I’ve written about plague in world-building, now it’s time to discuss droughts. Extended drought, and consequent famine, is a common major reason for the failure of empires and civilizations.
Some small publisher/self-published RPG rule sets suffer from poor grammar and syntax. Some RPG creators need someone to edit their writing for quality of communication as well, especially for clarity—rules are no good if the reader cannot understand them.
I tend to evaluate games beginning with the assumption that most published games are played only one to three times before gamers move on to the next game. This is a consequence of the thousands of new tabletop games published every year - among other things.
Plot twists in a story can surprise the reader, but they need to be believable, to derive from what came before. Deux Ex Machina, on the other hand, is poison, breaking immersion and possible annoying the players.
In RPG campaigns the characters often move through several stages of life as they increase their capabilities (and responsibilities). We don’t see this in one-shot adventures, yet distinct stages generally improve game designs.
Where do heroes come? Some are destined from birth to be heroes, while others rise to the occasion. Your RPG system of choice likely determines which you get to play.
Tabletop game publishing is a big step to take, but the reality is it's very difficult for an unknown designer to get a game accepted by an established publisher. So what’s a designer to do?
This is a continuation of a discussion from last time. Remember, strategy is what you do long before a battle takes place, and tactics is what you do in and during a battle. But I'm not going to differentiate between those two as we talk about the various gameplay tips because it's not necessary in this context.
I’ve always thought that combat-oriented Dungeons & Dragons-style tabletop role-playing games become less fun to play as characters reach double-figure levels of power. Here’s why, and how to fix it.
Fantasy role-playing games, like the Star Trek television series, can sometimes suffer from a lack of differentiation between humanoid species with only slight tweaks to their appearance.
The second season of The Mandalorian helped me realize that functional versus emotional modeling applies to both Star Wars and tabletop role-playing games.