Mortzes and Ricksters: Post Mortym

So, having finished playing the Rick and Morty dungeon module, I have quite a lot of thoughts on both playing the module and playing it solo. Of course, minor spoilers for the module ahead:

As a stand-alone dungeon, this is one of the more unique dungeons I have ever played in. Not every room is a straight forward “kill all the bad guys” scenario and in fact some of the rooms actively discourage you from killing or otherwise have a heavy emphasis on roleplaying being the solution. The writing is also rather humorous (it helps that meta humor is my favorite type) and, in the hands of the right DM, has the potential to be the funniest officially published D&D Adventure for the Fifth Edition. Maybe even just D&D in general.

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Mortzes And Ricksters Part 2: It’s A Far Out Game

Alright, in this post, we’ll try to finish the dungeon featured in the Rick and Morty D&D Game: The Lost Dungeon of Rickedness. When we last left off our heroes, they had just resolved a conflict between people with asses and people without asses. Like that Dr. Seuss book on crack. And now, we continue onwards.

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The Most Common Complaint On Solo Roleplaying and Why It Ultimately Doesn’t Matter

A common complaint seen with solo roleplaying is how the process is so isolated that there’s no true back and forth like a usual RPG. That, even with using randomized numbers with a fixed yes-to-no ratio based on either odds or situational context or even creating randomized events that your character has to overcome, you’re still just wearing the hat of a GM before switching it out for a player’s. This often leads to a question I think a lot of people will hear when talking about solo roleplaying:

“Isn’t it a lot like writing then?”

And that’s… honestly a good question. It’s definitely one that you’ll have different answers to depending on who you ask. Obviously, if you’re playing a solo game for the sake of the game, such as playing the Micro RPG chapbooks, then no. It’s not like writing at all. Same if you just play the game to get a feel for how your character or the world reacts and responds. These two aspects rely more on the crunch of a game rather than its fluff.

However, there is a serious question here if you care more for the story. You have the final say of what happens, after all, so, wouldn’t it just be the same as writing a book?

This article is here to debunk that question, and it will do so with one simple explanation: No, you don’t have a final say.

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Witchy Superheroes

Gonna preface this now, we’re dealing with witch trials and a cult preforming human sacrifices. Yeah, it’s one of those sessions.

So, unfortunately, I was unable to complete The Lost Dungeon of Rickedness for Solo Gaming Appreciation Month. Rather than release part 2 and then make part 3, however, I decided to take a look at another journaling game, as its premise had grabbed my interest: No Witches, Just Superheroes.

The setting’s premise speaks for itself: superheroes, but they’ve been time warped to the era of Witch Trials. Basically, if anything went wrong, people would just point to someone, call them a witch, burn them at the stake, then let God sort it out. There’s a lot of nice narrative potential with this and the game was pretty cheap, so I bought it and dedicated these last days of November to playing it.

So, who is our superhero? Well, I think a Time-based superhero would be cool since that can explain why he was able to time travel. While the game says that he’s unable to, my idea could be that his powers went out of control.

He’ll need a name… Hm… [roll] Royal Timeless Cosmic. … Okay, let me shuffle this around. Timeless Cosmic Royale. There we go. His backstory could be that he is a cosmic entity representing time itself but had the trouble of adjusting to the physical plane and, as a result, his powers are considerably nerfed.

Now, the game offers a physical feature to the game in that the three Witch Trials require real world items. Fire trials require burnable material, water trials require a bowl of water, and the scratching trials require paper. Though, this is flavor-wise. As this is mostly done through writing a computer with the deck drawing done through Tabletop Simulator, I won’t really be doing these activities, but I can see these adding a sort of investmental vibe to the game.

Without any further to do, let’s begin play.

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How To Play The Quiet Year Solo

The Quiet Year is a very interesting game about creating a map with a society that lives in it. However, playing solo can be rather tricky, especially given some mechanics require other people to play. This guide will teach you how to play the Quiet Year solo, or at the very least, show you how I played it solo in last year’s SGAM.

First, I’ll assume you know how to play the game already, that way I can cut right to the points where solo play comes in. Second, get yourself an NPC or Conversation Emulator. There’s quite a selection to choose from, so don’t feel too worried about picking a specific one. So long as the emulator in question does something to create a conversation, you’re fine. If you want me to specifically pick out a Conversation Emulator for you, I used the Universal NPC Emulator. However, I would also recommend Play Every Role if you want NPC responses.

When setting up your map, determine four details about the surrounding area. You may either think of this yourself or allow a Driver like Mythic Variations 2’s Detail Check or the Tangent Zero dice to generate ideas. Once you’re done arranging the map, determine its Abundance and Scarcity. After that, play begins like normal.

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The War Theme for Mythic GM Emulator

So, I didn’t have time to do a war game RPG for this year, but I decided to make up for it with a theme pack for Mythic GM Emulator.

In Mythic Variations, it explored the idea of using different themes and changing the Focus Chart and how Chaos Factor is done to fit the tone of the theme in question.

For this, I will be making a theme pack based around War.

War theme

Introduction

War, primarily the genre of war films, is an evocative genre that contains not just the extremities of violence but also the goodwill of the fellow man. The focus is heavily on major battles and the lives that are changed as a result of it.

This theme is to replicate the feeling of a war film using Mythic GM Emulator, though, for best results, can be paired with this PDF, which offers new words that fit more closely to the theme of war.

Chaos Factor

There are special rules to the Chaos Factor for this theme. The following rules apply:

  1. Doubles (11, 22, 33, 44, 55, 66, 77, 88, 99, 100) guarantee a Random Event, no matter how high the Chaos Factor is.
    1. Rolling an 11, however, guarantees a Random Event where all negative or Violent events are replaced with the Camaraderie event.
  2. Rolling 10 for the Scene Roll results in Scene Interrupt where all positive or Camaraderie events are replaced with the Violence event.

Event Focus Table

There are a couple of events added to the table that are unique.

  • Violence: A battle immediately breaks out.
  • Camaraderie: A peace-filled event happens that strengthens the bonds of the party.
  • Lose Weapon: Similar to the event mentioned in the Zombie Focus Table, a character (chosen at random) loses access to a weapon of theirs.

Mortzes and Ricksters

Stranger Things wasn’t the only franchise to get the D&D crossover treatment. In the exact same year, we would get a second crossover starter box, this time focusing on the Rick and Morty series. The difference between the two boxed sets are night and day, and that’s going beyond the obvious fact that the two shows are of different tones.

Stranger Things’ Boxed Set gives you a rather cut and paste recreation of the Player’s Handbook from the previous starter box. It’s mini-adventure did a little better at tying to the source material beyond just including the Upside Down and the Demogorgon by including plot elements from the in-universe campaign and piecing together what they think the adventure was.

Rick and Morty, however, has its signature, cynical humor written throughout the entire box as Rick riffs on the normal Player’s Handbook. Obviously, whoever made this knows that there’s already three starter boxes that have a player’s handbook (The first one with the Lost Mine, Stranger Things, and Essentials Kit) and decided “Okay, I doubt anyone’s gonna buy this as their first product in D&D so I might as well have some fun!”

Hell, the writing is so authentically Rick that I’d be surprised if it was one of the writers of the actual show behind the pen. This is made all the more hilarious because instead of just screenshots from the show, the images are drawn comic panels with jokes relevant to the topic they’re attached to. Honestly, it’s worth hunting down a copy just for this alone if you’re a big fan of either Rick and Morty or comedy in general.

Another major difference is that whereas Stranger Things was primarily a short, one-shot adventure not unlike the ones you’d see for D&D Encounters, the Rick and Morty spin-off has an entire dungeon, filled with 40 rooms for the party to explore, making it more akin to something like Dungeon of the Mad Mage than, say, Dragon Heist.

But you want me to get to the part where I play a game and make up a story with the assistance of dice tables that determine yes or no questions and occasionally create plot twists. Well, before we do so, allow me to establish some backstory for these characters since the game, still being written in the humor of Rick and Morty, throws us into a dungeon with nary any detail in contrast to the Stranger Things crossover where we have a bit of backstory as to why we’re hunting the Thessalhydra.

  • Ari Strongbow lost her brother to a raid by Orcs and wants revenge. Her mentor and father figure, Kiir Bravan, sticks with her because he believes she might go down a dark path.
  • Keth Silverson was an orphan who steals everything from everyone. Lyan Amaranthia, instead of arresting him for a bounty, chooses to instead take him in and teach him how to live his best life.
  • Matthias Fabian was a prince of the Fabian Family before a curse placed on him by the Colonel turned his family into mindless barbarians. Matthias survived the bloodbath, but escaped with his mind scathed, now being only known as Meatface.
  • Kiir met up with Lyan and the two pairs became one as Lyan put her faith in the wizard father figure. Ari, while the appearance of Keth reminded her of the raid, also reminded him of her brother and decided to treat him as though he were her brother. Meatface just joined because they were gonna smash heads in.

And now, we can begin. Now, the module gives us a rather elaborate dungeon done in the classic blue and white color scheme commonly associated with old D&D maps. Fun fact: the reason they were blue is to prevent photocopying back then. However, it’s more of a layout. Most of the rooms are vacant appearance wise save for a few that have evocative designs.

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The Voyager Hunts For The Thessalhydra

Happy April, everyone. Today, I’m going to be doing something special. The D&D Adventure I’ll be playing, Hunt for the Thessalhydra, seemed to have been written in a notebook and then published by Hasbro Gaming, presumably cleaning up and digitizing the text that was written into the notebook, though keeping some pretty nice drawings done by someone named “Will the Wise”. The aesthetic is interesting enough for me to play it, so that’s what we’re going to do today.

There’s five premade characters I’ll be using. Let’s get an introduction to them, shall we?

  • Adam, a Half-Elf Wizard who is devoted to a god despite not being a cleric. I would assume that, with Elama, a Wood Elf Cleric, took him in as her own (right down to getting a trait from her known as Mask of the Wild) where they worship the deity known as Naralis Analor.
  • Baggi, a Half-Orc Ranger who has explored the far reaches of the realm with her companion Cadman, a Human Paladin who doubles as a mercenary.
  • And lastly, Dain, who is a Dwarf Bard who just wants to entertain.

This will be an interesting game and the notes from the adventure creator, Mike Wheeler, gives some nice advice about DMing a game. While it’s indicating that these are notes for himself, the way it’s all described, it feels more like the standard advice you’d get from a starter’s box… Strange.

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Biopunk 2040

The normal approach I take when playing my own custom rules is that I translate another game’s rules for the express purpose of either simplifying it or because there was something I could use from the game.

So far, I’ve done this with three games: Scalemail, which was a simplification of Chainmail, Yurei World, which was my attempt at extending After School Curse Club, and lastly Winter’s Duty, which was an expansion of the original game Winter.

However, the game I’m playing today, 2040, was a game I made as part of a game jam and not out of a desire to clone and change up a previous game. It was a sort of challenge that I ended up achieving at and I feel like a good test of the game will work.

One of the charms for the 24XX system is that you can easily generate a character and story at random. In this case, it’ll take a lot of die rolls. But first, allow me to sell you the setting:

The year is 2040. Mankind discovered a means to artificially extend their lives with man-made organs known as Augments. However, with this came the need to monetise and soon, companies made it so that the Augments are on a “pay-per-month” basis and that missing out on a payment will get the organs repossessed, regardless of if they were keeping the person alive.

If you find this familiar, that’s because I based the premise off of Repo Men and Repo! The Genetic Opera, which both involved artificial organs that would get repossessed. The difference is that with this setting, players take the role of people who either went without Augments or actively refused to pay for them. In other words, they’re out of the system and are free agents, which ties into 24XX’s “job of the week” style gameplay, though there is the backdoor for a campaign about taking down the system should the GM decide to expand upon that.

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Star Crossed Lovers

It is Valentine’s Day once more and, as per tradition, I will be playing a romantic RPG. This time, it will be Star Crossed (it’s also on itch.io), a game that… uses… Jenga…

Oh boy.

For those who don’t know, I had experimented with a Jenga-based RPG before, and for reasons stated in that post, I elected to make a system that uses no Jenga tower… to great failure. In hindsight, what I realized was that you need to weight the answers as you would the tower. It’s not likely to fall down if the structure was sturdy.

One idea to handle this problem was to use Tabletop Simulator and use a workshop file that plays Jenga. Problem is that the version I got just had a bunch of towers and if you wanted to make one yourself, you’d have to import the small block one by one.

An easier solution comes from Speak the Sky, which doesn’t sound as easy, as you would need one hundred d6s and remove the ones that rolled ones. However, with the advent of online dice rollers like Roll20 and Foundry (okay, technically they’re more than just that, but still), it’s more or less achievable. There is a snag though. How would one be able to count the 1s?

Thankfully, there’s a solution I have. /roll 100d6>1f1. This will count remove all 1s from the check and tell you how many d6s to roll for the next pull. This is going to be as experimental as the Mythic Dread idea, but I’m willing to put faith in something that has been discussed with tons of line graphs and has its own dice roller programmed in, with thanks going to Max Kämmerer for the latter.

However, for the sake of note taking, I’ll be using Roll20 (since it will keep the information of how many dice that I have left should I put the game on pause for whatever reason) for the time being… Now for everything else.

I’ll be honest, I have no idea what scenario I want to play out with this. Other Valentine’s Day games I had either had pre-set scenarios or, in the rare case, I already had a scenario thought out. This, however, I have nothing. However, I have a few ideas meted out thanks in part to the images and examples.

One of the examples has a relationship between an Imperial Vizier and a Galactic Empress while one of the art pieces has an astronaut hook up with a centaur. This caused an idea to be born in my head: Basically, what if Avatar (the movie, not the cartoon) was more of a space opera mashed up with Lord of the Rings?

The Vizier idea had me think back to the Reylo ship, a pairing between the protagonist of the Star Wars sequel Trilogy, Rey, and her main rival in those movies, Kylo Ren. The idea is that the Lead will be someone akin to a Kylo Ren, assigned to a distant planet to keep an eye on and see if it’s deemed worthy for its induction into the Empire. Said planet is stuck in ye old fantasy times and the representative who would be guiding this guy through the planet is an elf lady.

The problem is that, throughout his stay at the planet, he’s grown attached to his tour guide. The guide, similarly, seems to like his presence a little more than one would have for their tourist. One of the major rules when it comes to judging planets is to avoid any bias. As such, should word go out that the two had a fling, accusations that she slept with him to get a favorable result will flood forth and put both their lives at risk.

So, we now have the reason they’re together, what is pushing them towards each other and why they can’t just make out.

Another two things to finalize is who the “partner” will be as well as implementing the X-Card mechanic. I established this before, so I’ll put my mechanic forward while I’ll use the UNE/BOLD/CRGE system for any interactions with the Lead. The reason I pick this is because the Lead decides how a scene begins and what better scene setter than an Emulator?

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