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Game Design: An Exercise In Friendship.

Hello, all.

Fozzy here from creator consortium. I’m aiming to bring you an article on games design, or rather, the summation of my experience at designing our in-house tabletop role playing game; Pulp RPG.

It started some months ago, between Ferris and I. We’re prone to flights of fancy, in fact it has been the defining feature of our friendship as far as I am concerned, and something I am very glad of. There is nobody else in the world who I can pool my enthusiasm with like I can with Mr Ferris. We’ve both designed systems before, many on the back of napkins, so to speak, some make it a little further. I know he developed a very nice little system he plans to convert to Pulp later down the line, but I digress.

We’ve never gotten this far before. We have a tangible, working system that feels as if it lives and breathes before our eyes. It stands apart from us now, as its own entity; maybe rough around the edges, it’s face will change over the years, but it’s exciting and I think I know why.

The reason we were able to get this far is because we were able to harness those long conversations, temper the streams of consciousness into a honed blade. You spend so long talking about something that it no longer makes sense, and many times this was the case with our game. Yet every time that happened, we resolved to take a step back and pluck from the haystack those needles of brilliance (in our eyes) that allowed us to produce something we both see as worthy now, we established rules and clear goals at the start of the process and never deviated from their mandate.

The lessons taught were simple: to let your mind run away with possibility, but to always slash away at those ideas until the good ones emerge. To be hard on yourself as well as each other, to never compromise on something you feel is right, but never try to compromise the other in what they think is right.

The above sounds like an exercise in futility, but we did it. I feel it is a testament to the kind of friendship we have and the kind of honesty we share with each other that has helped us to go further with a project than we ever have before. It’s also the reason why we’re going to succeed in bringing our game to people’s tables. It almost feels inevitable.

And so I write, and he writes;  sometimes completely separately from the other, because we know what is expected. Because we worked hard to trim and to smash away the marble to build a streamlined core that can always be referenced, that we built, and it feels good.

As we go forward with our myriad projects, I think that is the main idea we want to keep front and centre: that every move forward must look back on who we are, to remember what is to be achieved by our partnership and whether each step works towards the principals you set out at the start. And to have fun with the creative process, and to make some of that fun being harsh when it comes to editing.

I enjoy writing more rambling articles. I feel like I put too much pressure on “having something to write about”, when I enjoy writing so much more when I find that something when I’m writing it, so expect more of these from me.

Happy gaming,
Fozzy.

An Intro To The Pulp RPG Modular Framework.

Hello nerdy people!

We’re here today to tell you about a pretty big side of what Pulp RPG is all about: The Modular Framework. Now what on earth is that?

Well, it’s the central idea upon which all of the development of Pulp RPG revolves. To put it simply, The Modular Framework takes the Pulp RPG Basic Rulebook and uses it’s simple mechanics as a point from which to build more complex and setting-specific game systems, without having to include all of these rules in one giant tome.

While indeed you can just use the Basic Rulebook’s lightweight and narratively focused ruleset to run any sort of game you like, in any sort of setting you like, we feel that those more crunchy, mechanics-based systems are a lot of fun too, so we’ll be using The Modular Framework to add layers and layers of mechanical complexity to the game going forward.

The trick we’re really trying to achieve is being able to use tiers of complexity to allow you to flesh out your games in any way you want. This approach will also allow us to deliver packs of new content and mechanics as and when they are developed, so that you can slot them into your games to make the experience new and refreshing even after hundreds of hours invested into playing Pulp RPG.

Mechanics packs will be included alongside Setting packs for things like Sci-Fi combat, Spaceship Battles and Hacking in the Pulp StarFight Setting Pack being developed right now.

We think this approach will allow both us and you as players to have our cake and eat it, by being able to get your teeth into oodles of new and interesting rules and tables, while still rooting the system in simplicity.

We certainly hope you agree! But we’d love to hear any feedback you have by either commenting down below or joining our Discord server. There’s usually someone there enthusiastic to answer any questions.

Link to Discord: https://discord.gg/PGj8yYS

That’s all from us for now, but be sure to check back soon for a new update!

 

Happy gaming,
The Creator Consortium Crew.

Your Guide To Pulp RPG In The New Year

Hello there friends!

We’re here again to tell you all about the exciting things that are going to be happening with Pulp RPG in the near future. Recently we finished the first official draft of the basic rules; a lightweight roleplay system designed to allow you and your gaming group to seamlessly run games in any setting you’d like!

We’re very proud of how it turned out, and you can get your hands on the early release version by going over to our Discord server and shouting at us to hand it over!

Link to Discord: https://discord.gg/PGj8yYS

We’re also nearing completion on the first official adventure pack for Pulp: Chasing Zombie Hitler Through Panama In 1948. This madcap adventure sees you taking the role of an auspicious stranger, caught up in post-war supernatural skullduggery, facing down the most evil man in history with the powers of undeath on his side. As normal with all pulp material, it will be free to download from this website once published in the new year.

We also have many exciting projects lined up for next year! We have The Godless Realm: the first official campaign setting for Pulp RPG, set in a boundless fantasy world inhabited by deadly gods and countless monsters for you and your friends to face.

Our podcast – “Talking Pulp” – where we discuss Godless Realm

Mr. Ferris is also working on a horror themed setting: Pulp Nightmare – you’ll find yourself immersed in a terrible post-apocalyptic world where truly, the only thing to fear, is fear itself.

Then lastly we have Mr. Steadman’s pet project: Pulp StarFight – a fully fleshed-out science fiction setting brimming with political intrigue, fleet battles and weird and wonderful alien races.

Our last article on Pulp RPG – Tons of info!

There is so much more to tell, but for fear of this article getting too wordy, we’re going to leave you guessing, but rest assured we’ve got a whole host of amazing content for you coming up in 2019, so stay tuned!

Sincerely yours,

The Creator Consortium Team.

Subscribe to our mailing list to stay up to date! – http:/eepurl.com/dLtzIo

How to Write Single Session Adventures for RPGs (with examples)

Whether you’re new to RPGs like D&D or you just want a fresh perspective as a veteran, we’ve got some suggestions to creating a single session adventure in a couple of hours (which, over a week isn’t that long at all when you think about it).

Writing a whole campaign for table top role-play games like Dungeons & Dragons can be daunting, especially if you’re new to the role of games master (GM) or dungeon master (DM). It doesn’t need to be difficult, which is why I’m setting out how to write a single session adventure and how make it a worthy story!

Definition

A single session adventure takes place for a single gaming session – usually around 3 hours or an evening of game play. It is designed to resolve itself by player interaction at the end of the session, allowing the players to move their characters on. It is a great way to introduce yourself as a new GM to the game because the effort involved is minimal compared to writing a full campaign. That said, extra credit for proper design such as maps and non-playing characters really helps!

Single session adventures need to be concise, so some of the work the GM has to undertake can be a bit more intense: the game needs to start succinctly, the players need to be hooked in right from the start and the game needs to build up to the end smoothly.

I’m going to be running with an adventure example so you can see how it builds up. If you’re lucky I’ll throw in some diagrams to explain what I’m talking about.

Note: I’m not writing this with any game system in mind, although I’ll use generic fantasy elements like those found in D&D. The advice and technique should apply to just about any setting or game.

First Step: The Facts

Identify what the facts are in your adventure – this is the most creative part of the design stage because what you’re doing is setting the plot. The players don’t need to know these facts – it is their job to find the clues and put the pieces of the puzzle together much like a murder mystery show. The clues culminate into the facts and then there is a resolution, in games like Dungeons & Dragons this is normally the second to last encounter: facing the enemy.

Look on the facts of your adventure like the synopsis of a story or a film. It needs to be only be a line or two at most.

Example fact: A Hag is living near a village and has sleep-charmed one or more of the villagers to kidnap young children and take them to her grotto where she devours them or uses them in dark rituals to proliferate her coven. Travellers have also gone missing in the night, leaving all of their belongings behind in the small village inn.

From this simple factual synopsis, we have the antagonist of our story, the method and locations of their actions and finally a reason as to why – creating her own coven of hangs or witches.

Second Step: The Clues & Encounters

A single session adventure should have no more than 3-4 key encounters where the players are able to discover clues. Clues are simple bits of information that, when combined with other clues point the finger or give a direction for the players to investigate further, leading to the showdown encounter which is the resolution. Clues do not have to be combat engagements – your players will be playing different characters with different skills and abilities and you are going to want to provide something for everyone in some of your encounters. Each clue should involve a different style of play to accommodate skills and abilities. This is a story, not a series of fights.

Here’s a diagram showing ways you can organise your clues to make the adventure coherent to you and your players. It is not a comprehensive diagram, but covers the basics which should be more than enough for your single session adventure:

clues for resolutions

Route 1 is linear and fair for first time players. Route 2 starts with the first clue, requiring at least clue two or three to be discovered before heading to the final resolution. Route 3 implies that any clue may lead to the end resolution. Personally, Route 2 is my chosen style as it gives the players a natural feel for the progression of the plot and doesn’t lead right to the resolution after a single clue.

Examples clue encounters

I’ve picked four clues which the players may encounter.

The first clue is that a child vanished in the night from the family’s log cabin. The players can investigate the cabin and realise that there are no signs of forced entry, and under questioning the parents, the bar to the front door was still in place in the morning. Rogue like characters, or trap masters will enjoy setting up their own traps to see where the thief comes from, or analysing the events, possibly suspecting the parents (which is true, but the parents are not aware of their actions).

The second clue is that the elders of the village have been having dreams where they have taken up their young ones and carried them through the forest in the dead of night, to a stone altar where a beautiful woman waits in a strange scant clothing, a tall horned figure lingers in her shadow, never quite realised clearly. Stone altars, strange large creatures and witch-like individuals should inspire the lore masters and religious or cult focused characters.

The third clue involves tracking bare footprints that lead from the village into the forest. Outdoor characters and hunters / trackers will enjoy finding clues such as broken branches or torn clothing (matching the villagers nightwear). Nature characters such as druids will likely notice that the fauna of the forest is very quiet, and that there is evidence of corruption in the flora: leaves are slightly yellowed, new growth is not as vibrant or strong.

The fourth clue is optional, as the players may not try to set up a watch and see if another child or traveller goes missing. This clue / encounter should lead the party into the thick of the forest where the hag will be awaiting her sacrifice. The players will likely forcibly engage the hag, who will make her escape and let the horned figure do her fighting. Tracking the hag from here will lead to the final resolution.

If you feel the party is going too fast, you can include some other encounters as red herrings – bandits camped nearby the main road, wandering monsters which, once dealt with, turn out not to be the culprit!

You should write short introduction paragraphs for each area which gives the details the players need to start investigating. Use the clues you have already written to help you with this. My example is attached to the first clue – clues two and three can probably fit into the map of the village we’ve already given to the players.

“The abandoned cabin sits in shadow, empty of life. The door has been flung open, the bar that held it shut discarded on the floor. From the outside, the various windows have remained closed, firmly held shut by their wooden bars. Inside is cold, hidden away from sunlight and without a fire to keep the house dry. The three rooms are separated by door frames covered in heavy fabrics. The beds are disturbed.”

From this description, your players will want to begin their investigation of the various rooms, asking you questions and poking around for more clues. In this instance, it is clear that the kidnapper did not force their way in, suggesting there is another way into the cabin (which there is not). After a thorough search the players will probably conclude that the kidnapper came from inside the house and may suspect the family – which is another intense encounter which can develop from the clue.

Third Step: Draw the Players In

This is often referred to in RPGs as the plot hook – the device you use to draw the players in and make them want to participate in the adventure. For longer games that last several sessions you can play on plot hooks by enticing players one at a time, but in single sessions you can’t afford to spend the time tailoring the hook for each character.

This is usually the last step for me, as don’t often use personal character hooks (my players are pretty good at that themselves). Arguably this step could be the first or last for many GMs – it’s all down to how you feel about it.

Start the game by asking their characters why they are on the road or why they may be in the village. Take no more than 5 minutes to round this information up. If you have completely new players, you’ll want to do this before the gaming session.

You’ll find that some players are quite good at giving you a little bit of character plot themselves – likely they will provide you some of their own motivation.

Fourth Step: Extra Credits

Maps will be essential to the players immersion for a single session game. Keep them simple: a map of the village will suffice as a centerpiece for the gaming table or space. Make it larger than it needs to be so the players can add to it as they explore or learn about points of interest from the locals – particularly the outdoor type characters, your Rangers, Druids, Hunter etc.

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Have a dungeon, by all means, but keep it small, maybe 4-6 areas in said dungeon at most. Again, add elements that will give each class or character type something to play with to utilise their abilities such as traps, moral obligations, conundrums, and obviously monsters and bad-guys.

Have a two tailed ending. This is where the clues may allow for different approaches to affect the resolution of the adventure. This could be helping one faction over the other, using a faction to thwart the other or toppling both factions at once. In order for this to happen, consider two or more factions where one is a definite enemy, and the others as possible enemies.

In our current example, one of the townsfolk may have control of the hag, perhaps they hold a fetish which stop the hag from killing them, and so they use the hag for their own agenda, perhaps they suffered at the hands of the villagers years ago and now have an avenue for their revenge. You’ll need to edit your primary fact from your first step.

Fifth Step: Running the Game, Pacing and Rhythm

You should start the gaming session from this point and describe the setting to them from the outset. Leave no room for them to be in different places or occupied with other events unless you can trust the players to come together quickly. I’ve including an example opening description, feel free to use it as a template.

‘Winter in the northern reaches comes sharply this time of year and is unforgiving to the lost and weary. You have been travelling through dark forests for several days. Seeing the first village in what seems like months, you happily head to the warm glow of fires. The village is quiet as occasional snowflakes fall silently. Well wrapped stragglers hurry indoors, some clutching babies close to their chests or dragging resisting children indoors. A single guard approaches holding a torch high to see you all clearly in the growing darkness. She carries a well service sword on her hip. “We don’t see travellers much here – we’re shunned,” she points to a large, scruffy two-story building in the centre of the village, ‘You’ll find rest there, but beware, people have gone missing in the night, locals and travellers alike. If it wasn’t for the coming blizzard, I’d tell you to keep walking.” She nods curtly and continues her patrol.’

In this opening, we set the scene: winter and cold, the characters should be seeking shelter. We give them a location, the village. Being dark, children and being called in, which seems normal at first. The guard, although taciturn doesn’t provide the mission as such, but she does lay the ground work, suggesting the village is not a highly regarded by outsiders and that people go missing. Finally, the players are told a blizzard is coming, so they will likely want to seek shelter and stay a while. Once the players are at the Inn, they can begin questioning the suspicious and untrusting locals, which is an encounter in itself and helps you set up the clues.

So, it is a bit cliché, but this is a working example which I hope gives you an idea of how to draw the players in without making it seem forced. Nothing kills the immersion that keeping your players rigidly in the story, you need them to feel like they want to stay and investigate.

So far, we have the clues, encounters and the plot hook to get the players drawn in. You’ve already got the meat of the adventure set out, now you need to add the garnishes and side orders.

And the last bit…

Keeping the flow of the game is vital for single session adventures. More than ever the party must not dawdle about, wondering where to go next – if they do, they’re eating into the valuable session time and need to get moving. My simple advice here is to keep the players active. If they don’t seem to be doing anything, for example in the evening of the first night at the Inn, then get them to commit to sleep or carry out an action.

If the players are stumped and are not sure what to do next, bring an encounter to them, but make them work for it – don’t spoon feed them! If the following morning they are sat outside wondering where to start, add a small encounter where another child has gone missing: a mother’s shriek. If they still don’t investigate, the villagers gather around the house and begin weeping – another child is missing and then they active ask the characters to help them investigate, which should lead them to the first clue.

There you have it – a single session game planned out and underway in a couple of hours of work. If, like me, you get the odd 10 minutes here or there, jot down your ideas, add to them, let them grow.

If you give yourself a finite number of key encounters, the rest pretty much writes itself and you’ll be steaming ahead with tonnes of possible ideas, just waiting to be played!

That’s all for today!

We’ve been working hard on NaNoWriMo, Pulp RPG, adventures modules, proofing, editing and brainstorm, all whilst holding down full-time jobs. We’re getting there 😉

J.D Ferris, CC

Literary Devices Part 2 – Four more ideas on how to add something to your fiction, prose or poems

Getting closer to NaNoWriMo!

We’ve got some more unusual literary devices for your perusal today. We’ve scraped the barrel and hoisted the sales to bring these weirdly named tricks to add some flare and depth to your writing styles. See if you can make use of them in your month of writing – the fun unfolds!

Anadiplosis

Is it Ana-dip-losis or Ana-di-plosis? I’m going with the latter! This odd sounding technique is actually very simple – when you break a sentence down into clauses, you can choose to end a clause and start the next clause with the same word. It’s a really simple technique and adds weight to the authority of your tone. For example:

“That man speaks in lies, lies carried from the grave!”

Those smart ancient Greeks like to use this method, it pops up everywhere. My favourite example:

“The mountains look on Marathon – And Marathon looks on the sea.”

They’re quite simple to create and can be used in fiction, prose and poetry. This isn’t to be confused with a chiasmus which inverts the meaning between the clauses of a sentence – more on those later!

Bathos

Bathos uses a dwindling cohesion of metaphors and descriptions to show growing passion of the topic – it’s also used to create silly comedy. I am not a comedian, but here’s the best example I can come up with:

“He urged his friend to stop, to think about the children, to really consider what he was doing – how could he use French mustard on roast beef?”

OK so my example wasn’t great, but used properly bathos can create a strong contrast in the tone of your piece or add a delicate level of wit to something which is actually quite serious.

Chiasmus & Antimetabole

These two are so close together as literary devices that they are often used interchangeably. They’re not entirely the same however. They are used ideally in speeches or perhaps opening lines as rhetoric. When a sentence is repeated by its reversal, to convey an idea or define a point, it is called chiasmus (ki-as-mus). In an antimetabole (anti-me-tab-o-lee) however the words and grammatical structure are also reversed. My example of an antimetabole is one which I have to say a lot during my day job:

“I work to live, not live to work,”

All I’ve done is swap the word work and live around in the second half of the sentence to change the meaning around. For a chiasmus I’ve had to take an example from online, because it’s pretty difficult to distinguish the two types (and some are listed under both literary devices!):

“Never let a fool kiss you or a kiss fool you.”

Thank goodness for examples!

Dactyl

Sounds a bit like a dinosaur type creature, right? Well, Dactyl is an old Greek word for a finger and here’s why we use it to describe this literary device: a dactyl plays on a single word of three syllables, with the verbal accent of the first syllable emphasised over the second and third. The technique is used mostly in poetry (some say overused) to the point where its kind of normalised now. The opposite to this is the anapest, which puts the emphasis on the second two syllables rather than the first.

So, a dactyl in poetry (which is in itself a dactyl, PO-e-try) can consist of a series of dactyls in order to provide a meter for the reader, some say this gives the poem or piece of work a galloping effect -which people then link to The Charge of the Light Brigade, a famous and overused example online:

Half a league, half a league,

Half a league onward

All in the valley of Death

You could argue that a dactyl can build a rhythm in your written work when the time is right, whether that’s a galloping charge of mounted soldiers or the specific beat of a drum, dactyls can be used as a literary device to help convey strong imagery.

This wraps up today’s unusually named literary devices. We hope you’ve enjoyed learning about some weird but cool and subtle tricks to add life to your fiction. Let us know if you have any success or if you’ve got any questions. Maybe you can improve on our descriptions? We’d love to get you involved!

J.D. Ferris, CC

Literary Devices – Four ideas on How to add something to your fiction, prose or poems

Literary Devices Part 3 – How to avoid Exposition Pitfalls in your fiction, prose and poems

Literary Devices Part 1 – Four ideas on How to add something to your fiction, prose or poems

NaNoWriMo is just around the corner and I bet you’ve got loads of ideas ready to go – you just need to start writing. But have you considered the literary devices you could use to add style and flare to your work?

Don’t worry if you haven’t, we’ve picked a few out for this week and we’re going to share them with you in a really easy way to understand. We’ll pick a few more as the days go by, so check back to learn more as you go.

It’s a great little break to read – and totally guilt free, since we’re all learning!

Let’s begin!

abstract anatomy art blur

Anthropomorphism (and personification)

This one is an odd concept, but straight forward. Anthropomorphism is when you give human qualities or traits to non-human creatures, objects or events.

Anthro comes from the study of humans and morphism means to change or develop.

Anthropomorphism is very similar to personification, which gives human characteristics to objects or creatures – except that anthropomorphism is used to make those things appear or seem to be human.

Here are some reading examples to help you identify anthropomorphism:

Animal Farm (Orwell) uses animals for political satire and statements in a way that seems friendly and safe. It conveys his messages without being threatening to the reader, in the way that a news article or science journal might.

This form of literary device gets a lot of use in children’s books, cartoons and animations. My favorite example of this is Redwall (Jacques) which uses animals as humans to create a story which is endearing to adults and children, and plays out the story in a safe medium for children to digest.

boy child clouds kid

Bildungsroman

Weird name, right? Bildung is old German for learning or experience, and roman means novel. Hope that clears it up! This form of literary device is more a style of writing. Usually the content of this form of writing is focused on a young protagonist growing or developing to adulthood, in which experiences may alter the outlook of the protagonist either morally, intellectually or physically. It does not have to be focused on the young however, and pretty much sums up every protagonist story ever written.

I’ve got two examples for you; A Christmas Carol (Dickens), where Scrooge goes from being a terrible old miser to realising that he can provide a positive impact on people’s lives – if he could just give up his old ways.

If you have time to watch it, the TV series A Game of Thrones is filled with bildungsroman themes; Jaime Lannister being a popular one; the guy is pretty much a rich, stuck up, entitled prick who is happy to kick a boy out a window, until he loses his hand – not great for the perfect swordsman! As time goes by, Jamie realises that his worth in the world is limited and goes through some drastic moral changes.

brown and white bear plush toy
No pain, no gain, huh, Ted?

Consonance

Another one people get confused with, mainly due to similar literary devices being very close in nature. Consonance uses the same consonant repeatedly, usually at the end of a word, in a series of words, for example; my luck sucks or no pain no gain. Consonance must not be confused with alliteration, which uses vowels in the same way, usually for the first letter of words. Consonance is also different in that it uses the sound of a letter rather than the actually letter, such as; no knocking now.

Why do we use consonance? It’s used a lot in poetry to create a hypnotic beat to the rhythm of a piece, apparently our brains enjoy this sort of thing!

Double Entendre

This is usually a figure of speech or phrase with a double meaning. The first meaning may be obvious whereas the second meaning is likely to be risque, overtly informal or generally inappropriate. They’re great devices for discrete insults or witty remarks or as humour in a manner much like innuendo.

A reading example follows my favourite story as a child; In The Odyssey (Homer) Odysseus, when capture by the cyclops, calls himself Nobody. When the cyclops is blinded by Odysseus and he escapes with his soldiers, the cyclops shouts out for help ‘Nobody has blinded me, Nobody is going to kill me!’ Of course, no allies for the cyclops came to help, since no one was there to hurt him!

That about sums up our writing advice for today, check back soon for more insights into creative writing techniques, or sign up to our newsletter for updates as we publish more articles. We hope we’ve been some help!

Good luck with NaNoWriMo!

J.D Ferris, CC

Literary Devices Part 2 – Four more ideas on how to add something to your fiction, prose or poems

Literary Devices Part 3 – How to avoid Exposition Pitfalls in your fiction, prose and poems

Literary Devices Part 4 – Dialogue techniques and capturing fictional realism

Literary devices part 5 – The Mood; setting, diction and bounce