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Pope Guilty posted:I can tell you what the chances of a particular die coming up at or above a given number are, because that's basic division. Hell, that's basically counting. But what percentage chance is there of two dice out of a particular pool coming in at or above that number? It's not like you can just add they percentages together. I can't do more than make a semi-educated guess. Probability is notoriously unintuitive and unless you've been taught the subject- and had it sick- it's almost certainly not a skill you just happen to have. This is something people in general are well known for being super bad at. Yeah, but that is a problem with dice pools generally. Hanging it on TN shifts is sort of beside the point. If you want a directly intuitive system, there's d% and single die systems. Beyond that this is just going to happen.
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May 26, 2016 23:10
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Daeren posted:You had a dude with a doctorate come in and say that expecting people to accurately judge the outcome of a roll using the old system without professional training was presumptous, dude. There's an argument to be made here but you're sort of making yourself look like an rear end if you consider a scaling 9x10 matrix to be equivalent to fifth grade math. Deep thinking definitely is required to figure out the *exact* probabilities of a dice pool. For winging it, which is what this argument was about in the first place (remember the comment this whole line of discussion builds off?) it isn't really that hard. The supposition was that figuring out 6 dice/TN8 vs 5 dice/TN 7 was a difficult problem -- but it isn't a difficult problem. The difficult problem is figuring out that matrix. I explicitly agreed with that. What folks seem to be talking around is that this has nothing to do with a floating target number, and everything to do with dice pools as a thing. The thing that makes figuring exact per die probabilities? Again, not floating TNs, but dice tricks like 10 agains. But once again, if you multiply the set of successful die faces by 10, you get the per die probability before dice tricks. You add all the successful die faces and divide by 10 to get averages (again, *before* dice tricks). This doesn't get easier or harder based on TN, unless you remember what 3*6 is more easily than 5*4. So a third time, let me remind you: The issue on the table was whether 6 dice/TN 8 or 5 dice/TN 7 was better, and whether someone could easily eyeball it. This was supposed to be hard. It isn't. I'm sure every single person in this thread can eyeball the answer to this. At some point the goalposts got shifted to the stakes being whether someone can determine the exact relevant probabilities of a dice pools with a casual eyeball. This of course had nothing to do with the original point, but hey. The answer? Nah, you pretty much can't. You need that table. I'll set aside for a moment the fact that I've never seen a game stop so someone could consult a table. Variable TNs mean you need more and bigger tables. But essentially, they are also impractical to wing. So again, that doesn't matter. You'd need to look it up regardless. So to sum up: 1) These things are not that difficult to roughly eyeball. Roughly. To the extent of answering the thing that spawned this whole line of discussion. 2) They *are* difficult to figure out with exactitude. But this is a function of using dice pools and to a lesser extent, tricks such as x-agains. 3) So I don't think a small set of TN-adjusting powers in Mummy is a big deal. Folks have made a number of good points here. CWoD's design discipline regarding the role of different elements in the design is all over the place. Difficulty/TN is supposed to be how hard the thing is, and successes are supposed to be how well you do. 1s subtracting successes is a bad thing. All true! I think in the end Ferrinus has the coherent critiques here. Mummy's powers represent an esthetic choice some folks don't like, and there's nothing wrong with that sort of statement of preference at all. I feel the same way about power implementations that work around the 1-5 ladder as Disciplines, Arcana, etc. are). The ladder is incredibly handy, and I think in CofD folks should have a coherent reason why beyond esthetics. But that's a preference, not an argument to win. They're also right in that the real issue lies in situations where characters might be asked to choose between two options. Even though eyeballing it isn't hard, it does represent a pause which the design generally tries to avoid. But I think the fix here really lies in making sure these are not two different versions of the same action, but options with distinct rewards. CofD is tricky in that regard, because most Skills don't have hard-coded usages, so you can solve the same problem with multiple dice pools, as long as it makes vague narrative sense. Locking Skills in would create its own pause or channel for system mastery based on memorizing what they do.
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May 27, 2016 08:09
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Magnusth posted:Are we somehow ignoring that scion is patently ripping off heroes journey? You mean the narrative process, or the game designed by fans of Scion 1e? I'm not sure how we can rip off a game that is clearly a "make my own version with blackjack and hookers" tribute to Scion in the first place.
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Sep 27, 2016 04:49
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I think it is a mistake to reprint something that revives Ed Kramer's credit.
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Sep 29, 2016 02:52
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Daeren posted:
To be fair it may be the case that if they monkey with the book too much it will no longer be the original for legal purposes and they wouldn't have the rights to those stories in any other form. Kramer committed his offences in 2000, so they wouldn't have been known when the book was released in 1994. But I am generally for un-personing that man. MalcolmSheppard fucked around with this message at 03:18 on Sep 29, 2016 |
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Sep 29, 2016 03:13
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oh god you're right he did stuff for White Wolf didn't he.
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cptn_dr posted:Urgh. If your larp rules are longer than 40 pages, you're not running a larp anymore, you're standing up to play tabletop. In my experience MET LARP hit its peak in the mid to late 90s with the Laws of the Night grey book, which fit in your pocket and clocked in at under 200 pages. This was the first RPG for a large number of people I know. As page counts rose, the number of casual players decreased. Now that said, a PvP-centric networked LARP is a pretty different thing from what MET was originally designed to support. PvP between strangers adds a whole host of issues. So it's not really the same game, and not really comparable to many other LARPs out there. MalcolmSheppard fucked around with this message at 19:17 on Oct 25, 2016 |
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Oct 24, 2016 20:57
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WINNERSH TRIANGLE posted:I know everyone knows it but I was just reading the Silver Ladder book and This was me. It's not what I believe though.
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Oct 28, 2016 18:35
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Yawgmoth posted:About the SL, or about people? I don't like death, but I love life, and don't think life's as miserable as all that. Anyway, what I try for with faction philosophies is for them to be engaging, functional ways of looking at the world that intelligent people in the characters' situations can get behind. I never liked designing for some intentional ideological blindness because if I can see the problems, the characters can. So in utterly rejecting complacency or any sense of peace with the Fallen World, the Ladder stays motivated, which I hope sets them apart from other "boss factions."
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Oct 28, 2016 19:04
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Mulva posted:The road is your path to enlightenment, the Buddha is the idea of authority of dogma. Your path is your path, you aren't walking the Buddha's path or your parent's path or anyone else's. If you encounter their ideas and ideals on the path you need to put them aside because ultimately only *you* can walk your path to enlightenment. And the path itself is all you need. The thing with the koan is that the desire to become enlightened is in itself a dualistic notion because it situates enlightenment outside of the phenomenal realm. The Buddha is ultimately part of something called the dharmakaya, which is sort of the pre-dualistic ground state of existence. Nonetheless you use describable manifestations of the Buddha, such as historical manifestations, teachings, objects and images in practice. The practice is not the nature of the thing but is a tool. As a matter of fact, it may be recommended that you treat the image of the Buddha as the literal presence of the Buddha. Plus, pure devotional practices are useful too. (I took refuge with my sect about 20 years ago, though I'm lapsed now.)
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Nov 16, 2016 17:10
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Senior Scarybagels posted:I took refuge in the Fo Guang Shan sect but with no one else near me, I have been using theravada, Tibetan and zen groups to help. I just am not smart enough to remember everything. I think though, bringing this back around to wod, the concepts and views of the various buddhist sects could make for a good theme for promethean and maybe changeling, though I am not sure on that. I have thought of it for Changeling, definitely since your character explicitly has no essence and must find liberation without it. Promethean is more explicitly transcendental, but it's similar.
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Nov 16, 2016 18:06
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Funny thing is I met quote a few people who liked Apocalypse LARP specifically because sex and romance were mostly off the table. They found it liberated them from creeps and cheese.
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Nov 17, 2016 17:41
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Pope Guilty posted:They don't give a gently caress about the LARPs people played either, judging by their apparent disinterest in MET. At least one person from By Night Studios is an employee, so I don't think they're disinterested at all.
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Dec 24, 2016 19:06
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Gerund posted:Requiring people to pay Model Train Prices upfront plus travel considerations does definitely keep the riff-raff out. People willing to spend money can also be twits. However, having run some more expensive MET LARP events (with catering and a better location) I have noticed that even difficult people tend to regulate their behaviour better.
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Dec 24, 2016 19:45
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Mendrian posted:While I certainly believe this, you also have the opposite problem with classism. Plain ol' American LARPs already have this problem - the guy who shows up with the best outfit will probably (emphasis on probably, every single game has at least one exception) have a better game than the guy who shows up in a dime-store trench coat just because people will take them more seriously. All excellent points. I do love the hardscrabble community theatre aspect of LARP, and how accessible it is. (Though with MET rules heaviness drives people I like away.) I am also suspicious of reports about how expensive LARPs went because of sunk cost biases. I guess we need LARP reviewers who don't pay for games and aren't anybody's buddies, and whose opinions generate respect, but that's never happening.
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Dec 24, 2016 21:22
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Basic Chunnel posted:I'll cop to caviar dude as being p effective body horror but why is he called The Blind Man if he's not blind. Did MM just want to make a character with a cane? Does he act like he's blind? Should be noted that writers usually create specific elements, developers only outline, though the ratio of outline detail to writer inventiveness depends on the developer and the writer (ex: A rookie might be given specific instructions, while I often get "do whatever"). In this case, the developer was Danielle Lauzon, who I've enjoyed working with. I don't have the book and am not part of Beast goings-on generally so can't speak to its content, but the process at OPP is usually a pretty collaborative one.
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Jan 12, 2017 20:43
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Archonex posted:Yeah, this is what i'm talking about. I dunno. In 1e a Fae can, say, carry around a Title in a scroll, and when he reads from it every mortal who hears it dies, and the game mechanic is, "If you hear it and you're mortal, you die."
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Jan 24, 2017 23:47
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Archonex posted:The White and Black Treatise book has a few spells that let you raise mountains, create swamps, and generally alter the terrain within a theme at will. Much depends on whether you go by Equinox Road or Autumn Nightmares, which aren't really integrated. Per ER the Fae you kill might be basically a magical psuedopod of the whole thing, either as one kickass individual or as a pack of 20 goblins. I have no idea what they went with for 2e; I designed the stuff for Equinox Road.
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Jan 25, 2017 00:04
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My preferred answer to the Arcadia question (which has since been answered) is that the question is incoherent when its subject doesn't really do the linear causality thing. It's asking the chicken/egg question of something that is chicken, egg, dinosaur, rotisserie-cooked, hot primordial baryons and heat-death radiation depending on its narrative stylings.
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Jan 25, 2017 03:09
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MonsieurChoc posted:Mage 2E and Revised ran far away from the idea that the Traditions were anti-Tech. They were mostly pro-Not Being Murdered/Pro-Magic. This always got me, because two of the Traditions are scientific, and one of them was devoted to the defining science and technology field of the 20th/early 21st century. My view of paradigm was always that the defining factor wasn't what you loudly professed, but what you'd bet your life on as surely as the sun coming up or gravity working. This means that, say, most fundamentalist Christians aren't a challenge to the Technocracy. They talk a line, but in terms of base assumptions, they believe in internal combustion and mutual funds way more than Jesus. (Contrast with the medieval/Renaissance view, where animals were said to be living examples of Scripture, astronomical observations were not denied, but reconciled with the Bible and the Greeks, etc.) You can make an unfortunate turn into "defenders of homeopathy," but mages actually do know that it doesn't work, after a fashion, because they know it requires supernaturally rewriting the rules of reality to make it function, which makes it work in the same way as "I can fly by summoning an air elemental." A mage may wish that one or both things were true for everybody--and hell, wouldn't it be good if you could cure diseases with something like that, or fly around?
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Jan 28, 2017 07:13
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ProfessorCirno posted:Mage makes sense in the context of it's creation, or at least at the time of it's creation. The 90's were all the gently caress about reality being subjective and you being tricked or fooled or whatever into not seeing THE TRUTH. Baby's first gnosticism. I think you're mistaking the alleged spirit of an age for some fairly straightforward game design. WW planned to make a game that was a modern successor of Ars Magica (because, among other things, Vampire continuity connected to it) and after a few iterations hit on this way to get there. (And according to conversations I've had, some Ars fans were actually pretty pissed off they didn't get "Ars Moderna," which they felt they were promised, and there was for a time a fork based on playtests called that.) Anyway, Mage 1st drags a lot from Robert Pirsig: the theme of reconciling the romantic and technological worlds, the term Arete as the game, and the Sons of Ether, who were originally called Parmenideans (it's on old promo material, even). Prisig's focus is pre-Socratic and not really friendly toward Gnosticism at all, since Prisig interprets pre-Socratics as not really thinking in terms of truth value, but a sense of functional harmony (a la Heraclitus) and wholeness (a la Parmenides). There was a conscious attempt to avoid any real occult traditions not just for the personal reasons of certain staff, but because the sense was that the game wasn't really about "real" magic. This notion went all the way back to the original Ars, which was aggressively not based on real medieval traditions. It's only later editions that really went for it once it was understood that the biggest fans was hardcore medievalists. It is true the "science wars" were a thing in academia at the time, but Mage doesn't refer to any of those things. As far as I know, the only person with an education in any of that who worked on Mage was . . . me. And it was 5-6 years before I got involved. MalcolmSheppard fucked around with this message at 12:13 on Jan 28, 2017 |
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Jan 28, 2017 12:09
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Mors Rattus posted:Yeah, Ars didn't get hard into medievalism and good writing until 4th edition. Before that were some real bad books and the Realm of Reason and a character with a Craft specialty in sex toys. A lot of the 3e stuff is fine. I personally prefer 2nd, which is the most straightforward, easiest version of the game to play. The main tension with writing fantastical medieval stuff is between people who want Dungeons and Dragons and Frenchmen, and people who want Shithovel: The Dig-Stickenning to make them feel all Whiggish about history. Ars has swung between them across editions, and I don't have much of a problem with that.
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Jan 28, 2017 23:28
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Most of the Cop population and many other VEs are just, you know, your run of the mill secret space colonists and not Awakened. It's notable for VE's because their people are not integrated into normal human society. The Traditions used to have significant numbers of non-mages tooling around Horizon Realms, but these beings were usually tied to their realms. Doissetep had 400 Sleeper settlers and an indigenous population in the Realm, but I forget the details about the latter.
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Feb 22, 2017 06:59
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Alien Rope Burn posted:It's kind of surprising how well World of Darkness cornered their particular mark that there weren't more knockoffs. I mean, there was Everlasting, Deleria, Witchcraft... I can't think of many others off the top of my head. Enh. VtM was itself preceded by Nightlife, and there's a contemporary horror/urban fantasy genre that provides plenty of material. WW games were popular enough that after them, whatever comes next will be in some way a response by necessity, but Deliria was solidly drawing from urban fantasy roots with its extremely loose setting. Witchcraft is a bit different in that it certainly responded to WoD ideas, but I think Carella was really more interested in it in a, "Well, I'll do it *my* way," sense. The Everlasting, though . . . Sometimes you get responses to a thing that are creatively fruitful. Unknown Armies deserves its accolades, but probably wouldn't exist without WW games (or Over the Edge, which is a pretty drat important game too). Sometimes you get uninspired half-lifts like Urban Shadows. But in both cases, there's a bigger field of material in pop culture than other RPGs, and going to them is legitimate. It just might be challenging. I think three games about vampires have ever gained traction, and two of them are WW games called Vampire. The third is Night's Black Agents, and it had to demonstrate some singular loving genius *and* go back to literary sources hard to take its place. Making an all-new game about vampires to sell is a hard task, and I'm intrigued by what David Hill has been working on. Anyway, in relation to wherever the current White Wolf is at: I have no idea whether the company cares. They stated an interest in shifting their interest to Europe, and while Onyx Path is probably their most reliable revenue stream in a phase where they're probably burning through cash, it might not be especially important to the scale of business they want. Zak is a terrible person, but I think what struck me was that the samples I've seen of the actual game just aren't very good. Zak has always been an uneven writer with a tendency to justify his weaknesses. I remember an article of his where he complained about the backgrounds given some dead NPCs in a book as being a wordy waste of time, when it was transparently obvious that he just wasn't capable of doing that kind of work. Similarly, the samples I've seen haven't been great, though there might be some good parts I haven't seen. Reviews haven't been kind to it based on interactive fiction standards. And this is what concerns me about WW's direction. The old WW, and OPP, have certainly had ups and downs in terms of quality, but there are also people with the company who are excellent. Certainly, in the new WW's place I would have swiped Rose Bailey and Travis Stout, who have electronic and tabletop experience and are excellent writers. Bill Bridges is a genius at structuring games to be playable and evocative. For marquee value, why contact some rear end in a top hat when Chuck Wendig is out there? And someone should basically pay Howard Ingham to write all day, and Geoff Grabowski to release whatever game he feels like, because they're both that good. There are others, but they're already busy, or I don't know them well enough to comment, or this post is getting long enough already. While there's an argument to be made for fresh voices, when you elect not to take advantage of a tremendous talent pool, it begs the question of what you really want. I don't know. I came in during the old WW's last years, and whatever vision people have of the company is much bigger. I didn't watch the movie trailer because seeing a mix of former bosses, coworkers and the odd Some Guy would have made me cringe regardless of its merits. Maybe there's a clue to the vision there. I work for another company now and don't really have a horse in this race. But instead of a vibe, I think the current WW should really be aiming to grab some practical insights about how to develop games and settings. Much of what they tried to do was already effectively lab-tested by the old company. There's a reason the old company walked back from one unified setting 20 years ago, for example, and why the games were vague about the definitions of certain underpinnings. You need flexibility and an appeal to subjectivity to provide creative breathing room. Plus, there's an opportunity to look at failures, like the decline of MET, which used to be enormous, and things like Gypsies. Sooner or later the new company *will* learn those lessons, but I can't help but think that they might learn them more painfully than they needed to. Certainly, they're learning one now. MalcolmSheppard fucked around with this message at 19:23 on Mar 1, 2017 |
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Mar 1, 2017 07:54
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Basic Chunnel posted:It does seem like LARP is what Swedracula's preoccupation is. The grand vision involved a lot of social media integration and IT-enabling and all the other terms that MBAs use to summon project funding from the aether. I wouldn't confuse his personal interest in LARP with the core plan for the company, which is to vault the IP into a big, centrally managed media license. I know nothing about how to sell a TV show but the last crack at doing that with centralized transmedia management was Heroes, which was bad, and now Star Wars, which is loving Star Wars and anyway, I'm sure Pablo Hidalgo exists to justify what the movies do, not tell directors what they can't do. But I think the documentary trailer reveals the very challenge of getting a tentpole up: Anything you like about the WoD can be lifted and tweaked into an original IP, as happened with Blade, Underworld, etc. That means the IP's value isn't its distinctiveness but recognition and loyalty. You want that, maybe you should talk to the people who kept that loyalty.
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Mar 1, 2017 19:40
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Lord_Hambrose posted:Is DrivethruRPG print on demand the only way to get physical books anymore? I got a physical copy of mummy from them and was happy with it, but it is not the same as a traditionally printed book. Indie Press Revolution stocks deluxe editions of some of the books.
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Mar 5, 2017 00:15
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Mors Rattus posted:Imperial Mysteries is 1e. 2e has made it clear: they ain't the same in any way. Personally, I think judging whether two places where causality doesn't function in a linear fashion and is based on symbols and narratives instead of objective natural laws (not that they're subjective, per se, but kind of intersubjective) are the same is not even a thing you can do. I mean, these are not even places in the usual sense. So even though they're separate in Mage, the functional categories in place are so weird changing your mind has virtually no impact in the setting. This reminds me of Mummy's Neter-Khertet versus the Twilight "state." Yes, Twilight is a "state." Except that the set of states belonging to ghosts and where they go can functionally be treated as a place, since they're allowed to interact with each other, and go to areas dead things go. If it's functionally a place, the difference between it being functionally and actually a place is basically who's arguing about it--the definitions are subjective, not the things being described. Similarly, Astral places are places and also states of mind, since you can get around through mental techniques, but some wacky situations breach the material/conceptual divide.
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Mar 5, 2017 00:32
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Further Reading posted:I actually read that story the other day and that connection was a once off twist. It was possessing her husband's corpse and the feelings were a side effect of the Batch12 that the Seer had been feeding her husband. The Strix was all pissed off that his vessel's heart was infecting him and part of the reason for telling her to gently caress off was to stop those feelings. Man. I wrote that but my memories of it are pretty sketchy. But in fiction I am generally for theme and storytelling over strict game replay stuff. The Strix weren't really set in stone at the time and vampires worked differently.
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Mar 7, 2017 13:37
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Emy posted:That was White Wolf (mostly an IP holding company, subsidiary of Paradox Interactive, the same legal entity but not the same people as the White Wolf that published a bunch of RPG books). Onyx Path are the ones that still make RPG books and license the IP from White Wolf, and a lot of them are old hands from White-Wolf-The-RPG-Developers-Of-Yore. It's funny because there aren't *really* a lot of old hands. Rich Thomas, Mike Chaney and Phil Brucato (and sometimes John Snead, because he's been everywhere forever, and Rich Dansky, because he's doing Wraith now, at the best pace possible) are the oldest of the old, I guess. I *think* Matt McFarland has some credits from the 1990s, but the bulk of his WW work was in the 2000s. Rose and Eddy are from the post-merger era and got to know the company as a more-than-tabletop thing. (Note that in all of this, I'm not talking about experience with other companies/IPs, which would complicate the discussion considerably.) The fact is, Onyx Path has been pretty good about finding new people interested in working in games, and their perspectives are as contemporary as anything you'd find in another company. Folks like Neall, Dave, Danielle and a bunch of other developers and writers are doing exciting things and were never substantially "old White Wolf." It's a good mix of people. But of course, there's a licensing partner that is, perhaps, thinking at right angles to the body of craft that people from various eras have developed. That means, for example, that some radical stuff I might have wanted to do in [REDACTED] wasn't allowed, because of an editorial policy that back when I started with "old White Wolf" had been dropped for not working properly. (There's also a question of what kind of competencies are in force at the top level, which is something I don't know a drat thing about.) Plus there are the various time, space and budget constraints that keep the full potential of my tremendously creative colleagues from flowering quite as much as they should. Companies try various things to avoid stagnation, like looking for new folks to get things done. That's fine. But its a mischaracterization to label Onyx Path as "nostalgia" company that doesn't have the people or capacity for that--indeed, in many cases, folks working there have had to restrain themselves.
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Mar 7, 2017 14:22
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Covok posted:How well does a OPP WW game translate to PbP? Scion is owned by OPP. Trinity too. Not licensed, but bought outright. So this is really striking out on a different, uh, path. But there were a couple of mandates to keep the game friendly for people who came in through WoD/CofD/Exalted. Those three games do consider the whole legacy, though I'm not sure what V5 will bring. I designed the first few iterations of Storypath's core systems, but haven't been too connected to playtest adjustments since. They might have become even more adventurous. I work for Green Ronin full time now, so my dabbling in OPP's stuff will probably not be as frequent now.
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Mar 8, 2017 17:20
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The Sin of Onan posted:Does anyone else find it a bit odd that the Dark Eras entry for the Hellenistic period (the early Hellenistic one in the main book, not the Ptolemaic Egypt one in the Companion) mentions Mesopotamian Mages more than once, but never gives them a writeup alongside the Greek, Egyptian, Persian, and Indian cults? I'm kind of tempted to write them up myself, actually. Space considerations. Egyptian mages got a detailed writeup thanks to extra backer funding.
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Mar 24, 2017 05:24
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The Sin of Onan posted:Yeah, but some 2,000 years have passed between the rise of the Akkadian Empire, which Left-Hand Path has as one of the powers that destroyed the Scelestus city-state of Kish, and the era of To The Strongest. Mesopotamian society has changed an awful lot over the millennia. No one even speaks Ugaritic any more, and even Akkadian only survives as a scholarly language; it's all Aramaic now. Babylon remains the largest city in the known world, and the Greeks at least see Mesopotamia as the original source of much magical knowledge, especially the arts of astronomy and divination. There's a lot to work with there. Seriously we just didn't have the space. Egyptians got in because someone paid to have the section expanded.
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Mar 26, 2017 10:26
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Oligopsony posted:Sigil & Sign, a game about playing mythos cultists, is live on Kickstarter. Not WOD per se, but as a modern occult/horror game that features a lot of WW veterans - Rein-Hagen, Suleiman, Sheppard, Heinig, etc - I imagine this thread might be interested. This is really Colin's project, but he has a very collaborative style, where each writer explores a theme or facet of the project. I'm looking forward to working on it, as well as working on The Lost Citadel with him. Colin is pretty deeply embedded with the horror writing/media community (not just horror games) so this sort of thing is where his enthusiasm really shines through. One thing I should note, given everything that's been going on: Green Ronin is effectively my full time client now, though I will be working on projects for other companies, still have OPP releases coming (Mage, Dark Ages, Scion, IIRC), and could see myself working for them again, but you might not see me on every book Dave does anymore, for instance. There's no drama (though I'm not questioning anybody else's experiences). I was just offered a very nice opportunity by Green Ronin and I really like everyone at the company. EDIT: If you're interested in any heavy design side stuff I do, Scion is probably the place to look for it, though Neall and Rose have iterated the core mechanics I designed a few times since I submitted them.
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Apr 28, 2017 11:57
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Kurieg posted:It's going to be shown at other cons later this year, so I doubt they're going to let people stream it for free yet. NWoD sold very, very well at first. However, it was released the year after D&D 3.5. The problem with this is that it triggered the D20 bubble bursting, as gamers stopped buying 3.0 compatible books, retailers were swamped with 3.0/3.0 compatible D20 stock, and nobody could move anything. NWoD and its component games went through a number of iterations that I can't really talk about, but I will say that early on the development team decided not to go for the easiest options so they could do some genuinely new and different stuff, and I continue to respect that. As for OWoD--well, I think that could have used a hard continuity reboot that kept the games and their broad backstories, but allowed details to be tuned. But WW is doing straight on continuity, and we'll see how it turns out.
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May 12, 2017 07:15
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