I discussed my custom goblin dice in October last year, but now I've created some custom goblin tokens as well. In Savage Worlds I'd use them as Bennies, while in Swift d12 I'll be using them as Karma Points (I've avoided any system-specific logos for this very reason).
Thursday, 20 April 2017
Wednesday, 19 April 2017
In April 2000, I participated in a competition to design a tiny online game. It was great fun and gave me a lot of new ideas, it also helped me network with other game designers, and I even expanded my entry afterwards, using it as a prototype for a much bigger game. Overall it was a very positive experience.
A couple of weeks ago, David Schirduan announced the annual 200 Word RPG Challenge on Google+, and it brought back fond memories, so I decided to give it a go! Each participant is allowed to submit two entries, so I threw together a couple of mini RPGs that I felt captured the flavor of the two settings I've been working on lately - Primordial Horrors, and Saga of the Goblin Horde.
About the Settings
Back in November 2015 I wrote a post about Primordial Horrors, a Lovecraftian horror setting I was designing for Savage Worlds. Although Primordial Horrors has a number of unusual elements (such as the fact that the PCs are the insane cultists and eldritch abominations), Savage Worlds already has a lot of horror settings, and even a few Lovecraftian ones. In short, I felt it would be a difficult sell; one of the criteria for new applicants is that their submission should not be too close to any existing settings.
So I decided to temporarily shelve Primordial Horrors, and work on a setting that would fill a new niche. Savage Worlds already had a few settings with playable goblin races, but (at the time) none where the goblins were the main focus of the entire setting, so I started designing Saga of the Goblin Horde - initially just as mini setting to get my foot in the door, but later the project took on a life of its own, and evolved into something much bigger.
Although some of my plans have changed since then, I still intend to get back to Primordial Horrors once I've published Saga of the Goblin Horde. I've continued collecting ideas for it over the last year and a half, and I think it will make a really fun setting once it's finished. I've even started doing some early playtests for it!
But it's always useful to get a new perspective, and I felt the 200 Word RPG Challenge would be a good way to take a step back and take another look at my settings, not to mention the wonderful opportunity to network with other RPG designers.
My Challenge Entries
I wanted my two entries to be quite different to each other, but I still wanted both to offer tactical gameplay. Primordial Horrors is a more freeform and narrative-driven setting, while Saga of the Goblin Horde's adventures are much more structured, so I also wanted to try and capture that in my mini RPGs. Not easy when there's a 200 word limit, but I'm quite pleased with the way they turned out.
This game uses a standard 52-card playing deck. Each player starts with seven cards, and can keep them secret, or selectively reveal them at any time.
The players are members of a doomsday cult, attempting to bring about the apocalypse. The GM narrates the story and describes the challenges the cult faces, drawing a card to represent each challenge, and placing it face down on the table.
Players must reveal a card from their hand to resolve each challenge, using its suit to help narrate their solution:
· Clubs: Zealous cultists.
· Spades: Arcane knowledge.
· Hearts: Influence within society.
· Diamonds: Funds and assets.
Show everyone the challenge card. Players who revealed a higher rank card of a different suit draw another card, discarding down to seven. Players who revealed a lower rank card (regardless of suit) must discard it, unless it’s their last.
When the deck runs out of cards, the apocalypse begins! Everyone calculates their score, as if their cards were a poker hand. The GM does the same using the challenge cards.
If the GM wins, describe how the cult is thwarted. Otherwise, the player with the highest-ranking hand summons an Eldritch Abomination, and narrates the resulting apocalypse.
My goal was to have a challenge resolution mechanic with three possible outcomes (failure, basic success, and exceptional success) that supports both competitive and cooperative play. While the players' primary goal is simply to bring about the apocalypse, they're also competing against each other to be the "lucky" one who summons the Eldritch Abomination at the end.
The card-based approach facilitates the design goal by allowing players to selectively reveal their hand to each other. Knowing which cards the other players are holding gives you a better chance of predicting which cards might be drawn for the challenges, so this allows players to work together when they're doing badly, or keep their knowledge secret when they're doing well.
The resolution system also pays homage to the card-based campaign-building mechanic I've designed for Primordial Horrors.
The Goblin Warrens
A band of goblins must defend their lair against bloodthirsty adventurers.
Each player chooses five d6s, representing their five goblins. Specialties are based on die color: Blue for brawn (strength and endurance), green for guile (cunning and alertness), and anything else for agility (speed and stealth).
Trait checks involve a trait (brawn, guile or agility), and a difficulty number that players must equal or exceed. Each player rolls 1-3 of their surviving goblin dice, using the highest roll to determine success. Failure means their lowest rolling goblin dies. One goblin also dies on a double, or two on a triple.
If the trait matches a goblin’s specialty, the player may reroll that die, keeping the new result.
Adventurers are represented as colored d8s, and classified as fighters (brawn), wizards (guile) or rogues (agility). Combat is a standard trait check, except an adventurer die is rolled with the goblin dice to determine the trait and difficulty (1-8). The adventurers must be fought until defeated.
An adventure has five scenes, narrated by the GM. The first four require a trait check with a random trait and difficulty. The final scene involves fighting the adventurers (one per player).
One of the defining features of Saga of the Goblin Horde is that each player controls an entire gang of goblins, and that's a concept I wanted to carry over to the Goblin Warrens. I also wanted some tactical differentiation between goblin types, although this proved difficult with the 200 word limit. I toyed with the idea of blue=brawn=bugbear and green=guile=gremlin, but in the end I felt it was better to give the RPG a more narrow thematic focus, so I stuck to goblins.
The mechanics allow players to roll additional dice (throwing extra goblins at a problem) to increase their chance of success, but this also increases the number of potential losses; if a challenge is particularly difficult, it may even be worth sacrificing a goblin and accepting failure. However the risk can be mitigated by using goblins with the appropriate specialty, not only does this give you a second chance at rerolling a failure, it can also be used to reroll out of a double or triple result.
Keen observers may also notice that my entry retains the same five-scene adventure structure as Saga of the Goblin Horde. The Goblin Warrens follows a band of borderland goblins rather than the tribes, but I still wanted it to have a similar feel.
Monday, 3 April 2017
I've talked a lot in previous blog posts about setting design, and I've described the process I use to go from initial idea to final product, but before I release something there are a lot of things to double-check. In the past I would frequently have to make multiple releases to correct stuff I'd forgotten, but over time I've built up a checklist of things to look out for, so I thought I'd share it.
Note that if you're preparing your PDF for print-on-demand, you will have to follow additional steps, such as using a specific export format, setting the bleed, checking the colors, and so on. This isn't something I've done (yet), so for the time being I'm focusing on PDFs for use on a screen or for home printing.
Often considered one of the more important typography practices, vertical rhythm refers to the vertical spacing between elements, and generally requires the use of a baseline grid. This automatically aligns the text across columns, using the principle of repetition to produce a more balanced and readable layout.
If you're using Scribus, click "File", "Document Setup" and "Guides", and you'll see "Baseline Settings" at the bottom.
In the following example, you can see that I didn't use a baseline grid, and the text in the two columns is not correctly aligned:
In the next example I've used a baseline grid, and the text aligns up, giving it a cleaner and more consistent look:
This should really be done when you first set up the document template, but it's always worth double-checking the vertical rhythm before you release a product, particularly if you're not using the baseline grid for your artwork.
Widows and Orphans
Widows and orphans refer to the single lines that sometimes appear on a separate column from the rest of a paragraph, either because the paragraph started at the end of a previous column, or because it was just a bit too long to fit onto one column.
They can be addressed in a number of ways (adjusting the scaling, the margins, the spacing, etc), but I usually edit and rephrase the text to make it fit. This is one of the big benefits of doing my own layout - I can also change the content of the document when necessary, in order to improve the layout.
Spelling and Grammar
It should go without saying that the document should always be checked for spelling and grammar, but it's surprising how often I see simple mistakes make their way into published products. It's also important to decide which language you're going to use - Pinnacle favor American English, for example, so I've made an effort to use American English in my newer products, rather than my native British English. In general either are fine, but it's important you're consistent and don't mix them.
This isn't as easy to check as spelling and grammar, and once again the rules vary depending on which version of English you're using (e.g., whether commas and periods go inside or outside quotes). There are also some stylistic choices to consider, for example Savage Worlds products prefer to use the en-dash instead of a hyphen in front of numbers.
You should also make sure you're using curly rather than straight quotes and apostrophes (unless you're using them to represent feet and inches).
Some mistakes will always need to be caught the old fashioned way. Of course it's far better to have someone else proofread your document, but you should still proofread it yourself as well. You'll need to do this a few times - it's not much fun, but it is necessary if you want to release a quality product.
Copyright Notices and Credits
It's important to double check that all copyright notices and legal disclaimers are in place, and that you've added all of the appropriate credits (and logos). For example if you're writing a One Sheet, and you initially copied the template from a previous One Sheet, you'll probably be using different artwork - so don't forget to update the credits accordingly.
Paragraphs should have a first-line indent, but it shouldn't be too large. I prefer to give the text an indent equal to its font point size (typically 10 pt). Don't do this manually, though! You should have defined the indent as part of the style (in Scribus click "Edit" then "Styles").
However you shouldn't indent the first paragraph of a chapter or section. This is another rule that a lot of people ignore, but it's the approach recommended by Robert Bringhurst in his book Elements of Typographic Style.
Characters in Savage Worlds have fairly short statblocks, yet it's surprising just how often people make mistakes. This is particularly common with archetypes, where all of the attribute and skill points have to add up correctly (even a couple of the archetypes in Savage Worlds Deluxe have mistakes), but NPCs often have problems too, with Parry and Tougness being the most common culprits.
Reviewing statblocks is pretty mind-numbing work though, so I put together a tool to analyze them for me. Now I just have to run my statblocks through the tool before publication, and it automatically checks for obvious mistakes.
You can access my statblock analyzer here.
Scribus allows you to specify if a text frame should be used as a bookmark, however this isn't a very convenient approach, because it uses the entire text. If you want to use bookmarks throughout your PDF, you will need to create an additional text frame for each bookmark, and make them invisible. Make sure you also put them on the lowest layer, otherwise some PDF viewers will display them anyway, even if they're invisible.
You may also need to manually reorder the bookmarks, but this isn't particularly difficult. However it's probably easier to leave the bookmarks until the rest of the book is finished.
Text Frame Sequence
Have you ever tried to copy and paste text from a PDF, only to discover that the text was copied out of order? Or perhaps you're using some sort of audio reader, and the speech doesn't appear to follow the sequence that the text appears on the page? That's because the text frames are out of sequence, often because they've been copied and pasted during the layout work.
This can be fixed in Scribus by right-clicking on a text frame, selecting "Properties", and adjusting the level, as shown below:
I find it's usually easier to generate a PDF first, and use it to check the order, then go back and fix it before generating another PDF.
Scribus doesn't automatically embed the fonts, you have to tell it which ones you're using. This is very easy to check, but it's important you don't forget this step, otherwise the PDF may look okay for you (so just looking at the PDF won't necessarily reveal the problem), but the missing fonts will look weird to other people.
There seems to be a bit of a strange bug in Scribus whereby embedding the font isn't recognized as a file change for the purposes of saving. So it's always worth double-checking that the fonts are there, even if you've embedded them previously.
PDFs can get quite large, particularly if they have a lot of artwork, so it's worth setting the image resolution to the appropriate DPI. Personally I prefer 150 DPI to keep the size down, but 300 DPI is preferable for printing (and if you explicitly want to offer the PDF for printing, don't forget to set the output for print rather than screen).
It's well worth using layers in your PDF (this option can be set in the same dialog as the image resolution, just make sure you're using PDF 1.5), as this allows the user to switch off different layers for printing - for example they could switch off the background, or the artwork.
However you have to specify which layer each component uses, and mistakes can happen, so after you've created your PDF make sure you check that everything is on the correct layer. I usually do this by zooming out, and checking one layer at a time.
There is a bug with the layers in Scribus, whereby all layers are always displayed when you print the document (you can see this in the print preview as well). So for example, you can switch off the background layer (so that it appears white), but when you print it'll still print the background image.
This can be fixed by opening the PDF with Notepad++, deleting every line that begins with "/usage", then saving and closing the file. After that you need to open the PDF in Acrobat, then immediately close it again, whereby it will prompt you to save (do so). There's a more detailed guide to applying the fix here.
By this point you're probably sick of proofreading. But do it again anyway, and get someone else to proofread for you as well, because there will probably be something you missed (particularly if you made some last minute edits).
You should also check for things like the title and author of the PDF (right click on the PDF in Acrobat Reader, click "Properties", and check the Description tab), make sure the settings in the Security tab are correct, double-check the fonts, and so on.
Tuesday, 28 March 2017
I've been doing quite a lot of playtesting for SWIFT-d12 lately, and have been tweaking and refining the mechanics based on those playtests. Last week I mentioned the new rules for Complication Dice, but I've also made a few other significant changes.
Although I liked the old wound system on paper, in practice it proved a pain to calculate all the modifiers every time a Champion took a hit, particularly for characters with bonuses to Endurance and Vitality. So I went back to the drawing board and redesigned it.
I also ripped out the chase rules. It was painful to do so, as I'd put a lot of time into them, but I was never quite happy with the way they worked, and they didn't quite mesh with the rest of the rules - they felt bolted on. I've saved them in a separate file, perhaps I'll revisit them later, but for now they're gone. I've included simpler replacement chase rules as a type of extended ability check.
The defensive ability checks have also been removed, as they don't work quite so well with the revised action dice (opposed rolls are no longer symmetrical), and they raise some awkward questions about the use of Karma Points.
Other rules have been added, such as improvised weapons and unarmed attacks, specific action types, new Feats, revisions to derived traits, and so on.
There's still quite a lot to finalize, and a lot more polishing to do, but the system feels pretty robust now. You can grab the latest version of the rules from here, and the goblin archetypes here. And don't forget to join the SWIFT-d12 Google+ community if you haven't already!
Combat in Savage Worlds is pretty fast, but it can still take a while to resolve, and the GM may not wish to play out every single fight using the normal combat rules. Sometimes the session needs to be sped up because the GM is running behind schedule, other times a combat scene might be there solely for story purposes, or to set the scene for a bigger encounter, and the GM doesn't want it to bog down the session - but equally they don't want it to be purely narrative, they want it to offer some sort of mechanical challenge as well.
Savage Worlds has two abstract subsystems for fast combat resolution. The first is the Mass Battle rules, which are designed for large scale combat, where the heroes either lead the army or try to make a small difference on the battlefield. The second is the Quick Combat rules, a newer mechanic that hasn't yet made its way into the rulebook, which is designed to handle smaller scale (and far less dangerous) confrontations.
Mass Battles are fine for armies clashing on the battlefield, but it's extremely dangerous for individuals to wade into battle, and they have a relatively small impact on the outcome. It's not really suitable for a skirmish scenario.
Quick Combat is a nice fast mid-game mechanic, serving as a bridge between scenes, but it's not designed to be very challenging, and it offers no real risk/reward if you're using it to end a session (for example when you've run out of time, and want to bring the adventure to a quick conclusion). Unless the characters are already wounded, there's absolutely no risk of failure, while the reward for an exceptional success is a Benny, which is lost at the end of the session anyway.
So I decided to put together a new rule that combines elements of Mass Combat and Quick Combat, for scenarios that are more challenging than Quick Combat but not as dangerous as Mass Battles, and suitable for an end-of-session wrap-up fight scene (similar to that used by +Eric Lamoureux, when he ran short of time at the end of 6 Heads for the Head Honcho).
The GM can assign a modifier of between +2 and -2 depending on the relative competence of the enemy, and another modifier of between +2 and -2 if one side has a significant tactical advantage.
The number of foes is represented by a pile of tokens, typically 3-5 tokens per player for a reasonable challenge. This is a fairly abstract representation of the number of foes the heroes have to face, and should take into account the objective of the scene - it could represent how many foes are still alive, how many are still fighting, or it might just represent how many the heroes need to defeat before they can break through the enemy lines and make their escape.
Each round, each player draws an action card for initiative, and makes a skirmish roll on their turn. On Clubs they suffer a complication: -2 to the roll, and on a failure the damage is 4d6 rather than 3d6. The player can choose which trait they use for the skirmish roll - usually a combat or arcane skill, but other traits are permitted as long as they fit the scene and can be justified through appropriate narrative. The GM may also wish to award a situational bonus of +1 or +2 for a particularly creative and inspiring description of the hero's actions; interesting narrative is essential for an abstract subsystem!
‣ Failure: The character suffers 3d6 damage (increased to 4d6 on Clubs).
‣ Success: The character or an ally under their control suffers 2d6 damage, and the player takes one token from the table.
‣ Raise: The player takes two tokens from the table.
Shaken characters should make their Spirit roll to recover before making their skirmish roll each turn. If they remain Shaken, they must still make a skirmish roll, but they suffer a further -2 penalty.
The GM may optionally set milestone benefits for earning a certain number of tokens. For example a character who earns 3 tokens might be allowed to escape early, leaving the rest of the party to fend for themselves. Or perhaps at 5 tokens the character breaks through the enemy lines and can attack them from the rear, receiving a +2 bonus to their next skirmish roll this scene.
Once all of the tokens have been taken from the table, the final objective has been reached, and the heroes are victorious. If the Quick Skirmish has been used for a mid-game scene, the GM might also wish to award a Benny to the player with the most tokens.
Thursday, 23 March 2017
Yesterday I did two SWIFT-d12 playtest sessions with Manuel Sambs, one for Saga of the Goblin Horde, and the other for Manuel's Neon City Nights setting. We identified a few areas that need some work, but the one I'd like to talk about right now is "complications".
The Action Deck in Savage Worlds often treats clubs as complications, and that adds an unpredictable element of risk to rules like Chases and Dramatic Tasks, mechanics that I frequently use in my adventures. However SWIFT-d12 doesn't use cards, and without complications it always feels like something's been lost when I convert the adventures. So after some consideration, I've come up with a generic complication mechanic.
Whenever the GM calls for an ability check, they may also declare a complication. The player should then roll two complication dice at the same time as their action dice.
Complication dice are d6s, they do not explode, and they cannot be rerolled with Karma Points. If the complication dice roll a double value, then the complication is triggered; the player must then make another ability check with a penalty equal to the number on the complication dice. Failure results in some sort of mechanical or narrative drawback, which the GM should describe before the player rolls.
Example: Big Brak is knee deep in the Northern River, fighting a minotaur, and the GM announces that his next attack has a complication due to the strong current. Big Brak rolls his Melee check and succeeds, killing the minotaur, but the complication dice roll double 4. The GM announces that Big Brak must now make a Muscle check with a -4 penalty (because of the double 4); on a failure he'll be swept away by the river.
I think this captures the unpredictable feel of complications, without the need for cards. It's also a unified mechanic that can be applied to any ability check at the GM's discretion, rather than a "special case" rule that applies to specific subsystems, and I think that should make it more flexible and intuitive to use.
The Drakonheim Savage Companion was released back in November last year, and contains all the additional rules, races and abilities needed to play in the Drakonheim setting using Savage Worlds.
But the companion wasn't the only product I worked on for Sneak Attack Press. I also converted Heroes of Drakonheim to Savage Worlds, a trilogy of adventures covering the major events leading up to the situation described in the setting book.
It's a great way to introduce players to the setting, and you can buy it here:
Or as part of a bundle with the setting and companion here:
Drakonheim Savage Bundle
There's a preview of the final adventure here, in which the heroes have to use their limited time to explore ruins, recruit allies, and prepare the city's defenses to hold off an invading army.
Tuesday, 21 March 2017
One of the cooler accessories for Savage Worlds is the Adventure Deck. Much like the Drama Deck in Torg, or (if you go back to the mid 80s) the Whimsy Cards for Ars Magica, the Adventure Deck provides players with a structured way to influence the story, allowing them to introduce new enemies, love interests, and various other unexpected plot twists.
It's not unusual for individual settings to offer their own custom Adventure Cards, which can be inserted into the larger deck to provide players with new setting-specific options. And of course many Savage Worlds fans also create their own Adventure Cards (someone even offers a tool for creating your own).
Snate56 on the Pinnacle forums asked if I was planning to create some custom Adventure Cards for Saga of the Goblin Horde, and suggested a Kamikaze Meat Shield card. Although I don't have very much goblin-themed artwork suitable for Adventure Cards, I just about managed to scrape up enough for eight of them. Unfortunately they don't have a consistent artistic style, but I've had to make do with what I've got. They're not bad though - and they're perfectly functional.
It was an interesting little project, and it's given me a much better idea of how to go about creating my own decks (a skill I'll need for the Campaign Deck, as well as some of the other deck ideas I've been considering). While the process will be rather different for PoD cards, it's still nice to be able to offer a PDF version (I'm really glad I bought the official Adventure Deck as a PDF before Pinnacle pulled it from sale).
Friday, 17 March 2017
In March last year I released Egg Hunt, an Easter themed One Sheet for Saga of the Goblin Horde. When I was updating the trade dress on my One Sheets in September last year, I had to adjust the text to make everything fit, so I decided to add a teaser about a possible sequel.
With Easter approaching, I decided to write the follow-up adventure, drawing inspiration from a conversation I had with Manuel Sambs. Having written one adventure where the characters fired themselves from catapults across the city, using their own gang members as cushions, and another adventure where the players stole an entire tavern and surfed it over a waterfall, I mentioned how it was going to be difficult to up the ante much further. Then I came up with the idea of fighting over a volcano on hang gliders...
Hang gliders weren't really an appropriate thematic fit, so I decided to use ornithopters instead. Gremlins love building crazy mechanical devices, after all!
You can download Can of Wyrms from here, along with the Saga of the Goblin Horde Player's Guide, Archetypes, and the seven other One Sheet adventures.
Tuesday, 28 February 2017
While hunting around for some examples to show my friend, I came across my early sketches, and I thought it would be interesting to show the different stages the map went through as it evolved from a rough initial sketch into a polished final product.
When I first started working on Saga of the Goblin Horde, I envisioned an area of land that extended into the ocean, with mountains and a great river to the north, and a forest to the south, with the main human lands to the east. Some of these ideas can also be seen in the early One Sheets, but when I tried to turn the concept into a map, it felt extremely barren.
I started thinking up new terrain ideas while working on the setting fluff, and also divided the territory into the different regions controlled by the major tribes. This required carefully going over the One Sheets, making sure the geography fit with the earlier adventures. For example, Bone of Contention takes place in an old abbey which needed to be on the edge of the Redfang territory, but also needed to be close to the Bonedigger territory, so I decided to make them neighbouring tribes.
It was also at this point that Eli Kurtz started giving me advice on the geography, helping me to reshape the rivers, and expand the terrain to include swamps, plateaus, and more forests.
At this point I felt I had a pretty interesting region of world for the campaign to place, so I decided to commission a custom map. Eli already had a good idea of what I wanted, and I felt that his artistic style was a good fit for the book, so he started working on a new map.
Eli then added detail to the swamps, forests and mountains, and changed the lake to turn it into more of a teardrop shape (to better fit with its description in the gazetteer).
Eli continued fleshing out the terrain, finalizing the initial black and white version of the map.
Next came the color, starting with the ocean and forests. This actually required quite a bit of discussion, and we looked at other maps to see what sort of colors looked good and contrasted well together.
The rest of the map was then colored, using shades that contrasted well with the forest and ocean.
Finally, the swamps were darkened, while some highlighting and shadows were added to the mountains, and icons were added for the Dome of Shadows and Spire of Flame. The Obsidian Valley was also moved slightly so that it would better align with the hex grid I wanted to use.
At this point we asked a few other people for feedback, and someone pointed out that map was too dark, so we tried experimenting with different levels of brightness and contrast.
Some last adjustments were made to the colors, and Eli added some small tent and building icons, along with the compass and logo.
With the map itself complete, we then started discussing the labels for the different regions. I wanted to use the same font I'd used in the setting book, but it took quite a lot of experimentation to find a color that contrasted nicely with the background.
Of course I also wanted to include a hex grid, as the map had a functional purpose. Once again it took some effort to find a color that was easily visible against the background without overwhelming the map or labels (the usual black wouldn't work here, as the map itself was originally drawn in black, but brighter colors clashed with the text labels). In the end we settled on a semi-transparent white, with the hex grid drawn on a separate layer where it could be easily switched on and off.
I also wanted to use the map to indicate the territory of the different tribes. This involved quite a lot of discussion, and in the end Eli came up with a very cool "fog of war" effect, which he placed on a separate layer. This allowed me to include a separate version of the map within the book, showing which region each tribe controlled.
If you've not yet checked out the Saga of the Goblin Horde Player's Guide, you can grab it from here, and look at pages 9 and 38 to see how I ended up using Eli's map within the book. If you read through the gazetteer in the last chapter, you'll also see I made sure there was a section for each location marked on the map.
Last month I posted the probabilities for SWIFT-d12. Since then I've streamlined the critical success system, so that a double success and 13+ are now both treated as a critical success. I was recently asked what impact this has on the probabilities, and the answer is "not too much".
This is the old approach, where a critical success required succeeding on both dice:
-5: 16.0% (0.7% critical)
-4: 30.6% (2.8% critical)
-3: 43.8% (6.3% critical)
-2: 55.6% (11.1% critical)
-1: 66.0% (17.4% critical)
+0: 75.0% (25.0% critical)
+1: 82.6% (34.0% critical)
+2: 88.9% (44.4% critical)
+3: 93.8% (56.3% critical)
+4: 97.2% (69.4% critical)
+5: 99.3% (84.0% critical)
This is the new approach, where a critical success required either succeeding on both dice or rolling 13+ on one of them:
-5: 16.0% (0.7% critical)
-4: 30.6% (2.8% critical)
-3: 43.8% (6.3% critical)
-2: 55.6% (11.1% critical)
-1: 66.0% (17.4% critical)
+0: 75.0% (25.0% critical)
+1: 82.6% (41.0% critical)
+2: 88.9% (55.6% critical)
+3: 93.8% (68.8% critical)
+4: 97.2% (80.6% critical)
+5: 99.3% (91.0% critical)
As you can see, this change increases the chance of a critical success if you already have an advantage (i.e., a bonus to the ability check). It also means that a Minion now has a chance of a critical success if they have an advantage.
Overall it's not a major difference, but it does help keep the rules a bit more consistent when there aren't too different types of critical success to get your head around.
Monday, 27 February 2017
I ran Dungeon Squat for a couple of friends at the weekend, using Roll20. Both friends were experienced Savage Worlds players, but neither had played SWIFT-d12 before, so I tried to keep things fairly simple. This was also my first time GMing with Roll20.
The "Boastful Tales" rule worked well. I originally added it so that I'd have a parallel for Interludes when converting my adventures from SW, and I think I actually prefer it without the cards. I'm not quite sure why SW Interludes even use the action deck, to be honest, it doesn't really add anything.
I found that the Ambush Cards didn't work as well online as they did at the table, but they're still quite nice. This particular mechanic is something that might even be worth expanding into a full deck of custom cards in the future.
The combat encounter worked pretty well, although it was once again made clear that Champions can withstand quite a beating before going down - one-shotting a Champion is very unlikely in SWIFT-d12, it usually takes a few hits to incapacitate them (although it's still far less predictable than hit points). I don't think this is a bad thing (combat resolution was still nice and fast), but I will definitely need to do some number-crunching at some point.
I tried to keep things simple, so we didn't go into maneuvers or stunts, and I think that was a mistake. Some of the maneuvers would have sped things up, particularly Aim or All-Out Attack, as one of the players had a lot of bad luck with his damage rolls. The other player used a Provoke stunt to intimidate one of the enemies, but I think a larger variety of stunts would have made the combat more interesting. I definitely need to expand the Cheat Sheet to include maneuvers.
We didn't have time for the chase at the end, but that was mainly due to technical issues with Roll20. Otherwise I think I would have fit everything into the three hour window.
Overall I thought it worked quite well, there were no major problems with the system, and everyone had fun. But there are definitely some things that need further work.
Sunday, 26 February 2017
Last month, Frank Turfler of the Middle Kingdoms Adventure & Trading Company released a free map along with a plot hook about goblins, and he invited other people to add to the narrative and send in their own adventure ideas. How could I resist such an invitation?
If you're not yet familiar with Saga of the Goblin Horde, you can download the player's guide, 15 archetypes and 7 One Sheet adventures from here.
You can also listen to my interview on the Wild Die Podcast here, where I talk more about the setting.
And if you're on Facebook, join the Saga of the Goblin Horde group here.
Friday, 24 February 2017
Savage Worlds has a lot of interesting settings, far too many for me to ever reasonably play. Some people like playing one-shots, and those can certainly be fun, but they don't provide much time to explore the setting. That's one reason why I like slottable settings (such as Guild of Shadows or Drakonheim) - they can effectively be combined with other settings. Drop a slottable setting into an established fantasy world and you can explore both at once.
But there's also another option: crossover adventures. Even if two settings can't be merged, it might be feasible to link them, whether through a long journey, a magical portal, or something else. There's even an official adventure called "Shaintar Accursed: Darkest Tides" which explores this concept, serving as a crossover between the Accursed and Shaintar settings.
Where did those goblins go?
In January last year I decided to update my Savage Frost Giants fan supplement, which contains guidelines for an unofficial Witchbreed for the Accursed setting. One of the new things I added to the supplement was a small bestiary of banes, including a snow goblin, which included the following in its description: "Few snow goblins have been seen in Morden since the end of the war, leading to some speculation about where they might have gone."
That wasn't a throwaway comment. I'd already started working on Saga of the Goblin Horde by that point, and I thought the snow goblins might serve as an interesting tie-in for a future (and obviously unofficial) crossover adventure. If the snow goblins escaped through a portal into the same world as Saga of the Goblin Horde, what else might come through the portal? Is the portal still open? Can other goblins travel back through?
Earlier this week I released the Saga of the Goblin Horde Player's Guide, which provides a short overview of each of the six major tribes. The description of the Icerunner tribe states that "This tribe first appeared only a few years ago, heading down from the peaks of the Longtooth Mountains to claim its place among the major tribes. Many of the tribe members sport a rather frosty appearance, which is assumed to be a recent mutation."
The Gods and Magic chapter also mentions that "Members of the Icerunner tribe worship a mysterious progenitor figure called the Snow Oracle, and claim they are not related to other goblinoids. Some among the tribe believe this Snow Oracle abandoned them, others that she freed them to seek out their own fate, or even that she is testing their faith. But whatever the truth, priests of the Snow Oracle possess no magical abilities."
The Snow Oracle is of course the Snow Witch mentioned in Savage Frost Giants, and while the connection might be a bit subtle, the implication for anyone reading between the lines is that the snow goblins fled Morden after the war, and found a new home among the tribes.
And of course this throws the door wide open for crossover adventures!
Goblin Adventure Seeds
Here are a few adventure seeds based on the idea of a portal between Saga of the Goblin Horde and Accursed:
Foreign Food: A strange human came through the portal a few days ago, made his way down from the Longtooth Mountains, and met a sticky end at the hands of the Redfang tribe. A gang of goblins hauled the corpse home for the chieftain's lunch, and he enjoyed the exotic flavor so much that he's demanding more! Now the gangs will have to find out where the human came from, and see if they can stock up the chief's larder with tasty imported treats.
Strange Smells: A large band of stench goblins have found their way through the portal from Morden, and they have decided to claim some territory for themselves, but they don't seem to understand the customs or recognize the established borders of the tribes. And what is that strange smell?
Queen Quest: The Nightsworn tribe have learned of the portal after questioning an Icerunner gang boss, and heard tales of a "Dark Queen" who lives beyond. Could this be their Shadow Queen? They must know the truth! But they don't want to risk provoking the wrath of their divine mistress if they're wrong, so they've bribed the Redfang tribe to investigate.
Big Trouble: A large group of frost giants have come through the portal, and are now busily hunting down Icerunner goblins. The giants seem to be able to magically detect the presence of the Icerunners, which is making it very difficult for the goblins to fight back, so they've called in a favor from the Redfang tribe. Chief Bignose has sent some of his most vicious gangs to help cut these cheeky foes down to size.
Accursed Adventure Seeds
A crossover adventure could also work the other way, with the GM introducing elements from Saga of the Goblin Horde into an Accursed campaign:
Return of the Snow Goblins: Most of the snow goblins mysteriously vanished at the end of the Bane War, but now they've started returning in large numbers, raiding human settlements with renewed vigor - and this time they've brought allies. The snow goblins are frequently accompanied by green-skinned goblins, beastfolk, and other strange creatures.
Dark Gateway: The heroes discover a magical portal leading to an unknown destination (possibly even as a follow-up to one of the scenarios described in Dark Queen's Gambit). Should they enter the portal, they will find themselves in a strange new land, populated by all manner of dangerous and exotic creatures!
The Lost Protégé: The Bonedigger tribe learned the art of necromancy from the swamp hags, a coven of powerful hobgoblin witches living in Whitebone Bog. But what if the first swamp hag was the protégé of the Morrigan, sent to explore a strange new land centuries ago, before finding herself trapped? If she still lives, and learns of the portal, the people of Morden could find themselves dealing with an invading army of goblins and undead.
While Accursed and Saga of the Goblin Horde obviously have a very different tone, they are both ostensibly dark fantasy settings with non-human PCs, and could work quite well together for crossover adventures. Saga of the Goblin Horde is designed as a mini setting, and is intentionally quite light on fluff, but a GM wanting to run a goblin-centric game in a richer and more detailed world could easily run an entire campaign set partially (or even fully) in Morden.
Tuesday, 21 February 2017
On Sunday I was invited onto the Wild Die Podcast, where I discussed Saga of the Goblin Horde along with my other fan creations. I also decided to release the Saga of the Goblin Horde Player's Guide at the same time - the full setting still requires additional work, but the player's guide is finished, so there's no real reason why I shouldn't release it earlier so that other people can already start testing it and giving feedback.
The SotGH Player's Guide is 36 pages (excluding the cover and credits) and includes six chapters: an introduction to the setting, character creation (including 5 races, 41 Edges and 20 Hindrances), equipment, setting rules (5 new ones), gods and magic (i.e., goblin deities), and the gazetteer (including a full page map).
Where do I get it?
You can check out the latest episode of the Wild Die Podcast (with a hilarious introduction song by Harrison Hunt) here.
The SotGH Player's Guide (along with the 15 archetypes and 6 One Sheets) are available from here.
If you'd like to join the Facebook group to ask questions, provide feedback, or simply talk about your own adventures in SotGH, it's available here.
The artwork for Saga of the Goblin Horde was funded through the freelance work I did for various Savage Worlds licensees, so I'd like to thank Obatron Productions, SPQR Games, Sneak Attack Press, Gun Metal Games, Melior Via, Just Insert Imagination, and The Mythic Gazetteer for giving me the opportunity to work on their products. It gave me valuable experience that I've applied to the creation of Saga of the Goblin Horde, and also provided the artwork budget I needed to bring my concept to life!
I'd also like to thank the many people who have given feedback and suggestions on the setting, as well as those who helped with the testing. Particular thanks go to Manuel Sambs, who created table tents, paper minis, status tokens and custom Bennies for the playtests.
There's quite a lot of artwork in the book, but I'd particularly like to thank the following artists, in order of help given, without whom the project would have looked very different:
Rick Hershey of (the aptly named) Fat Goblin Games. His great goblin artwork provided part of the initial inspiration for the setting, including some of the tribes and mutations. In fact most of the art I used in the book was created by Rick, and he also created the goblin princess for me as a private commission.
Lord Zsezse Works produce my favorite covers, and I really wanted a unique cover (not stock art), so I decided to commission one from them. Figu created the cover and interior pages, while Zoltán created the goblin portrait, and their fantastic work gave Saga of the Goblin Horde its trademark look.
Eli Kurtz of The Mythic Gazetteer created the awesome map of the goblin territory. But he didn't just create the map, he also gave me lots of insight and advise on the geography, helping me refine some of the terrain to make it more logical (such as the flow of rivers, the location of swamps, and so on).
Thursday, 16 February 2017
I released the first four archetypes for Saga of the Goblin Horde back in March last year, and promised I would release another archetype every month until I'd finished them all. That time has finally arrived.
I've previously covered the five races (bugbear, goblin, gremlin, half-human and hobgoblin) and four of the goblin mutant subraces (amphiblin, barghest, canitaur and psioblin), but now its time to look at the fifth and final mutant subrace, the troblin.
So allow me to present the fifteenth archetype: the troblin rat handler!
As always, the Savage Worlds version of the archetypes is available here, and the SWIFT-d12 version here.
The six Savage Worlds One Sheet adventures are available here, here, here, here, here and here. I've only converted one of the adventures to SWIFT-d12 so far, but it's available here.
The Next Step
I released the first adventure for Saga of the Goblin Horde back in December 2015, so the fifteenth archetype also marks the fifteenth month I've been working on the setting. Of course I also worked on a lot of other projects in parallel, including freelancing for several licensees and polishing up several of my older fan supplements to practice my presentation and layout skills.
But fifteen months is still a long time, so I'm now planning to focus my efforts on bringing the project to completion. I may still release another goblin One Sheet or two, and will also need to finalize the Campaign Deck at some point, but I don't plan to work on any unrelated side projects until Saga of the Goblin Horde is finished.
Wild Die Podcast
This coming Sunday I will be on the Wild Die Podcast, talking about my work. If you're interested in Saga of the Goblin Horde, you should definitely check out the podcast, as I'll be making some announcements, and discussing things that aren't yet public. You can also email the Wild Die guys (thewilddie at gmail.com) if there are any specific questions you'd like to ask me.
Monday, 13 February 2017
Six months ago I gave an overview of my progress on the Saga of the Goblin Horde setting. A lot has happened over the last six months, and the project had to be delayed while I worked on a side project, but the setting is progressing well and I thought it would be interesting to take a look at what has changed and what still needs to be done.
Although the overall structure of the book is much the same (and still divided into nine chapters), I found that I needed to revisit and overhaul sections that I'd previously considered complete, because the setting concept had evolved as I incorporated new ideas and expanded or reconsidered old ones.
The original goal for the introduction chapter was 1500-4000 words. Six months ago I considered this section complete at 1619 words (3 pages), but I've since expanded it to 2726 words (6 pages). It's still quite short, but I feel it now gives a much better overview of the setting, and it includes artwork for each of the different major factions. The result is a chapter that feels more polished and fleshed-out, without getting waffly.
2. Character Creation
The original goal was 4000-6000 words, with 5-15 archetypes, several races, 5-10 Hindrances, 20-30 Edges, and a list of available Arcane Backgrounds. Six months ago I considered this section complete at 5468 words (10 pages), with 13 archetypes, 5 races, 10 Hindrances, and 27 Edges.
However I came up with many new ideas while working on the setting, and I no longer feel the need to constrain myself quite so much to the original guidelines - game mechanics are my strong suit, so I might as well play to my strengths. This section has been expanded to 7275 words (13 pages), with 15 archetypes, 5 races, 20 Hindrances and 41 Edges.
I also stripped out the references to the Fantasy Companion, as I felt I could no longer justify the added entry barrier.
The original goal was 1000-4000 words, and six months ago I had 1607 words (2 pages), but the chapter was still incomplete. This section has since been been increased to 1978 words (5 pages), and includes the equipment table, as well as a lot more artwork.
I decided to drop the knick-knack table though, as I'd like to include it in the Campaign Deck.
4. Setting Rules
The original goal was 1000-4000 words, and six months ago I had 480 words (1 page). I've now expanded this section to 1066 words (2 pages), adding two new setting rules that I feel are needed.
5. Gods and Magic
My original expectation was 1000-1500 words (3 pages), however I eventually settled on 856 words (2 pages), as I decided not to bother adding any new powers or Arcane Backgrounds. Instead, this section just gives a short overview of the goblin deities, and lists which powers are available to their priests.
Six months ago I had reached 1350 words (3 pages) and was aiming for 2000-2500 words (5 pages). The final gazetteer is 2157 words (7 pages) including the map, and contains a lot of artwork. It provides a brief overview of each of the locations on the map, and I'm pleased with the way it turned out.
7. Game Master's Secrets
This was previously 1076 words (2 pages), but has now been expanded to 1441 words, and is still under work. The setting has gained a lot more depth over the last six months, and this chapter has been expanded accordingly, although I've tried to keep the information short and concise. I imagine it'll probably end up at around 4 pages.
Originally I had a very brief outline of the Plot Point Campaign and an adventure generator, and expected the final chapter to be around 30-50 pages (including Savage Tales). But I changed my plans rather dramatically. There is now a 306 word introduction and overview of the campaign, followed by a 613 Plot Point Summary that describes each of the 10 Plot Point Episodes, along with full write-ups for the first two adventures (1926 words total, although they still require polishing).
I still need to describe how to use the War Clock (the mechanism that drives the Plot Point Campaign in Saga of the Goblin Horde), and do full write-ups for the remaining eight Plot Point Episodes, but I'm no longer planning to include any Savage Tales.
The adventure generator has also been dropped, as I plan to move it into the Campaign Deck, however I may still include a few cards in the setting book as a sort of mini adventure generator to help promote the deck.
The original goal was 5000-10000 words. Six months ago I had 697 words (2 pages), and expected to expand the chapter to at least 10 pages, but potentially 15 or 20 pages.
However I've come up with a lot more monster ideas over the last six months, and also wanted to provide more details about the other goblin tribes. The bestiary is now 10206 words (25 pages), and there are 7 more pages currently planned. Many of the bestiary entry descriptions can also be used as seeds for adventure ideas.
I originally expected the final book to be around 70-100 pages, with most of the remaining effort going into the adventures. The book is now 73 pages, and I expect the final book to be around 95-100 pages. However the adventures section will be much shorter than originally planned, while many of the other sections have been expanded, particularly the bestiary.
It's definitely been a learning experience, and creating an entire setting has proved to be very different to creating a splat - there's a lot more to consider, particularly when the setting isn't fully fleshed-out in advance. But it's also a very rewarding experience when you see all the pieces starting to come together.