goal of this for the GM is to tease out more details about the character.

 

Game Mastery

Creativity in Role Playing Games

When trying to build a new dungeon, a big bad, or an encounter in a role-playing game there are times when you need a little creative help to come up with ideas. The good news is that creativity is a process, a skill and most importantly something you can develop.

[embedyt] https://youtu.be/Pb5oIIPO62g [/embedyt]

John Cleese talks about it in Creativity In Management. He covers two modes of thinking (ie Analytical & creative) and how they are separated. And then how to access the open mode for better creativity. In essence, to access the open creative mode of thinking he talks about having the mental Space free from distraction; a definite start & stop Time with a duration of about an hour & a half; Time to explore the topic or play with the problem so that you can find the best solution; Confidence to explore the what ifs and take risks; And Humour which is an essential part of playfulness and creativity. Also working with others in a positive environment, because quashing ideas blocks creativity.

A creative design process

The steps, below are adapted from the Visual Communication Design process with a few changes to focus it on to the subject of RPGs. The aim of this is

  1. Goal. Is it a dungeon, NPC, encounter, magic item, or something else? Set out what you want to achieve. It may seem obvious now, but after an hour wandering the Internet, you will have forgotten why you started.
  2. Research. Get some background information on the thing you are planning on creating. Most of the time it may be refreshing yourself with the rules around the goal or topic you are exploring. Make notes, even if it’s just some random scratching on a spare sheet of paper, it will help sort out your thinking.
  3. Idea generation. This is where you pull out some creative thinking tools to produce a list of possibilities. This is a whole subject on its own. Just jot down the ideas, if they come. If they don’t have a break and distract yourself with something else, and you may find ideas start to flow. Do not worry if they are bad, just keep producing some and you may find a good one.
  4. Developing the concept. At this stage, you go through what you have generated and pick one or two for further development. I tend to cluster the ideas around themes (EG. NPCs, Locations, Events, Story threads, etc.). Then pick one idea and start adding stuff to flesh out the bones of the concept.
  5. Refinement. Once you have a single idea developed, you can now start refining it with more detail with the aim of creating the finished thing (NPC, Location, Events, etc). This usually happens by getting some feedback from other people to help pick out things you may have missed. Now you can’t show it to your players, but other GMs or online groups are great for this stuff and will help lift it to the next level.
  6. Presentation. Finally, once you’ve met your goal, it’s on to creating the final form. Taking what you want of the feedback, add it to the bowl and mix thoroughly to blend it all together.

Now, this is not always a linear process where you go from one step to the next. And for a small project, like rolling up an NPC, many of the steps can merge together. However, when developing large stuff, like a campaign world, a city,  or organization, it does become useful to follow.

Finally, Bobby McFerrin on creativity, where he talks about how creativity is the mix of improvisation and technique. Although it’s about music the same is true for role-playing games. To do enough preparation to enable the mixing of pre-created content with the improvisation of the game session.

[embedyt] https://www.youtube.com/watch?v=fYXFxP8P23s[/embedyt]

Miniatures & 3D Printing, Near Future

Sci-fi floor tiles

A few years ago, I was working on a set of science fiction themed floor tiles with the idea of releasing them on Shapeways. However, I was not happy with the design as the legs of the pieces snapped off quickly pointing to a flaw in the design. It’s one that could be easily fixed, but the time lag and cost of iterating the design would have been prohibitive. So with other priorities pressing in, I let it slide to the back burner.

Now, just recently I get my first 3D Printer and have been looking as Devon Jones’ designs on Thingiverse. The Terrain tiles and miniatures that he and others have created is truly inspiring, and I’ve been bitten by the 3D design bug again. So, I pulled out some old designs I did in Blender and reworked them to improve the design and create a set of sci-fi dungeon tiles that I could use with Cyberpunk, Shadowrun, Infinity, or Starfinder.

The first was a set of plain tiles, to use as a template for the other designs. Then I took the designs for an age ago and tweaked them to suit the printer.

 

 

Cyberpunk 2020, Near Future

Cyberpunk 2020 – Character Sheet

After watching Seth Skorkowsky’s Cyberpunk 2020 -RPG Review 2.0, I found it necessary to put together an updated version of the Character sheet.

Luckily, I’d been working on something similar for a homebrew and I had most of this kicking about. So with a few quick changes for the stats & skill list, I’ve backported this character sheet to the Cyberpunk 2020 era.

The front of the character sheet

The logo is adapted from the new Cyberpunk 2077 computer game and the font is Cyberpunk is Not Dead.  The text is straight from the original character sheet, although I did add Seth’s sections for vehicles & clothing.

The back of the character sheet

Also here’s Seth’s review on one of the best games systems I’ve ever played as it strikes the balance between realism and playability. Sadly, the tech of the world has not aged well with its FAX machines and archaic ideas around the Internet.

[embedyt] https://www.youtube.com/watch?v=tmdMnYm1zno[/embedyt]

Cyberpunk 2020, Near Future

Cyberpunk 2020 – Combat summary

I’ve started working on a combat summary for players of Cyberpunk 2020.

I used the details from the Cyberpunk 2020 Reference Book (Version 5). It collects together information from a range of Cyberpunk 2020 books. I copied the 3 column layout from the Cyberpunk 2020 Core rulebook adding a few details of my own. Finally, I added a bloody fingerprint, some splatters and the iBorg image by zoopee for a bit of extra flavor.

The Cyberpunk 2020 Reference Book (Version 5) has been available on the net for many years. It has been collated by Andrew James of http://www.node16.co.uk/ However, the Ref Book was last updated in 2002 and the website looks out of date.  Any search for “Cyberpunk 2020 Reference Book, Version 5” should turn it up.

Campaign Worlds, Edge of the Sphere

Old Star League Base Notes

During the Reunification War, the Star League set up a staging point to enable the suppression of the Magistracy of Canopus. The Naval-base was complete in 2583 and after the destruction of the Magistracy’s navy enabled to control of a number of minor worlds.

It is unclear whether the naval base may have passed to control of the  FWLM‘s, or was decommissioned in 2584. The second being more likely, as there are no records of the base in the Marik military records after the withdraw of troops in 2604.

The Explorer Corps completed planetary surveys of Eagle Rest, Cayuga, and Helvetica, but located no sign of Star League emplacements. They have set a low priority to star system-wide surveys because of the long time required for such a cache of Star League equipment.

However, the exact location of this hidden base is not located on any many possessed by Comstar.

Possible Locations

Based on historical documentation and comparing the maps from 2750 and 3040 of the location here is a short lost of possible worlds.

Suspected Contents

Based on SLDF documents of equipment shipped and SLDF & FWLM documents of equipment removed, it is likely that the following exist onsite.

 

 

Notes to self

Thief style games

Recently I went back and played Thief Gold by looking glass studio, picking up the triple pack of Thief Gold, Thief 2, and the new Thief 2014. The experiences I had between the new and old were very stark. This video by Dom Giuca sums up some of my frustrations with the game and the style of games in general.

The game Thief used artful storytelling techniques in the crafting of the levels to heighten the mood or terror of an opponent and still manages to achieve it with very minimal technical specs, especially when compared to today’s titles.

It provides the player with a minimal toolset to achieve your goals, but to will feel the loss of one of these things

Another thing I’ve noticed is the sound design a theme which is picked up and explored by Strat-Edgy Productions in The Sounds Of A Thief. This is an element of game design that I’m hearing in more and more games.

[embedyt] https://www.youtube.com/watch?v=kLUm-k1liOs[/embedyt]

These elements bring me back to why I (and possibly you) play games, which is for new experiences. To see the world in different ways and to explore where those paths lead us.

Links

Useful links related to Thief & Thief 2

  • http://www.ttlg.com/forums/forumdisplay.php?f=100
  • http://www.thedarkmod.com/main/
  • http://thief-thecircle.com/
  • http://thiefmissions.com/
Gaming

BoarCrocodiles

A new monster!

An article from IFLScience details, Galloping Crocodiles Ate Dinosaurs In North Africa. The documentary on National Geographic has since been moved, but it does give some great ideas to mix it up with creatures that players are unlikely to have encountered.

The BoarCrocodile (Kaprosuchus saharicus) is from the Cretaceous period and would have been 6.5-meters-long (21 feet). Armed with three sets of sharp tusks and a snout that could probably have been used as a sort of battering ram, this must have been the stuff of nightmares for the beasts of the time. While it is thought that K. saharicus fed mainly on dinosaurs, our ancestral mammals probably had plenty of reason to be afraid.

Mike Hettwer/National Geographic. Kaprosuchus saharicus model and original skull.

Laganosuchus thaumastos grew to a similar size, but its flat head appears to have been more suited to ambush attacks on passing fish.

Mike Hettwer/National Geographic. NIcknamed PancakeCroc, Laganosuchus thaumastos probably had a diet of mostly fish.

Both species were closely related to crocodiles, and lived a similar semi-aquatic lifestyle, but had legs beneath their bodies, rather than sprawling sideways as modern crocodillians do. “My African crocs appeared to have had both upright, agile legs for bounding overland and a versatile tail for paddling in water,” Sereno wrote in National Geographic Magazine at the time of the discoveries. “These species open a window on a croc world completely foreign to what was living on northern continents.”

Todd Marshall/National Geographic. This cretaceous crocodile nicknamed DogCroc was probably a fast and agile runner.

The third species identified for the first time on the same expedition, Araripesuchus rattoides, was only a meter long and probably lived on roots and insects.

None of the three compare to Sereno’s best known discovery, the 12-meter-long (39 feet) Sarchosuchus imperator, dubbed “SuperCroc,” that roamed (and shook) the Earth 112 million years ago.

Mike Hettwer/National Geographic. Paul Sereno with models of six of the crocodile species he helped discover and describe.

“We were surprised to find so many species from the same time in the same place,” University of Montreal palaeontologist Hans Larsson told The Guardian when the discoveries were announced. “Each of the crocs apparently had different diets, different behaviours. It appears they had divided up the ecosystem, each species taking advantage of it in its own way.”