I don’t know what to Run Next. I’ve got options. What do you Think?

By JimmiWazEre

Opinionated Tabletop Gaming Chap

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S’up?! - My 5e Lost Mines of Phandelver campaign looks like it’s going to be drawing to a close in the next couple of months, I’ll have a write up of my thoughts on that module as and when.

But this has got me onto thinking about what to run next. Deffo not D&D 5e, I’ve quite had my fill of that system for the time being thankyou!

So, I’ve narrowed it down to two campaign choices - which do you think I should go with?

Campaign Ideas

Shadowdark - Dungeons of Drakkenheim

I came across the Dungeon Dudes’ actual play series a few years ago, and I must confess that I found myself quite getting into it. I liked the grim dark setting and the player driven story style of the adventure - it has a very ‘Mordheim’ vibe about it which tickles my pickle.

The premise is that the city of Drakkenheim has been struck by a magical meteor and now lays in ruin. The residual magic has a mutating effect on the local fauna, creating new beasts and monsters of a Lovecraftian persuasion. However, ‘Delerium’ - the name given to the magical fragments of meteor left about the place, commands a high value in the market, and so there’s no shortage of intrepid adventurers and factions lining up to go a plundering the city ruins.

To cap it off, there’s a power struggle because the royal line has apparently been severed during the incident, with differing factions wanting to install new kings, or hunt down the existing royal family somewhere in the city. Lots of political intrigue to be getting on with.

So it sounds pretty cool, and when they released a campaign book for it (Dungeons of Drakkenheim), I figured it’d be rude not to pick it up!

Sadly, it’s designed for 5e, however now that I’ve got Shadowdark (which is built off 5e, but stripped of all it’s heavy baggage) and the recently completed Shadowdark Monster Conversion kit, I’m thinking that it probably wouldn’t be too difficult to convert the adventure over. Especially since the city of Drakkenheim is sort of a megadungeon, and Shadowdark seemingly seems to be a perfect match.

Mausritter - The Estate

I think I was introduced to Mausritter by Ben Milton over at Questing Beast a few years ago, and I was immediately charmed by it. So I picked up copies of both the core rules and “The Estate” which is a hex crawl sandbox adventure, featuring a dozen or so premade adventures for the different keyed location of the hex map.

The premise is that it’s the familiar D&D trope, except that you’re a mouse, and the world is full of mafioso cats, snakes, owls, rats, and other predatorial critters which essentially puts you at the bottom of the food chain. “The Estate” is a full hex crawl adventure that literally takes place in the property and grounds of a human’s stately home, some some adventures take place in the green house, others in the drainage system or chimney.

It’s built off the rules lite “Into the Odd” system, and aside from the low power level of the player characters, it’s main distinguishing features are that it is classless - your abilities are dictated by your current inventory. Also, you do not roll to hit, all hits are automatically successful, both ways, and it it’s just a question of how much damage.

It’s one of those games that’s been sat on my shelf for a while, having only played it the once with my Wife in a duette, so it’s definitely due it’s time in the sun.

I like it’s inventory system so much that I named it one of my favourite TTRPG mechanics, and built my own D&D house rule off the back of it!

Conclusion

Which gets your vote? Reach out in the comments below and let me know!

Hey, thanks for reading - you’re good people. If you’ve enjoyed reading this, it’d be great if you could share it on your socials, and maybe think about subscribing to the Mailer of Many Things! Either way, catch you later.

I Took the Temperature of r/RPG on Reddit - I Found a Fever!

By JimmiWazEre

Opinionated Tabletop Gaming Person

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Hey there, I’ve been dabbling on Reddit quite a bit lately, mainly as a vehicle for syndicating my blog posts (since organic Google searching is literally the pits), and I’ve noticed that they’re quite the opinionated bunch.

So I figured that it might be fun and informative to go to r/RPG, the largest TTRPG community and ask them for their ‘hot takes’, so that I could write an article about the ones that stood out to me.

Reddit did not disappoint.

Before I start sharing these takes, I want to make it very clear that they’re not my own words, or any in many cases, not even my shared opinions. I will be offering a commentary against each one so you can see what I actually think, but since this is The Internet, just bear all this in mind before you get the pitchforks out if you read something inflammatory!

Trigger warning - May Contain Spicy Opinions!

Seriously, this post is literally analysing the hot takes of people on Reddit. If you don’t want to be exposed to that, please head over to my homepage and read a different article. Last warning!

OK, you ready for some fun? Just so you know, this isn’t a dogpile, or doxing exercise so I’ll not be showing the author’s screen names or linking to the original post. I will however be [beep]ing out any naughty words, but otherwise I’ll be reposting their comments as is, typos and all. Alrighty, without further ado - enjoy!

Hot Take 1) Indie Games Should be Released with Adventures

If a game doesn't have any modules, be that created by the author/s or by the community, then it doesn't matter whether or not it contains "everything you need to run the game“ because I won't know how it is intended to be run and I don't have spare table time to [beep] around trying to work it out.

Modules are the first thing I check for, even if I don't intend to use them, because if there aren't any that's a red flag. If the author can't (or can't be bothered to) write an example adventure for their game then I'm not going to waste time trying to work out how I should run it, I'll just find something else.

Gosh, internet people are so angry! I think there’s two points here to unpack. Firstly - the value of an ecosystem of adventures for your indie game system. The poster is quite right to point out that having included or at least available adventures communicates the games tone and sets out a very literal example of how the game author expects their game to be played. When this is missing, it does indeed create a barrier to entry.

Indie developers take note.

Second point though, I know it’s a hot take, but the language of this post comes across so badly as to almost undermine the good point being made. Indie game makers are often working solo for months or years on passion projects to create things that they heartbreakingly and realistically expect to be ignored by the community at large. This displays an incredible and admirable dedication to their craft and fans. To suggest that either they’re lazy, or have some kind of a servile obligation to create your vision, rather than their own is fairly problematic to say the least.

I’m going to go on and assume that this poster is actually a really nice guy, and maybe he’s just having a really crappy day. You should do the same.

Hot Take 2) Modern D&D Play Style Expectations Are Bad

character backstory should be short

balance is overrated, unbalanced gameplay or abilities inspire cool moments in a story

stats are unnecessary, a sword+1 is boring. The items should always be something cool like a sword that extends into a whip

D&D (and a lot alike) is just a tactical board game in a roleplay costume

I recognise a lot of typical OSR sentiment here.

Short backstories encourage ‘playing to find out’ and unconstrained improvised roleplay at the table, conversely, long back stories tend to create a GM Conflict of Interest - that desire to ensure that the character who has this lovingly crafted novel about how he is the chosen one, isn’t killed in the first encounters with goblins because of their poor tactical choices!

Magic items that don’t simply provide a stat boost is a similar ideal - they prompt creative improvised gameplay.

Ooh that’s naughty! “D&D is just a tactical boardgame in a roleplay costume”! I mean, I kinda, sorta, almost agree. Let’s say I can see where the poster is coming from. 5e’s ruleset is predominantly concerned with tactical combat and the intricacies of how abilities work, with enough detail to supposedly maintain consistency and balance. The other pillars; social and exploration, do not get much more than a cursory nod in comparison.

Hot Take 3) 5e is a Better Computer Game than TTRPG

5e is not a good TTRPG. It is, however, a wonderful computer game.

Baldur's Gate proves this decisively.

I’m showing my own ‘Rulings over Rules’ philosophy here but this one get’s my total agreement. Baldurs Gate 3 remains one of my favourite computer games, and despite being modded for the conversion (no more so than any GM’s standard house rules though) 5e just has too much focus on resolving conflict by players picking ready made special abilities from a menu (aka character sheet), just like you would with a video game.

Hot Take 4) RNG is Still RNG No Matter How You Achieve It

The specific "dice system" a TTRPG uses is meaningless.

My time playing war games and board games has opened my eyes to the fact that every RNG based mechanic can run on pure D6s just fine.

I don’t quite agree with this one. From a mathematical perspective, different dice have different odds of getting any given number, which means that the bigger the dice, the more granular you outcomes can be. Some games thrive on that granularity.

Additionally, for some reason I can’t quite explain, rolling dice is fun! So different ways to roll dice means different and varied ways to have that fun.

Hot Take 5) GM Experience is Nothing like the Player Experience

HOT: balance should be 'by player', not by character

DAMN HOT:Backstory is your first five levels

NUCLEAR:The GM and the players aren't playing the same game

Some more OSR sensibilities here again I suspect. I’ve written quite extensively about game balance before, though I’m not sure what this poster means by “by player, not by character”, unless he means that he balances his players at the table by their skill at playing TTRPGs?

Backstories, yeah this is similar to the one on Hot Take number 2 - play to find out.

“The GM and the players aren’t playing the same game” - Now this IS interesting. I think this is fairly on point to be honest, The experiences of being a GM versus being a player are pretty irreconcilable. Other than potentially sharing the same room and sitting at the same table, each group is wholly focused on different things. I suppose a good analogy might be the experiences of orchestral violinists as opposed to conductors.

Conclusion

I found that quite an interesting foray into the psyche of r/RPG, and I am quite surprised that D&D 5e gets so little love in such a large community! I’d like to thank everybody that responded to my call out for hot takes, and I hope you’ve enjoyed reading about them. Let me know your thoughts in the comments below! Special thanks to peb on itch.io for sharing his character portraits on cc 4.0!

Hey, thanks for reading - you’re good people. If you’ve enjoyed reading this, it’d be great if you could share it on your socials, and maybe think about subscribing to the Mailer of Many Things for monthly updates from DMT straight to your inbox! Either way, catch you later.

Play Like a Legend: 6 Behaviours That Make You the MVP at the Table

By JimmiWazEre

Opinionated Tabletop Gaming Person

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Players. Playing TTRPGs at the GMs property. But you can’t be any geek off the street, gotta be handy with the sheet if you know what I mean - earn your keep.

Oh wait - that’s aspiring Regulators, not Players. My bad. You wanted advice to become a better player.

Hey, I got you covered there too.

The absolute basics

There are two desirable groups of qualities when it comes to discussing the characteristics of TTRPG players. Initially, there’s the basic factors that are all “must-haves” as far as I am concerned, unless you want to find yourself persona non grata within a session or two:

• Be enthusiastic (bring your own dice, have learnt, or be actively learning how your character works, and how the basic game engine works)

• Be kind

• Be compliant

• Listen (give everyone your attention)

• Respect everyone’s time (be ready, don’t distract attention away from the game)

Nothing ground breaking here right? You can do this, and it’s the minimum behavioral standard that I’d expect players to keep if they wanted to sit at my table. That’s not to say that we shouldn’t forgive the occasional lapse from time to time, or that we shouldn’t give new players some grace to find their feet. Human’s gonna human afterall.

However, what if you wanted to up the ante? What if you wanted to help your GM to deliver the best games, and become a great player - not just an acceptable one?

Well then, you’d need to look at that second group of qualities I mentioned:

6 Ways to be a Great Player

Group dynamics are weird, most people in a TTRPG group will passively delegate all authority and responsibility to the GM, and take it from me - that’s a hell of a lot to own on top of everything else.

Being a great player is all about taking an active responsibility to make the game better for everyone, and not just sitting back and leaving the GM to worry about it.

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Hey, I’m not saying that you must embody all of these behaviors to be a great player either, play to your strengths and do what you can do, and even if you only tick off a couple - your table will notice and be grateful for it.

1. Collaborate with the GM in your pursuit of an in-game Agenda

   Have a side quest that motivates you. Make one up and run it by your GM - it should be something achievable within the scope of the game. If the game is a prehistoric wilderness hex crawl, and your side-quest is to climb the greasy pole of city politics then that’s not really compatible - try ‘hunting and killing a T-Rex’ instead.

   I had a character, a cleric from the feasting domain in a Saltmarsh game who aspired to own a restaurant. Specifically a floating converted pirate ship restaurant. This meant that I had two things I was always keeping in mind - the need to buy or commandeer a vessel, and the need to collect artisan recipes from across the world.

   The idea here is that you’ll never have those moments where you don’t know what to do, because you’ve got this motivation underpinning everything and it keeps the game moving without solely relying upon the GM to spoon feed the games direction.

2. Create constructive Drama with Other Willing Player’s Characters

   Starting off with a big caveat: Check in with the other player to see how this is going down - the last thing you want to be doing is simply being an annoying contrarian. Read the room, dude.

   But yeah, what I like to see at my table is when players start bouncing off each other with friendly conflicts and rivalries, it gives me a moments respite as GM, and allows me to sit back and watch and take inspiration. It also gives your characters depth, and can provide new directions to explore.

   It brings the game to life and stop it from becoming this place that only exists through the framing of the GM’s words.

3. Invite and Coax Engagement From your Peers

   Did you know that quiet and nervous people exist? Who knew? More, that they can be great players too. Other great players recognise the value of their input and are self aware enough to make space for them at the table. It’s all too easy to be the loudest person at the table, but if that comes at the expense of drowning others out, or intimidating them then it’s not great player behavior.

   Moreso than simply making space for other people to talk, or not talking over them - a great player actively seeks out others opinions, or gently engages their characters in the moment. It takes two to tango afterall.

   These quiet players will not be so forever, and they will find their own comfort level eventually - I guarantee that this is not ‘silence’ either, it just takes a bit of support and a safe space.

4. Suggest the Descriptive Elements that You Would Like to See in the Environment

   As players, you’re often sat there thinking about all the cool things you’d like to do in this situation if only XYZ. The problem is that the GM is not a mind reader and doesn’t know that you’re hoping for XYZ. So, as a player, you should not be afraid to ask in good faith - “Is there XYZ here?”.

   Honestly, don’t be scared. I’m not going to tell you off (if you GM does tell you off for this, your GM is bad). I love it when my players do this, and it’d have to be a pretty unreasonable request for me to respond with “no”.

   When players do this right, it adds richness to the game world, and it’s also helping me to improve my descriptions too.

5. Adlib your Own Fluff Directly At the Table

   Psst, did you know that when you call in at the tavern and speak to the barmaid about her life story, that the GM is just making all this stuff up?! Here’s the kicker, you should too!

   This is my favourite thing - as a player - make stuff up. Don’t sit there afraid that you can’t contribute to an in-game conversation because you don’t know what the official cannon is for a particular topic. Just reach inside, find something plausible and throw it out there with confidence.

   One of two things should happen. First, ideally, everyone rolls with it and hey you just made the game richer - awesome. Or secondly, the GM steps in with a “no, but” to modify your fact, if they need to make sure that it’s not too off-piste.

   This latter isn’t scary or shaming or anything bad, and you shouldn’t be worried about it. A great GM will not hold it against you, and will in fact appreciate that you kept the game flowing, albeit with a minor intervention on their part.

6. Be an Active Listener

   Passive listening is just about shutting your pie hole and letting others talk whilst paying attention to what is being said. This is a pretty basic skill in social situations.

   Great players are active listeners, this has three components:

   > Make encouraging and affirmative sounds and gestures in response to information being shared with you, to indicate your presence.

   > Ask questions about this information, to check your understanding.

   > Take notes to ensure that you can remember this important information next time.

   The objective here is that as an active listener, you will know what is going on, and you can help shepherd your fellow players through any confusing moments that arise.

   Being an active listener is also a massive moral boost to your GM, because nothing kills a GM’s motivation to run an event based campaign like the feeling that they’re the only one putting any effort in!

Conclusion

Are you just starting out as a player? Which of these could you do with working on the most? Experience players, do you have anything that you’d add to my list? Did you listen to the entire of Regulate whilst reading this article? Let me know in the comments below.

Hey, thanks for reading - you’re good people. If you’ve enjoyed reading this, it’d be great if you could share it on your socials, and maybe think about subscribing to the Mailer of Many Things for monthly updates from DMT straight to your inbox! Either way, catch you later.

The Rusted Colossus 02: | How to make Art Assets Without Being An Artist

By JimmiWazEre

Opinionated Tabletop Gaming Person

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Now then.

Alongside other life things, the Rusted Colossus has been ticking away steadily in the background, and the greatest advances forwards have been in making art assets for the adventure, so that’s gonna be the topic of today’s dev diary.

Before I begin though, If you have no idea what the Rusted Colossus is, I strongly suggest you start with this article and then come back to this. I’ll wait - it’s OK :)

Now I want to make it quite clear that I’m not an artist, nor do I have the kind of talent of GOZR’s creator - JV West. However GOZR’s art style is simple enough for me to be able to produce something that hopefully doesn’t look too out of place. Albeit with a process that takes time and research.

So, if it doesn’t sound too presumptuous of me, I thought I’d share my process today for creating art assets. Maybe it might be interesting and informative for some of you folks? And, who knows, maybe an actual artist will read this and be able to dish out some advice if I’m making any glaring errors.

Pencil and Paper, in front of the TV with the Dog

If you’re like me, then you can’t hold mental images in your head for longer than a couple of seconds before they start fading and blurring away like sand falling between your fingers. Maybe that’s normal, maybe it’s not? All I know is that it’s my normal, and we all work with what we’ve got.

To combat this, I like to start by looking at lots of pictures, particularly if its something really complicated. The titular Colossus for example, involved looking at lots of Gundam, Warhammer 40k, and Battletech art and miniatures - grabbing all the ones I liked and then keeping images of them to hand on my phone.

Then, typically sat in front of the TV with the family, I crack out my mechanical pencil and my recycled paper A5 notepad and I start free hand transferring those basic shapes to paper, tweaking and making my own changes as I go.

Drawing lightly, and using an eraser frequently, I’ll eventually come up with something pretty sketchy which works for me. At this stage, it’s just simplistic shapes and forms really.

I found an early image of my Sand Shark, and I’m hesitant to share it because at this stage in its lifecycle looks like such garbage - but transparency is king haha.

Accomplished artists would probably have something to say about technique here I suppose. Seriously, look at that thing! Do I seem like a guy that has anything valuable to say about techniques?

Black Lining and Juicey Details

This is my favourite step actually, I like to use a Tombrow double headed water based marker (purely as it’s the cheapest one I could find in the art shop that looked suitable). Using the fine head, I very steadily and deliberately start going over my lines. I’m not copying them exactly at this point, but rather taking the time to add texture, gribblies, and the little bumps and ridges that kick an illustration up a notch.

I enjoy this step so much because it’s really not difficult, and the difference it makes to the illustration is like night and day in terms of quality.

I also like to add the heaviest shadows at this stage too, assuming the ‘sun’ is in the top left usually. Normally because I’m digging the process by this point and getting a bit too carried away and ahead of myself, but any mistakes can be resolved later.

I also added some of the accompanying text here too, but more often than not, I like to draw separate elements of an illustration on a separate sheet.

Getting It on the Computer (The Digital Bit)

I have a combination printer/scanner which I use to import my illustrations on to my computer, and an old copy of Photoshop (before they went subscription) where I do my editing.

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If you’re looking to follow my methods and you lack these things, you could use freeware like GIMP instead of Photoshop, although you’d have to do your own research on how it works. Likewise, instead of a scanner, you could take a photo of your art and then email it to yourself.

Using Photoshop, like a Noob

OK, I’m not a Photoshop guru by any stretch. I picked up a copy years ago, and I used it for the absolute basics. Typically, I end up learning how to do something cool with it, and then not needing it for months at a time and forgetting everything. The joys of getting old.

Some absolute basics that you need to understand before any of this will make sense are:

• Brushes

• Transparency

• Opacity

• Layers

• Transformations

For this, I’m going to have to point you elsewhere, this free Photoshop course I just found might be worth a punt.

The subheadings below cover what I’m trying to achieve.

Restoring your scanned image to pure black and white

The first issue to resolve is that your need to clean up your images, and this is a lot easier to do if they start from pure black and white.

To do this, you need to use the Threshold tool, found under Adjustments. This opens up a little graph enabling you to select a position upon it where you’re happy with the balance between white and black. As you slide the threshold left and right, your image will change, so find a point where you’re happy.

One of the unwanted consequences of this tool is that all your line work will have lost it’s soft edges, and you’ll be left with nasty pixelated lines. Not to worry, we can fix this too.

With your Threshold layer selected, go to Filter > Noise > Median and set it to about 3. You can adjust this to taste, but the effect will be that your lines get a number of new pixels added around them, fading them into the background to make everything appear smoother.

If I’m happy, I’ll merge my layers at this point. so I’m just left with my black and white image which I’ll call the Lines layer.

Delete the White

I use the manual Lasso Tool to draw around my piece, then right click, Select Inverse, and delete. Then I use the Magic Wand Tool to select any white areas that remain and delete those too. It can help to hide your background layer, as this makes it easier to see where you have areas of white remaining.

The reason that I do this step is so that when I’m making selections or using the fill tool later on, I don’t get any weird surprises caused by hidden white bits.

Making tweaks

This is a great time to bring out the eraser and brushes tool to start making any tweaks to your work. I don’t bother with a tablet for this, just a mouse and a very steady hand does the trick for me.

For me, one of the key things to look for is that any lines that started close together and have since blurred into one, are once again defined separately.

Adding light values

I come from a miniatures painting background, so I have obtained a pretty good understanding of light values over the years, if you’re just starting out - this tutorial on light and dark looks good.

In Photoshop, I start of by creating a new layer underneath my Lines layer called Grey. Then I go back up to my Lines layer, and using the Magic Wand Tool, I select on the canvas, outside of the subject I’ve just drawn, and the right click and select inverse.

It’s important not to get rid of that selection as now I return to my Grey layer, and with a mid grey selected I use the paintbrush tool to fill everything inside of it.

I then create two more layers between Grey and Lines, called Light and Dark. Keeping that selection in place from earlier to prevent us from colouring outside the lines, and selecting an appropriately lighter or darker grey, I then use a suitably sized brush to add highlights and shadows to the piece.

This is all first pass stuff at this stage, and throughout the process I go back to these layers and add more light and shadows as seems appropriate.

Sometimes I even add a lighter grey highlight on a new layer. Just keep going until you’re happy with it.

Adding Colour

When adding colour, I sometimes like to create a layer per shade I use, but it’s not strictly necessary. The important thing is that for your colour layers, to set the layer opacity to around 50% - Not the brush opacity.

That way, with your colour layers above your grey layers, 50% of the shading beneath comes through as you paint the fresh layer.

The effect can be subtle, but it’s really important to do this as the way that the light volumes interact with the colours is what gives the image depth.

Importing Additional Elements, Moving and Resizing

Mimicking the hand written aesthetic of JV West, I tend to import these extra elements as separate layers. I don’t worry about the the light values steps, but I do take the opportunity here to select little elements and move them around with the transformation tool, including resizing and repositioning them.

If you compare the coloured Sand Shark image below with the one from earlier in the post - you’ll see that the text has been moved around and resized.

Adding Effects

I think the header text tends to look good when it has a coloured Stroke effect applied. You have to make sure that the element you want to effect is isolated on it’s own layer, and then select FX and Stroke. In the subsequent menu, I can affect the colour and width of the stroke to taste.

Ofcourse, you can also use FX to add drop shadows and other wizbangs if you like!

Here’s my current iteration of the Sand Shark. It’s probably ready to be used, but I make no promises that I won’t fiddle with it some more later!

Conclusion

Do you feel up to giving it a go? If you’ve got experience yourself - do you have any tips and advice for a noob like me? Have you got any art you want to show everyone on Bluesky by linking me in it?

Hey, thanks for reading - you’re good people. If you’ve enjoyed reading this, it’d be great if you could share it on your socials, and maybe think about subscribing to the Mailer of Many Things! Either way, catch you later.

This post contains affiliate links which, should you chose to use them and buy from them, allow me to keep this site running at no additional cost to you.

The Easiest TTRPG Crafting System You’ll Ever Use (and Actually Enjoy)

By JimmiWazEre

Opinionated Tabletop Gaming Person

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Hey, how’d you like our new fancy author picture-ma-doodle thingies at the top of the post eh? Fancy right? Figured that since we’ve lifted Rand Al Thor away from his wilderness survival life and put him in front of a computer, we might need to differentiate our posts a bit. News sites do this all the time. If it’s good enough for The Guardian, it’s good enough for DMT.

Anyway, now that we’ve confused everyone who came here looking for fantasy news and not my feverish ramblings—let’s talk about my crafting homebrew doo-hickie, and why you should use it to increase your player engagement or some other headline grabbing fancy.

Also I have the flu, and the medication is making me peculiar.

Why don’t you see many crafting rules?

Crafting is one of the most tragically underbaked aspects of many TTRPGs. Take 5e for example - unless I’m much mistaken, all characters get a starting proficiency with some kind of professional gear, like alchemy, leatherworking, or brewing - but then there’s no supporting procedure for actually using these skills to craft things outside of things like Kibbles’ Crafting Guide.

I’d guess one of the reasons for this would be that crafting can easily become very complicated, from a simulation perspective I can see that very clearly there’s a number of hairy things to consider:

• Everything would have reagents to create it

• Everything has a recipe

• Everything is a recipe of reagents

• Reagents would come in different volumes and quantities

• Some reagents would serve as a good enough proxy for another like stream water and lake water

• Inventories would get out of hand

Already it’s seeming overwhelming, and though I’m quite sure that there’s a subset of you rubbing your hands together at the notion, I’m personally on the verge of a hernia thinking about this level of codified granularity.

[Editor’s note: more flu meds required.]

Why Should We Even Bother with Crafting?

So then, why even hint at crafting in a game if it’s not developed? What are the benefits of crafting? Well, actually a good crafting system supports play in a number of ways:

• Questing fodder! Travel around the land to collect the necessary reagents to make a powerful weapon/potion/armour

• Game economy! Weapons and armour can be damaged, so crafting can be used to repair stuff

• Player creativity! I wish we had a potion of invisibility so that we could get past that giant spider, oh wait, we can make one!

• Player survivability! We can cook what we hunt to give us temporary bonuses

Jimmi, Surely there Must Be a Better Way?

You darn tootin’ there is. This is how I approach crafting in my game, without making it something overly complicated on my fragile flu-ridden geriatric millennial brain.

Ingredients

To start with, I make heavy use of abstraction. In fact, all possible types of crafting components that someone might gather I’ve condensed down into d6 reagents to reduce bookkeeping and to keep it in line with the most excellent pips inventory system I talked about back in January.

As GM, if you’re ever put on the spot for how to make a given potion (damn those pesky players with their questions!), roll a few times on this table, or just pick what seems logical. The more valuable the end product is, the more reagents it requires:

d6 | Reagent| Example

1 | Stinky Herbs | Any plant material

2 | Gooey Bits | Stuff like eyes of newts, or giants fingers

3 | Mecha Widgets | Refined items like cogs and string and sheet metal

4 | Raw Chunks | Unrefined things like ore and wood

5 | Beasty Meats | Edible meat from creatures

6 | Lumpy Fluids | Blood, venom, tears, swamp water

It’s important that you’re up front with the players where they might find certain things, for example, if the recipe for a magic potion calls for Lumpy fluids and the players haven’t yet found any, you might suggest a visit to the local swamp, or going on a zombie killing spree for their gooey bits,

Gathering

Gathering reagents slots nicely into the kinds of activities players like to undertake during travel or rest - such as hunting for dinner, or gathering herbs. If Orban the Barbarian wants to hunt that deer and succeeds, his reward will be Beasty Meats.

Additionally, borrowing heavily from videogames, I like to give out these crafting items as loot too for when characters are rifling through bodies or raiding barrels and chests. Killed a beholder? You find some Gooey Bits.

When it comes to abstraction like this, you need to let go of stressing over details. Zombie blood is just as good as swamp water when it comes to Lumpy Fluids. If your players can handle the abstraction of rolling a dice to swing a sword, then this should be within reach too.

Processing

So your mighty player characters know what they want, what they need, and they’ve collected everything together. Now we need to make the thing! For me, this is again a simple solution:

If the player is trained in the skill, and has the gear and free time (such as during a rest) then they succeed in making the thing. No roll or complicated nonsense required. I mean, sure, for some things you might want to ham it up, such as brewing a potion under the light of the full moon, but for most things, it doesn’t need to be more complicated than ensuring that characters have the skill, equipment, and time.

Failing these requirements, the player can make use of artisans in town - such as blacksmiths to make them suits of armour and swords, or witches to brew potions. Maybe there’s a legendary wizard that lives somewhere in the wilds who can make magical items for the right price and ingredients?

Conclusion

Told you I like to keep it simple didn’t I? I find this hits the sweet spot of letting players do the crafty stuff that they’re itching for, without slowing down the game or creating a boat load of accounting. Win.

Hey, thanks for reading - you’re good people. If you’ve enjoyed reading this, it’d be great if you could share it on your socials, and maybe think about subscribing to the Mailer of Many Things! Either way, catch you later.

Exploding dice: Make combat faster and more exciting with this one simple house rule

Word up my dice squirrels. Todays tip is short and sweet, like a caramel coated Gimli son of Gloin.

A common complaint about crunchy tactical combat games like 5e and Pathfinder is that battles can become a slog.

There are a number of things that you can do about this, such as using more interesting situations for combat encounters, lowering everyone's HP, unbalancing the encounters, and telegraphing monster attacks. But I also have a neat little house rule I use that's really simple to incorporate.

Damage dice explode, for everyone

When you roll the highest number in a given dice for damage or healing, you get to roll another dice of equal value. This stacks, meaning every time you roll max damage, you roll another die, potentially indefinitely.

This adds an element of unpredictability to combats, and it's a more satisfying critical hit than the traditional natural 20 approach. It also means that it's technically possible, though very unlikely to one shot something big and hairy, with unlimited possible exploding dice.

In fact, we also use the traditional house rule that a natural 20 equates to max damage, this compliments my rule because max damage neatly triggers the exploding dice house rule too.

Nothing beats the moment a player rolls an exploding die, then another, then another - the whole table erupts. And just when they think they've peaked, BOOM, another max roll! No one stays in their seat when that happens. But of course, the dice gods giveth and taketh away. The first time a goblin crits and it suddenly snowballs into a knock down? That’s when the real fear sets in.

There's another benefit too, it further differentiates the weapons in a satisfying way. Big weapons with bigger dice do more damage on average, but smaller weapons like a dagger are more swingy because they have more chance of an explosion, not only is this really thematic and satisfying, it also keeps these smaller weapons very relevant.

Conclusion

And that's it, I did tell you it was simple! Give it a go, I think you'll love the effect, and be sure to tell me how it went!

Hey, thanks for reading - you’re good people. If you’ve enjoyed reading this, it’d be great if you could share it on your socials, and maybe think about subscribing to the Mailer of Many Things! Either way, catch you later.

What 'Return of the Jedi' Teaches Us About OSR Game Balance

“Master Luke, you're standing on the…”

“I will not give up my favourite decoration” Jabba interjects in booming Huttese “I like Captain Solo where he is…”

With lightning speed, the force flares through Luke’s outstretched fingers, ripping the blaster from the guards holster into his grasp.

But not quick enough to beat the wet thump of Jabba’s fist slamming down upon the booby trapped floor, sending Luke tumbling into the Rancor’s pit, whilst loosing impotent laser bolts into the ceiling with a loud pew pew!

Ahoy m’hearties, today's post is a lesson on game balance brought to us by 1983’s Return of the Jedi in the way that Luke battles and defeats Jabba’s pet Rancor (pfft, spoilers!). What’s that you say? Last weeks post was about game balance too? Well, yeah, loosely, but it’s my blog and I go where the wind takes me, damnit!

OK, let’s get this show on the road. I want to talk about two versions of the Luke vs Rancor encounter in the context of a TTRPG, in an imaginary one, the entire encounter has all been perfectly balanced. The result is that without any need to think outside his character sheet, Luke and the Rancor square up against each other, going blow for blow, taking it in turns to roll to hit and damage until Luke wins, having used all his spell slots. There's simply no requirement here for Luke to think creatively about the situation.

Let’s just admit it, shall we? We’ve all experienced this fight before at the table, and it was boring for everyone involved.

I know some of you are going to say that there’s nothing stopping players being creative and spicing it up, but the point I want to underline here is that there’s nothing forcing them too either.

Spoilers for Return of the Jedi!

In the true version however, there's no balance - Luke is in a situation that is practically hopeless… yet he triumphs.

Now, ya’ll just settle yourselves down a moment, because I'm going to skip ahead to the part just after the Rancor savagely eats the Gamorean Guard. This moment highlights the deadliness of the encounter to Luke, he knows there's no chance of a fair fight…

Luke:- I grab a large bone off the ground to defend myself with.

GM:- Confronted by this enormous slavering beast, the bone feels pathetic in your grip. The Rancor reaches down and grapples you, lifting you up with one powerful taloned hand that wraps around your waist. You can smell the stench of rotten flesh as you're elevated towards its gaping maw.

Luke:- As it brings me level to it's face, I want to force the bone into its mouth, wedging it open.

GM:- The Rancor roars in frustration, flailing, it drops you to the ground.

Luke:- Is there anywhere I can hide?

GM:- There's a crevasse in the cave wall that you can squeeze into, but you'll be trapped.

Luke:- I roll into it.

GM:- OK, and from your new vantage peering between the Rancor’s legs, you can see a metal door with an electronic lock next to it. It looks like an exit! Before you can act though, with a sickening crunch the bone in the Rancor’s mouth snaps. Bending down, it reaches a clawed hand towards you.

Luke:- Is there anything down here with me I can use to hit the hand with?

GM:- There are some hand sized rocks, and bits of rubble.

Luke:- I grab a rock and smash it down on the Rancor’s finger.

GM:- The Rancor pulls it's hand away in pain, throwing it's head back in rage and let's out a roar.

Luke:- Great, I roll out from the crevasse, and whilst the Rancor is roaring, I want to run between it's legs towards that door and punch the switch to get out.

GM:- Great plan, you sprint across the cave and hit the door release, unfortunately it opens to reveal a secondary gate, metal and grated, the jeering presence of the Rancor trainers beyond push you back. Meanwhile, the Rancor is making it’s way over, crouching beneath the portcullis as it lumbers towards you.

Luke:- How does that portcullis work? Could it crush the Rancor?

GM:- Definitely! You see it’s controls on the wall some 15’ away.

Luke:- Whilst the Rancor is under the portcullis, I grab another rock and use the Force to throw it at that switch.

GM:- Great, roll to hit with advantage…

What Should we Learn from this?

There’s lessons here for GM and player alike:

Firstly, if we accept that balanced encounters lean into being predictable (IE the players expect that they’re “meant” to win) then it’s also clear that this can reduce the interaction of the encounter to simply engaging with the base mechanics of the game. How many times have you heard a player just say “I want to hit him with my sword…” when this is the bulk of an encounter - you know that there’s magic missing.

Secondly, if your players have no expectation of balanced encounters, they will be forced to creatively engage with the situation to ensure survival. The GM should be very open to this creativity, and be prepared to bypass strict mechanisms and favour rulings over rules.

Thirdly, as a player, you should ask tonnes of questions, knowledge is king, so don't be afraid to prompt the narrative that you want to hear from the GM. This behaviour turns passive players into active proponents of the games narrative direction.

Fourthly, As GM, do your best to describe the scene honestly, but don't try to solve the problem for the players. Instead, you should be rooting for the player, give them every chance to succeed with each feasible suggestion they present.

As my fellow blogger, Arthur Brill, writes in The Fields We Know in his post on game balance with (it must be said) far more eloquence and gravitas than I could command:

“Much more important than worrying about creating "balanced" encounters is designing encounters in such a way that players have the ability to size up the difficulty of a potential fight so they know whether to engage or to find another approach. (Run away, diplomacy, stealth, surprise, etc...)

. . .

Information trumps power. Van Helsing (the book character, not the movie version) does not defeat Dracula because he is more powerful than him. He defeats Dracula because he understands both the vampire's power and weakness.”

Thanks Arthur.

This philosophy is what lays at the heart of great OSR gameplay. The thrill comes from player ingenuity, not predetermined balance.

Conclusion

OK, I can hear you screaming that you’ve got the point. I promise, I’ll stop writing about game balance for a bit, next week I’ll write about a cool homebrew I use. Honest.

Hey, thanks for reading - you’re good people. If you’ve enjoyed reading this, it’d be great if you could share it on your socials, and maybe think about subscribing to the Mailer of Many Things! Either way, catch you later.

Deadly, Not Frustrating: Keeping OSR TTRPGs Fun & Fair

A common reason I hear for folks being turned off from OSR games is their perceived or real deadliness. Most folks getting into the TTRPG hobby these days are the children of Matt Mercer, and following Critical Role as their primary example, so it’s natural they're sold on the idea that TTRPGs are supposed to be a long interactive story with traditional structure, and deep and satisfying character arcs.

When they hear about OSR games and start to understand their deadliness, they get to thinking: “How can I get invested into the story of a character if they die so frequently? This sounds terrible”.

I'm not going to try to tell them that they're wrong, that would be ridiculous, their fun is as legitimate as anyone’s. But I do want to see if I can open a new door for them.

So that got me to thinking, can the OSR come meet this new generation of players in the middle, to make sure that the game is not frustrating and remains a fair and enjoyable experience for them?

Of course it can. I have thoughts on the matter.

How Players Can stay alive in the OSR

My first suggestion is to the players

From the perspective of an OSR player looking in, games like 5e prescribe your characters a set of abilities and optimised choices. The gameplay focuses on providing balanced encounters, and the rules come with a plethora of elements (open Death Save rolls) and abilities (Healing Word) to ensure that player death is highly improbable. The designers want you to buy their long, and event driven story campaigns, and those can easily fall apart narratively if characters start dying.

Contrasting this, the OSR swings the opposite way. Generally speaking any notion of balance or pre-game solutionising is thrown out the window, and cheap ranged spells that you can fire off to heal people and get them back on their feet whilst still performing your main action are typically non existent. These games tend to lean more towards sandbox style play, which means that character death doesn’t have to be woven awkwardly into some pre existing story, because there is no pre existing story.

So the first thing you have to do as a new OSR player is adjust your playstyle. The answer to whatever encounter is in front of you is not on your character sheet. Instead the onus is now on you to use your personal ingenuity to try to shift the dynamics of whatever threat is in front of you, to push the odds in your favour before you engage.

What do I mean? I mean pay close attention to the descriptions given out by the GM, ask questions, fully engage your imagination and start dreaming up wild solutions, ask questions, make a point of being an active participant in the games narrative - ask more questions! Seriously, ask your GM about the situation to gain better understanding, suggest possible additional elements in the world that you can use to form part of your solution.

A good GM should be gratefully receptive to this - they should be rooting for you after all, and when you ask questions it gives the GM opportunity to fill in the gaps of your knowledge!

Of course, it should go without saying - if all else fails, be prepared to run away and fight another day.

Best GM practices To Ensure a Fair Game

Telegraph danger

Be liberal with information, even meta information about the dangers ahead. This will avoid those foul tasting “gotcha moments”. Remember, you are the player character’s eyes and ears in this world, it is unfair to expect the players themselves to be able to act in their best interest if they are unaware of of things that their characters would be very aware of.

For example, everyone in town knows about the dangers of the swamp at night, so the townsfolk stay clear. When you are explaining this to the players, why not show them the swamp random encounter table so they understand exactly what can happen? It would be common knowledge that the swamp was full of giant crocodiles and that there are ghostly lights in the water that try to lure you into peril. Also, lets not forget about the rumours of a nasty old lady who sets traps and kidnaps lost folks too.

Kill your darlings

You know that encounter that you think is going to be epic and you've been really looking forward to bringing it to the table? You need to be able to take joy in allowing the players to come up with ways to circumvent it entirely. Encourage this line of thinking, and when you sense that they’re trying to do this, make sure you equip your players with everything they would know in order to complete their strategy.

The best way to stay alive in the OSR is to play smart. Smart players don’t pick fights when the odds are against them, instead they find another way. Let them, that’s your side of the deal.

Also, keep that encounter on the back burner. The players may have circumvented it this time, but there’s probably going to be another opportunity to recycle it later on. Of course, you should let them avoid it again if they can!

Mothership: Telegraph monster attacks

I wrote a piece a couple of months back. Ostensibly it was about Mothership combat, but there’s this nifty GM style that the game promotes which really helps. Applied more generally to the OSR, it would look like this:

When a combat encounter is potentially devastating, at the start of every round of that combat, tell the players quite openly what the monster is going to attempt to do.

Firstly, this removes any gotcha’s, which is a good thing. Secondly, this creates an exciting feeling of existential dread and panic in the players, knowing what fate lays just ahead of them. Thirdly, it gives the players opportunity to play smart and change the future. Circumvent it, dodge it, whatever verb you like :)

Honestly, this lands a hell of a lot better than the anti climax of just smashing your players into dust out of nowhere.

GOZR: Death or Debasement

Did you catch my piece on GOZR perchance? It’s another OSR game, but it has a rather clever rule. JV West calls it “Death or Debasement”, and when your character would die, you as a player get to make a choice:

1. Death. You can accept that the character has died and get a bonus to the stats of your next character.

2. Debasement. You can say that your character survived on 1HP, however his stats have been permanently degraded in some way that does not break verisimilitude.

It’s cool, because as a player, only you know if you’re ready to draw a line under a characters career or not, and this empowers you to do so. However, it’s not a free pass, taking a hit to stats is a narratively satisfying major setback. Possibly even more so than death would be.

If I was to port this to something like Shadowdark, I might say that the consequence for Debasement is that you drop a level. That feels good to me, but you could go with all sorts, so figure it out with your players.

Conclusion

Alrighty, that’ll do pig. Let me know if I’ve managed to convince you. Also, lemme know if you think of anything else I’ve missed. If it’s good, I’ll add it to this article.

Hey, thanks for reading - you’re good people. If you’ve enjoyed reading this, it’d be great if you could share it on your socials, and maybe think about subscribing to the Mailer of Many Things! Either way, catch you later.

The Rusted Colossus: 01 | Concept, Structure, and WIP Cover Art

Oh hi there, fancy seeing you here…

I’m deep in the guts of my latest project: The Rusted Colossus, a GOZR one-shot adventure. Planning to publish it—probably as a zine, definitely as a PDF.

I figured that some of you folks might be interested in self publishing your own content too, so I’m gonna do a little irregular series on the journey documenting all my missteps for educational and entertainment purposes.

Also, if you have experience of this, please get in touch if you have any advice!

Concept

I knew upfront that I wanted to do a one shot, and design it with GOZR in mind. I really like GOZR, but I do think it’s popularity suffers from a lack of published adventures which is something I can help with, and in terms of project size — doing a one shot seems much more achievable than trying to design an Event Based Campaign or a Sandbox (Besides, GOZR itself has a pretty good sandbox generation kit in it’s own rules that’s ready to go).

Armed with this knowledge, I brainstormed a few quick ideas brazenly inspired by a lifetime of consumed nerd culture and came up with 5 basic concepts:

1. The Shattered Gozspire – A broken tower of ancient Gozr technology pulses with unstable energy.

2. Flesh Carnival of the Ooze King – A living fairground of writhing meat and grotesque amusements.

3. The Wyrm That Burrows the Sky – A sky-eating mega-worm carves a tunnel through reality.

4. The Rusted Colossus – A giant, dead machine-being lies half-buried in the wastes.

5. The Halls of the Forgotten Gozr – A tomb-city of long-lost Gozr elders, now ghostly echoes.

Of these, the Rusted Colossus spoke to me the most, I love me a big robot, I do. I could picture this giant mech from the before times being uncovered by the shifting sands of the Ghost Dunes, with the pilot still alive but twisted inside. Why is the Mech there? Who is the pilot? What does he want? Juicy.

Structure

A dungeon is the perfect setting for a one-shot. But in TTRPG terms, a "dungeon" doesn’t have to be stone walls and torch-lit corridors. It’s just a closed adventure space that says, “This is where the action happens”.

But what type of dungeon? Well, it’s a one shot, so I don’t want anything large, or complicated that would hinder the completion of the adventure in one session. That rules out a Megadungeon then!

I decided to do a bit of research and ended up reminding myself of the Five Room Dungeon by roleplayingtips as well discovering the Dungeon Checklist by Goblin Punch. Both of which have helped me to think about how the dungeon breaks down into creamy chunks. I’ll start covering the specifics of those in a later post, but for now, the overview:

Five Room Dungeon

The 5RD says that your one shot dungeon should contain five rooms (o, rly?!) and should follow the narrative story structure of the hero’s journey, with each room representing a step on that path:

1. A Guardian - The reason no one already cleared this dungeon out. Often a combat, but not neccesarily.

2. A Puzzle

3. A Setback - Usually a trick or a trap that forces a strategic adjustment

4. The climax - Typically your BBEG, but not necessarily a combat.

5. A Reward, or Plot Twist

You don’t have to approach these in this set order, and you don’t have to approach these as a linear path either. Nor do you have to treat these 5 rooms as literally 5 rooms, rather as five zones? Does that make sense?

Dungeon Checklist

Goblin Punch’s checklist here is pretty detailed, so I’d encourage you to check it out yourself for deep details. Here it is, cross examined against the 5RD framework:

1. Something to steal - This straddles the idea of “a reward” from the 5rd.

2. Something to be killed - The “guardian” from 5RD, and any other baddies would seem to fit this.

3. Something to kill you - A difficult combat encounter or trap, I think this is covered by the BBEG in “the climax” and potentially the “plot twist”.

4. Different paths - Interesting one for a 5RD, the idea is that the players experience the full five zones, so I’ll need to consider how to make the path the PCs take have actual consequences.

5. Someone to talk to - I think this could be covered twice, with the “guardian” and “the climax” with the BBEG, with both allowing combat to be avoided.

6. Something to experiment with - This would work with the “puzzle” room.

7. Something the players probably won’t find - This exists outside the 5RD structure I think, but I do quite like the idea of tucking a hidden secret in there that only the most cunning players will find for some extra reward.

The Front Cover

Wow, that was some hard thinking. Who’s up for some pretty pictures?

My vision for the front cover is to provide support to the adventure hook, so an illustration from the POV of the PCs with the Colossus looming over them from the distance, half covered by the Ghost Dunes. I love JV West’s evocative verse at the start of GOZR too, and I had to do something similar, handwritten and raw.

One problem though: I’m not a particularly gifted artist, but it’s not for a lack of enthusiasm or enjoyment :) My process here was to sketch out some stuff in pencil drawing from references, like carefully posed toy robots, and Battletech and Gundam art for details. Unfortunately my neuro-spicey super powers do not extend to being able to see and hold mentally generated images in my minds eye with sustainable clarity, which definitely puts a crimp on my artistic aspirations!

Anyway, where was I? Oh yeah, make sketches from references for the individual elements on different pieces of paper, pen over them with black POSCAs, then scan them into my PC. From there, pull them into a super old version of photoshop as individual layers, adjust the thresholds to restrict the image to pure black and white, delete the white and add the colour. Things like the hand-written text can be coloured, stroked, drop shadowed, resized, and repositioned too which is super helpful.

These are my penned over sketches:

And here’s a low res couple of photos of my monitor showing how the front cover is looking right now. I’m trying to decide if the Gooz in the foreground should have red or white highlights. I’m leaning towards red, what do you think?

The other thing I did was reach out to JV West and ask him about his 3rd party license for GOZR, which he’s kindly directed me towards. Following the terms of the license lets me put that cool little badge in the bottom corner of the work, and lends the work a degree of credibility.

Also, I think it’s polite right? To let the original creator know what you’re doing and get their blessing?

Conclusion

Phew, long one this. Sorry about that, I normally like to keep it concise. Anyway, I hope you enjoyed this, you’d be doing me a massive favour if you could share this post on your socials - see if we can build up a bit of hype, and keep me motivated to continue through engagement!

I’ll be posting another one of these as and when I’ve got something to report, so the posting schedule will exist outside the usual weekly cadence of posts.

Hey, thanks for reading - you’re good people. If you’ve enjoyed reading this and want to make sure that you don’t miss any future updates, maybe think about subscribing to the Mailer of Many Things! Either way, catch you later.

Tension on a Timer: How Progress Clocks Keep Your Game Exciting

Word up my homes.

Today we’re going to talk about “Progress Clocks”. I think these were first introduced by John Harper with Blades in the Dark. (Correction 2025-03-12 I'm reliably informed that they were introduced first in Apocalypse World!) They weren’t the first solution to the particular problems they address, but I do think that they’re perhaps the most elegant.

You’ll understand in a bit.

Why Use a Progress Clock?

You’ve all felt that, right? That anticlimactic feeling that comes from presenting your players this mountain to climb, only for them to simply roll Athletics and pass. “Well done, you’re at the top, well that was dull”. Extreme example I know, but I’m trying to illustrate a point here :)

Experienced GMs might have other techniques for circumventing this problem, but Progress Clocks are for turning a single mechanical success or failure event into something that matches its theme. They’re for showing players exactly what the stakes are, and for managing their expectations regarding how they’re currently performing.

They prevent a couple of failed rolls from completely derailing the players’ current plan.

How does a Progress Clock work?

You draw a circle, and you divide it into a number of pizza slices. 3-6 slices is common, but you can go higher or lower to taste.

You then label that circle with the event that WILL happen once the clock is filled in, and you put it out in front of the players so that they understand what’s at stake.

Then as relevant in game activities take place, you colour in those pizza slices, representing the final event drawing closer. Depending on the sheer influence of the activity that has happened, you may wish to fill in more than one slice. You should also be open to the idea of filling in the entire clock in one go if the situation justifies it (or even disregarding the clock entirely) - You might have thought that something is quite big and complex and worthy of 8 slices, but your players might come up with something that deals with it in one swoop. You’ll know when it happens, don’t impede this.

I should note, it’s not just in game activity that might fill a clock, it might literally represent the passage of time itself.

When do you use a Progress Clock?

You know when you’re running a game and the players want to do something, you might call for a check, and if they succeed, happy days? Well, Progress Clocks are for when the action is too big or significant that it’s success or failure should fall down to a single mechanical event like a dice roll.

Likewise, imagine your players trying to break someone out of jail and there’s this really cool stealth session. Unfortunately they just failed a stealth roll and tripped over in front of a guard, so now the guards are alerted to their presence, and unless you the entire place to come down upon them over a simple misstep, you’ve got to tie yourself in narrative knots trying to justify why the first guard hasn’t just raised the alarm.

Or imagine if your players are trying to accomplish something before this other thing that they cannot affect happens. You might have two clocks here, one for the players progress and one for the other event.

What are the Types of Progress Clock?

Ticking Bomb (or even it’s inverse)

The Ticking Bomb Progress Clock represents how long until something terrible happens. In that time, they need to find a way to circumvent the problem or to prepare for it. This is the classic heist Progress Clock, representing how many mess ups PCs can make before the guards are alerted - in the meantime the PCs want to be in and out.

Competing

Competing Progress Clocks are used to show the progress of two separate events that do not influence each other. For example, the PCs might be trying to evacuate the village in the valley before the Dam breaks. The PCs might advance their clock by sounding the alarms, and guiding people across the bridge, and the Dam’s clock might advance as you roll a check to see if the crack in the damn wall is growing.

Tug of War

Possibly the most complicated to explain, there are two possible event outcomes, and you don’t start these clocks empty. Tug of War Progress Clocks represent two outcomes that DO influence each other. So if the PCs were running away from a monster, as the PCs succeeded in their checks they might fill the clock, and as they fail, then the clock empties. The outcomes in this case would be either a successful escape, or the Monster catching up to them.

Multiple

Not technically a type of clock, but there’s no reason why you can’t have a string of clocks together to accomplish a bigger thing. For example, if we go back to that heist example - The big picture might be “steal the gemstone” but you might present the players with the following clocks (again, allowing them to circumvent any that they reasonably find a work around for):

1. Deal with the guards

2. Make a route inside

3. Get past the traps

4. Evade the security investigating the alarm

5. Get back to the hideout

Conclusion

Nice, hopefully that makes sense to you. If you could use more information, checkout Sly Flourish’s video for extra guidance, or reach out to me on Bluesky.

By the way, I’m currently making a one shot adventure for GOZR called The Rusted Colossus, about a giant old mech that’s been uncovered in the desert. I’m planning on referencing this post, so that if people need pointers on Progress Clocks, they’ve got them. If you’ve come from there - this is time travel. Hello future people! I hope my adventure came out well :)

Hey, thanks for reading - you’re good people. If you’ve enjoyed reading this, it’d be great if you could share it on your socials, and maybe think about subscribing to the Mailer of Many Things! Either way, catch you later.