It's time to come clean: most of my recent electronic gaming selections have been inspired by genre discussion threads on the Something Awful forum , particularly explorations into the "Shoot 'em Up"( SHMUP ) and JRPG genres. There are plenty of holes in my experiences with the medium, and I always love to hear people talk about why something does (or doesn't) work for them... especially when their suggestions are already part of my gargantuan game backlog . The most recent one, though, was for a genre I was more familiar with: "Stealth Games." Regular readers shouldn't be surprised here - given how often I bring it up, it should be obvious that my all-time favorite series is Metal Gear , which has defined much of the "stealth" genre. Not only those games, though, but also Tenchu, Hitman, Assassins Creed, and Dishonored , all of which I've discussed before as part of the "assassination game" sub-genre, and well as those tha

We’ve once again entered that month full of spookiness. Witches, goblins, bats, and other creepy crawlies abound. One particular category of creature has been stuck in our skulls of late, and that's the undead. From skeletons to vampires and zombies, and a great number of spirit types in between, the undead are a large part of the creatures that populate the Halloween season. While scary ghost stories might appear at Christmas as well, this time of year sees a surge of interest in movies, books, and games featuring the undead. Though they appear in stories set year-round, this is when they get their chance to shine in the moonlight. Something's been troubling me though: while there are notable exceptions, the majority of the undead that appear in our stories are humanoid. Why is that and should we work to change it? -A A : The question of why our undead tend to be humanoid can be difficult to answer. It could simply be a matter of depiction - human/humanoid undead are just eas

Even if you’ve been keeping your nose in dusty tomes of RPG lore, word has probably made its way to you that Queen Elizabeth II has died. As heathen Americans, we’re more used to the idea of Kings and Queens (and Czars and Emperors and Kaisers and…)  from history and works of fiction than in our day-to-day lives. But those works of fiction, even the ones we make ourselves, are inspired by history and the world around us, so this week we thought we’d talk about the way that shifts in leadership (monarchical or otherwise) can affect the worlds we create for stories and games. - B B : The more you think about it, the more you see things that are affected by these kinds of changes. Whose face is on the money? Who even declares the value of said money? Even if your setting is based around bartering systems (something of an inevitability when much of the wealth the Player Characters encounter is in the form of plundered discovered treasure and artifacts) the availability of goods and servic

If the rock is wet, it's raining. If the rock is swinging, the wind is blowing. If the rock casts a shadow, the sun is shining. If the rock does not cast a shadow and is not wet, the sky is cloudy. If the rock is difficult to see, it is foggy. If the rock is white, it is snowing. If the rock is coated with ice, there is a frost. If the ice is thick, it's a heavy frost. If the rock is bouncing, there is an earthquake. If the rock is under water, there is a flood. If the rock is warm, it is sunny. If the rock is missing, there was a tornado (or the Rogue stole it). If the rock is wet and swinging violently, there is a hurricane. If the rock can be felt but not seen, it is night time. If the rock has white splats on it, watch out for birds. If there are two rocks, stop drinking, you are drunk. If the rock is glowing, get to a fallout shelter. Weather Stones have been "prognosticating" the current conditions for as long as…well, probably as long as there have been rocks.

Dungeon . The word with significant historical connotations and some modern ones we won’t get into here, but to enthusiasts of tabletop roleplaying, it means something very specific: it’s ⅓ of the name of the most successful and influential RPG of all time, after all. (We’ll discuss the significance of the “&” another time. (and maybe the other D too - A) ) Early D&D materials refer to “the underworld mazes” (note the preposition, dungeons are considered a default part of the setting), and offer some advice on making them (somewhat) plausible, but never directly consider the societies that built them. While many pre-published adventures do include some information describing long-gone inhabitants, incorporating this kind of detail into original worlds can help create a detailed, rich setting. This week, we thought we’d talk about how to make dungeons and other ruins feel like places that lost peoples made and lived in, and how to share these details in your play sessions. - B  

It doesn’t matter if your games are at a tabletop or one in the digital realms of consoles and PCs, at some point in your role playing adventures you'll wind up interacting with a Non-Player Character. Unless you’ve a really weird game going on, you’re probably dealing with multiple NPCs regularly.  Non-Player Characters are the denizens of our imaginary worlds that bring them to bustling life. Even the most mundane outline of a person rounds out the settings we create in ways we don’t often consider. As the blog has discussed before, a lot of storytelling can come from the environment , but we shouldn’t neglect the people that dwell within the places we present and play in. Non-Player Characters are our vendors, our adversaries, our allies, our victims and our quest givers. At times they may just be part of the background, but without them our roleplaying games simply wouldn’t work. Interactions with NPCs can range anywhere from a brief visual description to a full-out member of y

You’ve probably been there. Trying to get from one part of the map to another. A sound effect cuts through the overworld music , an animation comes up, and the music switches to something a little more adrenaline-pumping. The first time it happens in a game, maybe the first few dozen times, you’re probably pretty excited. What monsters will you face? Will there be materials to upgrade your weapons? Just a little much-needed currency and experience? A surprise treasure box ? Then you get to that fourth dozen time…fifth…sixth? Somewhere in there it becomes a boring monotonous grind just to get anywhere, or maybe to find the last component you need to upgrade your ranged weapon. At best, the ritual becomes a minor annoyance while you pass through as quickly as possible. Would it be better if you could just fast travel ? Zipping between two points without subjecting your character(s) (and yourself) to yet another pointless battle? This can work well in video games, but do you use it at you

“Get a job!” It's a refrain we're always hearing, as well as the title of a doo-wop classic , but, as that song and anyone who has tried to join the workforce can tell you it’s rarely that easy . Tabletop roleplaying games, on the other hand, offer the freedom to give your characters any employment history you can think of (within the bounds of the setting and their character build), whether it’s the thing they did before answering the call of adventure, or what they’re still doing between your game sessions. This week, we’re going to talk about the ways characters’ former (or current) jobs can flesh out their background and present new roleplaying opportunities, no matter which side of the GM screen they're on. - B B: Of course, I start with the disclaimer that, in the game I run most ( Paranoia XP/25th Anniversary ), job assignment is part of the character creation process. Being Paranoia , of course, the player gets no say in this - it’s purely according to random chanc

Something that has become ubiquitous in digital roleplaying games, and even video games in general,  is the side quest. In previous New Years Resolution posts, I’ve mentioned skipping side quests (specifically in Breath of the Wild and Marvel's Spider-Man ) in order to complete the main game. After all, at worst, they're something that's easy to ignore. That doesn’t mean we should be ignoring them though - I’ve really only been doing it because of time constraints. Sure, the main story is what moves the game narrative along, but the side quest is where a lot of the gameplay is. That's where your character makes their money, gains experience and powers, learns about the world, and maybe even gets some clues about the main plot. At the very least, side quests add to the world making it feel more vibrant and real - the sort of useful and enjoyable context that we like to see in our stories. This is something that I’ve neglected in the past, and maybe you have as well. W

The calendar tells us that it's October, and while it may not feel like it outside, this is officially the season for spooks and scares. Given the time of year and the twenty-year anniversary of its release (and also of my owning it) the next game in my backlog playthrough was obvious: 2001's Silent Hill 2 . Much has already been written about this game (there's a reason it's on so many "Best Games of All Time" lists, after all), so this post will be neither explanation nor analysis, but rather a exploration of the way horror blurs the lines between the world that we know exists, and the way we feel it exists... and the way that games, both electronic and tabletop, are uniquely capable of embodying this dichotomy. Given my love of horror and all things surreal, it's kind of surprising that it's taken me this long to actually finish the game. At the outset, it was because I felt obligated to play the original Silent Hill first, even though I was va