Game Masters, There's Nothing New Under The Sun (So Don't Stress About It)

There is a fear I have seen among a lot of writers out there. In short, it's a desire to make something genuinely new and different the no one has seen before, which is driven by a fear that someone will accuse their work of being derivative, or of simply being too similar to other stories that have been told before. And, for some reason, this fear seems to affect Game Masters (particularly newer Game Masters) to an even greater extent. They worry their players will guess their twists, figure out their inspirations, or that once they get a bit of insight they'll be completely uninterested in the game because it won't be new or fresh anymore.

Now, I don't often turn to the bible in situations like this. Not my faith, not my book. With that said, though, I'd recommend Ecclesiates 1:9 for advice. What has been will be again, what has been done will be done again; there is nothing new under the sun.

I'll be damned... it's right in the book.

But before I get into the meat of today's post, remember, don't forget to sign up for my weekly newsletter to get all my updates right in your inbox. Also, if you've got a bit of spare cash that you'd like to use to help keep the wheels turning, consider becoming a Patreon patron! Also, be sure you're following all of my followables, check out my LinkTree.

Lastly, for hundreds of extra articles on gaming, weird history, and for more free fiction, check out my Vocal archive, too!

Seriously, Just Embrace It!

There are a lot of Game Masters who likely laughed, shook their heads, or rolled their eyes at the introductory paragraphs. I've lost count of the number of people who are all too happy to list the books, movies, and even other RPG settings they've stolen their ideas from, talking about the various NPCs, locales, and plot arcs they've snagged from other places to make their own Frankenstein creatures to serve up to their players.

And in some cases the GM had wider, deeper, or older tastes than the players, so nobody realized the campaign, world, etc. wasn't spun entirely out of whole cloth. However, most of the time realizing that a Game Master took inspiration from a particular property (or even an entire part of history, for those who know that Game of Thrones is based on the War of The Roses) doesn't ruin the experience for the players... because it's not about being utterly and completely unique in a way that no one has ever done things before. It's about providing your players an experience that's unique to them and which has your signature style on it.

Put another way, think of your campaign as a grilled cheese. Everyone knows what a grilled cheese is, and everyone has probably had them dozens of different ways over their lifetime. Now, you might make yours in a slightly different way that some people (maybe your cheese is spicy, maybe you use mayo instead of butter to ensure the bread is toasty, perhaps you like to put bacon bits in it, whatever it is you do), but others are going to take one bite and it will be instantly familiar to them. That doesn't mean they stop eating the sandwich, especially if you prepared something they like in a way that is fresh, delicious, and which is served up on a platter to them.

Case in point...

I've got plenty of examples in my own catalog where I embraced the inspirations for a particular project. My elevator pitch for The Curse of Sapphire Lake is, "The love child of Beowulf and Friday the 13th," after all. And fans of classic action movies will quickly recognize the inspiration behind my Army Men mission module Assault on Outpost 13, since even the title is an homage to the film Assault on Precinct 13. My Sundara: Dawn of a New Age fantasy RPG setting completely does away with the convoluted multiplanar structure used in Pathfinder and Dungeons and Dragons, opting for a simpler, more streamlined system of the material world and the Prim, which I explained in Gods of Sundara... and it's going to look very familiar to any fans of the Warp in Warhammer 40K as far as structure goes.

Hell, even my World of Darkness supplement Evil Incorporated just looked at historical atrocities (and modern ones) committed by corporations and billionaires. The introductory fiction even has a veiled call-out to the owners of Hobby Lobby who (at least allegedly) paid a ridiculous amount of money to terrorists in the Middle East to purchase stolen relics which they kept in their own homes.

Now, I'm far from unique in this aspect. Zon-Kuthon, from Pathfinder is clearly heavily inspired by the cenobites of Hellraiser, but not only that, the nation that worships him is steeped in winks and nods to Melnibone, the nation from the Elric novels by Moorcock. The same can be said of the supposedly cursed kingdom of Valyria from Game of Thrones, for the record. There are references all over our games to works by H.P. Lovecraft and Robert E. Howard, to say nothing of Tolkien. And that's before we get into the copious use of world mythology, and great works of fiction like Arthur and his knights of the round table.

So while a particular game might have a different flavor, or a unique twist on things (such as a medieval fantasy game where you have to investigate the Cthulhu Mythos, or recreating the Trojan War as a starfaring space battle using mech combat), the inspirations are going to be present. There is always going to be a story that came before you, or a character someone else has seen, that bears some similarity to what you're doing at your table. More importantly, if you spend all your time focusing on what you don't want your game to be, then you're going to define it by what it isn't, rather than what it is.

I'm not saying you should shamelessly copy someone else's homework and just change a couple of the names around (I'm looking at you, Games Workshop). However, if you're tying yourself into knots worried that your players are going to figure out that your particular order of cavaliers is based on Lancelot, or that they're going to guess the plot twist for the traitorous noble because he's basically Count Dooku with a bastard sword, don't sweat those kinds of things. Instead, focus on the presentation and preparation for your game.

Everyone has had a grilled cheese before. Just make sure the one you serve them is perfectly crispy, melty, and delicious, and everyone will probably enjoy it!

Like, Follow, and Stay in Touch!

That's all for this week's Moon Pope Monday. To stay on top of all my content and releases, make sure you subscribe to my newsletter at the bottom of the page!

Again, for more of my work, check out my Vocal archive, and stop by the Azukail Games YouTube channel! Or if you'd prefer to read some of my books, like my dystopian sci-fi thriller Old Soldiers, my hardboiled gangland noir series starring a bruiser of a Maine Coon with Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife or my latest short story collection The Rejects, then head over to My Amazon Author Page!

To stay on top of all my latest releases, follow me on Blue Sky, Facebook, Tumblr, Twitter, and now Pinterest as well! To support my work, consider Buying Me a Ko-Fi, or heading to The Literary Mercenary's Patreon page to become a regular, monthly patron. That one helps ensure you get more Improved Initiative, and it means you'll get my regular, monthly giveaways as a bonus!

Dungeon Design Tips: Ticking Time Clocks, And Wizard Bullets

There is a common complaint among many Game Masters that players ride roughshod over their dungeons and encounters without any serious challenge. Things are just too easy, and there's rarely any real risk to them. However, once Game Masters start pulling back the curtain, it becomes clear they're leaving out an important aspect of the game... namely, that sometimes things need to be done quickly.

For more installments of this series, check out:

- Consider Removing Doors From Your Dungeon

- Combine Combat With Traps

- Cover, Firing Lines, and Dynamic Arenas

- Antagonist Action Economy (Never Fight Just One BBEG)

- Pay Attention To The Environment

Seriously, it makes a difference...

As always, don't forget to sign up for my weekly newsletter to get all my updates right in your inbox. Also, if you've got a bit of spare cash that you'd like to use to help keep the wheels turning, consider becoming a Patreon patron! Also, be sure you're following all of my followables, check out my LinkTree.

Lastly, for hundreds of extra articles on gaming, weird history, and for more free fiction, check out my Vocal archive, too!

A Timer Makes A Big Difference!

Now, before we get going on this, it's important to remember that not all events should have a ticking time clock on them. Sometimes the party should be allowed to take their time, explore, and go at their own pace. However, time should be treated as a resource in an RPG, and like any resource it should be finite. Not only that, it should be more finite in particular instances than others as a way of creating additional challenge.

For some examples, consider the following situations:

- The party must reach the heart of the Shrine of Eternal Storms... but it is only ever accessible for 3 days out of a year. If they fail in their quest, they will either need to escape and wait another year, or they will be trapped inside!

- A jailbreak is happening tonight! They need to get themselves, and a specific fellow prisoner, out... preferably before the guards realize what's happening!

- A force of the dread warlock Al-Kazir is approaching the ruins with the intent to seize the Bloodstone. They need to get it first, otherwise it will fall into his hands... then there may be no way to stop him and his legions if that happens!

While there are just a few broad strokes, you get the idea. It's not just that the party has to fight their way through a dungeon, or explore a dangerous crypt, or acquire a certain relic... it's that they don't have the luxury of time. This means that they will have to make choices based on the sand falling through the hourglass as much as anything else, and it will likely lead to some hard decisions.

We don't have time for this...

As an example, the smart thing to do in a dungeon is to carefully check every inch of the floor for traps... but if you have enemy forces closing on your position, you don't have the luxury of crawling along the floor and fiddling with every door. So now the rogue is rushing the job, or alternatives methods are used. Does the barbarian or the fighter bulldoze their way down a hallway, counting on toughness or armor to save them from the worst of the trap's damage? Or does the necromancer take one of her least-robust servants, walking the undead down the hall to trigger any tripwires or slicing blades, sacrificing the zombie in order to gain a few precious minutes of efficiency?

The same is true of combat situations in the dungeon. While a party might normally decide to clear a dungeon room by room, fighting anything that resists them, that can turn into a slog, and use a lot of resources that requires members to rest, recuperate, and replenish themselves. Alternatively, the party might like to try diplomacy and negotiation, but such tactics can be unreliable at best, and they often eat into the amount of time one has allotted. Does the press of minutes mean that the characters embrace stealth or guile instead? Perhaps attempting to sneak in without being seen, getting close to their goal and rushing out before they can get caught? Or do they attempt to blend in, don the uniforms and forms of creatures or warriors who should be present in this place, avoiding battle as much as possible in order to get what they came for and get out?

These are the kinds of pivots and changes that can be made when players don't have time to rush in, face first, sword swinging, before retreating half a dozen times to try again the next day once they've had 8 hours of rest, a Gatorade, and a chance to replenish all their spells and class features.

This is Where The Wizard Bullets Come In

Vancian magic is the dominant form of magic in Dungeons and Dragons, Pathfinder, and similar games. Characters start the day with a certain amount of spells, and even if you aren't a spellcaster per-se, you often have a class feature or power that has a pool of points or resources (a cleric's channel energy, an alchemist's bombs and extracts, a monk's ki pool, a swashbuckler's panache, and so on) that runs out as you use them. This acts kind of like the bullets in a gun, which means that spellcasters and similar characters are extremely dangerous as long as they still have ammunition, but once they run out of their resources, they have a serious problem.

The problem arises when players have no time limit on their activities, and there's no penalties for rushing in, empting their magazines (so to speak), and then retreating to rest and recharge before coming in fresh. Because the challenge of these games is set up in such a way that a party should go through between 3 and 5 encounters between when they first loaded up to fight, and when they are supposed to be drained of their abilities.

By putting a time constraint on your players, you eliminate them retreating and "reloading" after every single encounter (or only a small handful of them), thus forcing them to conserve their resources and make tougher decisions about where they're going to use their powers, and how they're going to handle things going forward.

Oh balls... Guys, I think I'm tapped out!

For example, does the sorcerer really want to cast a spell just because it's their turn? Or will they use a wand or a scroll that will still be a helpful contrinbution to the battle while keeping their own powers in reserve? Does this battle really warrant the barbarian using their Rage, or can they handle this with their raw, brute strength and clever maneuverability? Does the ranger want to use their special arrows on this fight, or should they save those for the upcoming boss fight, knowing they only have a handful of them?

Because if players know, academically, they're on a time crunch they are going to get a lot more creative with their resources. Not only that, but they're going to really ask whether it's worth pulling the trigger when they only have so many rounds in the magazine... or should they just let the fighter with the greatsword handle it, even if it means the spellcaster has to wait a round or two while the martials mop up the rest of the battle?

If your players can just go in, guns blazing with no repercussions for walking back out and taking 24 hours to rest and recuperate to get themselves fully locked and loaded before wading back in... well, that's certainly going to undermine your threat and danger. But if they know they have to do all of this in one go, and the only resources they have are the ones they bring in the door with them, that's going to be a very different (and usually much more tense) adventure.

Additional Recommended Reading

If you enjoyed this piece, then I would recommend checking out 100 Tips And Tricks For Being A Better Game Master, along with the companion piece 100 Tips For Being A Better RPG Player. Both of these supplements have been quite popular, and they collect some of the best field-tested tips that have been covered on this blog over the years!

Like, Follow, and Stay in Touch!

That's all for this week's Crunch post! To stay on top of all my content and releases, make sure you subscribe to my newsletter at the bottom of the page!

Again, for more of my work, check out my Vocal archive, and stop by the Azukail Games YouTube channel, or my Rumble channel The Literary Mercenary! Or if you'd prefer to read some of my books, like my dystopian sci-fi thriller Old Soldiers, my hardboiled gangland noir series starring a bruiser of a Maine Coon with Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife or my latest short story collection The Rejects, then head over to My Amazon Author Page!

To stay on top of all my latest releases, follow me on Blue Sky, Facebook, Tumblr, Twitter, and now Pinterest as well! To support my work, consider Buying Me a Ko-Fi, or heading to The Literary Mercenary's Patreon page to become a regular, monthly patron. That one helps ensure you get more Improved Initiative, and it means you'll get my regular, monthly giveaways as a bonus!

Dungeon Design Tips: Pay Attention To The Environment

Our adventures are supposed to take place in dangerous, terrifying places. From lost ruins, to dense forests, to haunted castles, our parties go to places where most normal people would never go. However, as Game Masters, we always seem to forget that the environment they're in isn't just limited to the box text we read at the beginning of the scene... it should show up on the mat as well!

Because environmental factors can be a huge component of any encounter.

Previous entries in this series (for those who haven't seen them) include:

- Consider Removing Doors From Your Dungeon

- Combine Combat With Traps

- Cover, Firing Lines, and Dynamic Arenas

- Antagonist Action Economy (Never Fight Just One BBEG)

Initiative? Ah hell... I can't see a damn thing!

As always, don't forget to sign up for my weekly newsletter to get all my updates right in your inbox. Also, if you've got a bit of spare cash that you'd like to use to help keep the wheels turning, consider becoming a Patreon patron! Also, be sure you're following all of my followables, check out my LinkTree.

Lastly, for hundreds of extra articles on gaming, weird history, and for more free fiction, check out my Vocal archive, too!

It's About More Than Light And Darkness

When it comes to environmental factors, the most common aspect Game Masters remember to use is light levels. If the party is sleeping around a campfire, and they're ambushed by orcs in the dead of night, then the firelight only goes so far, and beyond that there's darkness. This situation obviously benefits creatures with darkvision (such as the attacking orcs), and penalizes those who don't have the ability to see in the dark.

And while that is an important consideration for your combats, it is far from the only environmental condition one might have to overcome.

All right... let's get this fire going.

For example, consider some of the following environmental effects your party might have to deal with, and how they could drastically tilt the challenge level of a quest, and the encounters in it.

- Temperature: If the temperature is too cold, or too hot, it can require very specific gear, spells, and potions to combat it. This can also greatly reduce viable armor choices, or favor the natural abilities of certain species over others.

- Visibility: Whether it's from mist and fog, dense trees, or even rain, visibility is a huge deal when it comes to encounters. This is particularly true when it comes to enemy movements, and the difficulty this can inflict on those who focus on ranged weapons and spells during combat.

- Wind and Storms: There are half a dozen spells for dealing with wind, and we rarely end up using any of them. Whether it's affecting those trying to track by scent, interfering with arrows and bolts, or it's significant enough that it poses a real hazard to Small-sized creatures, this doesn't factor into nearly as many campaigns as you'd think it would. And when you add in lightning strikes, deafening thunder, and other aspects, it can be a real issue to overcome!

- Miasma: Whether it's the rotting stench of a swamp, or the bad air deep in a dungeon, breathing in the wrong thing can be unpleasant at best, or dangerous at worst. Add in the fact that it can hide the stench of dangerous enemies, or render the ability to track by scent impossible, and you have a serious obstacle.

- Water: The existence of water and water hazards changes things up entirely. Whether it's ankle-deep water that hinders movement, waist-deep water that can be a serious hazard for Small-sized characters, or deeper bodies that are a risk for anyone who can't breathe under the waves, water comes in many shapes, sizes, and choices.

These are just a few of the options when it comes to the enviornment that we often overlook as a Game Master. Because as I've mentioned in previous installments of this little series, putting your party in a plain, white room or an open field with perfect lighting, clear sight lines, and no cover on concealment means that you've handed your players a straight-up fight.

Why would your monsters ever do that?

While you don't have to stack the deck against your players like a death run by Tucker's Kobolds, consider the environmental effects that should be an issue for them, and possibly for their enemies. If the dungeon is underground, or it's night time, what source of light is the party making use of? Do their enemies also need a light source, or can they see using other means? Is the air laced with spores of poisonous mold that don't bother the necromancer's undead minions, but which can be a serious problem for the party? Is the exposed side of the Dragon Mountain a place of cutting winds and potential avalanches, both of which might be used by yeti and ice dragons to wear down and kill their enemies?

So before you decide to just add more hit points to your enemies, or to slap another dozen monsters onto an encounter, ask yourself whether you've considered possible environmental effects. Because they might not be a make-or-break part of an encounter, but they can be that little extra bit of challenge that can put an edge on your game.

Lastly, if you're looking for some extra things to throw into your games regarding weather and strange conditions, consider these classic encounter lists:

- 100 Random Encounters For On The Road Or In The Wilderness

- 100 Encounters In A Fey Forest

- 100 Pieces of Floatsam and Jetsom to Find on a Beach

Like, Follow, and Stay in Touch!

That's all for this week's Crunch post! To stay on top of all my content and releases, make sure you subscribe to my newsletter at the bottom of the page!

Again, for more of my work, check out my Vocal archive, and stop by the Azukail Games YouTube channel, or my Rumble channel The Literary Mercenary! Or if you'd prefer to read some of my books, like my dystopian sci-fi thriller Old Soldiers, my hardboiled gangland noir series starring a bruiser of a Maine Coon with Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife or my latest short story collection The Rejects, then head over to My Amazon Author Page!

To stay on top of all my latest releases, follow me on Blue Sky, Facebook, Tumblr, Twitter, and now Pinterest as well! To support my work, consider Buying Me a Ko-Fi, or heading to The Literary Mercenary's Patreon page to become a regular, monthly patron. That one helps ensure you get more Improved Initiative, and it means you'll get my regular, monthly giveaways as a bonus!

Dungeon Design Tips: Combine Combat With Traps

A while back I put together an article titled Consider Removing Doors From Your Dungeons, and it was popular enough that I thought I'd come back to the topic of dungeon design this week. And before I get into this next topic, I wanted to ask my readers out there... is this something you'd like to see me turn into an ongoing series? And if so, would you like to see it remain part of my Crunch updates, or would you like to see it become its very own section? And, for that matter, do you want it to remain hosted on this blog, or should I put it over in My Vocal Archive?

All input is welcome, as it's the voices of my audience I use to try to guide my decisions going forward. With that said, onto this week's topic!

After all, not all traps are this obvious!

As always, don't forget to sign up for my weekly newsletter to get all my updates right in your inbox. Also, if you've got a bit of spare cash that you'd like to use to help keep the wheels turning, consider becoming a Patreon patron! Also, be sure you're following all of my followables, check out my LinkTree.

Lastly, for hundreds of extra articles on gaming, weird history, and for more free fiction, check out my Vocal archive, too!

Combat And Traps: A Match Made In Hell

As I mentioned in the previous installment, a lot of us tend to think of our dungeons in segmented parts and pieces, which we don't allow to interact with one another. If there's a room with an encounter in it, then no matter how long or loud the combat gets, other denizens of the dungeon won't come to see what's happening, even though that's the logical thing to do... it's as if the doors are all soundproof, and none of the other monsters want to overstep the limits of the arena they're placed in. To help break us out of that mindset, my suggestion was to eliminate doors, or to at least leave them open so it's clear they aren't a barrier between what happens in this part of the map, and what happens further away.

However, just as we often section off our rooms and arenas, keeping them separate and apart from one another, we often refuse to let two other parts of our dinner touch; namely traps and combat encounters.

Guys, got a monster! Stop checking for traps and help me!

Consider this. A majority of the time we put traps in long hallways, cramped corridors, and otherwise empty rooms because (whether we're thinking about it or not) we consider the trap to be the encounter in that area. While some doors might have traps on them (thus allowing the trap to act as the opening salvo of an encounter), that is a one-two punch rather than a genuine combination of a trap and encounter. Like having a burger and fries in the same take out container, but they're still not touching each other.

No, this week's advice is to purposefully and deliberately combine traps with combat encounters as a way to create a more dynamic arena, and to increase the difficulty/challenge rating for your players.

There are a few different ways I would suggest thinking about this. Some of those methods, with examples, include:

- Added Threat: Consider a room with hidden crossbows or arrow traps, but which all fire at a height that will hit a Medium creature and not a Small one, and which go off when triggered by a higher weight than a Small creature possesses. This ensures the goblins in the room can run amok, goading the party to close the distance via certain routes, thus setting off additional, hidden attacks. Bonus points if the bolts/arrows are drugged or poisoned, thus creating an additional danger.

- Ticking Clock: We've all been in a room with a flooding trap before, putting a ticking clock on how long players have before they're drowned... but what if there are hungry crocodiles released into the rising waters? Or skeletal warriors who aren't bothered by things like a need to breathe? The water doesn't hurt the characters in and of itself, but it does add one hell of a challenge.

- Battlefield Control: The party steps into a room with a handful of orc archers firing their longbows. Clearly the solution is for the barbarian to charge them so they can no longer take pot shots at the party. But that's when the roaring brute finds, to their chagrin, that parts of the floor are loose, leading to drops into spiked pits. The enemy knows where the camouflaged pits are, and while the party now has to move carefully, the enemy can fire at will, or engage however they wish to.

These are just a few ways that traps can add additional threats to a situation, and create an additional threat for your party to deal with!

With that said, consider some of the following caveats...

Before going ham and adding traps to every encounter, take a deep breath, and let it out slowly. Because when choosing the proper traps to mix into your combat, it's important to consider the following questions:

- Is This An Equal Opportunity Trap? Most traps will likely be avoided by the monsters in the room, but there are some traps which will only be an issue for the party, even if they go off. A poison gas trap, for example, won't affect the zombies in a room, even if it creates a deadly poison cloud that can be a serious danger for the party.

- Is This A Crippling Trap? Most traps are dangerous in-the-moment, but if someone survives the trap, will it create a condition that character now has to deal with for the rest of the dungeon? Something that deals hit points, or which creates a short-term negative is very different than something that gives the victim a permanent negative, or which takes away one of their options to participate in the game going forward. Just like how a monster sundering a fighter's sword is a serious issue that shouldn't be considered lightly, so too is a trap that leaves an effect on a character after the room it's encountered in (other than hit point loss, as that's often reparable).

- Does This Trap Make Sense In This Location? If the party is invading the secret underground lair of a mad alchemist, then it makes total sense for rooms to be rigged with poison gas, explosive traps, and other challenges... but would those same devices be found in the lair of a dragon? Or a defunct crypt that no living person has entered in a century? Just because a trap might make good tactical sense, that doesn't mean it makes sense with the world's internal consistency.

- Is This Avoidable? There shouldn't be a guarantee that a trap goes off. There should be a chance that players avoid it, whether it's moving in a certain way to avoid triggering it, making a Perception check to notice the trap, or having some ability to negate or stop it from going off. Traps that you basically have to set off, or disable while you're under attack, can quickly suck the fun out of an encounter, and they're something you should avoid doing often (or at all, depending on the opinion of your table).

One last thing I would add as a piece of advice here is to choose your traps carefully. Just like how players will get tired of fighting the exact same monster over and over again, or how they'll come up with strategies to deal with specific tactics, a particular trap layout is only going to work so many times before it goes from a new and dangerous threat to an annoyance or frustration.

More importantly, though, is that the real advantage of traps is the uncertainty they create. For example, if your party snuck into a forbidden crypt, and they had to do battle with undead squires to enter the tomb proper, then the lack of a trap might make them confident. But then they have to cross a bridge that is trapped while undead archers fire arrows at them, that might leave their confidence shaken. When they enter the depths of the tomb, and find a skeletal champion and its retainers waiting for them, is the party going to assume this is another straight-up fight? Or will they be moving with caution, wondering where the booby traps are?

A trap only has to happen every now and again for the party to become wary of them. However, traps can grant a serious home field advantage, often allowing a small number of adversaries (or even just one) to take on an entire party of well-armed, well-prepared player characters!

Speaking of Traps...

Part of the reason I was thinking on this topic was that I've been re-reading my recent supplement Ungentlemanly Warfare: A Baker's Dozen of Booby Traps that I put out a little while back for my RPG Army Men: A Game of Tactical Plastic. I'm slowly gearing up to write a few more missions set in this world to follow up the first release A Night At Breckon's Beacon, and at least one of these missions is going to have a lot of traps as part of the challenge a squad is going to have to face.

Seriously, grab a copy if you haven't yet!

If you're looking for a game that definitely encourages the use of traps as part of the challenge (for both allies and enemies), then grab yourself a copy of Army Men for the holidays! And if you just want some improvised mayhem in your game, well, Army Men is based off of a 5E engine, so if your game also runs on something 5th Edition, or a 5th Edition port, these booby traps should be equally useful for you as well! And while some are meant for dealing with infantry, there are several that are meant for taking out vehicles, as well as their entire crew... so tread carefully!

Like, Follow, and Stay in Touch!

That's all for this week's Crunch post! To stay on top of all my content and releases, make sure you subscribe to my newsletter at the bottom of the page!

Again, for more of my work, check out my Vocal archive, and stop by the Azukail Games YouTube channel, or my Rumble channel The Literary Mercenary! Or if you'd prefer to read some of my books, like my dystopian sci-fi thriller Old Soldiers, my hardboiled gangland noir series starring a bruiser of a Maine Coon with Marked Territory and Painted Cats, my sword and sorcery novel Crier's Knife or my latest short story collection The Rejects, then head over to My Amazon Author Page!

To stay on top of all my latest releases, follow me on Blue Sky, Facebook, Tumblr, Twitter, and now Pinterest as well! To support my work, consider Buying Me a Ko-Fi, or heading to The Literary Mercenary's Patreon page to become a regular, monthly patron. That one helps ensure you get more Improved Initiative, and it means you'll get my regular, monthly giveaways as a bonus!

Looks Like Paradox Did It Again (The Fallout Over "Werewolf: The Apocalypse" 5th Edition)

Over the past several years I've put together quite a number of supplements for the World of Darkness setting, and of the pieces I've written a majority of them have been for Werewolf: The Apocalypse. From my 1,600 NPCs in The 100 Kinfolk Project, to a list of potential antagonists in Evil Incorporated: 10 Pentex Subsidiaries, and I even helped push through an anthology of short fiction titled Tales From The Moot, where I wrote both the introductory framing short, as well as the Silver Fang tale Late Bloomer. I say this to establish that I've played my share of Werewolf as a game, that I am quite well aware of the issues it had with racism and representation, and that I tried to do what little I could to mitigate that with my additions to the world.

I had not been keeping up on the changes made to the setting as it was updated to the 5th Edition... but seeing the behind-the-scenes from J.F. Sambrano left my jaw on the floor with how badly the ball was fumbled in trying to "improve" this game's less-than-stellar record.

Younger Brother cannot believe this shit.

Before we get into the nitty gritty this week, don't forget to sign up for my weekly newsletter to get all my updates right in your inbox. Also, if you've got a bit of spare cash that you'd like to use to help keep the wheels turning, consider becoming a Patreon patron! Also, be sure you're following all of my followables, check out my LinkTree.

Lastly, for hundreds of extra articles on gaming, weird history, and for more free fiction, check out my Vocal archive, too!

So What The Hell is Going On?

For those who haven't seen it yet, check out Sambrano's detailed post about what went on. And, if you can afford to, I'd recommend becoming his patron to help him out as a creator. But for those who just want the short version, I'll do my best to sum it up.

All right, deep breath...

In its original incarnation, Werewolf: The Apocalypse was a game that drew on a lot of Native American ideas of spirituality and legend, but it did so in the most crass, poorly-understood way you could. The short version is that while it was really unique having native representation at all in a major property in the 90s, a lot of it can be summed up with a sigh, and then following it up with, "Well... you did your best, I suppose."

This didn't stop the game from being successful, of course. Far from it, Werewolf is probably one of the best well-known parts of the World of Darkness, just behind the flagship game Vampire: The Masquerade. So when the 5th Edition came along and it was time to update the game and setting to bring it more in-line with modern sensibilities, and to make it a more inclusive product, designers like Sambrano were brought on board...

Only, it seems, to be promptly ignored.

Those are all great ideas... we're not using any of them.

From what was shared in the above post (which has already made the rounds), it seems like the design team made two, major errors. The first is that they kept too many of the problematic relics of the past (even when a lot of the designers they explicitly hired to help them fix these problems told them to chuck said relics), and the second is that they seem focused on including as little complexity and gray area as possible... which has led to them, once again, have problems with white supremacists, eugenicists, and Nazis.

Now, just for clarity, Nazis make great bad guys. If the goal had been merely to add white supremacists, nationalist terrorists, and other groups to the game as servants of the Wyrm in much the same way the original game did with capitalism in the form of Pentex, that would have actually been a smart move. Especially since the 5th edition release of Vampire: The Masquerade was plagued with problems regarding the inclusion of racism and white supremacy as story and game design in certain books (largely due, if memory serves, to a designer who was part of those communities). The wrong way to do this was what they chose, which was turning the Get of Fenris (arguably one of the most popular tribes among the player base) into a Nazi-majority tribe. Because, as Sambrano points out, this is inevitably going to lead to players trying to figure out how to keep the characters they had and liked to play, while attempting to include this new story element, rather than all players just letting the Get of Fenris go as a player option and relegating them entirely to villains.

Honestly, it just feels like bad design choices were made all around, and I'm glad I chose not to step into any of the 5th Edition releases for the World of Darkness as a whole.

While We're On The Subject...

I've been talking a lot about World and Chronicles of Darkness projects of late, and I wanted to take a moment to clarify something that got some folks asking questions. As I said recently in Why I Will Have Fewer Community Created TTRPG Products Coming Out, I'm going to be taking a small break from working on platforms like Pathfinder Infinite, Storyteller's Vault, and even on Call of Cthulhu titles, simply because of the increased rate-of-pay my publisher agreed to for my work on other, non-CCP products.

However, I also posted recently about "Windy City Shadows" A Chronicles of Darkness Podcast Proposal, talking about putting together a long-form audio drama podcast set in the world of the Chronicles of Darkness. For clarification, the podcast is a separate endeavor from my supplements set in the World/Chronicles of Darkness, and even if I'm writing fewer supplements (which people have to buy in order for me to get paid as the creator), I would still like to put together the podcast (which will be free to anyone who wants to listen to it).

So if it's something you'd interested in, check out the article above, and the video below, for how you can help make it happen!

Like, Follow, and Stay in Touch!

That's all for this week's Moon Pope Monday. To stay on top of all my content and releases, make sure you subscribe to my newsletter at the bottom of the page!

Again, for more of my work, check out my Vocal archive, and stop by the Azukail Games YouTube channel, or my Rumble channel The Literary Mercenary!. Or if you'd prefer to read some of my books, like my sword and sorcery novel Crier's Knife, my dystopian sci fi thriller Old Soldiers, or my latest short story collection The Rejects, then head over to My Amazon Author Page!

To stay on top of all my latest releases, follow me on Facebook, Tumblr, Twitter, and now Pinterest as well! To support my work, consider Buying Me a Ko-Fi, or heading to The Literary Mercenary's Patreon page to become a regular, monthly patron. That one helps ensure you get more Improved Initiative, and it means you'll get my regular, monthly giveaways as a bonus!

Why Do I Design For Older, Less-Popular Games?

For folks who are just joining us this week, my name is Neal, and I write RPGs for a living... or, at least, as part of my living. While a lot of my older supplements are game-neutral resources like 100 Cults to Encounter or 100 Fantasy Foods, recently I've been working on a lot of releases that are very game and edition-specific. For example, my supplements 100 Mourning Cant Dialects, Phrases, and Meanings and 100 (Mostly) Harmless Goblin Fruits and Oddments to Find in The Hedge are written specifically for the Chronicles of Darkness game Changeling: The Lost, and they're meant to be used in both editions of the game. Additionally I've been releasing supplements for my fantasy RPG setting Sundara: Dawn of a New Age all year, and while they're available in versions that are compatible with Dungeons and Dragons 5th Edition, they're primarily conceived of (and written for) Pathfinder's first edition.

The most recent example, in case you want to get your copy today!

While there have been a lot of folks who are excited to see more content come off my desk for these and other projects, there have also been a lot of folks who are wondering why I'm keeping one foot in older editions at all. After all, the door has closed on those games. Nobody's playing them anymore, so why cater to them?

This week I'd like to provide answers to those questions, and to shed a little insight onto my goals and my process as a designer. As always, subscribe to my weekly newsletter if you want to stay on top of all my latest nonsense, and if you can afford to support my work consider buying a copy of anything I've got linked in this Monday's update, or becoming a Patreon patron if you want to tip me more directly!

Firstly, Because I Know I'm Not Alone

It's true that once a publisher stops creating new content for a certain system (or creates a great deal less content while focusing on other games), a lot of the player base moves on. Some folks will keep playing the older games and editions they like, though, working their way through all the content that's available for them.

And those folks are going to want fresh material.

This one's for all the necromancers out there! Get your copy!

Because while it's true that the audience for older editions isn't as big, there's often a lot less competition for eyeballs. And if bigger companies have moved on to greener pastures, the people who stayed behind are probably folks who want to see what else you can do with a game system even after it's been around for so many years. Which is why I hope to give them something unique and interesting to play with. Whether it's a Pathfinder Classic setting with no alignment, weird magic, and bizarre cultures, or just expanding on the sheer wildness of the stuff you might find wandering the Hedge in Changeling, I want to provide the remaining audience with something that fires their imaginations and gets them excited about having more adventures in these older games and editions.

Secondly, I Hope To Bring New Converts Back In

There is a truth about the publishing industry I learned as a novelist that applies equally well to tabletop gaming. In short, as long as there is interest in your niche, you're never going to run out of potential readers. And given how many people play tabletop RPGs (it's hard to get solid numbers, but I think it's safe to assume the audience is millions of people) that means there's a huge potential audience for me to reach. Not only that, but younger generations grow up, and people who weren't into tabletop games are going to keep trying out the hobby and exploring their options.

Functionally, this means I'm going to have an ever-refreshing pool of people that I can try to persuade to give my supplements and settings a try. And while I may not be able to get a commanding slice of the gaming populous (especially given that I'm a relatively small fish even within this niche industry), there's still going to be people for whom my content is intriguing and interesting.

Come in and have a look why don't you?

On the one hand, ensuring there are versions of my projects available for more popular systems is just smart business. After all, the more potential eyeballs you can draw your way, the larger the possible audience you have overall. But my hope is that there are going to be players out there who are growing tired of DND 5E, and who are looking for a stepping stone to a different game. And if someone is already fond of Sundara, and wants to explore a more nuanced take on the places I've already presented, it's just a jump to the left to walk these familiar streets in Pathfinder Classic.

This is, in a very real way, an example of what I talked about way back in 5 Things You Can Do To Be a Better Ambassador For Your Hobby. Because rather than complain about how my preferred editions have been left behind, or how there just isn't as much attention on games I like, my goal is to make interesting, intriguing content for my preferred games and edition that draws people in. Not to yell at people for, "playing the worse games," but instead to make something unique that might tempt folks to step into a different tent for a while. Maybe just for this one show, or maybe a little longer if they're enjoying what I'm laying down.

And if folks choose to stick with the other games they like better? Well, that's fine too, because whichever version they grab, at end of the day I still get paid.

Speaking of Pathfinder and My Sundara Setting...

If this is the first you're hearing of my Sundara: Dawn of a New Age setting, the idea is that it's a fantasy RPG that utterly removes alignment, and whose goal is to focus on moving forward rather than constantly looking back into some mythical, half-remembered past. A place of strange magics, unique discoveries, and constantly shifting alliances and borders, it's a realm filled with adventure as surely as any other!

And if you've already gotten your copy of Gods of Sundara (available for Pathfinder and DND 5E), consider checking out some of the Cities of Sundara splats that started this world off!

- Ironfire: The City of Steel (Pathfinder and 5E): Built around the Dragon Forge, Ironfire is where the secret to dragon steel was first cracked. The center of the mercenary trade in the region, as well as boasting some of the finest schools for teaching practical sciences, Ironfire is a place where discovery and danger walk hand in hand!

- Moüd: The City of Bones (Pathfinder and 5E): An ancient center of trade and magic, Moüd was lost to a cataclysm, and then buried in myth. Reclaimed by the necromantic arts of the Silver Wraiths guild, this city has once again become a place teeming with life. Despite the burgeoning population, though, it is the continued presence of the undead that helps keep the city running, ensuring that Moüd is not swallowed up once more.

- Silkgift: The City of Sails (Pathfinder and 5E): Built on the cottage industry of Archer cloth (an extremely durable material used for sails, windmills, etc.), Silkgift is a place that prizes invention and discovery. From gravity batteries that store the potential of the wind, to unique irrigation systems, to aether weapons, the city positively churns out discoveries... and then there's the canal they cut through the mountains that makes them a major center of trade across the region.

- Hoardreach: The City of Wyrms (Pathfinder and 5E): A center of power across an entire region, Hoardreach is ruled over by a Cooperation of five different dragons. A place for refugees and outcasts of all sorts, Hoardreach boasts some of the most unusual citizens and creations from across Sundara. Infamous for their sky ships, which require the cast-off scales and unique arcane sciences of the Dragon Works to take to the air, one never knows just what they'll find in this city built atop a mountain.

- Archbliss: The City of The Sorcerers (Pathfinder and 5E): A floating city in the sky, Archbliss has been a refuge for sorcerers for thousands of years. It's only in relatively recent years that the city has allowed those from the ground below who lack the power of a bloodline to join them in the clouds. However, while there are certainly amazing wonders to behold, there is a darkness in Archbliss. Something rotting away at its heart that could, if not healed, bring the city crashing to the ground once more.

Like, Follow, and Stay in Touch!

That's all for this week's Moon Pope Monday. To stay on top of all my content and releases, make sure you subscribe to my newsletter at the bottom of the page!

Again, for more of my work, check out my Vocal archive, and stop by the YouTube channel Dungeon Keeper Radio. Or if you'd prefer to read some of my books, like my cat noir thriller Marked Territory, its sequel Painted Cats, my sword and sorcery novel Crier's Knife or my latest short story collection The Rejects, then head over to My Amazon Author Page!

To stay on top of all my latest releases, follow me on Facebook, Tumblr, Twitter, and now Pinterest as well! To support my work, consider Buying Me a Ko-Fi, or heading to The Literary Mercenary's Patreon page to become a regular, monthly patron. That one helps ensure you get more Improved Initiative, and it means you'll get my regular, monthly giveaways as a bonus!

Owen KC Stephens Tells It Like It Is With #RealGameIndustry

The general populous doesn't have much of an idea about what goes on in the publishing industry in general, or the RPG publishing industry in particular. All they see are the finished products, with their flashy art, shiny minis, and polished presentations to make them look as appealing as possible. And the things people do see tend to be celebrity gamers with big budgets and huge followings, forgetting that they're putting on a show. So naturally many players assume that RPG designers, much like authors, are making some solid earnings, and that companies whose games are popular have big slush funds of cash with which to design new and exciting games for all of us to play.

Let me burst that bubble for you right now. Because none of that is remotely true.

Because trust me, the whole industry is a gamble. With VERY long odds.

I have not been in the industry as long, nor have I worked with as many companies, as some. That said, I can confirm more than a few of the #RealGameIndustry statements made by Owen KC Stephens.

No One Gets Paid, Everything is Broken, We're Trying Our Best

The first thing I can confirm is that no, no one in the RPG industry is paid well. There are lots of people who are, "paid well for RPGs," but if making games is your main job there are just certain realities you've probably had to make peace with. Things like never owning a home or property of your own, for example. Only a tiny fraction of people in the industry have benefits or insurance, and a frankly staggering number of us make RPGs as a side hustle (or have to depend on a spouse's job for main household income, vision, dental, etc.). A lot of us can't even afford to actually buy games, much less the high-end accessories you see like fancy gaming tables, elaborate dice towers, or gaming scenery.

Personally, one of the only reasons I have access to any new games is this blog, and the reviewer files I get from publishers looking for promotion. Something I'm very grateful for, and which I'd never be able to afford to buy if I still wanted to eat.

So if you have ever had that moment where you thought we game designers were some kind of big-money rock stars, scrub that idea right out of your brain pan. And if you really want to make the creators you love feel like rock stars, go support them right now! I'm on Patreon at The Literary Mercenary, and if you're a fan of Mr. Stephens' work, check out his Patreon too!

That's far from the only truth, though.

Another thing that I can testify to is that RPGs are very similar to novels in another respect. Everyone thinks they can do it, and those who have interesting ideas, those who can write compelling stories, and those who can actually sell books are rarely the same person.

Incidentally, if you haven't picked up my sword and sorcery novel Crier's Knife or my short story collection The Rejects, go check them out!

To be clear, here, this is not the criticism it sounds like. However, when it comes to RPGs, you often have to wear a bunch of different hats in order to get the job done, and if you can't wear a particular hat that job tends to go to a freelancer. If you have great ideas but can't put them into words, you hire someone like me to take the core of your idea and flesh it out into engaging prose. If you can write a story or create a setting, that doesn't necessarily mean you have any aptitude for designing functioning rules systems. And if you can design rules systems, that doesn't mean you have any marketing knack at all.

The sexism, racism, and other issues in tabletop gaming Mr. Stephens mentions? Definitely present. I've been fortunate enough that I've not witnessed it from other professionals or companies that I've worked with (quite the opposite, in that most companies I've worked with have been trying to educate themselves to make sure they don't alienate potential players by looking or acting biased) but I have seen quite a lot of it from the fans who play games. Mostly white guys (several of whom are older than me) who lament that they're now minorities because their games only have 40 percent white guys instead of the more accepted 80 percent when they got into the hobby. The sorts of fans who will violently stomp out of the room (or flounce from a forum) because games include black elves, non-European cultures, or because the game made it clear that prejudice against LGBTQ+ people is not a part of their game or setting.

And I've only witnessed a tiny portion of this behavior, as most of it doesn't get slung my way as a masculine presenting white dude. Though I do seem to recall there was one guy who called me a race traitor because I pointed out that fantasy settings have a somewhat less than stellar record on diversity and inclusion. That was a weird day.

It's Still a Business (Even If It Looks Like Fun and Games)

I wanted to add my own contribution to the #RealGameIndustry hashtag. This was present in the spirit, but I didn't see it spelled out, so I thought I'd add it in.

There are a lot of people out there trying to make games. But there are not a lot of folks out there who actually know how to run a business. And that becomes a problem when you expect to actually get some kind of return for your efforts.

Money make the world go round.

Finding people who are making games isn't hard. Go to a con and throw a rock, and there's a decent chance you'll hit somebody who's tinkering with an RPG project. But far too many people get caught up in the art of the game, and the rush of actually creating, and then don't ask how they're going to sell it. Forgetting, of course, that games are expensive to make... and more so if you had to hire freelancers to help get it done.

Your art, your text, your editing, your rules, your maps, the publishing... all of that takes money. And if you don't sell copies of your game, then you're not going to make money to invest in future projects and installments (or pay your bills). More than that, though, freelancers tend to avoid dead-end projects once they recognize them for what they are. Because a paycheck is nice, but if that game is never going to be published (or if it has, "pet project" stenciled on in big red letters), they're going to jump ship. If their name is in the credits, it's on their work history. If you don't treat your game like a product you intend to sell (and to sell as widely as you possibly can), then you're going to have trouble attracting serious talent to your table.

Just some food for thought.

Like, Follow, and Stay in Touch!

That's all for this week's Moon Pope Monday!

Again, for more of my work, check out my Vocal archive, and stop by the YouTube channel Dungeon Keeper Radio. Or if you'd prefer to read some of my books, like my sword and sorcery novel Crier's Knife or my latest short story collection The Rejects, then head over to My Amazon Author Page!

To stay on top of all my latest releases, follow me on Facebook, Tumblr, Twitter, and now Pinterest as well! To support my work, consider Buying Me a Ko-Fi, or heading to The Literary Mercenary's Patreon page to become a regular, monthly patron. That one helps ensure you get more Improved Initiative, and it means you'll get my regular, monthly giveaways as a bonus!