Tuesday, August 28, 2018

Guesting at the Rose City Comic Con Sept 7-9!

Along with the fun people listed at the bottom of this blog, I'm a gaming guest at the upcoming Rose City Comic Con in Portland, Oregon. I lived in Portland for years during and after college, so it's going to be great to see old friends as well as new people.

Friday the 7th at 3 p.m. in Room 8, Paul Peterson and Tim Eisner and I are on a panel called Ask a Game Designer. Despite the ongoing example of the Onion, I'm pretty sure we won't be dispensing relationship advice.


Friday at 6 p.m., and again on Saturday at 5 p.m., I'll be at the Rainy Day Games booth signing things, talking about games, and running a demo or two for a couple hours.

The last time I was at Rose City Comic Con I ended up running a 7+ player demo of 13th Age for people who had never played rpgs before and who immediately turned the game into the only fully Player vs. Player deathmatch I've ever GMed! Speaking of deathmatches, this show I'll be demoing the Wrestlenomicon card game that I designed along with Shane Ivey and Dennis Detwiller for Arc Dream Publishing, coming to Kickstarter soon.

Here's the full gallery of wizards & rogues:


Wednesday, August 22, 2018

13th Age Mini-Adventures


Here’s the plan: we’re going to create a series of three 13th Age books that contain fully playable short adventures for all 13 of the icons, one adventure per icon at each of the three tiers.  

Oh. Wait. We already did it! The three books of mini-adventures are called High Magic & Low Cunning, The Crown Commands, and Fire & Faith. They’re designed by Cal Moore, with me handling development.

It turns out we made a mistake calling the series of books “Battle Scenes.” Yes, there are battles in these adventures. Most adventures focus on a series of potential conflicts. But there are also suggestions for other paths, reskinning advice to help you fit each adventure into your campaign, and all the types of icon-related details you expect in a published 13th Age adventure.

Cat and Simon and others who spend time behind Pelgrane booths at conventions noticed the problem first. GMs who are interested in buying books of mini-adventures sometimes skip right past the three Battle Scenes books because they want more for their game than battle scenes.

Hooray for GMs who want to tell worthwhile stories! Boo for us choosing the wrong name.

If you haven’t tried these mini-adventures in your game, the whole bundle is described in more detail and available here.



Monday, August 20, 2018

Guest Post: Thumbing Through 13th Age Glorantha

Jonathan Tweet gifts my blog with gaming-centered posts, and here he is, finally looking at something we created together! 

At Gen Con, I finally got a copy of 13th Age Glorantha for myself, and when I got home I looked it over page by page. During production, Rob worked with the art and layout to bring the book together, but I kept my eyes off it so I would be able to see the final book with fresh eyes. It was worth the wait! Over the last forty years, various art styles have represented Glorantha to gamers, and 13th Age Glorantha touches on all those styles. From Cults of Terror (1981), there’s a classic, full-color, black-and-white illustration of Thanatar. He’s the severed-head god whose worshipers steal magic from the heads of those they decapitate. There are plenty of stylized images of gods and heroes, which are perfectly suited for a myth-oriented world like Glorantha. Some illustrations are drawn in a comic-book style, which suggests the archetypal quality of the myths and those involved in them. Some illustrations represent a more recent style of Gloranthan imagery, with details inspired by East Asian and South Asian cultures and religious art. Other illustrations are gritty fantasy pieces, reflecting the down-to-earth aspects of roleplaying in Glorantha. It’s fun to see all these styles together, and it’s a cogent reminder that your Glorantha is up to you. 

The Glorantha Sourcebook is a treat to look at, too. It’s a system-free companion to 13th Age Glorantha, and it has lots of art that I would have loved to see when I was running Glorantha campaigns in high school and college. The iconic images of the gods do a great job of connecting the abstract background of Glorantha’s divine beings to the everyday life of characters in the world. 

Here’s a photo of a meaningful illustration from 13th Age Glorantha. This section of the book is about a terrible part of the God Time where your god was defeated, and this is Rich Longmore's depiction of the mighty Orlanth, defeated and broken. The player-characters get to enter the God Time in their god’s place, and then it’s their turn to face the denizens of Fangplace.


You can see I’m bookmarking some pages. These are places where I wrote something particularly harsh. Chaos is on the rise, and there’s plenty of harshness to go around. In one scenario in particular, I almost feel sorry for the players. 

Monday, August 13, 2018

Guest Post: On Dice Mechanics and Over the Edge

This is a guest post on  from Jonathan Tweet, who is in the last 24 hours of his Over the Edge Kickstarter with Atlas Games. I didn't directly contribute to the design of Over the Edge, but it turns out that I contributed indirectly! 

Rob’s first professional appearance at Wizards of the Coast was when he in brought an interesting skirmish miniatures game and showed it to leads in the game design group as a possible acquisition. It was designed as a Glorantha game, but it would work the same way for a Magic-based miniatures game. The special dice you rolled mostly had numbers on them, but some faces instead had runes that triggered special abilities. When you rolled the dice in this game, the numbers you rolled were important, but so were the runes. 

He brought the same approach to 13th Age, where a monster’s attack roll determines not only if it hits but also whether something else happens. For example, if a phase spider hits you with a d20 roll that’s even, it can make a second attack to steal one of your magic items. The attack roll means more than simply hitting or missing, and the gamemaster can use the same attack over and over with different results from round to round. 

The original Over the Edge from 1992 had a linear dice mechanic, where your roll of multiple dice resulted in a number that indicated how well you had performed the task being attempted. The new Over the Edge has a linear scale on two dice to determine success or failure, and it adds good twists (if a die is a 4) and bad twists (if a die is a 3). These are the surprising results, good or bad, that are part of the conflict’s resolution. The good twist and bad twist rule was the original concept that the whole dice rolling system is based on. That approach derives directly from Rob’s dice systems that provided results that were different not just in quantity or degree but in quality. 

The Kickstarter for the new Over the Edge ends Tuesday, August 14, at 11 am Pacific. 

Thursday, August 9, 2018

Over the Edge!


Design not final
Our Wednesday night gaming group stepped away from 13th Age games for about a year to play many short campaigns of Jonathan’s new Over the Edge.

We had fun with the initial draft, but I don’t think the first mechanics entirely worked for the group. A WMD-user named Ann Thunder was our nemesis in that campaign. We were all supposedly savvy agents but the storyline was eventually titled Ann Thunder Escapes. Ann Thunder had our number.

Our second long campaign went much better, though the mechanics were still in flux. We’d made jokes about our PCs running a sandwich shop together, and when the player who loved that joke wasn’t at the table the night we created characters, we gave him his wish! We called our shop Bread, Beef, & Beyond. The ‘beyond’ included a bomb-maker whose bombs changed people for the better and a transhumanist geneticist. Now that I think of it, the plot also hinged on the moment a ritually-augmented cow took an accidental plunge off the top of a university building, so there was more beef involved than I’d realized.

The next long campaign is where the mechanics came together wonderfully. We (well, maybe that’s largely me) stopped getting knocked out of roleplaying rhythm to question the mechanics. The roleplaying took off. This final version of OTE faultlessly handled our four diverse PCs going off in different directions, having full arc-closing experiences, and looping back together in a central plot. I’m hoping we return to this campaign some day, we were either going to get thoroughly messed up by the Temple of Divine Experience or just maybe we could come out on top. Or both!

The Kickstarter runs another four days.

Thursday, August 2, 2018

Where I'll Be at GenCon

In pictures, my week looks like this...

Here's the text version!

Thursday, August 2

13th Age Adventure Design Seminar.
11 a.m. to noon. . .
Lucas Oil Meeting Room 1
We run these as audience-participation workshops, so y’all will brainstorm a 13th Age adventure with Jonathan Tweet and Wade Rockett and I functioning as multiclass ringleader/muses!

Pelgrane Booth, Signing & Talking
3:30 to 5:00 PM
Booth #1317
I’m likely to be around the Pelgrane booth other hours also, but if you want to be sure to catch me, these are the times.

Wrestlenomicon Playtest/Demos
5:30 to 8:00 PM
First Exposure Playtest Room,  convention room109 near the bottom of the Westin escalators
I’ll be running games of Wrestlenomicon in the First Exposure Playtest  Room. It’s a two or three-player card game of apocalyptic professional wrestling between elder gods, launching on Kickstarter later in August!! 

My co-designers Shane Ivey & Dennis Detwiller of Arc Dream will be running Wrestlenomicon in First Exposure starting at noon. The later shift goes to Fire Opal Games CEO Marie Poole and me, Marie will start at 4:00 while I’m in the Pelgrane booth.

Friday, August 3

13th Age Monster Design Seminar.
11 a.m. to noon. . .
Lucas Oil Meeting Room 5
Another audience participation workshop with experienced 13th Age monster designers at the mics . . . and one developer, if Paul Fanning can join us.  Two of the monsters created in previous seminars appeared in Lions & Tigers & Owlbears: 13th Age Bestiary 2 last year!

Worldbuilding from Different Directions Seminar
12 noon to 1:00 PM
Lucas Oil Meeting Room 1
Here’s something you won’t see every year: at least three game designers involved with different games, all inspired by the same world, getting together to compare perspectives and approaches. Of course it’s Greg Stafford’s world of Glorantha, and Jeff Richard and Jason Durall and I will be talking about HeroQuest, RuneQuest, and 13th Age Glorantha.

Pelgrane Booth, Signing & Talking
3:00 to 5:00 PM
Booth #1317

Wrestlenomicon Playtest/Demos
8:00 PM to midnight
First Exposure Playtest Room

Saturday, August 4

Swords, Spies, & Shoggoths: The Pelgrane Press Panel
2:00 to 3:00 PM
Lucas Oil Meeting Room 5

Pelgrane Booth, Signing & Talking
3:30 to 5:30 PM
Booth #1317

Sunday, August 5

13th Age Glorantha Seminar
10:00 to 11:00 AM
Lucas Oil Meeting Room 7
Jonathan Tweet, Michael O’Brien (MOB) and I will take a jaunt through the many Gloranthas that helped create our 466-page labor of love and talk about the many possible campaigns it can help create, in and out of Glorantha. 

[[Also Sunday at 10:00 a.m until 2:00 p.m., Shane Ivey and Dennis Detwiller will be running more Wrestlenomicon demos in the First Exposure room.]] [

13th Age Glorantha Demo: The Next Valley Over
Noon to 2:00 PM
Chaosium Gaming Room
I put this demo and its pregen characters together last week. It’s in the freeform style you may have experienced playing the 13th Age convention demo I created a few years back. Other GMs will be running the demo throughout the convention. 

Pelgrane Booth, Signing & Talking
2:30 to 4:30 PM
Booth #1317

…And that’s the plan, aside from business meetings, design meetings, seeing friends, keeping contact with Fire Opal Games comrade Jay Schneider as he helps run Dragonfire and Shadowrun: Crossfire events, and touring the hall to surf the wave of thousands of happy gamers!


Tuesday, July 24, 2018

The Subject Will be Revealed

Back in the 90s, when Lisa and I moved to the Bay Area so I could work at Chaosium, I got some fun postcards from a non-gamer friend in the Pacific Northwest who had gotten involved in a roleplaying experience he knew I would want to hear about. Every week for about a year, the players were creating poetry and art from the perspective of their characters. They did more worldbuilding than playing, when they played it sounded like a mix of roleplaying and live-action roleplaying. The game was full of secrets and spies and conspiracies. I asked for more info.

They were on an island. There were some really screwed up people running the island. Martial arts. Aliens, probably. Definitely magic.

Wait, wait, I said: are you playing Over the Edge? My friend wasn’t sure.

Is the island called Al Amarja? Yes!

I loved that this Over the Edge GM had made the game’s publishing history invisible to the players. They were having an experience, on an island named Al Amarja, and it was so over-the-edge that the game book stayed hidden.

I told my friend that I knew the guy who’d written the game, and that I’d introduce them someday. Years later, I did.

Vault forward another few years and Jonathan has revised Over the Edge. We playtested for a few months in my gaming garage, playing multiple mini-campaigns as Jonathan streamlined the system and shaped new storytelling tricks for the off the edge/grid campaigns of the 2020s.

The Kickstarter runs for the next three weeks. Visit soon. 

Monday, April 30, 2018

Cursed Court: Four Coins Variant


This is a guest post from Jonathan Tweet about a game we both love. You can find him on Twitter at @JonathanMTweet or on Google+ as Jonathan Tweet 
Atlas Games has a new board game that’s about placing bets based on shared, limited information, and it’s become one of my favorite multiplayer board games. Cursed Court was designed by Andrew Hanson, with great art by Lee Moyer. The board and cards consist mainly of art, so it’s an attractive game. The core mechanic is simple but deep, where each player starts with foreknowledge of two cards guaranteed to come up, one card secretly shared with the player to the left and the other with the player to the right. Players take turns betting on which cards and card combinations are going to turn up, watching each others’ bets closely to try to discern what the other players know.
Coins are used to guarantee the bets that players make. Each round, each player ends up with four bets placed on the board, each one backed up with a number of coins. Another player can take your place on a bet if they devote twice as many coins to the bet as you did. For example, if you bet on “The Scandal”, you score 3 points if, at the end of the round, the Courtesan, Queen, and Assassin are all in play. You can also put any number of coins on the bet, and they indicate how committed you are to it. Later in the round, another player can kick you off “The Scandal” by committing at least twice as many coins as you did. The coins add an important degree of strategy, both in how you assign coins and how you interpret the coins assigned by others. Bluffing can throw off other players, so it sometimes pays to assign coins to a bet that you’re not sure of.
The drawback of using the coins is that they lead to time spent counting and calculating. Players are stuck sometimes trying to figure out whether it makes more sense to commit 6 coins or 7. To figure that out, you need to know how many coins other players have left to play, which means counting their stacks.
When I play, I make a simple change to the rules. Instead of each player starting with 20 coins, you get 4. At this scale, the difference of 1 coin plus or minus is actually significant, and you see at a glance how many coins each player has left to use. Players get the same range of options, from committing no coins on a bet to committing all of them, but their intermediate options are limited to three: 1, 2, or 3 coins. The game moves faster, and you don’t really lose anything.
One game design rule of thumb that I’m sometimes credited with is that in a game two things should be the same or different. When we designed 3rd Edition Dungeons & Dragons, we made all the standard humanoid monsters, such as goblins and hobgoblins, noticeably different from each other. That was an example of the same-or-different rule in practice. The four coins variant is another result of that thinking. With 20 coins, when you back up a bet with 6 of them, it’s not the same as using 7 but it’s not all that different, either. Likewise, backing a bet with 1 coin is almost the same as not using any coins at all. Using only four coins, two different levels of commitment are always significantly different from each other because each individual coin is one-fourth of your total.
—Jonathan Tweet

Thursday, April 26, 2018

Book of Demons: using symbols from @GameIcons

In the last chapter of Book of Demons, Gareth Ryder-Hanrahan wrote some deceptively calm text describing things that can be found in the Citadel of the Diabolist. I loved his understated approach to iconic horrors, and realized that using a traditional illustration style wouldn't fit. Instead, I decided to try understated silhouette-style symbols to maintain the contrast.

I asked layout artist Badger McInnes to play symbol-artist, but before Badger started, ASH LAW pointed me towards the treasure trove of Creative Commons symbols made available by @game-icons/. They're up to over 3300 symbols tailored for gaming, wonderful stuff for both published games and prototypes.

The site is searchable with tags and it was no problem to find ten symbols that worked by Lorc and Delapouite. Badger slightly modified the symbols, we handled the Creative Commons licensing text in the credits, and you can find them on page 103 of Book of Demons. Here's a snippet of the page with Gareth's text and three of the symbols . . . .



My stupid mistake was that I miscounted and only credited them with nine symbols. I left the Cultist icon by Lorc out of my count, the symbol just above. We ended up using ten symbols from game-icons, not nine. I didn't discover the error until I was writing this blog post and realized I wasn't going to be able to simply recommend the game-icons site, I also need to apologize for screwing up the count.

Apology: I apologize. I got confused. Gosh darn demon cultists.

Recommendation: Game-icons is a wonderfully useful site. Follow them on twitter at @gameicons. Design a game about prehistory because they just uploaded wonderful prehistoric icons. Have fun!

Friday, April 13, 2018

Interviews & Lists

broo minis painted by Richard Bark, octorilla/walktapus mini from when Jonathan and I designed Dreamblade

I've done a few interviews in the last couple weeks, two about 13th Age Glorantha and one about monster design.

JM, Mark, and Nick's Iconic podcast on all things 13th Age-related has started up for a second season! Jonathan Tweet and I were guests for the first episode. We started by discussing the biggest design challenge we faced on 13G: fitting everything into a 190 page book. (Spoiler: we failed!) Our hosts were funny and fun and I'm looking forward to joining them again some time.

Also in the world of radio podcasting, The RevEnFuego interviewed me about 13th Age Glorantha for a BJ Shea's Geek Nation segment. Unlike the Iconic trio, the Rev wasn't familiar with Glorantha before he got hold of 13G, so we started with some of the runic, mythic, and Staffordian basics. As with the Iconic chat, we eventually landed among ducks. Along the way we talked a lot about 13G classes like the trickster that might also be used in 13th Age games that aren't set in Glorantha.

That was also the subject of a column I wrote for the Pelgrane Press website, New 13th Age Classes: A Swordmaster & an Earth Priestess Walk into the Dragon Empire. Originally I was going to write about all the new classes in 13G, but I opted to go in-depth into two (Humakti and earth priestess) as examples of what's possible.

Meanwhile in a text interview that had nothing to do with ducks, but one good question about Glorantha, Phil Pepin of High Level Games asked me questions about monster design, including a question that led back to designing miniatures games at WotC. That ties nicely into the miniature photographed above, a walktapus-by-another-name that Jonathan and I made as part of a Dreamblade set while at WotC.

Another thing we took along with us from WotC was a fondness for the OGL. We used it for 13th Age so that other people could create compatible products with the system and I enjoyed Wade Rockett's recent round-up of notable books compatible with 13th Age published by third-party publishers. There's a lot of great stuff here, and it didn't mention some of the cooler free stuff, like Tim Baker's Escalation fanzine.



Wednesday, April 4, 2018

13th Age Glorantha: Delicious (to Trolls)

Of the little things I like about our 13th Age Glorantha book, one of the silliest is how pages 347 and 348 look like they've been eaten by moths. It’s the o Darkness section of our runic geography chapter. o Darkness is the rune of the trolls, and trolls a) eat anything; and b) herd giant insects. So it always makes me happy that pages devoted to troll territories look like they’ve been nibbled by bugs!


But did I say this was silly? It’s not really. It’s the kind of thing Greg Stafford planned when he envisioned Glorantha’s runes. It’s more cosmic than it is accident.

Monday, April 2, 2018

Heinsoo: Rainbow over the Wine-Zoo


How do you pronounce my last name? Yes, you, the reader, the comrade sharing this line.

If you pronounce the first syllable to rhyme with ‘wine’ and the second syllable to room with ‘zoo,’ you’re agreeing with nearly all English speakers. Well, American-speakers, at least.

If you pronounce the first syllable to rhyme with ‘rain’ and the second syllable to rhyme with ‘bow,’ you’re either Estonian (or maybe Finnish or Dutch), a member of my circle of family or friends with a good ear for language, or someone who has had me correct you two or three times already.

My wife Lisa (not a Heinsoo, by the way, she has a very cool name of her own that’s marginally easier to pronounce) advises me to give it up, and just let people pronounce my name the way they’re going to read it, because come on, who am I kidding? She’s probably right. When Shane Ivey of Arc Dream asked me last week about the pronunciation of my name for the upcoming Wrestlenomicon Kickstarter video, I could have let the original wine-zoo pronunciation roll. Because really, I don’t care if people say my name wrong. 

I just can’t bring myself to ignore our Estonian selves, not when I say my own name, or when someone asks. Who would I be if I’d grown up with a name that other people could pronounce properly? Maybe less of an unusual person, I say, being polite.. I suspect I wouldn’t be me, not in some odd ways that matter.

So it’s OK if you pronounce the name of my company to rhyme with Rob Wine-Zoo Games. I don’t mind, I expect it. But if you hear me talking, I’ll continue to rhyme my name with rainbow. And in honor of that pronunciation, here are four beautiful color treatments Lee Moyer (rhyme scheme starts with Wheee!) created of the logo for the new company, and two black and white versions like the one that appears on the cover of 13th Age Glorantha.


Friday, February 16, 2018

New Wrestlenomicon Two-Player Cardgame Playtest Opens

art by Kurt Komoda

I've been super-busy finishing game design projects before a vacation.

One of the projects, a twisted little two-player card game from Arc Dream Publishing called Wrestlenomicon, is about to open a month-long playtest. The version of the game in this playtest has taken a turn toward the lighter side, away from a couple rules and abilities we decided were too esoteric.

If you're a fan of some of my other card games, or you enjoy two-player combat games, or if you have been aching for the chance to impale a fellow elder god with Cassilda's Thong or crush them under a Barrel Full of Byakhees, you can sign up for the playtest by visiting the Wrestlenomicon.com website!

I'm going to be traveling without much email for the next few weeks, so if you sign up and have any trouble getting the playtest kit, or have questions, contact Shane Ivey at shane@arcdream.com.