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
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
Here is some of my work that I am making available for free. They’re labors of love that I want to share. They aren’t very polished, have little to no art, are only a few pages long, but they are playable games I’ve had a lot of fun with. Here’s what I’m sharing:
(1) The Raid: Rumors and Secrets. A cyberpunk setting where every player has a secret, and so might the employer.
(2) Shadow Dominion: inspired by the game Night’s Black Agents, the setting is a group of Jason-Bourne-type operatives fighting vampires. This game has a specific setting unlike NBA, and is much simpler to learn and run.
(3) Fantastic Secrets: a GMless game that is a dungeon crawl on the surface, but is really about the secret motives each PC has and why.
(4) Cthulhu Darker: Really more house rules than an independent game, these are my modifications to the game Cthulhu Dark, and my notes on how to run a Lovecraftian game.
(5) How to GM: Finally, not a game at all, but a document I’ve written distilling what I understand to be the best practices for GMing an RPG, based on my 40 years of experience doing so.
You can check them all out at this folder:
https://drive.google.com/drive/folders/1dhytj0RWw6FVBvSijDIbyQLtDQcZY0P1
All I ask is please come back here and drop me a comment! Tell me what you liked or didn’t like, and especially if you tried a game what your experience playing was. Happy Gaming!
This is my latest creation, a work-in-progress but functional as-is, so I thought I’d share it. After watching the film Sinners and reading through Ken Hite’s interesting game Night’s Black Agents, I found myself wanting to play in that Jason Bourne vs. Vampires kind of genre.
NBA is a great game, but it requires a lot of handling time – and the dice mechanic is not to my taste, frankly, for a couple of reasons. So I looked at Cthulhu Dark, and thought of combining the simplicity of those mechanics with risk from EZD6, and adding in some inspiration from the colorful combat options in NBA. For Chargen, I went for quick, roll-or-choose tables for everything from the name to background events, that I find fun to use. I like chargen that’s a fun part of the game rather than laborious number crunching. And so, Shadow Dominion is born!
I hope to try it out this Friday in a one-shot. If you try it out, please let me know your experience!
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:
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…
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.
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.
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
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.
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.
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.
Be curious about:
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!
In the first part of this series, I described to the best of my ability what roleplaying is, specifically in the context of game-mastered roleplaying games, by describing what people tend to do during a game. Now I want to explore why we do it—what is it about roleplaying games that keeps enthusiasts coming back for more?
Before diving in, I want to clarify that I won’t be delving into complex roleplaying game theory, as some others have done. Some people have developed elaborate models and theories about player preferences, compatibility between different play styles, and so on. I’m not convinced this theoretical approach makes much practical difference for most players or designers. The academic terminology often becomes ambiguous or exclusionary—take the term “narrativism,” which is an ambiguous term. You can have a narrative about anything. This term can be interpreted in numerous ways, and has created its own circle of theorists who deride those who use it improperly, and claim superior understanding and requisite status for themselves.
Whether RPG theory has any validity is something I’ll leave for others to judge, but I think it’s simply fact that it rarely impacts or influences those who play or design games, with very few exceptions.
Instead, I want to discuss the general elements that people find appealing about roleplaying games. Understanding what you enjoy can help game masters prepare better sessions, or assist designers in creating more enjoyable experiences for themselves and their target audience.
To start, I’ll begin with what I just mentioned, what some might call “narrativism”. I don’t care what other people might mean by it in other contexts, but what I mean by it here is simply focus on the character, who they are and how they change. One thing many players enjoy is focusing on a character: their motivations, goals, moral center, and how these aspects evolve or change when the character faces difficult or extreme situations. Some players are essentially playing to discover who their character truly is and how (and if) they change through various challenges.
This is just one element that some players enjoy—it’s no better or worse than any other preference, and all such preferences are legitimate.
At a fundamental level, many people enjoy roleplaying games because they are games with uncertain outcomes. There’s excitement in caring about your character, playing them striving toward their goals, and seeing whether or not they succeed. This uncertainty is what makes roleplaying games actual games—your character might not get what they want, creating a sense of stakes and potential loss.
Some players particularly enjoy creative or technical problem-solving. You see this in certain fiction, especially science fiction stories that emphasize clever technical solutions over character development. In roleplaying games, this might involve using magic in unexpected ways to escape a trap, spying on enemies through ingenious means, or combining tactics to defeat opponents. Rather than inventing some pretentious, ambiguous term for this preference, I’ll simply call it problem-solving.
Related to but distinct from problem-solving is the focus on combat. Some players greatly enjoy games with significant combat elements, similar to why people enjoy wargames. In fact, a common origin story for roleplaying games traces them to wargamers who wanted more detail about individual characters in their battles. Some players appreciate the technical specifications, tactics, and strategy involved in confronting enemies in a shared imaginary world.
Another appeal is setting immersion. Players enjoy embodying characters because the setting itself is compelling—many science fiction fans have dreamed of serving as an officer on a Federation starship, or fighting orcs in Middle-Earth. The opportunity to experience a beloved fictional setting firsthand is a powerful draw.
Whether you consider this separate from “character focus” or not, some players specifically enjoy the experience of embodying someone who isn’t themselves—stepping into another perspective and doing things they wouldn’t or couldn’t do in the real world.
Some players seek specific atmospheres or emotional content in their games. Horror roleplaying games create fear, while games like Ten Candles generate feelings of sorrow and nostalgia. These emotional experiences can be valuable and enjoyable in the right context.
Though less common, some players prefer games focused on political maneuvering and social dynamics, such as Vampire: The Masquerade. The enjoyment comes from navigating complex social situations, increasing your character’s status, and outmaneuvering rivals.
These are the primary elements that I believe people enjoy about roleplaying games. There’s nothing particularly profound about this analysis, and I’m not interested in theorizing why people like these aspects—I’m only concerned with identifying what they actually enjoy. I also see no reason to think that these aspects are incompatible with each other, or that a game cannot or should not do more than one of them – such pronouncements are way too theoretical. The only way to test whether or not a game does more than one of these well is to have many people try it and see.
But that’s neither here nor there. In my next blog post, I’ll discuss some best practices for basic roleplaying based on what we’ve covered so far.
Until then, your thoughts and comments on this post are very much welcomed. Did I leave anything out? What is it you enjoy about tabletop roleplaying games?
Footnote: For those who want to know what I mean about the kind of RPG theory I was alluding to earlier (and the big mess it can be), here is an example: https://www.arkenstonepublishing.net/isabout/2020/05/14/observations-on-gns-simulationism/
Note that I mean no disrespect to the author, who does a great job with the various concepts he mentions. I’m just not sure any of it is worth spending any time on.
This post will be of little to no interest to anyone who doesn’t know me personally, or who hasn’t interacted with me on Adeptplay or the related Discord server. I’m writing it mainly as an explanation to those friends I’ve made on those venues about why I’ll no longer be participating there. Everyone else should probably keep scrolling.
So the AdeptPlay website is Ron Edwards’ project. I respect him because he did have a lot of interesting things to say on the subject of roleplaying, and through dialogue with him and other members of the site I did learn a lot, which helped to improve my gameplay and overall enjoyment of roleplaying.
In the end, though, I had to leave the group behind. Here’s why.
I found Ron’s writing very difficult to understand in general, not just on the website but in his published games as well. Part of that is my fault, at least initially – I brought assumptions based on earlier play to his writing, and misinterpreted his work because of that; that’s on me, and not the author’s fault.
But the other 50% of the problem really was (and is) his writing. Once I eventually understood what he was trying to say, it made sense, but was very difficult to get out of the texts alone.
It seemed like some of the time he spent a lot of effort talking about non-essential things, while giving short shrift to the most critical elements. The text of the game Trollbabe (a great game I have enjoyed, once I understood how to play it) is a good example.
My theory is, this is at least partly because when he writes (this is also true of his spoken presentations as well) he tends to assume a certain specific framework of premises that no one else does. They might seem obvious to him, or he doesn’t think he needs to mention them because he has talked about them a lot before. Either way, in general this framework of assumptions was not obvious to me or most of the people he was talking to.
The same was true even with his responses to questions, which were often vague, somewhat weird, and difficult to follow. I speak as someone with two Master’s degrees who’s used to reading technical and often obscure material.
Now when I took the time to unpack exactly what he had in mind, usually he had something useful and interesting to say at the end of it, but this unpacking involved asking a lot of follow-up questions to figure out just what he meant. That’s fine. We all assume certain things when we try to communicate, or conversation would be impossible. Sometimes there are misunderstandings and we have to ask questions to clear things up. That’s just being human. So far, so good.
The problem was, Ron started to see my attempts to get an understanding of what he was saying as challenging or hostile attacks against him. So my asking questions with the intent of gaining understanding were perceived as somehow aggressive and unkind.
Now I know what my intent was. But it’s important in general to objectively assess whether your actions competently convey your intent, and to correct yourself if not.
So I reviewed what I wrote on the entirety of the website carefully, and except for my very last comment on the site, neither the tone nor the content of anything I wrote could be reasonably construed as aggressive or challenging in a hostile way towards Ron.
I have tried to see things from Ron’s point of view. Most people who didn’t understand Ron were content to stay silent, for one reason or another, so I did ask more questions than average, which might have given the impression of being aggressive. The normal adult thing to do in that case, if Ron thought that, would be to have a dialogue to clarify intent, but this is not something he tried: he basically gaslighted me and just asserted that I was being hostile, with no discussion. However, objectively speaking, there was nothing in the content of what I wrote on the site that was hostile; my questions were what they putatively appeared to be: I asked many questions because I was really interested in comprehending what he was saying and what his position was. I had no evil, hidden intent or nefarious motives.
In the end, Ron insisted on interpreting my questions as my attacking him, and there was nothing I could do to disabuse him of this notion. In our last interaction he concluded he was not able to help me and no longer wanted to answer any of my questions, or accept any of my money in future. Any reasonable person who examines the totality of our interactions on the site would be very hard-pressed to find any evidence for these conclusions. Frankly, I find his behavior here childish and silly. But such is life, no one has to interact with anyone they don’t want to on the internet.
Edwards didn’t ban me from the Adeptplay site, although I guess he might do so now (it doesn’t matter, as I’ll never post on it again, or read it again). I’m choosing to leave it voluntarily. In general the site, and the Discord server, became stressful places to take part in. His treatment of me wasn’t unique (and actually better than what he did to many others); he would often become upset at someone for an innocuous comment, or ban someone immediately for an imagined transgression. It became very difficult to predict what would set Ron off. So every time I would write something, I had to wonder whether it was somehow the wrong thing and would get me banned. And this is coming from me, someone who (as Ron knows) actively promoted and encouraged others to check out his work.
Upon leaving the Discord, I immediately felt a sense of relief and relaxation. It surprises me to realize the amount of stress of “not wanting to upset Ron” I was unconsciously carrying around with me. I feel considerably happier already.
I wish everyone else participating at Adeptplay well, in their gaming and other creative endeavors. Hopefully they will be able to safely tiptoe around that venue without somehow offending Ron. For me though, Ron’s volatility, combined with his paranoid tendency to think I was attacking him, made it too uncomfortable a place to be. My time is better spent in other activities than in vainly trying to persuade someone that I’m not an evil bastard out to get them.
I look forward to continuing to discuss games with anyone interested, on this blog or in other venues. No person is an island, and we need to keep talking to and working with each other to achieve worthwhile things.
Edit: So as I was discussing this situation with a friend, he raised the following thoughts:
“I hate to say it, but it sounds like you were taken in by a narcissist. The behavior you describe sounds typical, including the explosions over minor comments or criticisms, or in your case just asking questions. Was everything in this group you were in about how his theories are unique and better than anything else out there? Was he like a guru whose wisdom could not be questioned?
“It sounds a bit like a cult, to be honest. Let me guess: was there a unique vocabulary, or special code words that no outsider would understand? Special ‘wisdom’ that was only available to those inside the group? Would they laugh and demean others outside it, considering themselves superior? Initial friendliness to recruit, followed by strict rules afterward? There you go – us vs. them mentality, authoritarian leadership, emotional abuse, etc.
“Sometimes narcissistic cult leaders will make vague, cryptic statements to make themselves look profound, but when you dig into it there isn’t much there. That’s why they can get upset over innocent questions – they don’t want to be understood, at least not fully, because it would show they’re a fraud, or just not that special. And also they just don’t want to put in the work – they’d rather sit back and be worshipped for their profundity.
“And forget about trying to dialogue with someone like that – everything will always come back to you being the problem and your being deficient in some way. They will never apologize. Be thankful you got out when you did.”
This hit me like a splash of cold water in the face; I’ve had issues with narcissists before, but I simply hadn’t considered this could be what was going on. Whether my friend’s assessment is entirely accurate I don’t know, but clearly I’ll have to think deeply about this for some time.
Edit 2: Interestingly, shortly after I got that feedback, my sister (who knew nothing about the situation or anyone involved) contacted me to say she had a dream where I was taken in by a pig, that pretended to be nice and would be a valued member on the farm, but then killed and ate me when my back was turned. I am taking this as confirmation that my friend was correct.
What a world…
I’m not trying to write a big, all-encompassing essay on the subject here, just a few thoughts based on one experiment I did. I briefly mentioned this on one discussion group, but met so much hostility I thought I’d post here instead.
So I am working on a novel that involves traveling to parallel worlds, as well as an RPG on the same theme. I wanted some inspiration for a world the characters jump to. I remembered Traveler’s random system and planet generation, which is a lot of fun, and wondered how I might modify it to fit. I went to one of the AI bots and asked if it knew the game; it did. It also knew the planet generation system, and was able to generate several planets in seconds.
So far this is not much different than running any online generator especially designed for the purpose. But here is the interesting part: I used this as a starting point. I engaged in a dialogue with the AI, telling it what I wanted to do and asking it to modify the planet generation procedure accordingly. After a bit of back and forth, I got something useful.
The original method involved using predetermined lists, and rolling dice to select from it. When it comes to AI, there is no need to have a list of limited choices, so that went away. Anyway I’m putting the end result and an example of its output, below.
One of the objections I got was that the use of AI harms creativity. IMO this is a good example of why that’s not true. The AI’s output gives me something to work from, a springboard for me to be creative with.
If I were going to use the output below to prep for a game, for example, I’d flesh out the conflict between the Boundarians and Explorers a bit more, and lay the seeds for a situation where the PCs are involved in an incident at a research station – perhaps they are blamed for sabotage, and have to prove their innocence. A Boundarian faction wants to frame them and use them as propaganda, while an Explorer group wants to help them, but one of them is secretly working for the Others. At this point, I’d use AI again, to come up with NPCs (especially names) and stat them, and perhaps to detail a map or two. That’d be fodder for at least a session or two, done very quickly, and the process would be fun for me. And for my novel, of course this is great stuff I can modify and use as I like.
Now could I have done all this without AI? Sure. But it would have taken hours instead of minutes. For me, this is a fun process that saves time. I might even include the procedure in the GM section of the game itself, maybe with some alternative tables for those who prefer to roll for themselves.
I don’t get the hate for AI in this context, but I’m open to persuasion if someone has some cogent arguments on why using AI this way is bad.
Anyway your comments are welcome!
Have you used AI in your games or fiction, and if so, how?
Here is the procedure the AI and I came up with:
Parallel World Creation Procedure
First keep in mind what kind of world the characters just jumped from. Unless they jump “far”, in interdimensional terms, the world they jump to should be similar to the world they just jumped from, in most respects. The closer a world is to another one in interdimensional space, the more similar they tend to be.
Dimensional Distance Metric – a scale (1-10) where each increment represents exponentially greater divergence potential. Level 1-3 jumps show minor variations, 4-6 moderate differences, and 7-10 radical departures from the original world.
Natural History – Determine when this parallel Earth (that the characters just arrived on) diverged from our own in terms of natural history (including geology), if it did at all, and whether that changed things like the shape of the continents or sea levels.
Physical Laws Variation – Determine if fundamental physical constants differ slightly in this world. Even minor variations could lead to fascinating technological implications.
Temporal Offset – Consider whether time flows at the same rate across all parallel worlds. Some might be “ahead” or “behind” your characters’ original timeline, even with similar historical paths.
Local Terrain – What is the local terrain like where the characters appear?
Interdimensional Scars/Features – Identify places where the boundaries between worlds are thinner or have been damaged, creating unique phenomena (strange weather, gravitational anomalies, aurora-like effects, etc.) that might appear in the local terrain.
Dominant Species or species – Determine whether the indigenous sentient inhabitants of this parallel Earth are human, or if some other species evolved instead (if so, what did they evolve from and what are they like physically). Determine whether there is more than one such species.
Biological Compatibility – Determine whether food, microbes, and other biological elements from one world are compatible with visitors from another. This could create interesting survival challenges or health concerns for the characters.
Historical divergence – Determine how the history of the inhabitants’ civilization differed or diverged from ours, and to what extent.
Dimensional Echoes – Decide if parallel versions of your characters exist in this world, and if so, what happened to them. Meeting one’s parallel self could create fascinating plot points or complications.
Trust Level – Determine how welcoming or distrustful the inhabitants are to strangers.
Interdimensional Awareness – Determine if the inhabitants know about parallel worlds, how common this knowledge is, and whether they have tried (successfully or not) to reach them. This might affect how they respond to your characters.
Tech level – Determine the level of technology the inhabitants have developed.
Habitations – Decide how large the groups are that the inhabitants dwell in: solitary, or nomadic clans, small villages, cities, etc.
Clothing – Determine the style and type of clothing the inhabitants wear.
Culture – Come up with some unique aspects of their culture.
Conflicts – to what extent do the indigenous inhabitants live in harmony with each other? Are there large-scale conflicts, more local conflicts only, or none? What other threats do they face?
There is an evil force of interdimensional beings known as the Others, who try to destroy and corrupt the worlds they come across. Determine whether this parallel world has been at all affected by the Others, and if so to what extent.
Others’ Signature Effects – Create a consistent set of telltale signs that the Others have influenced a world (specific environmental damage, behavioral changes in inhabitants, technological corruptions, strange symbols or structures).
Dimensional Return Mechanics – Establish whether some worlds are easier to leave than others, perhaps based on how corrupted they are by the Others or other interdimensional factors that might trap or free your characters.
Here is one result:
Parallel World: The Nebelwelt
Dimensional Distance: 5/10 (Moderate divergence)
Natural History
This world diverged approximately 65 million years ago when the Chicxulub asteroid impact was significantly less severe. While still devastating, it didn’t cause the complete extinction of large dinosaurs. As a result, some theropod dinosaurs survived alongside early mammals, leading to co-evolution. The continental layout is recognizable but with higher sea levels (+40m compared to our Earth), creating large inland seas in North America and Central Asia.
Physical Laws Variation
The electromagnetic constant is 0.5% stronger, resulting in slightly more efficient electrical conduction. This has led to unique technological developments around electricity and magnetism, including advanced magnetic propulsion systems that emerged earlier than electrical combustion in this world’s technological timeline.
Temporal Offset
Time flows 1.2x faster in this world compared to the characters’ origin world. The year is equivalent to what we would call 2087, though their calendar system is entirely different.
Local Terrain
The characters materialize in a temperate rainforest where massive, ancient redwood-like trees tower overhead. The forest floor is surprisingly clear—maintained by the local inhabitants. Nearby flows a wide, slow-moving river with unusual blue-green phosphorescence. In the distance, the ruins of what appears to be a modern city peek through the canopy.
Interdimensional Scars
The area where they arrive features vertical “light pillars” that occasionally shimmer through the forest—a natural thinning of dimensional boundaries. During certain lunar phases, these pillars intensify and objects placed within them temporarily phase between visible and invisible states.
Dominant Species
Two intelligent species co-evolved: humans (very similar to Earth humans but with slightly denser bone structure and enhanced night vision) and the Saurians—descendants of surviving theropod dinosaurs. Saurians stand 1.5-1.8 meters tall with feathered crests, scaled skin, and four-fingered hands. Their society is technologically sophisticated and they possess natural electromagnetic sensitivity organs along their spines.
Biological Compatibility
Food from this world is mostly compatible with human visitors, though some fruits contain compounds that create mild euphoric effects. The local microbiome is different enough that visitors initially experience heightened allergic responses that subside after approximately one week of exposure. The characters may need to seek medical attention from the locals to manage this transition.
Historical Divergence
Human civilization developed later and in partnership with Saurian culture rather than as the sole dominant species. Major historical events include the Great Communion (first formal alliance between species in 5000 BCE), the Age of Magnetic Sciences (4th-10th century CE), and most recently, the Retreat (the gradual abandonment of megacities due to climatic shifts and resource depletion).
Dimensional Echoes
Parallel versions of the characters exist, but their lives took dramatically different paths. One character’s echo became a respected diplomat between human and Saurian nations; another’s echo died young in a dimensional experiment; a third’s echo never exists because their ancestor married a different person after meeting a Saurian diplomat.
Trust Level
The inhabitants are cautiously welcoming of strangers but have developed sophisticated methods to detect “dimensional corruption.” Newcomers are subjected to a ritual involving exposure to specific magnetic fields that reveal signs of Others’ influence. Those who pass are welcomed and offered guidance; those who fail are isolated and studied.
Interdimensional Awareness
Both species have known about parallel worlds for approximately 150 years. A joint scientific body called the Boundary Commission actively studies interdimensional physics. Intentional travel remains rare and dangerous, but they have developed technology to detect incursions and communicate across dimensional boundaries in limited circumstances.
Tech Level
Technology is advanced in some areas and deliberately restrained in others. They’ve mastered fusion power, magnetic transportation networks, and biological engineering, but have strictly limited AI development and nanotech after early disasters. Their computers are organic-electronic hybrids with living components, and most cities are designed to integrate with rather than dominate the natural environment.
Habitations
Society is organized around “nexus communities” of 5,000-10,000 individuals (mixed human and Saurian) connected by efficient magnetic rail systems. These communities blend seemlessly with surrounding ecosystems, with buildings constructed within and around natural features rather than replacing them. The largest city, Concordia, houses approximately 300,000 people.
Clothing
Humans wear adaptable garments made from engineered fibers that change properties based on environmental conditions and the wearer’s physiological state. Saurians wear minimal clothing but adorn their natural scales and feathers with bioluminescent patterns that indicate social role, emotional state, and personal achievements. Both species wear ceremonial magnetic jewelry that serves both decorative and practical functions.
Culture
Society operates on a “contribution recognition” system rather than monetary exchange. Both species practice a form of shared dreaming facilitated by ceremonial gatherings where participants consume a native fungus. Music is predominantly percussive among Saurians and vocal among humans, creating a unique complementary art form when performed together. Major cultural values include ecological harmony, knowledge preservation, and dimensional responsibility.
Conflicts
The main societal conflict is philosophical rather than military—a deep division between “Boundarians” who believe dimensional boundaries should remain strictly regulated and “Explorers” who advocate for more active interdimensional engagement. This conflict occasionally flares into sabotage of research facilities or unauthorized travel attempts. Additionally, both species are dealing with fertility challenges, with birth rates declining for unknown reasons over the past 50 years.
Others’ Influence
This world has experienced limited contact with the Others. Approximately 35 years ago, an incursion occurred in what was once northern Europe, creating a “dead zone” where technology fails and living things develop unusual mutations. The area is quarantined, but researchers study it from secure observatories. The inhabitants have developed early warning systems for detecting Others’ energy signatures.
Others’ Signature Effects
When the Others influence an area, plant life develops metallic properties, water bodies emit a subtle hum at 17.8Hz, and electronic signals contain embedded fractal patterns visible when analyzed. Affected individuals report shared dreams featuring geometric structures that shouldn’t be mathematically possible, and develop an aversion to certain sound frequencies.
Dimensional Return Mechanics
The magnetic anomalies that pervade this world make dimensional travel unpredictable. The characters will discover that their return mechanism functions at only 60% efficiency, requiring them to either locate a naturally occurring dimensional thin point or seek help from the Boundary Commission, who may demand knowledge exchange as payment for assistance
I’ll be demoing the Fallout RPG and Star Trek Adventures RPG this weekend at Emerald City Comicon. Hope to see old friends and make some new ones!