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Tabletop Rpg posts, content, and recruitment posts.

Recruitment posts should contain what system is being played, CW for any adult/serious themes players need to be aware of and whether a game is beginner friendly.

An obvious reminder of no racism, sexism, ableism, homophobia and transphobia.

Emphasis on small independent rpgs like the ones in the TTRPGs for Trans Rights in Texas but not against dnd stuff.

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Hello Comrades,

Some of you may remember me posting about the TTRPG I have been developing, and some even asked to playtest. I am now at a near finished state with the game and dearly need playtesting input, anyone who wishes to complete a post test questionnaire will receive a free copy of the finished book complete with character art assets!

Please do not actually donate money, this is a passion project and when it is finished I will seek money but until then I just want to share it.

Even if you do not playtest I welcome any feedback be it editing, phrasing, mechanical, worldbuilding, etc.

Any problems downloading it off itch.io let me know and I'll find another way to get you the .pdf.

Thanks again!

Questionnaire

  1. Tell me about your process of learning the system. What things were easy? What was difficult?

  2. What were your most and least favorite parts of chargen?

  3. What elements of the game supported your immersion? What, if anything, held you back?

  4. What did you feel was missing the the game? Does anything require more detail or explanation?

  5. How did you feel about the pace of the game? If you prefer it slower/faster, how do you suggest this could happen?

  6. What was the most frustrating moment or aspect of what you just played?

  7. What was your favorite moment or aspect of what you just played?

  8. Was there anything you wanted to do that you couldn’t?

  9. If you had a magic wand to wave, and you could change, or remove anything from the experience, what would it be?

  10. What were you doing in the experience?

  11. How would you describe this game to your friends and family?

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What do you comrades think about my gundancer?

TL;DR Non-performance bravado is harder, finisher only with firearms Melee Finisher gain the fatal die as precise strike, confident finisher on finishers that are made with MAP, easier reload class archetype feat is Pistol Phenom tweaked

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Come and talk about them with me!

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I spent 3 hours putting my players through a tortuous fight against an invisible enemy and the freaks loved it. They were running in circles trying to find and counter it, only to get lured into aggroing and even harder encounter, at which point they fled. They got a piddly amount of xp for the handful of PL-4 enemies they downed along the way, then spent the last hour of the session reading rules to prepare for round 3.
All the invisible bastard did was hit and run, eating up their resources and wasting their time. We finished the session with them walking back into the exact setup they encountered almost 2 sessions ago when they first met it, and yet they're excited to face it again next week.

The last time my players were this excited about an enemy was fighting the Lamia sisters in Rise of the Runelords, who would dimension door away from fights they were losing. The players went absolutely wild with conspiracies and preparation for future encounters. Generally I struggle to get them to look at anything outside of sessions, while an enemy that runs away will even get the ADHD one to pour over lists of equipment.

So next time you want a villain to be memorable, just walk away. Mid fight, when it looks like the party are starting to get the villain on the ropes, just peace out. Say "nah man, I need some backup". And then when the backup dies, just peace out again. Buh-bye. You can do it for months without them tiring.

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Really excited about this. I have the playtest docs and it looks great. I love Blades in the Dark and the Doskvol setting, and I love cold war spy thrillers, so this really appeals to me.

If there are interested Hexbear/lemmygrad folks (and we could figure out a time/platform) I would be willing to run a couple of sessions.

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I haven't killed a PC in MONTHS, and the remaster not only stole my kill but taunted me by leaving them on 1 hp. this is bullshit angery

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Wanna disclose that the only ttrpg I've played in depth is dnd 5e, so other systems might offer interesting answers.

TLDR I want to make combat more interesting as it progresses, not less

So combat in dnd is what should be the coolest and most entertaining part of a story, but is often the slowest part of a session. Most of combat is spent waiting for your turn. When it is your turn, sometimes, you'll swing twice with your sword, miss twice, and that's it, that's all you can do. Even when you hit, the consequences are often just an invisible number going down. Not very interesting, there's next to no input from the player, and this is mostly just the dice deciding everything. No room for roleplay or storytelling here.

So how, from a game master's perspective, can we make combat more interesting? A straightforward solution is to just have a bit of story content in each turn. Describe a fighter missing their attacks as "you are locked in combat with a warrior, who narrowly blocks your blows. The sound of steel on steel rings through the battlefield." Doing this for every turn is exhausting for the DM, where they have to try to give a flavourful description for everything, but every now and then can give more vivid images to your players.

Dialogue is another way to insert storytelling into combat. I've seen no DMs ever enforce the "6 seconds of dialogue per turn" rule in dnd, because it just sucks. Have the antagonist exchange barbs or shout their ideology at the players. Have them discuss their past with the player. Describe it as them shouting at each other over the wind, or the sound of war around them. Again, this can't be inserted into every turn, or it too will become monotomous.

So what about mechanical ways to elevate a battle? Legendary actions in dnd serve this purpose, to allow an NPC to perform actions when it isn't their turn. This helps to alleviate the action economy problem and makes the NPC seem a lot more active and dangerous. If a boss can attack when you don't expect, it makes the mechanics fade back into the background a little bit as your players realise how powerful this character is.

I think debuffs are the most frustrating thing to happen to players. Being able to do less without any long-term change to your characters is just annoying. Getting disadvantage on an attack means your character is less impactful in a session. As a player, this sucks. Imo, debuffs should be avoided unless they either apply to everyone fighting, including your enemy, or they advance a character's story. My DM actually achieved both of these scenarios. They designed a combat encounter where difficult terrain was cast by an opposing spellcaster, and their fighter and ranger could navigate difficult terrain easily. This made us realise that the enemy had planned their attack to our specific environment (forest) and that they were particulary dangerous in this specific location - but if we meet them again under different circmustances, they will lose their advantage. In another encounter, one player, who's character has been lacking control of their own life, was suffering massive debuffs from a character who was trying to control their mind. They had to make saving throws every turn, but the stakes were a lot higher than just missing the next attack - losing a saving throw could permanently change their character.

Debuffs are hard to pull off, but buffs aren't. Imo buffs are the easiest way to escalate a fight - have your NPC become stronger and more dangerous as a fight goes on, rather than them losing resources like health and spell slots. Have your NPC become stronger after losing a certain amount of health, or even have a second and third phase with different attacks and new descriptions - this makes a boss fight feel much more tense. You could also give your player a weapon that becomes stronger after landing more hits or something, or an accessory that halves their hp and gain advantage on every attack. This makes them feel like they're becoming cooler and more powerful as the fight goes on, too.

Are there other systems that better escalate combat? I find that combat in dnd becomes more predictable the longer it goes on due to the system of health and spell slot attrition. Characters in a fight only lose resources, but don't become stronger at all. A lot of power fantasies have fights become bigger and more bombastic as they go on, because that's fucking cool, but that doesn't happen by default in dnd unless you try to make it happen. So do other players or game masters, or anyone with experience in other systems, have anything to weigh in on? My ideas are just ideas and I haven't actually tested these, so I would love to hear from others.

this ended up being a lot more text than i intended.

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cross-posted from: https://hexbear.net/post/4231878

I have started reading the book Debt: The First 5000 years. Initially, RPGs and World Building were not topics that crossed my mind when working through the first couple of chapters. Then, the other night, I was casually watching a Matt Colvile YouTube stream, and he says this:

I heard that like, that notion of bartering as an economic model, that has never happened. What you get is, you get, it's almost like a [patwa?], its like two different cultures meet for the first time where they do bartering, I'll give you these goats for these two chickens, and after that brief period, which is probably measured in a couple of years they come up with a medium of exchange, right? And then they don't need that bartering thing anymore, and I thought oh that's interesting...

Chapter 2 of Debt is titled "The Myth of Barter". Here is the third paragraph, which I think encapsulates the problem with barter as this mythical economic model:

A history of debt, then, is thus necessarily a history of money—and the easiest way to understand the role that debt has played in human society is simply to follow the forms that money has taken, and the way money has been used, across the centuries—and the arguments that inevitably ensued about what all this means. Still, this is necessarily a very different history of money than we are used to. When economists speak of the origins of money, for example, debt is always something of an afterthought. First comes barter, then money; credit only develops later. Even if one consults books on the history of money in, say, France, India, or China, what one generally gets is a history of coinage, with barely any discussion of credit arrangements at all. For almost a century, anthropologists like me have been pointing out that there is something very wrong with this picture. The standard economic-history version has little to do with anything we observe when we examine how economic life is actually conducted, in real communities and marketplaces, almost anywhere—where one is much more likely to discover everyone is in debt to everyone else in a dozen different ways, and that most transactions take place without the use of currency.

This idea, that most historical means of exchange were handled without the use of currency, has some rather large and freeing implications for playing your bog-standard Fantasy Land™ RPG.

One of the core issues I, and many others it would seem, had when running / playing D&D5e boiled down to this:

  • I never knew how much anything should cost from a "general goods" store or some "magic shop".
  • I never knew how much gold should be rewarded to players for doing basically anything.
  • My players never knew what to use gold for at all, or thanks to some class abilities, never needed gold for food or shelter, which was 99% of all gold sinks early on.

This stems in some ways from the relationship between treasure and progress in the original Dungeons and Dragons, published in the 70s. Much of the "how" regarding playing D&D at the time was in massive flux and wildly varied from group to group and region to region. There is a book that I very much want to read that covers these early days in detail through analysis of zines from the time called The Elusive Shift by Jon Peterson. The rules as written effectively give the GM broad authority to award experience points however they want, but softly suggest they start with awarding them for slaying monsters and collecting treasure.

My understanding, and I do not have sources in front of me, is that this experience for treasure was only calculated once you returned to the "overworld". Whatever was left behind, does not count. In this way, progress was deeply tied to the extraction of gold, as in some cases you would earn 1 exp for every 1 GP you successfully looted to the overworld. This relationship made large sums of gold very attractive to players and likely dictated the design of dungeons to feature more gold than you could carry. Even then, in the early days of Chainmail and eventually D&D, there was wide and heated debate about the nature of progression. Some felt that having this "scoreboard" which generally was tied to looting and killing, left little room for your players to engage with the character they had built, and instead were simply leveraging the underlying mechanics to get a higher "score" faster. It would seem, these debates never ended, almost half a century later.

Much like every economic textbook ever written, people's lack of understanding of historical economies causes them to skip straight to monetary exchange as the primary mode of trade within our games. It would appear that we cannot escape the same kind of myth building within our little games of Medieval Fantasy. Observe the myth building as illustrated by Graeber in chapter 2 of Debt:

It’s important to emphasize that this is not presented as something that actually happened, but as a purely imaginary exercise. “To see that society benefits from a medium of exchange” write Begg, Fischer and Dornbuch (Economics, 2005), “imagine a barter economy.” “Imagine the difficulty you would have today,” write Maunder, Myers, Wall, and Miller (Economics Explained, 1991), “if you had to exchange your labor directly for the fruits of someone else’s labor.” “Imagine,” write Parkin and King (Economics, 1995), “you have roosters, but you want roses.” One could multiply examples endlessly. Just about every economics textbook employed today sets out the problem the same way. Historically, they note, we know that there was a time when there was no money. What must it have been like? Well, let us imagine an economy something like today’s, except with no money. That would have been decidedly inconvenient! Surely, people must have invented money for the sake of efficiency.

It, too, would seem that money in D&D was invented for the sake of efficiency as well. This notion of treasure (mainly gold) as a measure of progress for your character appears to me as reflective of deeply engrained capitalist ideology. It has a twofold character, one that is reflective of the beliefs of the creators of the game, and one that serves as a simple foundation for the masses of people who engage with the game. The more money you gain, the more powerful you are, this is known. However, this eventually leads to the development of economic gameplay that unfolds into a world of Medieval Fantasy with Modern Capitalist Characteristics. This relationship culminated with the production of the official, and farcical Dungeons and Dragons: Acquisitions Incorporated rule book, providing tongue in cheek rules that allow you to play as your very own Adventure Capitalist.

What I am just now learning, as I write this, though, is that money seems to have taken an even lesser position within the game as of the 2024 edition. In 5e (2014) "Coins" is featured on the front of the character sheet. There are several feats and class features that allow you to effectively get "free food and rooms" anywhere you travel (the By Popular Demand feature for bards, as an example). In the 2024 edition, however, coins can be found on the back of the character sheet. Features like "By Popular Demand" appear to have been removed. Though, this appears to me a result of the "epic fantasy role-play" camp winning out over the "dangerous dungeon delving and treasure hoarding" camp, where-in you need not interact with the "economy" of the world since you're all effectively "The Avengers".

I can hear you back there, wondering, "Rid Wizard, what the fuck are you on about?" So let me advance to the point. If we take what Graeber says in at least the first couple of chapters of Debt as a kind of guiding principle over the nature of the worlds we build, we can build a far more interesting and complex web of narrative opportunities, while simultaneously having answers for what to do with all this gold. Consider the quote above, specifically the final part:

The standard economic-history version has little to do with anything we observe when we examine how economic life is actually conducted, in real communities and marketplaces, almost anywhere—where one is much more likely to discover everyone is in debt to everyone else in a dozen different ways, and that most transactions take place without the use of currency.

The small communities living within the baronies borders likely live a much more communal life than how most GMs typically depict them. These communities are full of subsistence farmers, and also produce something of value that is collected by the Barron's Knights every season. The external relations the community has with its Baron is one of service. They are provided land, and in exchange are in service to the Baron. Internally, their relations are also driven by service to one another. How they are related engenders the reason for service. A squire in a life debt to a local Knight. A father laboring out of love for his family. A prisoner laboring for the community for which she harmed. Each family and person owes each other their labor for one reason or another, but ultimately labors to ensure the Barron gets his, and so the community isn't left struggling.

Between Baronies, gold is obviously the medium of exchange, and within the walls of the keep that sits at the heart of the baronies, gold takes the place of most exchanges, especially between the larger trade guilds, which are paid by the Baron in gold for the goods they exchange externally. Gold is minted and managed by the Baronies' administration, it is, after all, a product and function of the state.

Labor, on behalf of villagers and our intrepid heroes, should be the primary means of exchange that drives the adventure and story. What motivates a person to become an adventurer? Running way from debt? Seeking to repay a debt? Seeking to expunge a debt through dispatching with the creditor? Debts, in this context, are not strictly a numerical sum of goods or gold that needs to be accumulated before the debt is wiped clean. A person can owe another any number of things, and the most dire of all would be their life.

At some point, debts need to be collected, and your heroes could find themselves being those debt collectors, or running from those debt collectors. Everyone is owed something by someone, you may have to put yourself in debt to a small time thug to go after the big time boss. Perhaps, to earn your magical attunement, you had to make a pact with a Fay, Fiend, Devil or Demon. The Barony is secretly in debt to the red dragon that lives in the mountains, and it has come to collect! The Baron is secretly a Red Dragon, using his long life and political status to amount a vast hoard of gold and treasure, throwing the Baronies into war in hopes to grow its hoard.

The gold you have collected can be still exchanged, but what it gets you is far grander than a simple potion at the local magical goods store. Gold for large tracks of land, gold for your own keep on the border land, gold for a private audience with the Baron, gold for a tavern within the keep, gold for a mercenary company willing to breach the Gates of Hell. If gold is principally used to move city states, then you may have the ability to impose great influence over a city state. After all, "If you owe the bank a hundred thousand dollars, the bank owns you. If you owe the bank a hundred million dollars, you own the bank."

What of rewards? Again, much of the above, could be the reward your party earns. A run-down tavern at the edge of a small village the party has aided. The Baron grants you the title of Knight and as such grants you dominion over a small village within the Barony as well as privileged access to the keep. A position of authority within a trade guild. Access to a personal blacksmith, who owes you his life.

And what of buying magical items? This, I think, is where we loop all the way back around to barter. While no civilization has ever had barter as their primary mode of exchange, that isn't to imply that barter doesn't play a role in many societies and civilizations. The later half of Chapter 2 in the book Debt discusses a few ethnographic accounts of barter found in the world.

What all such cases of trade through barter have in common is that they are meetings with strangers who will, likely as not, never meet again, and with whom one certainly will not enter into any ongoing relations. This is why a direct one-on-one exchange is appropriate: each side makes their trade and walks away. It’s all made possible by laying down an initial mantle of sociability in the form of shared pleasures, music, and dance—the usual base of conviviality on which trade must always be built. Then comes the actual trading, where both sides make a great display of the latent hostility that necessarily exists in any exchange of material goods between strangers—where neither party has no particular reason not to take advantage of the other—by playful mock aggression, though in the Nambikwara case, where the mantle of sociability is extremely thin, mock aggression is in constant danger of slipping over into the real thing. The Gunwinggu, with their more relaxed attitude toward sexuality, have quite ingeniously managed to make the shared pleasures and aggression into exactly the same thing.

Recall here the language of the economics textbooks: “Imagine a society without money.” “Imagine a barter economy.” One thing these examples make abundantly clear is just how limited the imaginative powers of most economists turn out to be.

Barter, then, naturally fits right into our bag of tricks as GMs. Barter, in this context, is dramatic, it can be full of tension and drama:

A party of Rat-Catchers spots the flowing smoke and flickering fire of what is clearly a campsite of another band of Rat-Catchers. The camp, always with one person on watch takes note of their presence. Neither knows the intentions of the other, and what kind of danger they represent. What they both understand, is that all rat-catchers travel with considerably more heat than your average soldier. Do they look green, or do they have the jagged appearance of well-traveled veterans? It is considered rude and often suspicious to not stop and converse, not doing so raises hairs and plants a target on your back, but doing so might just as well. The camp sends a signal, the whisle of a bird not native to this wode from the Druid. The other signals back with the same forign bird song. The members of the camp stand, and offer a welcoming gesture. The others nod in agreement and enter the camp. Greetings are shared, albet with some aprehension, as everyone settles the stories begin. Each party shares of their exploits, carefully telling the most exciting, but least interesting version of their stories. Let too much info slip, and you might become a valuable target to extort for information on a new and larger score. Have nothing to say, and you might be perceived as easy pickings, your loot for the taking. Stories of your escapades are shared over a joint meal, no group of Rat-Catchers in the night will let the other go hungry, not worth the bad reputation. Sometimes these chance meetings end with a good meal and grand stories for the bards to transcribe. Sometimes these meetings turn into a heated ritual of exchange, where one party member seeks an item of value from another. Arguments and demonstrations insue, the laying out of goods to be parted with, negotiations drive tensions. In the end, each walk away with something new or unusual, something of equal or greater value then what they started with. The fires are put out, the party continue on their journey, likely to never see the other again. It's a big world out there after all.

Be more imaginative than most economists, fill your world with interesting and complex means of exchange, devoid of copper and gold. Imagine your world complexly, even its modes of exchange.

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Hello I have run some table-top role-playing games for hexbear users for a few years now Pathfinder 2e, Cyberpunk RED, Shadowrun 5e, and Masks.

I wanted to see if there was any interest in a weekly game on roll20 as a VTT and discord for voice.

I'm interested in running:

  • Blades in the Dark using the Deep Cuts supplement [Victorian / steampunk heist game]
  • Night's Black Agents [Modern spy/vampire investigation using the GUMSHOE system]
  • Delta green [modern alphabet agency investigation of call of Cthulhu / SCP mythos using a d100 skill based system]
  • Pulp Cthulhu [retro action/investigation like Indiana Jones/The Mummy based on Call of Cthulhu 7th edition a d100 skill based system]
  • Monster of the Week [modern monster hunter / investigation style based on the Powered by the apocalypse system a player-facing narrative focused system]

I would be open to 3 - 5 players, I like to play weekly for around 3 hours and will run as long as 2 players show up i'm open to running a sandbox in a basic fantasy rpg style system if we don't have the full group

I'm in CET and am available to start from 17:00 CET to 21:00 CET [ending between 20:00 CET and 24:00] and am available Tuesday through Friday.

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I flipped through this booklet the other day and folks need to hear about this game. You play as Lesbisnakes, and your goal is to prepare your den for winter by decorating it and building relationships with other snakes so you can snuggle all winter and keep warm in your cozy den.

Your "health" is denoted by feelings. The only real conflict is "do I like the other snakes I'm getting through the winter with" and "is this den cozy enough." So if you get into a conflict about what kind of leaves you put in your den you could have hurt feelings.

I haven't played this (although I definitely want to) but I did read the manual cover to cover (it's smol) and it just seems like such a cute and well thought out rpg.

Has anyone played this? Does anyone know of similar cozy-queer rpgs?

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...so I made a backup character who just straight up is a cat. "You don't need to knock his plate to the floor to eat, you're a person!" UM my character sheet seems to imply otherwise?

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On Monday 12/16, at 4PM MST/6PM EST, I'd like to have a session 0 of the ttrpg I've been working on. It would be through Discord and should take only an hour or 2, not sure. We'd just be going through the character creation process so that I can get some opinions/feedback on it. I also have a small questionnaire that'd appreciate any volunteers checking out.

If you're interested please reach out to me via DM, if the time doesn't work for everyone, it's fairly flexible.

Lastly, if you are available and down to help out, I'll send you an invite to the server with all the info for character creation written out. For those who want/have the time to look through more things in detail, or if you can't make it on the date but still want to check it out. Entirely optional ofc. Anyway, thanks!

I'll post a link in the comments to the initial post about the RPG if you want some details on it.

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Now he’s canonically a legendary warrior with crippling social anxiety. Players thought it was intentional but now I’ve gotta rework this character.

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presented without comment

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geordi-no Expensive custom tokens

geordi-yes Writing with a permanent marker over the faces of amerikkka presidents

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submitted 3 months ago by RNAi@hexbear.net to c/ttrpg@hexbear.net
 
 
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submitted 3 months ago* (last edited 3 months ago) by barrbaric@hexbear.net to c/ttrpg@hexbear.net
 
 

Honestly doesn't seem like my thing but a neat enough concept that I thought I'd post it here.

Also somebody in the comments mentioned that the itch.io bundle for trans youth earlier this year had this game.

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How do you like it? I was hoping a community as sufficiently nerdy as the ttrpg community would have made an open source alternative by now but it looks like selfhosting proprietary software with a modding platform is as close as we can get.

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Meme (hexbear.net)
submitted 3 months ago by RNAi@hexbear.net to c/ttrpg@hexbear.net
 
 
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cross-posted from: https://lemmy.ml/post/22796007

Ben Robbins (the creator of Microscope RPG) has laid out a few problems they see in the current state of scenes and recently some ideas to tackle those perceived problems (https://arsludi.lamemage.com/index.php/3449/a-microscope-for-the-people/).

Has anyone tried these yet? How did these changes affect gameplay? Did you like the effect of those changes? And did you make any changes to dictated scenes (I'm asking this because the blog post seems to be mostly focused on acted scenes)?

This is also an opportunity to give your thoughts on the current state of scenes and what could be changed.

(I hope discussion about a specific game is allowed in this community)

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I've been working on CID for quite some time. This is my first real project and I'm about 50-60% through it right now, mostly having done the lore/classes side of things. CID is inspired by the movie, the Craft, the 1980s counterculture scene of East Germany and WOD (gameplay wise). I've been using Affinity to design the project so far, with 48 pages done and looking at around 70-80 in the finished project. I'm trying to gauge everybody's interest in what I've got so far mechanically.

CID, like WOD, is an RPG with a strong narrative focus. Now let's talk about character creation, we start by choosing between 5 Upbringings, which is essentially how you became a witch. Each comes with a unique passive and functions as 'origin' stories, so each character should have a starting goal related to said Upbringing. We then have a choice of 8 classes, called Cliques. I'm really happy with them so far. They all come with a special ability that affects play and changes how others react to your character. They are inspired by this document that was posted here from the GDR, I saw it and thought that it looked like a character select screen and that's what led to me starting this project in the first place lol.

Gameplay-wise, I'm still working out the dice mechanics (least engaging thing for me to work on).

We have 11 Magic Branches, each Upbringing is locked to 4 specific branches (unless you're playing a Goth). At character creation, you choose two branches to start and can unlock two more via level-up later on. You choose a Major (lvl 2) and Minor (lvl 1) Branch, the only difference being the starting level. Max level being 5. Every level unlocks a passive/ability and a group of Words of Power. We also have two other groups of Words, Binding and Free-form words. Binding words are acquired once per level up (but we chose two in char creation) and through various other means, such as ancient tomes and spirits/entities. Free-form words are rewards given to players upon completion of a major goal, task, trial, campaign, or ordeal, it's a word chosen by the player and then approved by our FT.

Hope that sounds clear, now, how does actual magic work in CID? There are two types of spell casting, ritual casting and quick-casting (need a better word for it). Ritual casting guarantees intent but sacrifices time and convenience, quick-casting is what most players will be using during play. I'll only be going over quick-casting rn, these spells are cast by using three Words of Power to construct a sentence.

When performing a spell, intent is what matters most and is what you are rolling to achieve. So the more vague one's spell is, the harder it is to achieve one's desired result, it's best to get creative with whatever Words of Power you currently know. Let's start with an example. I've just created my character, let's say I chose False Witch as my upbringing, and Tramp as my clique. From False Witch, I can choose between, Empathy, Astral, Hexing, and Ars Goetia. I've chosen Empathy and Hexing, with Hexing as my major and Empathy as my minor.

Now I can chose between 4 words in Hexing and two in Empathy. I've chosen from Hexing, Woe, Omen, Secret, Invite. From Empathy, Share and Despair. My two binding words are Bring and May. To finish, let's say my free-form word is Shrink. So with that being all my current words, let's cast a quick spell.

'Secret May Share', my target is someone who I've just caught following me around town, he seems entirely unaware of anything magical and most definitely following me on the orders of someone else. I failed a persuasion roll against him and he's clammed up on me, so I cast the spell, relay the intent of the spell to my FT. The spell has a very defined purpose and so my FT gives me advantage and one easy roll later, I very easily carry out said goal.

'Omen Invites Despair', my target is a rival from an opposing coven, she's recently come after one of my sisters in a attack against our coven. In retaliation, I cast the spell, relaying my intent to my FT. The intent being to be darken her future, that the next time something goes wrong for her, it goes wrong. The spell has an intent that is kinda open ended and is open to lots of interpretation so my FT gives me no advantage or disadvantage. My roll is a success and I successfully hex my rival.


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Comrades, I have once again acquired a leaked paizo pdf. This time, there is a lot of lore dumping, some new cleric archetypes, and one of my new favorite witch patrons, the Choir Politic. Enjoy. very-smart

https://multiup.io/e0b460ad547b12c1eb4ea0d6080a36d3

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