Category: Uncategorized

  • RPG and Book Reviews

    Fellow traveller Connor Nunley has started a new project of reviewing RPGs and books; check his page out:

    https://www.instagram.com/the.archivenocturnal?igsh=ZnA1Nm12bGI0bG11

  • A Movie Rating System That Actually Tells You What to Do

    I’ve developed a movie rating scale that many people seem to appreciate, so I thought I’d share it here. What I love about this system is that it’s action-oriented—instead of vague numerical ratings that leave you wondering “but what does a 7 really mean?”, each score tells you exactly what you should do.

    So here’s Manu Saxena’s movie rating system! The ratings, from best to worst, are:

    5 – Amazing: The highest score, reserved for films so exceptional they’re worth dropping your plans to see tonight. These are the rare experiences that remind you why you love movies.

    4 – Truly Excellent: Worth seeing in theaters and paying full price. You won’t regret the investment of time or money.

    3 – Good: Enjoyable and worth watching, but save your money. Wait for it to hit streaming platforms.

    2 – Mediocre: Fine if you have nothing better to do and aren’t paying for it. Decent background entertainment.

    1 – Bad: Don’t bother, even if it’s free. Your time is more valuable.

    0 – Horrible: So painfully bad that you’ll deeply regret the hours of your life you can never get back because you watched this film. The kind of movie that makes you question your own and the filmmakers’ life choices. So don’t just avoid it, warn others to stay away from it!

    That’s the system. I think it makes movie recommendations clearer, and might even make discussions about them more practical.

    So what films would you rate as a 5? And while I hope you haven’t encountered any 0s lately, please share if you have. It’s always good to know what to avoid!

  • New Song

    Here is the new song I made in celebration of my new gaming group:

    https://suno.com/song/bbd4d192-5e7f-4c49-963c-8185b93d2b21

    It was fun making it, and if you like it please give it a thumbs up!

  • Starting Star Trek Adventures

    I’m happy to say I’ve started a new group and we’re going to be trying our hand at Star Trek Adventures. Here is a prologue:

    Star Trek Adventures: Prologue

    The door slid open with a chime. A tall, dark-skinned man wearing a Starfleet uniform and Captain’s insignia on the collar walked in. “Captain Thabo Mbeki, reporting as ordered.” He saluted and stood upright in a stiff, formal posture.

    Admiral Hicks stood up from his desk and smiled, the gesture making him look much younger than his graying hair would indicate. He waved off the salute. “At ease, Thabo. You’re not even officially on duty yet. Please, have a seat.”

    Mbeki paused for a moment, looking uncertain. “I was given to understand…that is, I thought – “

    Hicks nodded in understanding. “You are wondering about your medical evaluation. Well, don’t. You’ve been cleared for duty. And we have a new posting for you.”

    Mbeki took a deep breath, visibly relaxing. The admiral motioned towards the chair in front of him, and Mbeki let himself relax into it. “It’s taken so long, Adam. I thought Starfleet was through with me.”

    “We’d all be fools if we were,” Hicks replied, “considering your knowledge and experience… and what you went through, for the good of the Federation.” The Admiral’s gaze scanned Mbeki. Starfleet’s surgeons had done an excellent job, but if you looked close enough you could see the scars on his face and head.

    A sad smile came over the Captain’s visage. “Thank you for saying that. With the investigation, the months of interrogations, I was sure they were looking for any excuse to get rid of me.”

    “Oh, some of them were. But I watched them like a hawk. Anyone attempting to cast doubt on your loyalty I gave chapter and verse to. Still, it was a near thing: I was the deciding vote on the commission. After what happened, some people are always going to have doubts. I know it’s unfair. But that’s just how it is.”

    Mbeki looked down for a moment. “Yes,” he sighed, “the world is imperfect.”

    Hicks gazed at his friend for a while, then reached under his desk, bringing out a bottle of blue liquid. He poured two shots, and slid one glass to Mbeki. “Medicinal purposes.”

    The Captain studied the blue concoction, raising an eyebrow. “Is this…?”

    “Yes,” Hicks smiled, “Romulan ale. Don’t ask me how I got it.” He downed his shot, the fiery liquid exploding in his mouth and down his throat. Mbeki shrugged, then followed suit.

    After the tears cleared from his eyes, Hicks said, “Listen, the admiralty is not what it’s cracked up to be. You deserve a promotion. But given the -“

    Mbeki waved him off. “I don’t care. I don’t want a promotion. I don’t want to command from a desk. I want to be out there, on the deck of my own ship, working on behalf of the Federation.”

    Hicks stared at him for a beat. “You are sure that’s what you want? I get not wanting to become an admiral. And I know what the medical evaluation said. But tell me, man to man, are you ready to get back in the saddle?”

    Captain Mbeki straightened up and looked the admiral straight in the eye. “Yes”, was all he said.

    Hicks gazed at him, then nodded. “Very well. Then I am officially placing you back on duty. You will take command of the USS Venture, effective immediately.”

    Mbeki’s eyebrows went up. “The Venture? So…the rumors are true?”

    “Unfortunately yes. The incident claimed the lives of a good portion of the crew, including Captain Kulak and most of the command staff. The ship has been repaired, and awaits in the shipyard.”

    Mbeki looked thoughtful. “A challenging situation. It will take time for the new crew to learn to work together as a team.”

    “Unfortunately, time is a luxury you don’t have.” Hicks passed a tablet to his friend. “You have a mission. Here are your new directives.”

    Mbeki frowned as he read, then looked up sharply. “Is this correct? A potential first contact, in the Epsilon Hydra system?”

    Hicks nodded. “Clear FTL waves were detected from the borders of the system by Deep Space Six, near the neutral zone. There’s a lot of subspace interference in that region, so we don’t know how long that species has had the technology. We know nothing about them at all, in fact. But now that we know they’re there, and have the requisite level of technology, we’ve got to make contact before the Romulans do. And of course invite them into the Federation. So there’s no time to waste.”

    “I understand.” Mbeki rose to his feet. “Thanks for everything you have done for me, Adam. I will not let you down.”

    Hicks clasped hands with Mbeki. “I know you won’t. But be careful – the Romulans cannot be trusted. Godspeed, Thabo.”

    As the Captain left the room, Admiral Hicks sighed, and poured himself another shot of Romulan ale. He paused for a moment before partaking. He couldn’t help but wonder if he had really done his friend any favor at all.

    The adventure continues

  • The Basics of Roleplaying, Part Four: Approaches to Gamemastering

    In the last three parts of this series, I’ve covered what roleplaying is, why we enjoy roleplaying games, and how to be a good player. Now we turn to part four: how to GM.

    There are so many aspects to gamemastering that no single blog post could cover them all. This is simply an introduction to the basic approaches, and I encourage you to explore the many other resources available.

    When it comes to gamemastering, in my opinion there are basically three approaches: (1) prepare a railroad for the players; (2) prepare a situation; or (3) improvise on the spot.

    Railroading

    The term “railroad” is often seen as pejorative, but I don’t mean it that way. Similar terms include “linear adventure.” What I mean by railroad is that you, as the GM, have prepared specific encounters in particular locations that will occur in sequence, from the opening scene to the final scene of a session (or even a campaign).

    Many people react negatively to this approach. A common criticism is that it reduces player agency—the idea that player choices should meaningfully impact the game world. If you have player agency, that means had you made different choices, the shared fiction would have developed differently.

    Although there’s some truth to this, I’ve noticed that some people have a limited notion of player agency. For example, some argue that a dungeon with only one entrance is railroading because players must use that entrance, while multiple entrances provide meaningful choice. This view is quite narrow. What significant difference does it make if there are multiple entrances when players have no choice but to enter the dungeon? And what if, regardless of which entrance they choose, they’ll encounter the same group of goblins because that’s what the GM planned as their first encounter?

    While railroading isn’t my preferred approach, it can work well for some groups. Players still have choices in how they deal with each encounter, so they still have some agency – their choices matter in terms of what happens in that particular scene. Whether this level of choice is satisfying enough depends on player preferences. So I wouldn’t declare railroading inherently flawed—it’s simply a matter of preference.

    If railroading appeals to you, plenty of resources are available online. Most mainstream GM advice, particularly for Dungeons & Dragons, focuses on this approach. Check popular YouTube channels about being a good Dungeon Master, and you’ll find they’re primarily discussing railroading techniques.

    But a word of caution: ask yourself: do you enjoy GMing this way?

    Here’s where railroading often encounters problems: you’ve planned a series of encounters based on your own logic, but your players may think differently. Typically, players draw unexpected conclusions from encounters and head in directions you haven’t prepared for. This creates pressure to get them “back on track,” forcing them toward encounters you’ve prepared rather than where they want to go. This can frustrate players and diminish their enjoyment.

    This is why I personally don’t recommend railroading.

    Preparing a Situation

    Another approach is what I call “preparing a situation.” This means creating a fictional scenario with inherent, dynamic tension that engages players with something meaningful to their characters. Essential elements of a situation usually include several NPCs with conflicting motivations and goals, that create friction with each other and with the player characters. It’s also a good idea to include a few interesting locations, items or objects, innocents who need saving, or other people or things the players are likely to care about.

    With this style of gamemastering, the next essential element is to prepare an opening scene that informs players about the situation—just enough to get them started and see what’s at stake for them. After establishing this opening, you simply have your NPCs and the world respond naturally to player actions. Players will react to these responses, and the NPCs and other elements will respond to this reaction, and so on, creating a cycle of action and reaction. There’s no preplanned climax or encounters beyond the opening scene; outcomes are determined organically through play. Eventually a climax emerges naturally, rather than being planned in advance.

    In this style, you focus on playing your NPCs and the setting rather than trying to manage the actions of players. I’ve written in detail about this approach (including with fleshed-out examples) in a document you can download for free:

    https://drive.google.com/file/d/1Lf–HTDeQ7o2SgNuiSeQazuH-eRKd-Bq/view?usp=drivesdk

    Improvisation

    Finally, there’s on-the-spot improvisation, where you prepare nothing and make everything up as you go. This might seem entirely different from the other approaches, but I’m not entirely convinced. Even when improvising, our ideas come from somewhere—setting concepts, NPCs, etc.

    We may think we’re creating everything spontaneously, but if we have a specific endpoint in mind—like a climactic confrontation with a villain at a particular location—then it’s still a kind of railroad, just without predetermined steps. Conversely, if we’re simply playing NPCs responding to events and player actions without a planned endpoint, that’s essentially the “situation” approach described earlier. Is pure improvisation truly its own method?

    Regardless, if you do want to GM improvisationally without preparation, having some resources for inspiration helps tremendously. Random tables, computer-generated settings, NPCs with motivations, random taverns, towns, dungeons, treasures, and monsters can all provide elements to riff off of.

    Over to You

    These are my brief thoughts on the basic approaches to gamemastering. There’s much more to say about running specific encounters, making combat exciting, and other topics—much of which depends on your specific game system. Many people have already written extensively on these subjects.

    So, what do you think? Are there other basic approaches to gamemastering I’ve missed? What approach do you use? What tools or resources have you found helpful? Are there other topics worth covering in this basic series? I welcome your comments.​​​​​​​​​​​​​​​​

  • The Basics of Roleplaying, Part 3: How to Play Well

    In the first part of this series, I examined what roleplaying games are by exploring what people actually do in them. In the second part, I outlined the different reasons people enjoy participating in these games. Now I want to focus on how to play roleplaying games well—specifically, how to be a good player.

    When playing, we often need to balance our own enjoyment with contributing to—or at least not hindering—other people’s fun. Fortunately, good roleplaying tends to emerge naturally when we’re doing what we enjoy while remaining curious about what other players find enjoyable.

    The Number One Principle: Be Curious

    Be curious about:

    1. The world and setting that the GM is creating for you
    2. The other player characters—who they are, what they want, and what they’re willing to do to get it
    3. Your own character—we often discover who our character truly is through play, as they interact with the setting, the GM’s characters, and the other player characters

    Core Principles for Collaborative Play

    1. Be Curious and Engaged

    • Ask questions about the world. GMs invest significant effort in establishing the setting and scene details, and they appreciate when players show interest. Understanding more about your shared imagined world gives you more elements to play with, creating a richer experience for everyone.
    • Show interest in other players’ characters. We all appreciate when others take an interest in our creative work, which is exactly what our characters represent.
    • Be proactive. Look for hooks to engage with rather than passively waiting for the GM to direct you (unless the scenario explicitly calls for that, such as a mission briefing). Put yourself in your character’s shoes and decide what they would do based on their motivations and abilities.

    2. Play With the Party

    • Avoid lone-wolf behavior unless the group has explicitly agreed to it. While some games are designed for characters to pursue separate goals in different scenes, it’s generally wise to check whether the other players prefer when characters stick together.

    3. Be a Good Scene Partner

    • Share the spotlight. Don’t try to dominate every scene—ensure other players have opportunities to actively participate.
    • Support other characters’ moments to shine. Help create situations where each player can have breakthrough or significant moments, and have your character acknowledge their efforts when appropriate.
    • Ask other characters questions and engage in dialogue. This helps everyone learn about each other’s characters and explore what motivates them.
    • Set others up for impressive moments rather than always taking center stage yourself. The most memorable sessions often happen when players elevate each other.
    • Be a fan of the other player characters. Enthusiasm is contagious and creates a positive table culture.

    4. Embrace Failure & Complications

    • Don’t resist bad rolls or consequences. Some players treat failed rolls as personal failures and struggle to enjoy the game when things go wrong. In reality, failure can lead to interesting situations and compelling stories. Often, failure drives the most engaging story developments.
    • Play to discover what happens. If you knew the session’s outcome in advance, wouldn’t that be boring? When a roll has significant stakes and the outcome is uncertain, the anticipation creates genuine excitement.

    5. Learn the Rules

    • Take time to learn rules relevant to your character. This doesn’t have to happen all at once, but make an effort to become familiar with them over time.
    • Know your character’s abilities and how they interact with game mechanics to avoid time spent looking them up.
    • Help the GM track your resources (spells, equipment, etc.). This prevents the GM from becoming overwhelmed and keeps the session flowing smoothly.

    6. Communicate Out of Character (OOC)

    • Check in with other players during intense scenes, especially if you’re unsure about their comfort level.
    • Clearly distinguish between your opinions as a player and your character’s thoughts and feelings. In emotionally charged scenes, other players might confuse character emotions for player emotions, so be transparent about when you’re roleplaying.
    • Use safety tools when needed. The simplest are:
    • “Let’s fade to black on that” when you prefer not to hear potentially disturbing details
    • The “X-card,” where saying “let’s X that out” signals you don’t want something included in the setting or gameplay
    • Remember that good play requires trust, and communication helps build it.

    7. Show Up Ready to Play

    • Be on time.
    • Come prepared with your character sheet, dice, and notes from previous sessions.
    • Minimize distractions.
    • Put away your cell phone. Checking your phone while the GM is describing something or another player is having an important moment is disrespectful and demoralizing to the group.

    And there you have it—my current thoughts on being a good roleplaying game player. How does this list compare with your own experience? Did I miss anything important? Is there anything I should have left out? I welcome your comments!

  • Song Contest

    Just a brief digression to say I entered this song into a contest on Suno. If you give it a thumbs up it can help me win!

    https://suno.com/song/480e4c0c-b1df-4097-9e58-ace06816ae26?sh=EhfkWs889Y28vUwT

  • Dragonflight 2024 Games

    In case you wanted any more information about the games I’m hoping to run during Dragonflight, you can find some files here:

    Drive folder

    The folder includes the rules for All Outta Bubblegum with Zombies, some of the pregens for Demon Slayer, and setting information for Finding Haven.

    Thanks for checking, and I hope to game with you this summer!

  • A Game of the Pool: Cthulhu Style!

    A couple of friends wanted to play the Pool, and picked a Lovecraftian scenario. So I updated my Cthulhu version of the Pool (available here: https://drive.google.com/file/d/1xAJJUfMEksHb8TTC7pRdn_Hlh6fDyCbU/view?usp=drivesdk) and the players made one character each. They wanted a period piece, so we went with 1920s Seattle. 

    The first thing I did in my prep was read about Seattle in the 20s. The population at the time was 315,000, wages were about $35 a week, $1750 a year on average. A full, fancy lunch at a restaurant cost 40-80 cents, and a slice of pie 5 cents. There was no TV. Commercial radio had just started. There are phonographs and telegraphs; there were phones, and you could call throughout most of the country by this point. The Great War had ended in 1918; and the deadly 1918 flu pandemic was mostly over by 1920. Prohibition was in full swing, and smuggling booze was big business. 

    The famed Seattle General Strike of 1919 had just drawn global headlines. The strike was one of the first citywide work stoppages in a major U.S. city, and terrified the business community that a Bolshevik Revolution was about to sweep the country. The FBI swooped in to stop the strike, arrested the labor leaders, and shut down the labor newspapers. 

    This led to the country experiencing its first Red Scare, a time of national hysteria that brought crackdowns on trade unionists, socialists, anti-war activists, and so on. Vigilante groups such as the Seattle “Minute Men” formed, with the goal of discovering German spies.

    The Ku Klux Klan was a powerful component of the Democratic Party at this time, and led an anti-immigrant crusade. In the same vein, Woodrow Wilson’s government launched the “Palmer Raids,” where the federal government rounded up and jailed or deported more than 500 immigrants throughout the country.

    There were several incidents of political violence. In what’s come to be known as the Centralia Massacre, a vigilante group marched on the local headquarters of the IWW. In the resulting shootout, 3 of the vigilantes were killed. The police stopped the confrontation and arrested a Wobbly member, Wesley Everest. Later that evening, a mob raided the jail and lynched him from a bridge. 

    So, when I looked over this bit of history, quite dramatic and violent, I found myself drawn to the horror of the Centralia massacre incident. What if, I wondered, the slain man had a relative that wanted revenge – and was willing to go to extreme lengths to get it? In a Lovecraftian context, that would mean getting the power to identify Everest’s killers, and then bring to them a bloody justice. Suppose that was his son, who made a deal with a spawn of Nyarlathotep to gain dark powers. With that as a seed, I brainstormed from there. 

    In order to get the spell needed to identify his father’s killers, Everest would need a particular spell. How? Perhaps from a dealer in stolen or exotic goods. Let’s call her Gwendolyn Love, who does business out of a speakeasy. Love has her own problems – a rival, let’s say; Dave Vance, of Vance Export-Import Co., Ltd. 

    Vance will be a pretty bad guy. Looking over the history, I notice the KKK was quite active, holding large public rallies. Let’s make him their Grand Wizard, and have him be an actual sorcerer with a few spells in his pocket. He and Love have a gangland-type competition, not only in liquor but exotic goods such as scrolls. They’d each like to take the other out, and are looking to recruit others to help. 

    In addition, the local KKK suspect Everest knows or has some book or scroll from which he gained sorcerous powers, and are harassing him to get their hands on it. 

    Now, what about a starting scene to let the players know about and get into the thick of the situation? Well, suppose a couple of KKK thugs went a bit too far in harassing Everest, and he responded by letting the spawn of Nyarlathotep loose, killing them. The release of sorcerous energy would be felt by the PCs, who when they went to investigate would find the dead men, and a matchbook with the name “Jake Everest” circled. 

    I made a few notes on a few locations – the speakeasy, the Vance Company warehouse, a farm used for a KKK rally, and so on. I fleshed out the NPCs more, and my prep was done.

    The characters created by the players included:

    Name: Joseph Harbinger

    Studying as a Jesuit exorcist, Joseph Harbinger discovered a book of arcane formulae that could twist reality. One formula summoned the Whispering Void, which told him secrets that destroyed his faith. He left the order and seeks the Book of Thomas the Other, rumored to contain proof of a benevolent god. Pursuing the book, Joseph had an education in the seattle underworld and persuading people. 

    Jesuit exorcist +1

    Arcane formulae that could twist reality +2

    Summoned the Whispering Void +1

    Faith +1

    Seeks the Book of Thomas the Other +1

    Proof of a benevolent god +1

    seattle  underworld +1

     persuading people. +1

    And

    Name: Silas Whigham

    Accompanied by Jenkins (a rat) and plumbing tools, Silas leads the Subterranean Hygiene Intelligence Team. He knows the city’s underground, which is why politicians, detectives, and military officers call on him to deal with unspeakable messes. Silas inhales mind-altering fumes venting from underground: He’s convinced they inspire his prophetic visions. Silas uses his workman demeanor to persuade citizens that his activities are safe and authorized.

    Jenkins (rat): +1 

    Plumbing tools: +2

    Subterranean Hygiene Intelligence Team: +1

    Knowledge of the underground: +2

    Vision-inducing fumes: +2

    I had the players introduce their characters and say what they were doing, and then described the initial scene. Unfortunately, I immediately ran into a problem: one of the players got angry with me, accusing me of railroading. The player of Harbinger refused to go to the scene I had prepped, instead wanting to go to the university in pursuit of the Thomas tome. At the time, I was taken aback; I was confused by the response. I went with it the best I could. My notes on the Thomas tome were minimal at best, so I quickly made up a few things – the tome is in Palestine, owned by a man named Mazran. Other people wanted the book as well, for different reasons. Both Love and Vance would have the contacts to broker a deal, but everyone involved was a backstabber. With this background in mind, I kept playing, alternating scenes between the two players. 

    After the session, I asked this player what was going on. It turns out he and I had a basic misunderstanding: when I did my prep for the game, I did so with no regard for the PC backgrounds at all – similar to how I’d prep for running a dungeon crawl. The player, on the other hand, assumed the exact opposite, that I would base my preparation on his character background, as he wanted pursuing the tome to be his central focus of play. Ron Edwards has some terminology for these two approaches for GM prep, and also distinguishes a third option that’s in between the two, but unfortunately I can’t recall them or where to find them, so you’ll need to ask him if you need clarification. But the point is, the problem arose because the player and I had different expectations of what the focus of play was going to be. Once I learned what the player wanted, I then prepped the next session accordingly.

    Anyway, Joseph Harbinger wound up at the Blue Royale, the speakeasy where Gwendolyn Love operated. For a price, she got him the contact information for Abdullah Mazran, the current owner of the tome.

    Meanwhile, Silas Whigham pursued the clues he found on the dead klan members, and managed to sneak into Jake Everest’s apartment. Once inside, his luck ran out. After several failed rolls, he became possessed by another spawn of nyarlathotep, who Everest had been keeping in a box he’d hidden away. While the entity didn’t have total control, Whigham’s player would have to make rolls to resist when it tried to exert it.

    Behind the scenes: between scenes, I made brief notes about what the NPCs were up to. Everest went to Love in pursuit of the pnakotic manuscript, from which he could learn the spell Azathoth’s shadow (this would give him the ability to look into the past and discover his father’s killers). Everest wouldn’t be able to afford to pay cash for the scroll, so what would Love accept in exchange? She agrees to give him the manuscript if he kills Vance. As this is happening, Vance is preparing to lead a KKK rally. He plans to use the energy of the rally to cast a spell at Love, to kill or enslave her. 

    The session ended and the players advanced their characters according to the standard Pool rules. Silas’ player added “Possessed by a demon, he has developed secret mental reserves to resist his dark master” and “Mental resistance to parasitic demons: +2”.

    It would take a bit of time to describe the rest of the game in detail, but here are some of the moments that stand out:

    Since the KKK rally was widely advertised, Jake knew where Vance would be, and followed him there. Silas encounters Jake at the rally, and they have a conversation. They can see the spawns in each other, and Jake is slowly losing his humanity. He reveals he is going to kill Vance. Vance arrives, heading for the speaker stage, and Jake closes in for the kill. Silas has the chance to intervene, but chooses not to. Jake kills Vance, and loses control to his spawn, which proceeds to massacre a number of the rally attendees, absorbing their life essence and growing stronger.

    Harbinger locates and makes a deal with another antiquarian, a Mr. Said, who wants the Thomas book for himself but is willing to let Harbinger study it. Their plan involves taking Mazran’s son hostage, and demanding the book in exchange for him. To get the son requires Harbinger to cast a kind of dimensional gate spell, which unfortunately goes disastrously wrong. Said is sucked, screaming, into the void. Harbinger is left with nothing.

    Silas is concerned that Jake will lose control and let something horrible into the world if his plan succeeds, so he follows him. 

    Harbinger goes back to Love, but fails to get anything out of her. Angered, he destroys the entire building with dark magic. He then goes to a church and causes a priest to lose their faith. 

    There is a final scene where Harbinger, Silas, and Jake are in a church. Jake is ready to cast his spell, and begin to take vengeance for his father. Silas repeatedly tries to do things but his player keeps failing his rolls. Finally, they both try to stop Jake, Silas grabbing him around the neck and holding him as Harbinger’s void spell consumes them both, then himself, leaving no trace of any of them. IIRC, both players succeeded in these final rolls, and both chose to do a monologue, so they collaborated on it. 

    Although I enjoyed the game overall, I felt bad because the players kept failing rather spectacularly on critical rolls – and I saw my role as to make sure these rolls had serious consequences. My impression was these multiple failures frustrated them a bit, but I didn’t know what I could do about it. 

    As always, I appreciate any comments, questions, or analysis. In particular, what is your experience when players have really bad luck with multiple critical rolls?

  • My Entry for Game Chef 2018

    I didn’t have much time to work on it this year, the contest came up during the same week as Dragonflight and a Tai Chi workshop. Still, I had some fun writing this up, and hope it proves interesting to someone out there 🙂

    Many Worlds, Many Stories

    By Manu Saxena

    The theme this year was lost stories, and the ingredients used were speedwalking, sheepskin, and blunt.