Podcasts about trophy dark

Die zweite Staffel The Last of Us steht in den Startlöchern – und Marcel & Micha kriechen aus ihren Bunkern, um über ein Genre zu reden, das sie lieben: Post-Apokalypsen im Rollenspiel!

This episode's guest is Jesse Ross, designer of Trophy Dark. Trophy Dark is a narrative game about doomed treasure hunters venturing into a forest that doesn't want them there.I'm a late discoverer of Trophy Dark; I read it just a few months ago, and it radically changed the way I see and play RPGs. The book delivers such a strong and consistent gameplay experience with a very simple mechanical architecture. You know I like horror RPGs, and Trophy Dark, in a way, is a medieval fantasy forest horror game. It's unique and beautifully designed, with a mesmerizing quality and a set of mechanics that allow for amazing gameplay to emerge.In this episode, we'll talk about a dragonfly invasion, things Jesse sees in the dark, coping with hubris, and how to build a truly meaningful collaborative gameplay experience.Jesse's websitewww.jesseross.comTrophy Darkwww.trophyrpg.comRooted in crisis website and Kickstarter pagewww.rootedincrisis.comwww.kickstarter.com/projects/jesseross/rooted-in-crisisStorewww.thelostbaystudio.comNewsletterwww..thelostbaystudio.substack.com/subscribe?Follow the The Lost Bay Podcastwww.bsky.app/profile/thelostbaystudio.comwww.instagram.com/thelostbaystudio/Produced by IkoEditing Laura ElleMusic Avery Isles

In dieser Folge von Talk to Play tauchen Marcel und Micha kopfüber in den finsteren Abgrund von Trophy Dark – einem Rollenspiel, das eure Charaktere mit Haut und Haar verschlingt.

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Jesse and Matty play Trophy Dark and live to tell the tale! Trophy Dark is a collaborative storytelling game about a group of treasure-hunters on a doomed expedition into a forest that doesn't want them there.Get Trophy Dark: https://trophyrpg.comMusic by Karl Casey @ White Bat Audio Logos by Shannon Sipes thedigsy.myportfolio.com/work

Content Warning: Like the story this game is based off of, this game will feature heavy themes of child abuse. Listener discretion is advised.The travelers to Omelas have started to realize the nature of the famed city, and that their plans to take in its prosperity are not so simple. What depths, what limits, will they have to go to to Walk Away from Omelas on top?This one shot is heavily based on the Hugo Award winning short story The Ones Who Walk Away from Omelas by Ursula K. Le Guin. It is advised if you're unfamiliar with the story to read it first. It is fairly brief. While we are sure it might be possible to find a copy of it online, it is also available in ebook and book form, with links from the official website for Le Guin, and from your local library. The story was collected in The Wind's Twelve Quarters.Ethan - GMBen - Mahara (They/Them), Spider, Opportunistic Graverobber. They seek to establish an estate in the countryside.Dan - Toron (He/Him), Merchant, (former) Oppressed Laborer. They seek to buy their brother's freedom from prison.

Content Warning: Like the story this game is based off of, this game will feature heavy themes of child abuse. Listener discretion is advised.Two people are traveling to Omelas, thinking they will be able to harness the power and wealth of Omelas. However, Omelas' prosperity is due to the immense suffering of a child. The world will not bring about the desires of our protagonists, but maybe this city and this child can...This one shot is heavily based on the Hugo Award winning short story The Ones Who Walk Away from Omelas by Ursula K. Le Guin. It is advised if you're unfamiliar with the story to read it first. It is fairly brief. While we are sure it might be possible to find a copy of it online, it is also available in ebook and book form, with links from the official website for Le Guin, and from your local library. The story was collected in The Wind's Twelve Quarters.Ethan - GMBen - Mahara (They/Them), Spider, Opportunistic Graverobber. They seek to establish an estate in the countryside.Dan - Toron (He/Him), Merchant, (former) Oppressed Laborer. They seek to buy their brother's freedom from prison.

The boys review Trophy Dark by Jesse Ross, Aaron Burkett, Alexi Sargeant, Blaine Moore, Brian Sago, David Morrison, Gabriel Robinson, Ira Grace, Jim Crocker, Leandro Pondoc, Ludovico Alves, Luiz Paulo Ferraz, Madeleine Ember, Michael Van Vleet, Mike Martens, Noora Rose, and Sabine V.WHAT IS TROPHY DARK?Trophy Dark is a collaborative storytelling game about a group of treasure-hunters on a doomed expedition into a forest that doesn't want them there.Get Trophy Dark: https://trophyrpg.comMusic: Exhale By Jeremy BlakeLogos by Shannon Sipes thedigsy.myportfolio.com/work

On episode 8 of SideQuests, we play ⁠

On episode 7 of SideQuests, we play

Show notesThis week Fiona and ever-returning guest cohost Rob read through 'Trophy Gold', a roleplaying game about a group of treasure-hunters entering the haunted and forgotten places of the world.The game tells the story of the treasure-hunters' obsessive drive to seek ever greater riches in a desperate bid to stay alive. 'Trophy Gold' takes the collaborative, push-your-luck rules and rolls of its sister game, Trophy Dark, and blends them with the survive-by-your-wits mentality of old school fantasy games. Instead of the ever-increasing power that comes with leveling up found in other games, treasure-hunters in Trophy Gold remain fragile, meaning death is always just one bad roll away.RPG discussed: Trophy Gold published by The Gauntlet, July 2022.Consider using our affiliate link when using DM's Guild!#SupportyourFLGSCredits The DM's Book Club is hosted, recorded, edited, and produced by Fiona Howat (@WAIR_Podcast) and Hamilton (@TheDragonDM). The DM's Book Club Logo was designed by Sam Robins (@Bobhatstand).The theme music is 'The Story Unfolds' by Jingle Punks.Get in touch!Email: TheDMsBookClub@gmail.comTwitter: @TheDMsBookClubLinktr.ee: DMBC#DMsBookClub

CW: The scenario's content warnings include themes of body horror, cannibalism, graphic violence, harm to animals, manipulation, slavery, and torture, and our run includes sexuality, power imbalances, and familial trauma. Listener discretion is advised.Two adventurers make it to the edge of the forest of the Fae. Whispers tell of the Queen offering a wish to those who can make it to her court. But, what horrors must they face, and sacrifices must they make, to even get close to her throne...?Throne of the Forest Queen is written by David Morrison, and is available in the core book for Trophy Dark. It is available for PDF on DriveThruRPG, and physically through Studio 2.Ben - GMDan - Odell, SpiderGreg - Talia, Blacksmith

Trophy Dark es un juego de fantasía oscura, de The Hills Press, donde los personajes toman el papel de buscadores de tesoros que se adentran en el peligroso bosque de Kalduhr y del que muy pocos consiguen salir, al menos de una pieza. Talia y Desarim hacen una incursión a una sima de Kalduhr, algunos para saldar deudas y otros para buscar su lugar en el mundo, aunque todas las leyendas hablan sobre el lugar pero ninguna relata que haya ningún superviviente.·Trophy Dark: https://www.thehillspress.es/producto/trophy-dark/·Talia (Eli): https://twitter.com/aldery·Desarim (Adrián): https://twitter.com/InTheMood4Rollhttps://www.twitch.tv/inthemoodforroll

TROPHY DARK is an incursion into the living, malicious forests of Kalduhr (or perhaps another environment, similarly bewitched)... an incursion from which the players, as treasure hunters, are doomed emerge broken, or not at all. This incursion is called WITCHWOOD.

Hello hello! Today I've got for you another between-season bonus episode. This time we're breaking format to talk about i know the end, a module I published earlier this year about going back home after a long time away and all the horrors that entails. Because if you can't occasionally publish something self-indulgent in your podcast feed, what's even the point of having one?My cohost for this is my friend Nico MacDougall, the current organizer of The Awards, who edited i know the end and had almost as much to say about it as I did.For maximum understanding of this episode, you can pick up a free copy of the module here and follow along (or skim it in advance).Further reading:The original i know the end cover artThe “oops all PBTA moves” version of i know the endThree of my short filmsMy previous written designer commentaries on Space Train Space Heist and CouriersJohn Harper talking with Andrew Gillis about the origins of Blades in the DarkThe official designer commentary podcasts for Spire and HeartAaron Lim's An Altogether Different River, which comes with a designer commentary versionCamera Lucida by Roland Barthes, a photography theory book that we talked about during recording but which I later cut because I remembered most of the details about it incorrectlyWhat Is Risograph Printing, another topic cut from the final recording because I got basically everything about it wrong while recording (the background texture of the module is a risograph printed texture)Before Sunrise by Richard LinklaterQuestionable Content by Jeph JacquesSocials:Nico's carrd page, which includes links to their socials, editing rates, and The Awards.Sam on Bluesky, Twitter, dice.camp, and itch.The Dice Exploder logo was designed by sporgory, and our theme song is Sunset Bridge by Purely Grey.Join the Dice Exploder Discord to talk about the show!Transcript:Sam: Hello and welcome to Dice Exploder. Normally each week we take a tabletop RPG mechanic, bait our lines with it, and cast them out to see, to see what we can catch. But you hear that different intro music? That means this episode I'm doing something much more self indulgent, a designer commentary on a module I released earlier this year called I Know the End.And just a heads up here at the top, to get the most out of this, you probably want to have at least read through the module in question before, or as, you're listening. I threw a bunch of free copies up on itch for exactly this purpose, so feel free to go run and grab one. I'll wait.Anyway, I love designer commentaries. You can find a few of my old written ones, as well as links to a few of my favorites from other people, in the show notes. But I wanted to try releasing one as a podcast, because one, that sounds fun, and two, what's the point of having a podcast feed if you can't be ridiculously self indulgent in it on occasion?And I picked I Know The End to talk about because it is... weird. I don't know. It's weird. I describe it on itch as a short scenario about returning home and all the horrors that entails. But you'll hear us take issue with, I don't know, maybe every word in that sentence over the course of this commentary. It was a strange experience to make this thing, and I figured that might be interesting to hear about.It was also the first time I ever worked with an editor Nico MacDougall my friend and the organizer behind The Awards since 2023. Nico was excellent to work with and you can find their rates and such in the show notes and they are with me today to talk through this thing in excruciating detail as you probably noticed from the runtime we had a lot to say. Definitely contracted two guys on a podcast disease. Anyway, I hope you enjoy this. But regardless, I'd love to hear what you think of it. Should I do more? Never again? Want to organize the Dice Exploder Game Jam we mused about doing at the end of this? Hit me up! I'd love to hear from you. And now, here is myself, I guess, and Nico MacDougall, with a full designer's commentary on I Know The End.Nico: Well, Sam, thanks for being here on your podcast to discuss your... adventure.Sam: You're welcome.Nico: Yes.Sam: for having me.Nico: Very first question is adventure: is that really, like, the right term for this?Sam: Are we really starting here? Like, I, I don't know. I, I feel like I got, I really went into this thing with true intentions to write a proper module, you know? Like I was thinking about OSR style play for like the first time in my life, and like, we were both coming out of the awards 2022 judging, and a lot of the submissions for 2022 the Awards were modules. I thought that was great but it really was sort of like opening the floodgates of this style of play that I knew basically nothing about. And, at the same time that we were reading through all 200 submissions for the awards, I was also reading Marcia B's list of 100 OSR blog posts of some influence.And so I was really drinking from the fire hose of this style of play, and also, I wasn't playing any of it. Like, I was experimenting with Trophy Gold a little bit, which is this story game that is designed to try to play OSR modules and dungeons as, like, a story game kind of experience. And I was kind of figuring out how it works and like how I wanted to run it and how to make it go And Joe DeSimone, who was running the awards at the time was just encouraging everyone to make weirder shit and like, that was his ethos and those were the people that he got to submit to the awards. Like, it was just the weirdest stuff that I had ever read in the RPG space and... That's probably a lie. There's some weird stuff out there.It was just like so much weird stuff. It was like stuff on the bleeding edge of a whole side of the hobby that I didn't participate in in the first place. My intro to this part of the hobby was the bleeding edge of it. And I was like, alright, I, I just wanna make something there, I wanna try playing around there and see what happens.And Joe tweeted out the tweet was like, Now we're all making modules based on songs that make us cry. And I was listening to the Phoebe Bridgers album Punisher on loop at the time to inspire a screenplay I was working on. And the last track is called I Know the End, and just ends with this, primal scream.And it was, it was a hard fall for me, at the time. And the primal scream felt really cathartic. And I was spending a lot of time in the, small town where I grew up. And, this horror monster idea of a town that is, itself, an entity and like is a whole monster, and like, what does that mean exactly? I don't know, but intuitively, I like, understand it, and we're just gonna kind of drive... towards my intuitive understanding of what this thing is supposed to be. I just decided to do that and see what happened. And did that give us an adventure in the end? I don't know. Did that give us a 32 page long bestiary entry in the form of a module? Like, that sounds closer to right to me, but also, taxonomies are a lie and foolish anyways.I don't know, I made a weird thing, here it is. Nico: Yeah. So I was scrolling back in our, in our conversation to where you first shared this with me, and I... I would like to share with the audience the text that accompanied it. It was the Google Doc, and then it said, This might be completely unplayable, it might actually be a short story, or, like, a movie, but I'm gonna publish it anyway, and, you know... If that isn't exactly it, like...Sam: Yeah I like that stuff. I don't know, another thing I've been thinking about a lot this fall is writing by stream of consciousness. Like, I realized that I don't have a lot of confidence in any of my work that I feel like I created quickly. Like, the RPG thing I'm most well known for, I think, is Doskvol Breathes, which I just pumped out in an afternoon. It was just a thought that I had on a whim about how you might play blades in the dark maybe. And I finished it and then I released it and people were like, this is amazing. And I still get complimented on it all the time. I'm still really proud of it, but it, I don't have any confidence in it because it came so quickly.And, like, I know that this is something I need to, like, talk about in therapy, you know, about, like, It's not real art unless I worked on it for six months straight, like, really worked my ass off. But this process, I sort of looked back over my career as a screenwriter, as a short filmmaker, as a game designer, and started realizing just how many of my favorite things that I've made came from exactly that process of the whole idea kind of coming together all at once in like one sitting. And even if it then took like a bunch of months of like refining like it's wild to me How much of my favorite work was created by following my intuition, and then just leaving it be afterwards.Nico: Yeah, I actually did want to ask about the similarity between your, like, process for TTRPG design versus screenwriting, cause... While I have read, you know, edited this, but also, like, read your your game design work and know relatively well your thoughts on, like, you know, just game design sort of theory and stuff in general, I have never read any, like, screenwriting stuff that you've done. Although, lord knows I hope to see it someday. Sam: Well, listen, if anyone listening to this wants to read my screenplays, I'm on Discord. You can find me and I'll happily share them all. My old short films are largely available on the internet, too. You know, maybe I'll link a couple in the show notes.Nico: oh yeah,Sam: But I I think of my process for screenwriting as really, really structural.Like, I, I'm a person who really came out of needing a plot and needing to know what happens in a story, and to really especially need to know the ending of a story so I know kind of what I'm going towards as I'm writing the thing. I outline like really extensively before I write feature or a pilot, like there's so much planning you have to do, I think it is really, really hard to write any kind of screenplay and not have to revise it over and over and over again, or at least like plan really carefully ahead of time and like really think about all the details, revise a lot, run it by a lot of people for feedback over and over. But especially for me that, that having an ending, like a target in mind when I'm writing is so important. I just don't know how to do it without that.Except occasionally when I get some sort of idea like this one where I have a feeling of vibe and I just start writing that thing and then eventually it's done. And I, I've never had that happen for a feature film screenplay or like a TV pilot kind of screenplay.But I have had a couple of short films come together that way where I don't know what the thing is, I just know what I am writing right now, and then it's done, and then I go make it. And I I don't know why that happens sometimes. Nico: Yeah, I mean I would imagine length plays a factor in it, right? Like a short film, or, I mean, gosh, how many pages did I know the end, end, end up being? Sam: 36. Nico: But I find that really fascinating that, too, that you say that when you're screenwriting, you have to have it really structural, really outlined, an end specifically in mind, when, to me, that almost feels like, well, not the outlining part, but having an end in mind feels almost antithetical to even the idea of, like, game design, or, I guess, TTRPG design, right?Even the most sort of relatively pre structured, Eat the Reich, Yazeeba's Bed and Breakfast, like, Lady Blackbird games, where the characters are pretty well defined before any human player starts interacting with them, you can never know how it's going to end. And it's kind of almost against the idea of the game or the, the sort of art form as a whole to really know that.Even games that are play to lose, like, there are many games now where it's like, you will die at the end. And it's like, okay, but like, that's not really the actual end. Like, sure, it's technically the end, but it's like, we have no idea what's gonna be the moment right before that, or the moment before that. As opposed to screenwriting Sam: yeah, it's a, it's a really different medium. I still think my need to have a target in mind is something that is really true about my game design process too.Like the other game that I'm well known for, well known for being relative here, but is Space Train Space Heist, where I was like, I have a very clear goal, I want to run a Blades in the Dark as a one shot at Games on Demand in a two hour slot. And Blades in the Dark is not a game that is built to do that well, so I want to make a game that is built to do that well, but like, captures everything about the one shot Blades in the Dark experience that I think is good and fun .And that may not be a sort of thematic statement kind of ending, like that's what I'm kind of looking for when I'm writing a screenplay, but that is a clear goal for a design of a game.Nico: Yeah. even In the context of I know the end, and to start talking a little bit about my role in this as well, as, as the editor, I think the point of view, the vibe, the, like, desired sort of aesthetic end point Was very clear from the start, from the jump. And I think that in many ways sort of substitutes for knowing the end of the story in your screenwriting process.So that really helped when I was editing it by focusing on like, okay, here's the pitch. How can I help sort of whittle it down or enhance it or change stuff in order to help realize that goal.And sometimes it kind of surprises me even, like, how much my games shift and change as they reach that goal. Like, sometimes you can, like, look back at old versions of it, and you're like, wow, so little of this is still present. But, like, you can see the throughline, very sort of Ship of Theseus, right? Like, you're like, wow, everything has been replaced, and yet, it's, like, still the thing that I wanted to end up at.Sam: Yeah, another thing that is, I think, more true of my screenwriting process than my game design process is how very common that in the middle of the process I will have to step back and take stock of what was I trying to do again? Like, what was my original goal? I've gotten all these notes from a lot of different people and, like, I've done a lot of work and I've found stuff that I like.And what was I trying to do? Like, I have, all this material on the table now, I have, like, clay on the wheel, and, like, I just gotta step back and take a break and refocus on, like, what are we trying to do. I Think it's really important to be able to do that in any creative process.To Tie together a couple of threads that we've talked about here, talked at the beginning of this about how much this felt like a stream of consciousness project for me, that I really just like, dumped this out and then like, let it rip.But also, I mean, this was my first time working with an editor, and I think you did a lot of work on this to make it way better, like really polish it up and make those edges the kind of pointy that they wanted to be, that this game really called for. And that makes this, in some ways, both a really unstructured process for me, and then a really structured process, and... I don't know what to make of that. I think there's something cool about having both of those components involved in a process. Nico: Yeah, it is. I I very much agree that like, yeah, most of my sort of design stuff have, has proceeded very much the same way of just kind of like sporadically working on it, changing stuff, like revamping it, whatever. And it's like, it's sort of, yeah, in a constant state of fluxx up until the moment where I'm like, okay, I guess it's done now.What I was gonna say, I was gonna jump back just a point or two which is you mentioned Clayton Notestein's Explorer's Design Jam. And I was curious, like, what was your experience, like, using that design template? Sam: Yeah I really enjoyed it, I really had a good time with it. I had already gotten really comfortable with InDesign just teaching myself during lockdown. Like, that's what I did for 2020, was I, like, laid out a bunch of games myself and they all looked like shit, but they all taught me how to use InDesign as a program.And I think templates are really, really valuable. Like it's so much easier to reconfigure the guts of another template than it is to create something from scratch.And I like Clayton's template. I think it's nice and clean. I think you can see in all the publications that have come out using Clayton's template, how recognizable it is. How little most people stray from the bones of it, and on the one hand, I think it's amazing that you can just use the template and go really quickly and like, get something out.And also I just want to push on it a little bit more. I want something, like the template is designed to be a template. It is not a suit tailored to whatever your particular project is. But also, I think if I had tried to lay this out without a template, it would look substantially worse, and there are a few notable breaks here and there that I, you know, I enjoyed experimenting with. I like the use of the comments column for little artwork. I think that was a nice little innovation that I added.And, you know, I didn't write this originally to have that sort of commentary column as a part of it. Like, all of the text was just in the main body of it. And I like the way it turned out to have that sort of, like, director's commentary thing hanging out in the wings. lot of people have talked about how much they like that in Clayton's template. so I, I don't know, like I, think that on the one hand a template really opens up a lot of possibilities for a lot of people and really opened up a lot of possibilities for me, and on the other hand I do still look at it and I see the template And I'm like, I hope this doesn't look too much like every other person whoNico: Right, right. I mean, that is definitely the difficulty of providing those kinds of tools, because like, it makes it very easy to make things especially if you're sort of just getting started, or if you don't have a lot of confidence or familiarity with it inDesign or anything like that. But ultimately, I feel like Clayton himself would say that the Explorer's Design Template is not intended to be, like, the final template, right? It's intended to be, like, a tool that you can use to varying effects, right?Yeah, I was thinking about it when I was going through this earlier, and I was like, Oh, yeah, like, you only use the comments, column a few times, and then I literally only realized maybe five minutes before you said it, I was like, oh, wait, all the little artwork is also in that little column thing, like you just said, and I was like, oh, that's like, that's actually a really cool way to use the template, because that space is already provided if you include that column, but just because you have the column that's, you know, quote unquote, intended for commentary, doesn't mean you have to use it for commentary, doesn't mean you have to put text in there.Sam: Yeah, you definitely like learn a lot of stuff about the guts of the thing as you start playing with it.Nico: Yeah. is probably getting on the level of, like, pretty pointless, sort of what ifs, but I'm curious... If Clayton hadn't done the Explorer's Design Template Jam, or if you had, for whatever reason, like, not been inspired to use that as the impetus to, like, make this and get it edited and laid out and published or whatever, like, Do you think you still would have tried to use that template, or would you have just tried to lay it out yourself, like you've done in the past?Sam: Honestly, I think without the jam this wouldn't exist. I have like a long to do list of things at any given time, like creative projects I wanna on, youNico: Oh, yeah,Sam: know? And the thing that brought this to the top of that to do list was just wanting to have something to submit into that jam. You know, I wanted to work with you as an editor. I Always want to clear something off the to do list. I always want to have some kind of creative project. And, I wanted to submit something to that jam, but I think if you took any one of those away, I might not have put the thing out at all. Nico: Yeah, that's really interesting. But I guess that's also, again, kind of what a good template or layout or just tool in general can help is actually get these things made. Sam: That's what a good jam can do, too, right? I mean, there's a reason the Golden Cobra contest is something that I love. It's like 40 new LARPs every year and they only exist because the Golden Cobra is throwing down the gauntlet.Nico: That's very true. Well, maybe it's time to move along to more practical concerns Sam: Maybe it's time to do the actual commentary part of this episodeWe've done the waxing philosophical part, butNico: we, yeah, checked off that Dice Exploder box. Now it's time to do the actual game talk.Sam: your bingo cards Nico: Yeah, Sam: Yeah, so let's start with the cover.Nico: Yes, the cover, which I only realized it was a teeth, that it was a mouth with teeth open when you said in the outline, ah yes, it's a mouth with teeth. And I looked at it and I was like... Oh my god, it is. Like,Sam: I did my job so well. I wanted it to be subtle, but I always like looked at it and was like it's so obviously teeth, I'm never gonna get this subtle enough. But I'm I'm glad to hear that I succeeded.Nico: I truly don't know what I thought it was before, but it definitely wasn't teeth.Sam: Yeah. Well, it started as I'll share this in the show notes. It started as this image. It was like a 6x9 layout, and, the teeth were still there, and it was like, all black, and the teeth were this much wider, gaping maw, like, inhuman, unhinged jaw kind of situation. And then, in the middle of it, was a, like, live laugh love kind of Airbnb sign with I Know The End on it. It was like the mouth, like, eating the sign.And I liked that. I felt like, the problem with that was that... As much as creepy, live, laugh, love sign is kind of the like, vibe of this, I didn't really want to bring in the like, kitsch of that at all, like, I felt like that kitschiness would hang over the whole thing if I made it the cover, and I mean, this whole thing is just about my own personal emotional repression, right? And my feelings about my small town that I'm from, andabout like, my ambition, and, exactly, yeah.But I, I write a lot, and I make a lot of art about emotional repression , and I think the particular vibe of this game's repression doesn't have space for irony, or satire, or like, Do you wanna live, laugh, love? Like, I don't know how else to put it. Like, it just felt really wrong.It was like, if you put that into the space at all, it's gonna curdle the whole feeling. Nico: it's about the framing of it. I, know that Spencer Campbell of Gila RPGs has written something about this on his blog. I don't remember specifically what the context is, but he's a psychologist by training and is talking about how, like, the way that you frame something matters a lot to how people respond to it, right?So you like, if you're framing it as like, oh, you have, twelve things and I take away six from you, versus like, oh, you have nothing and then you are given six things. It's like, both scenarios, you like, end up with six but Sam: One feels like a letdown and one feels great. Yeah,Nico: yeah, and so I think in his article he was talking about in the, yeah, you know, tying that into the game design context, obviously.And I think it matches here where like, sort of runs the risk of like, priming people to expect kitsch, and I don't think that that's really present in the rest of the game. And that kind of mismatched expectations could really, like, lead to some problems when people are trying to, like, play the game.Sam: Yeah, absolutely. Yeah, I mean this cover is just kind of like, oh. Like, it doesn't it doesn't really tell you much other than just like there's something back there that's maybe vaguely menacing, and that's kind of it. That's kind of Nico: Yeah.Sam: Alright, speaking of which can we, can we talk about my favorite interaction between the two of us as we were working on this?Nico: Oh, yeah, I was not sure how to bring that up. yes, please do. Now that we're moving on to... For everyone following along at home, we are proceeding to the credits page.Sam: The comment I got from you while you were editing this was, IDK if it would look different in print, but having the text so close to the edge of the page is activating my fight or flight response. And I just replied, working as intended.Nico: It yeah, I had the feeling, I think, even when I sent that, I was like, this, this is not like an accident. Like, like, like no one makes this like no one does this by accident. But, yes, truly, I hope that you are following along at home because I believe that Sam generously gave a whole bunch of community copies of this game, or made them available. Sam: I believe it was 42, 069 I'm usually doing some number like that. This game, I might have done a different number, but that's, the other games that I've done.Nico: So, but the text on this, for credits page specifically, it's truly, like, at the edge of the page. Like, it looks like it could be cut off. It's like, in print, it would be like, cut off by the process of actually like, making it. In fact, feels like if you try to send it to a printer, they could almost send it back and be like, you've gotta give us some space there. Like, you simply can't do that. There needs to be a gutter, or bleed, or whatever the term is. Like, Sam: I love it. maybe one day I will print this. Honestly, like if I become a super famous game designer or something, like, this is one of the ones that I Nico: screen, slash screenwriter.Sam: yeah, yeah. This is one of the ones I'd like to go back and hold in my hand, but I also I don't know, I just love it. I, I love designing for digital as, like, a primary thing, because I just feel like most people who play the thing are gonna play it out of digital.And I don't know if that's, like, the primary audience for a lot of modules. Like, I think there are a ton of people out there who just, like, buy the zine and hold the zine in their hand and probably never get around to playing it. But I, I love the digital. I've always loved the digital. I don't know, I just like making for it.Nico: Well I mean I was even thinking about it in the context of like, you know, how you talked about how you changed the aspect ratio, I was like thinking about that and I was like, I mean, it's not like that would be impossible to print, but like, most standard commercial printers operate in like, one of the more standard like, page sizes. Even the risograph you said is what it's called, right?Sam: The, the RISO. Yeah, I don't know if it's Rizzo or RISO, but I'm gonna sayNico: The RISO background also makes the, again, just from like a fully practical point of view, it's like you're adding color to the whole thing,Like there are many potential barriers to this as like a physical product that would, that are simply not there when you're designing for digital, so like, it is nice to have that sort of freedom, like, when you're thinking about how to lay this out or, or put stuff on here, it's like, you're freed from a lot of those practical considerations.Sam: There's a few other details I want to talk about on this page just kind of like references I'm making that are not obvious.So the first is that the header font and title font of I Know The End is a font that I ripped from Lilancholy, which is this amazing book by Snow, which is ostensibly a game, but but also a reflection on childhood and personal relationship to emotions and trauma.And I love the look of the font, but I also intentionally wanted to reference that game while I was making something that felt really personal in a similar vein. And another another reference here is that the color of the whole game, like this red, is pulled from the cover art for the Phoebe Bridgers album Punisher that I know the end is off of. I, I just found the, like, most saturated red pixel that I could on the album and was like, that's the color! I love hiding little references in every little detail that I can. Nico: Yeah, it's so interesting because I did not know any of that, you know, prior to this conversation or seeing that stuff on the outline. What did you sort of hope to achieve with those references, right? Because I can't imagine that you're plan was like, for someone to look at it and be like, oh my god, that's the Lilancholy font, and that's the Phoebe Bridgers album Sam: that's one pixel from that album cover.Yeah.What am I trying to achieve? I don't know, like there's, so the Paul Thomas Anderson movie Phantom Thread Is an amazing movie, and it's about Daniel Day Lewis being incredibly serious, scary Daniel Day Lewis, making dresses, being a tailor, and an element of the movie is that he hides his initials inside the dresses, like, when he's making them, he, like, sews his initials in.And that's a real thing that, that people did, and maybe it's just for him. It's also kind of an arrogant thing to do, you know, that all these, like, women are gonna be walking around wearing these dresses with, like, his initials kind of, like, carved, it's like this power thing. But my favorite part of it is that Phantom Thread is PT, also known as Paul Thomas Anderson.Nico: Ha Sam: And, like, like, I, I just feel like when you're doing that kind of thing, it's just, what an act, it's just so beautiful and arrogant and satisfying. Like I think doing that kind of little reference and joke for myself brings me into the mindset of what I am trying to convey with the game.Like, if I'm thinking in the detail of the font selection, what do I want to reference? What do I want to bring to this game? Then, I'm gonna be I'm gonna be thinking about that in every other choice I'm making for the game, too. And even if half of those choices end up being just for me, I will have been in the headspace to make the other half that are for everyone else, too.Nico: Mm hmm. Yeah. Yeah. like, You could almost even call these, like, Easter eggs, right?But it also made me think about, I had to look this up actually as you were talking, because I was like, about that, the CalArts classroom number that like all of the animators that studied there fit into like Pixar movies and stuff, like, A113, A113. And I think that's also sort of a good example of it in some ways, because it's like now, with the advent of the internet, and you know, and a certain way of engaging with media, like, everyone knows what that, what that means now, or they could if they just looked it up, or they just see some BuzzFeed, you know, article that's like, you know, 50 easter eggs that you missed in the latest Pixar movie.But yeah, it's like, it's very interesting because it kind of asks who is the movie for? What's the intended or imagined audience for all of these things? And it sort of shows that, like, you can have multiple audiences or multiple levels of engagement with the same audience, like, at the same time. Maybe, I would say, it's very unlikely that any random person would just like, look at the cover of I Know The End and be like, oh, that's the Lilancholy font, but,Sam: I have had someone say that to me, though. Yeah.Nico: but, so, what I was just gonna say is like, but I don't think it's hard to imagine that like, the type of person who would, who would buy, who would be interested in I Know The End or Lilancholy, I think there's a pretty decent chance that they would be interested in the other if they're interested in one of them, right?And so it is interesting as well, where it's like, I am often surprised by like the ability of people to sort of interpret or decipher things that far outweighs my sort of expectations of their ability to do so.If only just because I have the arrogance to be like, well no one could ever have a mind like mine. Like, no one could ever think in the specific bizarre way that I do. Then it's like actually a surprising number of people think in a very similar way. Sam: Another thing I think about with making these really, really tiny references, easter eggs, it's the, not making a decision is making a decision, right? CentrismNico: Oh,Sam: Like, if you have literally anything that you have not made a choice about with intention, that is a missed opportunity, I think.And... I have so much respect for people who will just pump something out, like, write a page of a game and, like, upload as a DocX to itch. Like, Aaron King is a genius, and I know a lot of games that are put out that way, and I love that stuff. But for me, like, the kind of art creation process that I enjoy and like doing is so based on finding meaning in every crevice, finding a way to express yourself in every detail. just love doing it.Nico: you are the English teacher that the, the curtains are blue meme is referencing, in fact.Sam: Yes.Nico: The curtains are blue in I Know The End because,Sam: Well, and I know the end they are red, but Nico: yes.Imagine that being the new version of the meme: the curtains in this are red because there's a Phoebe Bridgers album that has a single pixel that is that color.Sam: Yeah, I don't know. It's true, though.Nico: Exactly. it is in fact true. But so would, in some ways, any other interpretation of...Sam: Yeah.Nico: of the red color, right? It's like you picked it because of the association with the album cover. Someone else could be like, Oh, it means this otherthing. And like that interpretation is correct. Sam: Yeah, I mean, I also picked it because of its association with blood, you know, like I, I wanted to kind of evoke that feeling too, so.Shall we do the table of contents? HehNico: Yeah, absolutely. I mean, I think the most interesting thing to talk about, and I want to know when this entered the sort of the design process, is the blacked out Table of Contents entry which corresponds to an almost entirely blacked out, or in this case, redded out,Sam: Yeah, Nico: messily redacted,part of, the book,Sam: Yeah, I think this was always there, I think I started writing a list of locations very early on, and on that list of locations was, like, I work in Google Docs to begin with for most of my stuff, and it was a bullet pointed numbered list, and the last list item was struck through, and it was your mom's house.And I just thought that was a funny little joke. It's like really dark? Another, just like a little detail, I have such a great relationship with my parents. Like really just a better relationship with my parents than anyone I know. And, so much of my art ends up with these like, really bad, fucked up relationships with parents, and I don't know what that's about.But, there's, there's something about, there's a piece of your hometown that is like so traumatic that you can't bring yourself to look at it. There's a piece of yourself, or your childhood, or like, where you came up, there's something from your origin story that you can't bear to face is a lot of what this is about. And even as the climax of this thing is I think in a lot of ways turning to face everything that you left behind.I mean the whole module is about that but I think fact that even when you are doing that, there's one piece of it that you can't bear to look at is really tragic and a mood to me. You know, it really felt right. Nico: it's sort of like, yeah, I'm finally gonna stand my ground and face my fear, or whatever, except for that thing. That thing, that part over there, for whatever reason, because I'm actually just very afraid of it. It really, as always, is sort of like the exceptions to the rule make the rule, or emphasize the rule. You're kind of carving out the negative space around it. And it makes it clearer in so. so Well, Yeah, so like, then the first thing of the game text itself, so to speak, is like the front and back of a postcard. And where's the picture from? It looks kind of old timey in a sort of non specific way.Sam: It's from Wikimedia Commons, I believe. I was looking for pictures of old postcards, and I wanted a small town, and, this is what I found.The postcard image is actually like a hell of a photo bash too. The stamp on it is from a real postcard I received from my cousin. The handwriting was me on just like a piece of paper that I scanned, and then the postcard is another like open source postcard image.Nico: Yeah. I am, once again, sort of showing, showing a lot of my bias here. I am often kind of against a lot of little, like, accessories, or sort of, like, physical things that are often part of crowdfunding, like, stretch goals, you know, like, it's, I don't know. I don't think it's, like, ontologically evil or anything like that, it's just, I understand, it's part of the reality of crowdfunding, and, like, attracting attention, and yada yada yada, I just personally don't love that reality. Which, of course, is easy to criticize when you're not part of a project is trying to do that, but that aside, I think it would actually genuinely be very cool to have, like, this postcard as, like, a physical object like, if the game were to be printed.Sam: You gonna make me like, handwrite every one of the postcards too? Cause that isNico: I did not say that. Oh, is that really? Well, but then, then you have it already, you can just print it off, like, or you make that the, like, I don't know, the hundred dollar stretch goal, you know, they back it at that level and then the postcard just appears inside their mailbox. Like,Sam: That wa that is creepy. I will tell you that,Nico: You say that as though it's happened to you before. You're like, well, let meSam: well, I'm not, I, I revealing nothing. How autobiographical is this? Nico: Yeah. so I guess, yeah, so getting, So this is the introduction page, the background, the introduction, giving the context to what this module, extended bestiary, what have you, what it is. My question here from a sort of meta perspective is like, how much are you trying to sort of give away at the start of this? How do you pitch this to , like to someone you know?Sam: that's a great question. I'm pretty proud of the execution here. I think I do a good job of, like, leaving some juicy hints here as to what might be going on without giving anything away. Like, the fact that I advertise this as maybe closer to a bestiary entry than a module, like, uh, what? Like, like you, you have an idea of what that means, but also like, where's the monster, what is the thing that I'm looking like, that is kind of planted in your mind in a way that I think is intriguing and sets expectations without giving the whole thing away.And, also, this is just me, like, trying to figure out how to describe this thing in real time as I'm writing. It really came from intuition. Nico: yeah. I know that, you know you're on, very much on record talking about how, you know, like, taxonomy is fake and, you know, et cetera, et cetera. Sam: As much as I love it.Nico: right, right, exactly, I mean, I feel the same way, but I, I am curious as to like if you were trying to sell someone on the idea of even just playing this game, like, how effective do you think it is of like communicating whatever this is, you know, like, is it effective to say it's kind of this, or it's not this, or maybe it's this, like, Sam: I think this is going to be really good at reaching the kind of person who will love this, and really bad at selling this to like a mass audience, you know? But luckily, I'm not trying to sell this to a mass audience. I'm like trying to make Joe Dissimone proud, you know? Like I'm trying to make like something as weird as fucking possible.and I think there's a kind of person who really appreciates that and this struggle to define what this is using existing terminology, I think is going to really appeal to the people who like this.Nico: yeah, I agree, I think it signposts well hey, you, there, like, look at this thing. Isn't that interesting. And if they're like, If they're like, no, that's confusing and I don't know what to do with it, and they go somewhere else, in some ways, it could be argued that that is like, working as intended, right, likeSam: I kind of find it interesting in the sidebar here to watch me sort of like struggle with how you're supposed to play this game, like what rule system are you supposed to use?I do think with some distance from this, the best way to experience this is as a solo game. Like to just read the thing but pause and journal about your character's experience as you sort of walk through it. I have started playing more solo games since I wrote this in preparation for a Season 3 episode of the show, and I think this would serve that experience really well.I considered even, like, rewriting this to be more of explicitly a solo experience, but I, ultimately was really happy leaving it in its sort of nebulous, provocative, what if, is this, what is this sort of state. Nico: Yeah. I would genuinely be interested to have like, the two of us play the game, like this game, like one running it, one as the player, because I don't necessarily disagree with what you said, might be better suited as a solo game, but I really do think that there is something that can be gained about, like being in a room with, like, one other person, or, you know, being on a call with one other person, or whatever and going through this,Sam: Yeah, yeah, I can feel the intensity of that as you describe it. And it sounds harrowing and... Amazing. I do, I do have this dream of like running a Mork Borg dungeon, like over the course of like three sessions, and then like taking one of the players who survives and being like, I've got another module that I think we should play with the same character. Nico: yeah. Anyways, you go home and you think you're safe, but actually, like, Sam: I do think that this as a response to OSR play is really an interesting way to try to play the game, like to Nico: just sort of experienceSam: Yeah, to try to take the kind of character that you would have coming out of that and the experience you would have coming out of that and then like get tossed into this, like that disorientation I think would serve this really well and would do something that I found I really like to do with the OSR kind of play of like finding ways to bring in more character stuff, to just have people to reflect on their person, rather than on the logistical problem solving.Nico: Mm hmm. Which, of course, in some ways also is like, I don't want to say direct contradiction, but like, moving perpendicular to a lot of the sort of OSR principles, rightSam: But yeah, I mean, fuck em. Nico: exactly, I mean, I'm not, saying that to discourage you from doing it, I'm just saying, like, I just think it's an interesting for those to come into sort of, conflict or, or whatever in, in that specific way.Sam: I mean, that's what the bleeding edge of something is all about, right? It's like, what are our principles? What if we throw them out? What does thatNico: Right, right. What if we smash things together that, like, should sort of repel each other like magnets? Like,Sam: Yeah.Nico: Let's move on to the town?Sam: Yeah. So this is the, like, GM spoiler page.Nico: Right.Sam: I don't know that I have a lot to say about this particular page. It's, it's the town. There are, like, two suggestions in the first chunk of this book that came from you that I think are really valuable to this. Like, the first is that the town is always capitalized throughout. Which I like sort of was doing, but you really emphasized, and I think was a great decision.And, the second is that there aren't any contractions in this book except for possessives. And, that was another suggestion that came from you, to have this sort of stilted, formal, slightly off kind of language of not having contractions, that I think serves it really well and is just really cool.Nico: Yeah, I have to give credit for that, to the Questionable Content webcomic, which is a webcomic that has been running forSam: God, is it still going?Nico: oh, it very much is still going, I, it updates Monday to Friday, and I, am reading, I am seated and reading,Sam: stopped reading that like a decade ago.Nico: It is officially 20 years old. It started in 2003.but so one of the characters in that she initially never uses contractions. It is always, it is, it is never, it's. Do not, not, don't, you know, is not, not, isn't and over time, as the character sort of gets more comfortable and starts to open up about her kind of mysterious past, and they'll deal with a lot of the sort of like, serious emotional turmoil that is present in the character, she like, starts to use contractions.And so, it's a specific device that is very weirdly ingrained in my head at this point, because I remember, like, realizing that when it was called out the first time, and then I will fess up and say I have re read the webcomic from the beginning several times. I have a lot of time on my hands sometimes. And it is always kind of a delight to go back to the beginning and see this character and to really notice that device because you know where she ends up and how much more comfortable she is and so to see that difference in the beginning makes it very effective on a reread in a way that is sort of present in the maybe subconscious the first time on the way through.Thank you. And I feel like it's similar here, not quite the same because I don't know if you would ever necessarily actively realize, like, oh, there are no sort of contractions here.Sam: and the town is never gonna stop being a entity of repression.Nico: Yeah, exactly. And so it's giving this like underlying anxiety kind of like,like, you're just like, Ooh, this is Sam: Yeah. It's like, what is going on? What's wrong with the language here?Nico: Yeah. And you might not even really be able to, articulate it because it's sort of hard to articulate the absence of somethingSam: And like, that's the feeling of the whole module. yeah, It's, it's just, it's a great decision. Nico: Yeah. And then of course, capitalizing town, you know, are you even really a game designer if you're not capitalizing some random words in Sam: yeah. gotta have one at least, come on.Sam: I will say I really enjoy the fact that I give no origin story for the town. I think that's also really powerful, of leaving a hole that people can fill in if they want.The mom repression stuff is kinda like that too, the like, the blacking out sharpie. Of like, that's a hole you could fill in in play if you wanted to, but I, I'm not going to. I'm gonna intentionally leave that hole there.Nico: It also is the kind of thing, right, of like, oh gosh, Nova was saying this in the Dice Exploder Discord recently, where like, part of the reason the OSR can be so sort of rules light and stripped down is because like, it is relying a lot on the sort of cultural script of like, what is a fantasy role playing game, or even just like a fantasy story in general, you know? What your knowledge of an OSR game is.And this, in a similar way, is sort of like, you know what a hometown is. Like, you know, I don't need to tell you what the backstory of this is, because you know what it's like to be from somewhere. Cause it's also worth saying, like, this game does not give any character creation instructions, right? I mean, actually, I guess that's not entirely true, because underneath the postcard, you know, it just says, A decade or more gone since you fled the small backwater town that spawned you.And it's like, yeah, that's basically all the sort of character creation information you need, like,Sam: yeah, yeah, like wait, gonna play yourself and you're gonna be sad about this, like uh, Nico: Right, or, like, or if you're not playing yourself, you are playing a person who's sad about it, like, you know, it's like, it's kind of all you really need, Sam: you have internalized the tone of this thing, like, your character is in ways the negative space of the voice of the text. Nico: Like, a weird relationship with your small hometown, we just don't need to spend very much, time covering that broad background. It's much better spent covering the specific, like, locations and people in this town that also sort of help to convey that, feeling, that information.Sam: Temptations and terrors?Nico: Yes, probably The closest thing to a system that is in here, inasmuch as it's taken roughly verbatim from Trophy Dark Sam: yeah, I do think it is notable that when I wrote this I had not played Trophy Dark, and Trophy Dark is the one where you definitely die,Nico: Right. Right. Sam: My intention was not that you would definitely die in this. I really want escape to be a big possibility at the end and so it's interesting that I went with Trophy Dark as, like, the obvious system.Yeah, I like these lists. This is just a lot of tone setting, basically, right? I don't have a lot to say about the details here. The first terror, a children's toy, damp in a gutter, is a reference to another song that makes me cry. The Rebecca Sugar song for Adventure Time, Everything Stays.But most of the rest of this is just, vibes. Here's some vibes. I don't know, I re read these lists and I was like, yeah, they're fine, great, next page. But I don't know, is there anything that stands out to you here?Nico: I mean, I think the most important thing about these lists, these kinds of things, you could maybe even sort of broaden this to like pick lists in general, is that, they kinda need to do two things, like they need to both give you a good solid list of things to pick from, if you're like, at a loss, or if you just are like, looking through it, and you're like, this is good, I want to use this.Or, the other purpose of using it is to have it sort of identify the space that you're playing in to the point where you can come up with your own thing that like, could just be the next entry on that list, right? For me at least, the whole point of like, buying a game is like, I want something that I like, can't essentially come up with by myself, you know? Because I like to be surprised, I like to be sort of challenged, I like to be inspired, and so I think a really good game is one that you sort of like, read it, and you're like, okay, like, there's great things to use in here that I'm excited to use. I also, after having read this, am coming up with my own ideas. Like, equally long, if not longer, list of things that like, fit into this perfectlySam: Bring the vibes of your small town. Nico: Yeah, exactly, that I could also use. It's like, and so it's like, it's kind of funny that like, for me at least, the mark of a good game is like oh yeah, you both want to use everything that's contained in it, and also you immediately get way more of your own ideas than you could ever use when you're running the game.Sam: Yeah. Next?Nico: Yes. Act 1. Sam: I love this little guy, I love Wes he's just kind of a pathetic little dude, and I feel sad for him.Nico: It's so funny, too, because this particular little guy, like, doesn't look very pathetic to me. Like, he looks like he's kind of doing okay. Sam: I definitely like drew, like all the art in the book I drew, and I did it by just drawing a lot of little heads, and then assigning them to people. Like, there were a couple where they were defining details about how the people looked, that I knew I needed to draw specifically. But in general, I just drew a bunch of heads and then doled them out, and like, this is the one that ended up on Wes. And, I think that the contrast between, like, in my mind, Wes is this skinny, lanky, little kid, you know, he's like early 20s, finally making it on his own, and he has no idea what the hell's going on with the world, and he always looked up to you, and he's finally getting out of town. And then he's, he's like overcompensating with the beard for the fact that he's like balding really early, and like, you know, he's, I don't know, like, I think the contrast is just fun.Nico: I love this whole life that you have for this, this little, this little guy, like, which is, I can't stress this enough, mostly not contained in the text,Sam: Yeah. yeah. I think a good NPC is like that. I think it's really hard to transcribe the characters we get in our heads.Nico: yeah, Sam: I really like the, the pun in the Town Crier, I mean like the Town Crier feels like a horror movie trope, like the old man who's gonna be like, You got don't go up to the cabin! But it's also, like I wrote that down first and then just started describing this Wes guy and then I was like I'm gonna just like make a pun out of this.This is something I did all the time while writing this, was I had, like, a little oracle going, actually, at a certain point, like, in the same way that you would in a solo game with an oracle. Like, if I was stuck for an idea, I would just roll on the oracle table and then, like, fill in a detail that was somehow related to the oracle. Nico: Mhm. Sam: That, that didn't happen here, but the idea of, Oh, I want a little bit more description for this guy, like, what should I do? I, like, pulled the word crier, and then was like, Oh, that's really interesting, like, when would this guy have cried? Like, oh, that's a great question, let's just, like, put that to the player. I'm always, like, a thing in screenwriting that is really hard to do, and that I'm always looking for is, like, really good, pithy character descriptions.Like, a friend of mine loves the one like, this is a woman who always orders fajitas at a Mexican restaurant because she loves the attention that she gets when the fajitas come out.She hates fajitas. And that description just says Nico: That's Sam: much. It's so good, right? And that one's even a little bit long for like a screenplay, but it'd be great for like an RPG thing, right?And something about like Here's a little bit about this guy. You remember when he was crying once, like a baby? What was the deal with that? Like, it's such a, like, defines everything else about him. Like, I, I, I'm really proud that.Nico: Yeah. No, that's, that's how I felt a little bit with I ran Vampire Cruise at Big Bad Con this year. And that game has some of, like, the best random NPC generating tables that I've, like, ever seen and played with.I remember one specifically, it was, like, I was like, rolling to generate a passenger, and I think it was like, the secrets part of the table, or something like that, and what I rolled was like, regrets that she never got to see the dinosaurs, and it's like, what does that mean?Like, like, Sam: She had a traumatic experience at a science museum as a kid, or maybe she's like 10 million years old, like, I don't...Nico: or, yeah, or she's just like a weirdo who like really loves dinosaurs? It's like, it's, Like, it really gives you sort of what you need to just sort of like, spin a world out of that specific detail. Sam: It's weird because I like completely agree with you, and you know, I was tooting my own horn about like this question about Wes sobbing and also like, in every single spread of this thing, I'm taking like two full pages to talk about like one or two NPCs, which is a terrible way to do the thing that we are talking about doing. Like,Nico: That is true, that is, it must be said,Sam: it makes it feel so much more like a short story, or maybe like a solo game, right? It's like, eh, spend two pages, like, getting to know this guy. Nico: who won't come up again, spoiler alert, Sam: Yeah, it feels like the right call for this thing where like, I mean it's like the text is forcing you to sit with the memory of this guy, it's like forcing you to come in and like spend more time than you would like to like back at home with these people.And there's some like location context built into all these descriptions too, and we like learn about the bakery thing here and like old stories and stuff. And like, already it's like, do we need that shit to run this game? Like, absolutely not, like, get, get out of the way, like, but also, I don't know, it feels right?And it's one of the things that makes all this weird and, you know, unrunnable.Nico: Which is of course the goal, we don't want people to run this. Yeah, no, that's something that I've thought about in my own games as well, is, is, and just sort of like, my life, I guess, is sort of like, what makes a place that place, you know, like, what makes a town a town, what makes a city a city, like, is it the people who live there? Is it the places? Like, again, kind of back to the sort of Ship of Theseus metaphor, it's like, if everyone you know leaves, and a lot of the stores turnover, like, is that still your hometown? Like... Does your relationship to it change?And so I, in defense of, of what we're doing here, it makes a lot of sense to spend so much time thinking about the people and the places that are here because that also basically is the game, right?Like, like, this is not a dungeon crawl, right? Like, this is not a hack and slash thing, It's not a dungeon crawl, like, Sam: it's a person crawl. Nico: Yeah, exactly, you're yeah, the point of you coming home is you're trying to find Sidra, the person who sent you this postcard, asking you to come home, and yeah, you're basically doing a point crawl, trying to find this person.And then there are various conditions that need to be in place for you to actually find them = And yeah, so it's like, using more words than a sort of your standard OSR like dungeon crawl or point crawl or whatever, or hex crawl, but like, it's kind of the same way where it's like, yeah, but like, that's the game, that's the adventure, like, Sam: yeah, yeah. Another detail here I'm really proud of is the like, offhand remark about how Wes and Sidra aren't talking for what are probably romantic reasons. Because the implication, there's like a strong implication that you, player, have some sort of romantic history with Sidra, like, whether it was ever consummated or not. And I love the just sort of, like, offhand, Wes and Sidra had a thing that didn't work out, because it both... leaves open your potential romantic relationship with Sidra, but also like complicates it and like darkens it from whatever sort of nostalgic quote unquote pure like memory of it you had.And I love that it just sort of brings a little complexity into what happens when you leave for 15 years. And then like what it feels like when you like, hear, oh yeah, your ex has been like, dating someone for a couple years. What were we talking about? Like just that, like sometimes like a bolt of like, information about like, someone from your past that like, you care a lot about will just hit you and you'll be like, oh, wait, what? And we're just I'm supposed to just like, take that and move on? Like, yeah, yeah, Nico: It's also a very small town, right, where it's a sort of like, oh yeah, passing reference to this because everyone knows this already, right? Like, this is old news as well as, like, in a small town, it's like, there's a small pool of people your age that you're interested in, so, not like you're gonna get with all of them inevitably, but it's like, yeah, there's a pretty high chance that you might.Last thing I did wanna say on this, do you wanna share what Wes's name was in the first draft of this that I received?Sam: What was it? I don't rememberNico: It was Glup Shitto. It was, it was one of the first comments I left! It was one of the first comments I left! I was like, Sam, you've gotta know this can't be the final thing, right?Sam: knew it couldn't be the final name. But there was something really funny to me about like the one person who like doesn't fit into town, like this little fucking Star Wars fanboy like schmuck kid is just Glup Shitto. And he's leaving town cuz like when you got that name, it doesn't fit anymore. You gotta get the fuck out of there.No wonder the town couldn't absorb him. His name was Glup Shitto.Nico: I want to say, like, I might have, like, made my first round of comments because I was, like, yeah, feeling the same way of, like, okay, obviously this is not the finalSam: yeah, yeah, I just didn't change it and you were likebruh Nico: and then, yeah, and then you, like, made changes based on the comments that I left, and I went back to it, and I'm like, it's still Glup Shitto. Like, it simply can't be this! It's not allowed! It's, it's not legal! Like, Sam: there ought to be a law.Nico: yeah.Sam: Alright, let's do Act 2 gosh.Yeah, so I made this little map. I like the little map. This is just my hometown, incidentally. Like, there's so much in this that is just, like, pulling details directly from my hometown. That oracle that I mentioned earlier, like, Northfield, Minnesota was, like, one of the things on the oracle. And you can see that here in like, the riverwalk and this little bridge over it was very Northfield. the Rube, which we're getting to next, these two bars, the kind of cowboy themed bar thing was a thing.Nico: Again, it's a very small town of just like, no sort of reasonable business person would have these specific Sam: yeah, but they, they exist here for some reason Nico: it almost feels like the kind of thing where it's like, like they can exist in a really small town, because it's sort of like, well they're the only things here, and they can exist in like New York City Sam: yeah. Nico: everything's in New York city, and like every kind of place is there, but like anywhere in between, people would just be like, I don't understand, and then it goes out of business,Sam: Exactly. Yeah. Yeah, doctors always also a big portion of my childhood and my past always coming up in my stuff just because I spent so much time in hospitals as a kid. So the, inclusion of a doctor here is also very much something coming out of my hometown.I like the little mechanic here of, like, rolling and you, like, add one every, every time. I think that's a nice sort of way to handle trying to find Sidra. Nico: as like a classic Nico mechanic 'cause I simply haven't made and published that many things. But in my mind, my narcissistic fantasy, it is a classic me mechanic.Sam: I believe that came from you.Nico: I fucking love a table that like evolves over time.And it's not like I invented it, but like, I think my more standard thing is sort of like you have a table of like 12 things, and then you change which die you roll on it, you know, it's like, oh you can do like a d4 through d12 or whatever and that's like, I really like the ability to sort of go back to a table and, like, use it multiple times as opposed to, like, Okay, we have one table for this, we have a different table for that, you know.Sam: Additional persons. I really like this format for sort of generic NPCs, like, I'm not gonna tell you anything about this person, but I am gonna tell you what you think about them and your relationship to them.I think it's a really cool way of doing... Oh, do you just need to, like, bring someone in? You, like, met someone on the street or whatever? In a lot of other settings, you would just have, like, a random person, and it would be, like, the Vampire Cruise thing. If you give them an interesting detail in here, it'd be a cool thing.But I think, especially in, like, a small town format, the, like, here's your relationship to this person, because everyone knows everyone, and, every character that comes in, like, is gonna have to inspire some kind of feeling and past in you. I think this works really cool, reallyNico: It also feels very sort of true to life in terms of, at least, how I often GM things. Someone will be like, hey, can I, like, ask just, like, the next person I see on the street what they know about this thing? And I'm like, I mean, I fuckin I guess, like, it'll shock you to learn I don't have a name for that person, but, you know, I just have to, like, come up with, like, here's a weird voice, and like, a random thing they know, and like here's a name, Sam: This is a great way to turn that experience back on the player.Nico: exactly, yeah, there's this random person, you're like, alright, this is someone who owes you an apology, why is that?Like, Sam: yeah, Nico: I also wanna say that I feel like this was actually a relatively late addition to theSam: Yeah, it was. I always intended to write these, but it was like the last thing that I wrote.Nico: Yeah.Sam: Yeah.Nico: There was definitely some time when I sort of came back and looked at it, and all of a sudden there was this relatively large additional persons section in here, and I was like, huh, interesting.Sam: Yeah. I'm happy with how it came out. I think these are my best little guys. Nico: Oh yeah, Sam: I really like the unfinishedness of these little guys that you can project a little bit of yourself onto them while there's still some, like, major details there. This someone you seek vengeance upon looks a lot like a penis, and I don't know how I feel about that one, butNico: I was gonna say, I find that one fascinating as the ide

What one thing are you most desperate for? Is there any price for it you'd be unwilling to pay? If the path to it was before you, and a sure thing, would anything stop you from walking it? Would you be able to stop yourself, at the halfway point, if your body began to betray you? If your mind ceased to be all your own? If you were well and truly out of time? One night a year, the longest of its kind, the Uncommon Bazaar asks these questions of all who'd step within. Most ignore them, content to flit about its safe, outermost edges. But this year, this night, a Lamb, a Snake, and an Intercessor will seek the Bazaar's center. And one way or another, they will be made to answer. Clever Fingers Madeleine Ember Theme: Entrapment Content Warnings: Amputation, Body Horror, Cannibalism, Graphic Violence, Harm to Animals, Harm to Children, Manipulation, Mannequins, Suicide, [Self-Harm] Music Credits: All tracks composed and performed by Erdenstern, from their album Into The Dark, unless otherwise attributed. Intro: “The Slaughtered Pony” Everything Has Its Price: Lost Ring 1: Circus Ring 2: Innocence + Flesh and Bones Ring 3: Shadows + Wild Rage Ring 4: Dungeons + Haunted + Lady of the Dark Ring 5:  The Black Crow - IgorKuznetsoff Uzh Kak Po Mostu, Mostochiku - Andrey Vinogradov Solnce Gree - Andrey Vinogradov Motus - Andrey Vinogradov Torrid Earth - Andrey Vinogradov Tre Bröder - Andrey Vinogradov Stand-by Time - Andrey Vinogradov Dark Medieval Epic Ballad - Andrey Vinogradov Scythian Ballad - Andrey Vinogradov Spring Dance - Andrey Vinogradov Into The Dark Epilogue: Requiem + Staggering Home Ambience:  Ring 1: Busy Market - The Ambience Channel Ring 2: RESTAURANT AMBIENCE - myNoise Ring 3: Library Ambience Background Noise - Winter Whale Ring 4: Wasteland - Domains of Ambience Ring 5: Tailor ASMR Ambience - Chetta Monster

Deep in the Forest stands a monument to humanity's hubris: a mansion, long abandoned, daring anyone desperate - or stupid - enough to come plunder its riches. Alina and Mahera hunger for a chance to do so, and the forest is all too eager to oblige. The Plantation Theme: Hunger Content Warnings: Body Horror, Cannibalism, Graphic Violence, Harm to Animals, Starvation, [Assault that Could be Read as Sexual] Music Credits: All tracks composed and performed by Erdenstern, from their album Into The Dark. Intro: Into The Dark Ring 1: The Cursed Ring 2: Dungeons + Just Kill It! + Lost Ring 3: Haunted Ring 4: Hordes of Undead + Shadows Ring 5: Knives, Blood, And Searing Pain + Innocence + Requiem Epilogue: Staggering Home

A tyrannical regime falls to the revolution. At last the power is in the hands of the people. As the monarchy crumbles two treasure hunters head for the palace in the centre of the royal park in search of absolution. Will they find what they seek, or will they discover why the royal line has endured 1,000 years?  Regicide Ludovico Alves Theme: Royalty Content Warnings: Body Horror, Classism, Graphic Violence, Manipulation, Mannequins, [Homophobia] Music Credits: All tracks composed and performed by Erdenstern, from their album Into The Dark. Intro: Circus Ring 1: Lost Ring 2: Innocence + Wild Rage + “The Slaughtered Pony” Ring 3: Haunted Ring 4: Lady of the Dark + Wild Rage + Dungeons + Just Kill It! Ring 5: Evil Overlord Epilogue: Staggering Home

Welcome, dear listeners, to the Boogieman Buddies 2023 Halloween Special: Trophy Dark. This release is to be your entry point into the next three weeks' releases, so that you might be properly prepared for a game whose tone and intent is pretty far afield from our normal faire. Inside you will find an explanation of the game's expectations for player experiences as well as a rundown of the relevant content warnings for each of the upcoming weeks. Listen in good health. Music Credits: 1: The Cursed - Erdenstern 2: Shadows - Erdenstern

We sit with Jason and Alex and discuss the latest Carved from Brindlewood game - Public Access. Where did the idea come from, and what was the creative process to bring it to life? Previous interview with Jason: https://spotifyanchor-web.app.link/e/aqMtSETA4Bb Our Actual Play of Brindlewood Bay: https://www.youtube.com/playlist?list=PLYOGZIpC-07P-Q7nBUkNv6qKTYE5uhuug Public Access: https://www.drivethrurpg.com/product/429340/Public-Access?affiliate_id=1044145 Brindlewood Bay: https://www.drivethrurpg.com/product/410316/Brindlewood-Bay-Kickstarter-Edition?src=hottest_filtered?affiliate_id=1044145 The Between: https://www.drivethrurpg.com/product/360858/The-Between?affiliate_id=1044145 Trophy Dark: https://www.drivethrurpg.com/product/402818/Trophy-Dark?affiliate_id=1044145 Will Wood and the Tapeworms: https://en.wikipedia.org/wiki/Will_Wood_(musician) Signalis: https://rose-engine.org/signalis/ DIE roleplaying game: https://rowanrookanddecard.com/product/die-the-roleplaying-game/ Power Pak video on Myhouse.wad: https://www.youtube.com/watch?v=5wAo54DHDY0 House of Leaves: https://www.amazon.com/House-Leaves-Mark-Z-Danielewski/dp/0375703764 Books by Grady Hendrix: https://www.amazon.com/stores/Grady-Hendrix/author/B005806RT0?ref=ap_rdr&store_ref=ap_rdr&isDramIntegrated=true&shoppingPortalEnabled=true Evolution of Horror Podcast: https://www.evolutionofhorror.com/ ********************* Support the show for as little as $1 month: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/Thirdfloorwars⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Add this to the end of your link on DriveThruRPG to support the show: ?affiliate_id=1044145 For example https://www.drivethrurpg.com/product/397612/Court-of-Blades--Scandal-Forged-in-the-Dark?affiliate_id=1044145 Check out our live streaming content on Twitch: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.twitch.tv/thirdfloorwars⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Don't miss our RPG Actual Plays, tutorials, and gaming content on YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCA496705JLkpgAssAhetpdw⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Listen to an excellent boardgame podcast: ⁠⁠⁠⁠⁠⁠⁠https://www.ascentofboardgames.com/⁠⁠⁠⁠⁠⁠⁠ Go to the Writer's Room for 7th Sea Adventures! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/writersroom7thsea⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Check out the great games from A Couple of Drakes: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://acoupleofdrakes.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Listen to Thin Places Radio: https://thin.place/ Please support us by shopping with Gadzooks Gaming: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.gadzooksgaming.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Get a cool T-Shirt or mug and help us bring you more content. The store is open! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://thirdfloorwars.com/shop/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow us on Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/thirdfloorwars/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow us on Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/ThirdFloorWars⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/thirdfloorwars/message Support this podcast: https://podcasters.spotify.com/pod/show/thirdfloorwars/support

On this episode, Hunter and Ryan read and review Trophy, both Dark and Gold, from Jesse Ross. Trophy is a tabletop roleplaying game of dark forests, doomed treasure-hunters, and a world woven on a loom of rumor, history, and myth, published by The Gauntlet and Hedgemaze Press.

Trophy Dark est un jeu de rôle qui raconte l'histoire d'un groupe de chasseurs de trésors pénétrant dans une forêt hantée qui ne veut pas d'eux. Il s'agit de la destruction physique et mentale des personnages au fur et à mesure qu'ils s'enfoncent dans la dangereuse forêt. Leur périple les mène finalement à d'anciennes ruines qui renferment le trésor qu'ils recherchent, ainsi que les entités monstrueuses qui les habitent. Il ne s'agit pas d'une histoire pleine d'espoir où des aventuriers courageux et audacieux tuent des dragons et ramènent des sacs d'or en ville. Il s'agit plutôt d'une histoire d'horreur où des pillards connaissent une fin tragique… Un jeu d'une grande richesse pour un public averti. Pour retrouver Trophy Dark : PDF : https://trophyrpg.com/ --------------------------------------------- Pour suivre Coup Critique : https://linktr.ee/coupcritique --------------------------------------------

Le mois Trophy Dark touche à sa fin sur la JDR Academy ! Pour clôturer la diffusion de notre série sur Trophy Dark, voici un second épisode bonus côté joueur. Yann, joueur sur la partie et monteur des épisodes nous livre ses impressions et nous parle de son approche du montage. Bon épisode ! Le SRD : https://trophyrpg.com/system/ Principia Apocrypha : https://www.500nuancesdegeek.fr/princ... Interview : Riley Intervenants : Neuralnoise, Yann. Retrouvez tous les épisodes de la JDR Academy sur www.jdracademy.com

Le dernier acte de Trophy ! Après toutes les épreuves passées, nos chasseurs de trésors touchent presque au but ! Mais le gardien de la Cathédrale se dresse devant eux : un magnifique cerf de Jade, haut de plusieurs mètres. Et quelles autres épreuves les attendent dans la cathédrale ? Le verdict tout de suite dans cet épisode final de notre mini-série sur Trophy Dark. Cet épisode est mené par Neuralnoise & les joueurs sont Jordi (Alake), Yann (Valen) et Malohin (Pella) Retrouvez tous les épisodes de la JDR Academy sur www.jdracademy.com Crédits musique Evil Forest, World of Warcraft Witness, Oliver Michael (extended version) Dusk of the Dryad, Tabletop Audio Dark Continent, Tabletop Audio Spirit of the Plains, Tabletop Audio Dusk of the Dryad, Tabletop Audio Temple Garden, Tabletop Audio Generation Ship, Tabletop Audio Lorekeeper Grove, Tabletop Audio Gnossienne n°1, Romi Kopelman

The treasure hunters are in the depths of the forest as they journey to the Flocculent Cathedral. They face greater horrors and challenges but once they reach their destination, will it contain the hoard they desperately need? If you like this session, check out the Trophy RPG system! It has support for both one shots and campaigns. This session was run by Jason Cordova, founder of The Gauntlet and author of Brindlewood Bay. Ross as Parda the Sorcerer Caleb as Orlen the Herbalist Baz as Akaleh the Demonolgist

Le mois Trophy Dark continue sur la JDR Academy ! Pour accompagner la diffusion de notre série sur Trophy Dark, voici un épisode bonus consacré à la maîtrise d'une incursion (les scénarios dans Trophy). Notre MJ, Neuralnoise, nous en dit plus sur le jeu et nous explique comment il a préparé cette partie. Il nous présente aussi Trophy Gold et nous donne quelques conseils pour maîtriser cet univers horrifique. Le SRD : https://trophyrpg.com/system/ La traduction VF par Nicolas Folliot : https://nicolasfolliot.itch.io/trophe... Trophée Doré par Nicolas Folliot : https://nicolasfolliot.itch.io/trophe... Dans le viseur du diable : https://signalstation.itch.io/dans-le... Interview : Riley Intervenants : Neuralnoise, Yann. Retrouvez tous les épisodes de la JDR Academy sur www.jdracademy.com

C'est reparti en ce lundi pour du Trophy ! Nous retrouvons nos chasseurs de trésors une nouvelle fois dans leur périple au coeur de la Forêt de Kaldhur. Parvenus à fraterniser avec un groupe de bandits habitant les abords d'une mangrove, ces derniers leur ont indiqué le chemin vers l'objet de leur quête : La Cathédrale Purifiante. Mais la route est encore longue et parsemée de dangers multiples et insidieux… Au programme de cet épisode, des insectes dégueux, une rivière dangereuse, ainsi qu'une terrible fièvre. Nos aventuriers s'en sortiront ils ? “ Cet épisode est mené par Neuralnoise & les joueurs sont Jordi (Alake), Yann (Valen) et Malohin (Pella) Retrouvez tous les épisodes de la JDR Academy sur www.jdracademy.com Crédits musique Evil Forest, World of Warcraft Witness, Oliver Michael (extended version) Heart Briar, Tabletop Audio Swamp Planet, Tabletop Audio Aftermath, Tabletop Audio Moisture Farm, Tabletop Audio Yokai Forest, Tabletop Audio Dusk of the Dryad, Tabletop Audio Gnossienne n°1, Romi Kopelman

Aujourd'hui c'est lundi, et tout au long du mois de mars 2023, le lundi c'est Trophy ! Nous allons découvrir ensemble le jeu Trophy Dark de Jesse Ross. Les joueurs interprètent des chasseurs de trésors criblés de dettes qui font route vers la Cathédrale Purifiante, un ancien édifice isolé dans la vaste forêt de Kaldhur. Elle serait toujours emplie de richesses incommensurables du passé. Néanmoins, nos chasseurs de trésors devront se méfier du plus grand danger durant leur périple, la Forêt elle-même. Car celles et ceux qu'elle autorise de pénétrer ses terres reviennent rarement… " Cet épisode est mené par Neuralnoise & les joueurs sont Jordi (Alake), Yann (Valen) et Malohin (Pella). Le scénario (appelé "incursion" dans Trophy Dark) est "The Flocculent Cathedral" de Jim Crocker Retrouvez tous les épisodes de la JDR Academy sur www.jdracademy.com Crédits musique Forest Dark Enchanted, World of Warcraft Witness, de Oliver Michael (extended version) Enchanged Forest Day, World of Warcraft Wetlands Day, World of Warcraft Horror, de Ben Puntry (Faster Than Light) Marsh Day, World of Warcraft Swamp Thing, Tabletop Audio Swamplandia, Tabletop Audio Swamp Planet, Tabletop Audio Gnossienne n°1, Romi Kopelman

The treasure-hunters stand at the edge of the Gloaming Mire, a mangrove-dense fen that is rumored to hold the Flocculent Cathedral, an abandoned temple filled with treasure. The trio delves into the wilderness on a desperate quest to find the treasure or die trying. If you like this session, check out the Trophy RPG system! It has support for both one shots and campaigns. This session was run by Jason Cordova, founder of The Gauntlet and author of Brindlewood Bay. Ross as Parda the Sorcerer Caleb as Orlen the Herbalist Baz as Akaleh the Demonolgist

This scenario contains body horror, graphic violence, harm to animals, memory loss, pregnancy, shipwrecks, and storms. Listener discretion is advised.A pair of young men, in dire need, hire on to the pirate ship The Green Fly. The job is for a smash and grab. After the smash, they start the grab, and things are more than what they seem on this strange ship...That Silent Howl is a prewritten scenario for Trophy: Dark. It can be found in Codex - Void (Codex #38), or in the corebook for Trophy: Dark, both of which are available on DriveThruRPG.Ben - GMEthan - Valen, Medium, Plagued FarmerGreg - Rasei, Naturalist, Reformed Thug

Join us on Discord!   Games We've Been Playing 01:13 - Alex runs The Retribution Tree from Trophy Dark 10:00 - Jason is challenged by The Cross-Stitch Discussion 16:40 - The conspiracy campaign structure  Media Recommendations  51:12 - Radio Rental  53:10 - Dark Air  55:56 - Chucky  57:45 - Inscription 

Let's go do some shopping in the Dreamlands

Rzucamy okiem na systemy RPG by wiedzieć, czy warto się nimi interesować. W tym odcinku... TROPHY DARK.Fragment filmu: https://www.imdb.com/title/tt4263482/===== Nasze kanały YouTube =====

Like every year, Beoulus and Scormey discuss a few new games (video games or TTRPGs) fitting to play on Halloween Intro (0:49) – What Halloween events are playing this year? Other (16:24) – The guys discuss “Trophy Dark“, “Killer Frequency“, “The Eldritch Hack“, and “Scorn“ Wrap (53:37) – Our plans for Halloween! “Alchemists Tower” Kevin...Read More “The Curse of Spooky Goodness! – Loot Mechanics #296” »

GM Mike Ferdinando concludes "Devil, Aim For Me!", a Weird West incursion for Trophy Dark. Three down-on-their luck bounty hunters continue tracking the legendary bank robber Henry Bantam, wanted dead or alive. The bounty is a small fortune, but Bantam is said to have the Devil on his side... 0:00 - Introductions 5:35 - Safety Tools review 7:08 - Recap of Session One 10:52 - Ring 2, Part Two - The Mysterious Rider 21:45 - The Gravedigger of Resurrection 49:30 - Game mechanics interlude: The Reduction Roll 55:25 - Ring 3: The Town of Resurrection 58:54 - There's a new Sheriff in town! 1:20:10 - The Resurrection Saloon 1:26:30 - Interrogating the prisoner in jail 1:32:55 - A woman called Snakebite 1:40:09 - Ring 4 - The Golden Door Mine 1:48:35 - Ghosts of slain miners 2:07:48 - Ring 5 - The Devil and Henry Bantam 2:16:59 - A literal devil's bargain 2:41:45 - The final confrontation 2:45:47 - Epilogues

GM Mike Ferdinando runs a session of Trophy Dark: Isle of Water and Blood. It's October 31, 1902: Three dilettante occultists from the Hermetic Order of the Crescent Moon travel to a barren rock of an island in the North Atlantic to summon an otherworldly entity who has promised them arcane secrets. But not all is what it appears to be...

GM Mike Ferdinando runs "Devil, Aim For Me!", a Weird West incursion for Trophy Dark. Three down-on-their luck bounty hunters start tracking the legendary bank robber Henry Bantam, wanted dead or alive. The bounty is a small fortune, but Bantam is said to have the Devil on his side...

Historia 040 - Trophy Dark - El árbol del castigo - Parte 2/2 Nuestro odio nos ha cambiado, nos ha mostrado quienes somos. Nos alzamos portentosos y libres ante la colina ascendente mientras nuestros rencores moribundos nos dan la bienvenida. La senda carmesí nos guía hacia el árbol del castigo. Ante su presencia nuestros corazones se fundirán en el calor de los rescoldos de una justicia antes denegada, pero hoy, venganza cometida --- Síguenos en Instagram, escúchanos en todas las plataformas de audio o revisa el video de la partida en YouTube. Además, si usas Spotify o Ivoox, tenemos listas según sistema de juego en donde se agrupan los episodios para ayudarte a encontrarlos según el tipo de historias que desees seguir. Todo esto lo podrás encontrar en el siguiente enlace. https://linktr.ee/pastasroleros ---- #trohpydark #trophy #horror #terror #radioteatro #juegosderol #partidaderol #audiodrama #rol #podcast #podcastderol #narracion #historias #narrativa #narrador #narradoresdehistorias #narraciones #podcastdejuegosderol #cuentahistorias #cuentacuentos #fantasiaoscura #medieval #horror #miedo #locura #demencia #terrorpsicologico #cuentosdeterror #audiohistorias --- Send in a voice message: https://anchor.fm/pastasroleros/message

Historia 040 - Trophy Dark - El Árbol del Castigo - Parte 1/2 El odio nos ha forjado, nuestro aliciente último es la venganza, experimentar el sufrimiento de quienes nos han agraviado es nuestro placer. Esta hambre por llevar a cabo una justicia retrasada, pero que llega, es lo que nos trajo a este lugar. Un bosque de rencores atávicos, un lugar que vio nacer los albores de la civilización y se ha alimentado del rojo carmesí de nuestra ira por generaciones. Solo aquí podremos saciar nuestra hambre, cumplir nuestras obscenas fantasías y dar rienda suelta al odio de nuestros corazones. Estamos dichosos, por fin se hará justicia, seremos realmente libres. --- Síguenos en Instagram, escúchanos en todas las plataformas de audio o revisa el video de la partida en YouTube. Además, si usas Spotify o Ivoox, tenemos listas según sistema de juego en donde se agrupan los episodios para ayudarte a encontrarlos según el tipo de historias que desees seguir. Todo esto lo podrás encontrar en el siguiente enlace. https://linktr.ee/pastasroleros -- Temas sensibles: Horror corporal, violencia gráfica, sacrificios humanos, maniquíes, manipulación, violencia sexual -- Arte de la portada por Michael Whelan ---- #trohpydark #trophy #horror #terror #radioteatro #juegosderol #partidaderol #audiodrama #rol #podcast #podcastderol #narracion #historias #narrativa #narrador #narradoresdehistorias #narraciones #podcastdejuegosderol #cuentahistorias #cuentacuentos #fantasiaoscura #medieval #horror #miedo #locura #demencia #terrorpsicologico #cuentosdeterror #audiohistorias --- Send in a voice message: https://anchor.fm/pastasroleros/message

The treasure-hunters reach the cove they sought in the second and final part of Gift of the Sea!

Our (probably) doomed treasure-hunters arrive at the isolated village in the first part of our play of Trophy Dark by Jesse Ross, exploring the Gift of the Sea incursion by Gabriel Robinson.

Este mes estrenamos una nueva sección, "El Bazar", dónde profundizaremos en aspectos concretos de juegos de rol diversos y no relacionados directamente con los juegos d20 (D&D, Pathfinder, Starfinder, etc.), y lo hacemos analizando y descubriendo los siete Grandes Clanes de Rokugan de Leyenda de los Cinco Anillos de la mano de Sergio. Además en El Faro de este mes, nuestra sección de reseñas, Miguel nos trae un juego indie que ha llegado recientemente a nuestras estanterías, Trophy Dark, y que se ha ganado el favor de sus seguidores por su planteamiento de incursiones y finales fatales. Pero no nos hemos olvidado de nuestra ración de juegos del dado de 20 caras, en El Desván de este mes nos centramos en un pequeño ramo de dotes realmente llamativas para Starfinder, para que vuestro viaje por los Mundos del Pacto sea más... sencillo. Y no olvidemos las novedades roleras más esperadas del mes de abril 2022. Guión 00:01:00 Introducción 00:03:10 El bazar: Un vistazo a los siete Grandes Clanes de L5A. 00:34:21 El desván: Seis dotes imprescindibles para Starfinder. 00:48:40 El faro: Reseña de Trophy Dark. 01:21:10 Noticiario: Novedades roleras del mes de marzo. Créditos Opening de la Posada Milcaminos: Jorge Escudero https://soundcloud.com/evilstudios/tracks Equipo Posada Milcaminos https://podcast.hiperreal.net Music: https://www.purple-planet.com

Jednostrzałowa sesja w systemie Trophy Dark, jaką rozegraliśmy w czasie międzyświątecznym. W rolach głównych: 9kier jako Prosper Dr Spider jako Rozalia Magda jako Maja Frycu jako Jacek Maciek jako MG Będziemy wdzięczni za każdą łapkę, subskrypcję i komentarz! Zajrzyj na nasze media społecznościowe! Twitch: https://www.twitch.tv/imaginariumrpg FB: https://www.facebook.com/imaginariumPL Instagram: https://www.instagram.com/imaginariumpl/ Discord: https://discord.gg/vAkVUzhR Muzyka: Forest Night przez Tabletop Audio Classic Horror 1 przez Kevin MacLeod Classic Horror 2 przez Kevin MacLeod Classic Horror 3 przez Kevin MacLeod Decay przez Kevin MacLeod #sesjarpg #gryfabularne #trophydark

A pair of delvers, seeking fortunes to better their lives, go deep into the woods. But they take their dreams with them, and the cursed forest is where dreams go to die...Trophy: Dark is a grim game of exploring a cursed forest with likely doomed player characters, using a simple dice system where the more ruin you accrue, the worse things get until you are lost. The game was made by Jesse Ross. A base version of it, with the Tomb of 10,000 Dreams scenario, is available in Codex - Dark 2 on DriveThruRPG. The full book for Trophy: Dark, along with it's sister game Trophy: Gold and setting materials in Trophy: Loom, are available for preorder on Backerkit. More info on those are available at Trophy's website.Content Warning: This game features scenes of body horror, graphic injury, economic uncertainty, and broken dreams. Listener discretion is advised.Ben - GMDan - Vero, a Leech, an expelled apprentice looking to establish his own estateGreg - Casien, a Sellsword, a retired soldier hoping to win the heart of the heir apparent of Nahaneh

CONTENT WARNINGS: violence; violence against animals; snakes; gore; discussion of injuries; hallucinations; claustrophobia; death 1880. On top of a mountain at the center of a small island in the Cyclades lies a temple, untouched by time. Inside it, an ancient force hell bent on destruction. Three treasure hunters enter, tempted by the promise of riches and knowledge and power. But how many will leave?  Trophy Dark: https://trophyrpg.com/ art by Chaz: @cicadahymns music by Andrew: https://andrewperricone.bandcamp.com/

Historia 034 - Trophy Dark - Templo del cielo - Parte 2/2 El cielo llora mientras llueven plumas de sus ángeles, la tierra grita mientras la torre cruje bajo el peso de su único hijo. Nuestros sueños nos muestran montañas cayendo desde el firmamento envueltas en secretos que desgarran nuestra carne y funden nuestra mente. El velo de la realidad se rompe, un ángel eclosiona envuelto en el fulgor de mil galaxias, la puerta finalmente se abre y ominosas figuras que rivalizan con los astros ríen… ¿Qué hay en la cima de la torre? Las respuestas te las contare solo a ti. No mires abajo y afírmate. La verdad nos espera. -- Síguenos en Instagram, escúchanos en todas las plataformas de audio o revisa el video de la partida en YouTube. Además, si usas Spotify o Ivoox, tenemos listas según sistema de juego en donde se agrupan los episodios para ayudarte a encontrarlos según el tipo de historias que desees seguir. Todo esto lo podrás encontrar en el siguiente enlace. https://linktr.ee/pastasroleros ---- #trohpydark #trophy #horror #terror #radioteatro #juegosderol #partidaderol #audiodrama #rol #podcast #podcastderol #narracion #historias #narrativa #narrador #narradoresdehistorias #narraciones #podcastdejuegosderol #cuentahistorias #cuentacuentos #fantasiaoscura #medieval #horror #miedo #locura #demencia #terrorpsicologico #cuentosdeterror #audiohistorias --- Send in a voice message: https://anchor.fm/pastasroleros/message

Historia 034 - Trophy Dark - Templo del cielo - Parte 1/2 Hay lugares muy antiguos, lugares que poseen una historia tan distante que ya no queda nadie vivo que haya visto el comienzo, la primera piedra, la fundación del mismo. Esta historia nos lleva a uno de esos lugares, a una torre que desafía los cielos en busca de tocar las estrellas. Se desconoce su origen, dicen que ha existido desde siempre, otros que es una extremidad de un dios muerto o que fue construida por una antigua orden de monjes penitentes que desapareció en las alturas hace mucho tiempo. ¿Qué se esconde en la cima de la torre? ¿Qué son esas plumas que llueven como si los ángeles aletearan? ¿Es cierto que en la cima se encuentra la puerta al reino de los dioses? Es tiempo de descubrirlo. Afírmate, no resbales y síguenos el paso. La cima nos espera. --- Síguenos en Instagram, escúchanos en todas las plataformas de audio o revisa el video de la partida en YouTube. Además, si usas Spotify o Ivoox, tenemos listas según sistema de juego en donde se agrupan los episodios para ayudarte a encontrarlos según el tipo de historias que desees seguir. Todo esto lo podrás encontrar en el siguiente enlace. https://linktr.ee/pastasroleros -- Arte de la portada por Michael Whelan ---- #trohpydark #trophy #horror #terror #radioteatro #juegosderol #partidaderol #audiodrama #rol #podcast #podcastderol #narracion #historias #narrativa #narrador #narradoresdehistorias #narraciones #podcastdejuegosderol #cuentahistorias #cuentacuentos #fantasiaoscura #medieval #horror #miedo #locura #demencia #terrorpsicologico #cuentosdeterror #audiohistorias --- Send in a voice message: https://anchor.fm/pastasroleros/message

Historia 032 - Trophy Dark - El Pozo - Parte 1/1 Si contemplas al Príncipe te enamoraras de él, si oyes su voz, arderas en un deseo irrefrenable por transformarte en su juguete, pero si te besa…ya no habrá vuelta atrás. Hace 10 años una estrella roja cayo del cielo y desfiguro nuestra tierra, esparció una ponzoña que empapo las mentes de los desviados haciendo proliferar pervertidas sectas apocalípticas. El tiempo las hizo menguar, algunos pensamos que habían desaparecido, estábamos equivocados. Esta es la historia de 2 desgraciados cuyo encuentro con obscenos sectarios les llevaría a las profundidades de la tierra, a descubrir oscuros deseos, sus verdaderas personalidades, sus verdaderas pasiones, sus verdaderos amores…a ser dignos del Príncipe. --- Síguenos en Instagram y si estas buscando otras historias, te recomiendo revisar las listas de Spotify e Ivoox en donde encontraras aventuras ordenadas según sistema de juego, incluidas todas las aventuras en Trophy Dark. https://www.instagram.com/pastasroleros/ https://linktr.ee/pastasroleros Desde este 2022 empezamos a subir la versión en video de las aventuras a nuestro canal de You Tube. Lamentablemente este episodio subimos solo el audio, un problema en el video que no pudimos arreglar :S https://www.youtube.com/channel/UC7zH6hdOBbnKb34tDnfK5Sw --- Arte de portada de artofzolaida -- #trohpydark #trophy #horror #terror #radioteatro #juegosderol #partidaderol #audiodrama #rol #podcast #podcastderol #narracion #historias #narrativa #narrador #narradoresdehistorias #narraciones #podcastdejuegosderol #cuentahistorias #cuentacuentos #fantasiaoscura #medieval #horror #miedo #locura #demencia #terrorpsicologico #cuentosdeterror #audiohistorias #gore --- Send in a voice message: https://anchor.fm/pastasroleros/message

Historia 031 - Trophy Dark - Los archivos prohibidos - Parte 1/1 Existe un lugar en donde el conocimiento de las eras, los tesoros de los reinos y las historias del antes y el después residen. No es fácil encontrarlo, algunos dedican su vida a hallar la intermitente puerta que nos permite entrar a este misterioso lugar llamado “Los Archivos Prohibidos”. Esta es una historia de dos desgraciados que por diversas razones fueron a aquella biblioteca, atravesaron la puerta en busca de tesoros, anhelos, sueños y al final lo que encontraron…fue su propia historia. Acompáñanos y escucha sus hazañas, sus lamentos… --- Síguenos en Instagram y si estas buscando otras historias, te recomiendo revisar las listas de Spotify e Ivoox en donde encontraras aventuras ordenadas según sistema de juego, incluidas todas las aventuras en Trophy Dark. https://www.instagram.com/pastasroleros/ https://linktr.ee/pastasroleros Desde este 2022 empezamos a subir la versión en video de las aventuras a nuestro canal de You Tube. Si deseas contemplar los rostros de los desgraciados y sus lamentos finales. https://www.youtube.com/channel/UC7zH6hdOBbnKb34tDnfK5Sw --- #trohpydark #trophy #horror #terror #radioteatro #juegosderol #partidaderol #audiodrama #rol #podcast #podcastderol #narracion #historias #narrativa #narrador #narradoresdehistorias #narraciones #podcastdejuegosderol #cuentahistorias #cuentacuentos #fantasiaoscura #medieval #horror #miedo #locura #demencia #terrorpsicologico #cuentosdeterror #audiohistorias #gore --- Send in a voice message: https://anchor.fm/pastasroleros/message

We've emerged from the dangers of the forest after playing Trophy and talk about how we feel. We discuss the interplay of joint authorship, the nature of horror gaming, and Mike's opinions on French cinema. Trophy Dark is made by Jesse Ross and is available on DriveThruRPG and trophyrpg.com. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/one-shot-test-kitchen/support

The forest is dark and full of terrors. This week, we play Trophy Dark, a mind-bending game about doomed treasure hunters and a forest that seeks to protect itself from all invaders. Will our players survive, or have their minds and bodies broken? And in the end, will they be claimed as a trophy? Trophy Dark is made by Jesse Ross and is available on DriveThruRPG and trophyrpg.com. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/one-shot-test-kitchen/support

After all, the tide, they say, must have its due...

In this episode, our three treasure hunters will have their shaky alliance tested by suspicion, selfishness, and the supernatural. What will these desperate three do when they are given the opportunity to ask for the Tide Queen's bounty? And what will she ask for in return? After all, the tide, they say, must have its due...

In this episode, our three treasure hunters have been shipwrecked upon the craggy shore that is rumored to hold that which they seek-- the discarded treasures of generations of superstitious sailors and simple fishermen. What will they be willing to give up for the riches they each so desperately need? And will the island show mercy to those that covet its bounty? After all, the tide, they say, must have its due...

Mike Ferdinando runs Amanda, Cameron, Chet, and Steph on a one-shot of "Trophy Dark: The Flocculent Cathedral." This game was part of Gauntlet Community Open Gaming weekend in October 2021. Four desperate treasure-hunters from Fort Duhrin make their way through the festering Gloaming Mire in search of the fabled Flocculent Cathedral. What riches will they find there, and what must they sacrifice along the way? Play date: 16 Oct 2021 The Gauntlet: https://gauntlet-rpg.com Trophy Dark: https://trophyrpg.com

Seeking the the sunken treasures offered up to the sea, Orlin, Russel, and Nima head onto the seas to find either untouched riches or their doom Beyond the forest lies a jagged rocky coast where, for generations now, a small seaside village hasobserved the rites of Greentide. Each spring, as the first green shoots emerge, village elders weave sapling branches and seaweed into an effigy in the likeness of a young woman. The sculpture is filled with gifts before it is cast into the waves as an offering to the Queen of Tides, along with prayers for a bountifulcatch and protection from storms.This ancient tradition harkens back to an age when the ancestors would crown a young woman as theTide Queen and offer her to the sea in sacrifice. Chieftains and princes would travel far to attend theceremony, pledging gold, jewels, and the finest of crafts. To this day, local fisherman never leave shorewithout paying her their respects—for the tide, they say, must have its due.Strange as the customs of an isolated village may be, it has not escaped the notice of keen treasure hunters such as yourselves that centuries of offerings and shipwrecks have left a great hoard ofuntouched riches beneath the waves. You know of the island offshore where the offerings are tipped overboard.You have heard rumors of a cove there, just visible at low tide. Superstitious villagers avoid it, butyou know better than to believe their tales.Our cast was:Jacob as OrlinJustin as Russel “Rush” can be found on his weekly stream Junkdrawer on TwitchAustin as Nemaand David as our Game MasterTrophy Dark is a game designed by Jesse Ross and published by the Gauntlet and Hegemaze Press.Music for this episode included:-Gamela by E's Jammy Jams-Symmetry of Sleeplessness by Dan Bodan-Sad Songs Pt. 1 Bells by Fake Cats Project -Brushed Bells in the Wind by Daniel Birch

Beyond the forest lies a jagged rocky coast where, for generations now, a small seaside village hasobserved the rites of Greentide. Each spring, as the first green shoots emerge, village elders weave saplingbranches and seaweed into an effigy in the likeness of a young woman. The sculpture is filled with giftsbefore it is cast into the waves as an offering to the Queen of Tides, along with prayers for a bountifulcatch and protection from storms.This ancient tradition harkens back to an age when the ancestors would crown a young woman as theTide Queen and offer her to the sea in sacrifice. Chieftains and princes would travel far to attend theceremony, pledging gold, jewels, and the finest of crafts. To this day, local fisherman never leave shorewithout paying her their respects—for the tide, they say, must have its due.Strange as the customs of an isolated village may be, it has not escaped the notice of keen treasure hunterssuch as yourselves that centuries of offerings and shipwrecks have left a great hoard ofuntouched riches beneath the waves. You know of the island offshore where the offerings are tipped overboard.You have heard rumors of a cove there, just visible at low tide. Superstitious villagers avoid it, butyou know better than to believe their tales.

After an unknown and unexplained event eighteen months ago, things in the forest began to change. Impossible landscapes, incomprehensible monsters—the Quarantine Zone began to spread, and it has not stopped. Hence Expedition Team Delta, hired by the research organization Advance to venture into the Quarantine Zone and uncover its source. When scientist Lee Barnett, guard Ivy “Rook” Kozlowsky, and Dr. Emmett Blackburn enter the Quarantine Zone in pursuit of answers, they will be faced with sights beyond their wildest dreams, or their worst nightmares. They may make it out alive, they may even make it out with answers, but one thing is certain: they will certainly not make it without the forest changing them for good. Content Warnings descriptions of wounds/infected wounds, insects (maggots, infestation), violence, harm to wild animals, animal death, severe disorientation, body horror (esp. joints, veins, mentions of broken bones), parasites, zombies, character death Players Rev (@RevDeschain) of The Critshow (@thecritshow) as Dr. Emmett Blackburn Christine (@cprevas) of The Unexplored Places (@unexploredcast) as the GM Charlotte (@TheCornbreab) of Tabletop Potluck (@tabletoppotluck) as Lee Barnett Max (@Esoteric90sIP) of Legends of Chel (@LandOfChel) as Ivy "Rook" Kozlowsky Game Trophy Dark by Jesse Ross https://trophyrpg.com/ Music License: https://filmmusic.io/standard-license Symmetry by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4790-symmetry IPM Find transcripts on our website: internationalpodcastmonth.com/transcripts Follow us on Twitter: @podmonth Support us: Via Ko-Fi Via Paypal.me The IPM theme was composed by Benny James. The IPM logo and art assets were created by Mathias Grelli. The IPM Organizational Team include Cole Burkhardt, Tess Cocchio, and Therin Stapp.

Mike Ferdinando runs Elizabeth, Jim, and Leah through a session of the "Rooted in Trophy" RPG "Candlelight." The spirits of three slain treasure-hunters seek to escape a haunted swamp after their ill-fated attempt to plunder the legendary Flocculent Cathedral. Candlelight is a "Rooted in Trophy" RPG by Gabriel Robinson. The scenario "The Gloaming Mire" is an adaptation of the Trophy Dark incursion "The Flocculent Cathedral" by Jim Crocker.

Mike Ferdinando runs Blake, Daniel, and Michael through the Trophy Dark incursion, "Isle of Water and Blood." The incursion is set in 1902 just off the coast of New England, and is based on an unpublished scenario for Call of Cthulhu that Mike wrote 25 years ago. A group of dilettante occultists attempt to contact a benevolent spirit of enlightenment that promises great arcane power. What could possibly go wrong?

Jason and Judd bring on a special guest to talk about the release of the final PDF of Trophy Dark! Show Notes: 00:16:53 - Trophy Dark's layout 00:23:46 - Some Incursions 00:34:06 - a brief chat on Safety in Trophy Dark 00:39:00 - the Scoundrel's Quarters 00:45:43 - What's Next Judd's Twitter: https://twitter.com/Judd_of_Kryos Judd's YouTube Channel: https://www.youtube.com/user/ZeppelinCity Judd's Podcast: https://anchor.fm/daydreaming-about-dragons Judd's blog: https://githyankidiaspora.wordpress.com/

"Tom of the Woods is quite the jolly fellow; Sky blue jacket, with those fine boots of yellow. But they say that on on the day when you'll lie dead You'll see Old Tom in his boots of red." Second of two sessions of the first playtest of an Incursion written for the dark game of doomed heroes, Trophy Dark. Boots of Red is inspired by The Old Forest section of Lord of the Rings, given a folk horror twist or two. This session is part of The Gauntlet RPG Community's monthly calendar of games and played under their community code of conduct. The Gauntlet: www.gauntlet-rpg.com Trophy: https://trophyrpg.com/​ Title card a processed version of artwork by Borja Pindado.

"Tom of the Woods is quite the jolly fellow; Sky blue jacket, with those fine boots of yellow. But they say that on on the day when you'll lie dead You'll see Old Tom in his boots of red." First of two sessions of the first playtest of an Incursion written for the dark game of doomed heroes, Trophy Dark. Boots of Red is inspired by The Old Forest section of Lord of the Rings, given a folk horror twist or two. This session is part of The Gauntlet RPG Community's monthly calendar of games and played under their community code of conduct. The Gauntlet: www.gauntlet-rpg.com Trophy: https://trophyrpg.com/ Title card a processed version of artwork by Borja Pindado.

Hoy volvemos a Trophy y aunque el máster nos miente contándonos que esto es Trophy Gold y habrá combates como en la última partida, esta es una aventura de Trophy Dark y la emoción y la ruina a raudales impregnan irremediablemente la partida. Trophy es una interesante propuesta de juego de rol que mezcla el mazmorreo clásico con algunas mecánicas para compartir autoridad narrativa propias de los modernos juegos indies a partir de un sistema desarrollado con dados D6. Esta vez, la introducción a las reglas y la creación de personajes se decidió fuera de micro. Esperamos que os lo paséis tan bien escuchándola como nosotros emocionándonos con ella

This is the audio for a meeting of designers for the Trophy Gold role-playing game. Trophy designer Jesse Ross and Gauntlet Publishing owner Jason Cordova moderated, and offered general advice for creating adventures and hacks of the Trophy Gold system as well as specific feedback on individual projects submitted by some of the designers in attendance. My own work will be appearing in both Trophy Dark and Trophy Gold. It's a wonderfully rich system, and Jesse has gone out of his way to make it open to both modification and expansion.

This is another Actual Play special. In this episode, Jason Cordova facilitates a session of the Trophy Dark Weird West incursion Devil, Aim for Me. You can find Devil, Aim for Me on itch.io. The full Kickstarted version of Trophy (Including Trophy Dark, and my own incursion The Flocculent Cathedral) is now available for pre-order. Please note this is raw audio pulled from a YouTube video with no post-production editing. It's a real-life actual play session.

Qualcosa di oscuro si cela nelle foreste... qualcosa di antico ed incomprensibile, sfortunatamente è proprio quello il luogo dove siamo costretti ad avventurarci in questa puntata, se vogliamo porre fine a ciò che più ci tormenta, o riscattare il nostro nome. Oggi parliamo di un rule light (o dark?) che esplora l'orrore che si cela nell'animo e nella mente umana... Link UtiliTrophy Dark in pdf free https://drive.google.com/drive/folders/1h9HT0fPPJc_DSqVVVXkgSMo800p7sXuWTrophy Gold su Codex Gold Zine https://www.drivethrurpg.com/product/293716/Pagina del Kickstarter https://www.kickstarter.com/projects/gauntlet/trophy-rpg?lang=itSito ufficiale di trophy https://trophyrpg.com/Trophy SRD https://trophyrpg.com/system/Video , podcast e actual play https://www.youtube.com/playlist?list=PLe5ZurPjTIy7AQb6ia1DU0tMTU0IzkMTKhttps://www.youtube.com/playlist?list=PLe5ZurPjTIy4fWJ38SjrAbFMijJstNyDAhttps://podcasts.apple.com/podcast/trophy/id1479689325Don't get lost in the woods, Strangers!

Campus Crier The Campus Crier is where we keep all the mythos related news and info for the podcast, this episode was recorded on October 10th, 2020.  Our friend and editor of the show, Edwin, is involved in the Midderland 5e setting Kickstarter! The book is a setting and bestiary for the “green-hued dark-fantasy” based on middle England. Edwin did the 5e conversion for the setting and Ennie Award winning artist, Glynn Seal is the primary author, artist, and layout artist. I've seen the 11 page teaser PDF and it looks really quite cool. You can get a PDF for $25, $35 for a POD softcover, and $45 will get you a hardback with an amazing fold out map. https://www.kickstarter.com/projects/necromancergames/midderlands-setting-and-bestiary-for-fifth-edition/description There is a PDF “taster” available here: https://1drv.ms/b/s!Asryxq7YIiBZhtYMcbTPSbPWDiKf9Q?e=0fsfef Good Friend of Jackson Elias and all round awesome guy Paul Fricker has a new scenario for Call of Cthulhu out in the Miskatonic Repository called Full Fathom Five, a reference to Shakespeare's Ariel's song. It is set on board a whaling ship in the Pacific ocean in 1847 and involves a series of deaths or murders on board. Some of our own illustrious members, past and present, have played this as playtesters including Keepers Dan & Chad, Editor Max and a whole slew of other people we know and love. It looks really fantastic, so go and check it out. You can get the PDF at DriveThru for $6.99 Mork Bork and the Swedish Kartel are releasing an LP! Putrescence Regnant is billed an “ear-shattering, rot reeking bog crawl for Mork Borg.” A little more info was leaked with the cryptic announcement at the Mork Borg Discord server of which we have a screenshot in the show notes. Cyberpunk Red, Mike Pondsmith's iconic dystopian sci-fi RPG, finally has a release date and a price point! Cyberpunk Red will come in at $60 for the physical book and $30 for the PDF, and should come out on November 19th and Nov 14th for the digital. Thanks to a data dump at the R. Talorisian website, we know the book has 457 pages and 211,000 words and 143 individual pieces of art! Murph is excited about this one. Brett Kramer's Sentinel Hill Press has finally re-released The Dare, that fantastic CoC scenario that we all love, and updated it for 7th edition! You can pick it up at DTRPG for $14.99, and that price will be discounted from the eventual price of a physical book that is also coming out soon! Congrats to Brett for getting this all wrapped up! Sunken the gm-less RPG using Trophy Dark, of which I am a backer, is at the printers! I'm really excited about this and can't wait to have this book in hand, because the PDF was absolutely gorgeous. Arkham Relic Hunt from Squamous Studios, something else that Dave and Murph have backed, is about to ship out within days of this recording. Children of Fear, a new Call of Cthulhu campaign set in classic 1920s mentioned way back in 2019 is finally getting some updates from Chaosium! Lynne Hardy's campaign across Asia will come out early 2021 and is 416 pages long. The cover was released through all of their social media outlets.  A DG hack of Cthulhu Dark called Cthulhu Deep Green has been released on DTRPG and it looks really quite cool. The latest scenario that was just released and is called The Linear Men. You can get both of these from DTRPG and both have a POD option that at the time of recording was $12 & $15 each, so a pretty good deal. And I'm a sucker for Cthulhu Dark clones and so I've already bought Deep Green and it is pretty awesome. The Discord MU Discord server invite link: https://discord.gg/vNjEv9D  Sponsor We want to thank Noble Knight Games for returning to sponsor our show. Has the COVID got you hunkering down at home? Are you looking for an online store with a huge selection of new and out-of-print games and game books?

Timecodes 00:01:20 - History and development of Trophy 00:11:15 - Trophy Dark 00:13:51 - Trophy Gold 00:21:05 - Trophy Loom 00:25:17 - Kickstarter details Links Trophy Kickstarter Campaign

Timecodes 00:01:20 - History and development of Trophy 00:11:15 - Trophy Dark 00:13:51 - Trophy Gold 00:21:05 - Trophy Loom 00:25:17 - Kickstarter details Links Trophy Kickstarter Campaign Page

Blaine sits down with Rev from The Critshow to finish their game of Trophy by Jesse Ross. This week, Orlen continues to find his way to the center of the forest, where a recording that could help free his brother from Barsow prison is reported to be. Will the forest let him find it?Twitter notalone_horrorPatreon blainecmartinTheme Song Everybody Knows my Name by Harley Poe

Blaine sits down with Rev from The Critshow to play Trophy by Jesse Ross. Orlen is a ranger who is braving the dark woods of the Croix Voie Forest to find a rumored tape that will get him enough money to help get his brother out of jail.Twitter notalone_horrorPatreon blainecmartinTheme Song Everybody Knows my Name by Harley Poe