Mikethinkstwice - My Public Notebook

One of the strangest things about writing a TTRPG in the Horror genre is that many of the typical trappings of TTRPG design get flipped on their head. And a lot of that has to do with the fact that you're not writing to fulfill a power fantasy.

I've run into this phenomenon a few times while working on my wild west horror rpg. Here are two of the most relevant incidents:

1. Started the game with traditional Classes. Switched to a table of flawed character Traits. Turns out, giving the Characters flaws was way more interesting than giving them skills and abilities. Instead of answering the question "How does this character solve problems?" it's more entertaining to answer the question "How does this character create problems?". So I've opted to let the Players themselves answer the former question, but only give tools for the Players to expand upon the latter question.

2. Up until recently, the Players could harness the magic of the setting whenever they wanted, as long as they sacrificed something for it. While the sacrifice concept does narratively fit into the rest of my game, I've found that Players having unregulated access to magic meant that Players could reasonably "chop-finger-off-ex-machina" anything the GM throws at them. I want the Horror of a session to have some staying power, and it'd be best if the Players interacted with a specific narrative thread to harm a Horror instead of having a catch-all rule for interacting with the setting's magic.

*furiously taking notes for nostromo-inspired setting playbook in a sci-fi horror game I haven't even started*

part of the fun of the original alien is the horror of the nostromo itself imo. it’s a cell of corporate greed ferrying narrowly-trained workers across barren space. it’s huge and yet claustrophobic, cockpits crammed with machinery giving way to yawning berths dripping chains and water. the supercomputer is named mother in a stroke of human anthropomorphization, but instead of providing comfort or protection, it’s only a courier between its creator and its wailing brood. ripley yells “mother! mother!” at a matronly-voiced computer that speaks calmly over her helplessness. the ship is full of endless details and patterns and unlabeled buttons and dials the audience can’t entirely make sense of; to do anything on the ship is a rigorous, technical process, and we must depend on the characters to know it. the internal mechanics of the ship are so alien that a literal alien can hide among the bits and bobs and not be noticed. it’s great.

I'm bored of elemental giants. Use environmental giants instead.

Environmental Giants all start out the same, but their bodies take up the features of the place they live in. They become a reflection of their domain.

Giant takes up residence in the cliffs of dover? Not a stone giant. No, that's specifically The Giant of Dover. Its body is made of chalk. It can create dust clouds of chalk with its breath, its shoulders are padded with tufts of short grasses and blackberry bushes.

Giant takes up residence in the ruins of a highway during an apocalypse? That's the I-95 Giant. It has rebar spines along its back, skin of pavement and concrete, and wears wrecked cars as armor.

And to make this idea more dynamic, the giant's form changes as the ecosystem changes. A river gets diverted away from a Giant's domain? Then the Giant dries up along with its land. Now the Giant has an incentive to protect its dominion, and a weakness that its enemies can exploit.

i think all quiet on the western front and the lord of the rings are in direct conversation with each other, as in theyre the retelling of the same war with one saying here’s what happened, we all died, and it did not matter at all and another going hush little boy, of course we won, of course your friends came back

Just finished my first playtest of my wild west horror game, and my biggest takeaway is this:

It is equally important to be good at communicating your rules as it is to have fun an interesting rules.

Now, this is an obvious token of advice that any game designer worth their salt should be aware of, but it's not until I sat down to playtest that I understood the GRAVITY of it.

Because my poor players, my dearest friends who were willing to take time out of their day to understand my game and play it through, read the rulebook up and down multiple times. And each and every one of them came to the table with a sheepish admittance of guilt that they didn't understand the rules.

But they shouldn't feel guilty for that, that's MY fault as a communicator of the game's rules. See, I initially wrote the rules of my game for myself, as a designer. I made a step-by-step list of the procedures between the GM and the Player. But to someone that isn't a designer, my rules were described in a way that was positively USELESS.

My point is, it's very difficult as a game designer to communicate your mechanics to non-designers without hands-on demonstration. But you don't have that luxury when selling that game to strangers once the playtest is over. It's a skill you have to develop, a skill where you need to view your game from the perspective of someone who has never encountered it before. That's difficult.

Now, once the Players understood the mechanics, they actually got really into my game. And for that I'm very proud, and even more so relieved. I was worried I would have to rewrite my rules from scratch because the game wouldn't be fun.

Turns out I will be rewriting my rules from scratch, but not because the rules were bad, but because my communication was bad!