Newsletter #1

With the work on Project Cassandra well under way (the draft text is now in the hands of backers) the start of the month also saw another new milestone for LunarShadow Designs with the launch of the first Newsletter, which will be releasing at the start of each month going forward. My goal each month is to talk about what I’m personally working on and to highlight new releases that have caught my attention. As the organiser of the ZineQuest 3 Jam on itch.io I also want to talk about the games that have been submitted to the jam with a focus on a few that I’m personally excited about.

You can find Issue #1 of the newsletter here and if you want to get future updates direct to your inbox once a month please sign up. I’ll still be updating the blog when I want to talk about something in more depth, though I expect those articles will be a little more sparse while I work on completing Project Cassandra.

What’s on my shelf 3: The Indie Corner

Next up in exploring my physical collection I’ve got the indie corner and at first glance it’s a little underwhelming. Not because of the games that are present but because the vast majority of my indie collection is digital. It’s one of the things I’d like to amend going forward, especially once we get back to in person conventions and I can buy directly from the creators.

So what’s present? The first call out, over on the very right, is Crystal Heart from Up to Four Players. It’s an amazing setting for the Savage Worlds system and I was lucky enough to write one of the stretch goal adventures, Ghosts of Iron. It was my first (and currently only) time working as a freelancer and something I’m keen to do more of once I whittle down my own project list.

There are a smattering of PbtA and Fate books, both systems that I enjoy but haven’t latched onto the way the wider market has. I used to own more but have sold off bits here and there over the last few years. Surprisingly I only acquired a print copy of The Sprawl after releasing The Synth Convergence at the end of 2019. The most recent acquisition is Black Armada’s Last Fleet, which is essentially Battlestar Galactica with the serial numbers filed off. Despite loving the concept and genre I’ve yet to get around to reading it.

Dotted amongst those is a rather eclectic selection, a number of which came out of the Scottish indie scene between 2008-2011. I was fortunate to know and mix with a number of the designers that were around Glasgow and Edinburgh at that point and without it I doubt I’d have gotten in to indie gaming to the extent that I have. From that period Remember Tomorrow remains one of my go to references for Gibson flavoured cyberpunk and goes nicely with The Sprawl and Technoir. Unfortunately somewhere along the way I lost my treasured fold out copy of Hell 4 Leather. It’s a game that I love and was my first real introduction to narrative, GMless gaming.

The thing that I’ve really come to appreciate with indie games, and even more so with those I own digitally, is the sheer range of systems and the stories they tell. With ZineQuest having only recently finished I’m looking forward to seeing what the latest round of games from new designers look like and adding them to the shelf.

For those that might be wondering the full list of games in the photo is as follows:

  • Last Fleet
  • The Cthulhu Hack (and Mother’s Love adventure supplement)
  • Technoir
  • 2 copies of BESM 2nd edition
  • Remember Tomorrow
  • Goblin Quest
  • Piledrivers and Powerbombs
  • Fate Accelerated
  • Fate System Toolkit
  • Fate Core
  • Scum & Villainy
  • The Sprawl
  • Dungeon World
  • Crystal Heart
  • 3:16 Carnage Amongst the Stars
  • Best Friends

Project Cassandra: Kickstarter Thoughts 1

The kickstarter for Project Cassandra wrapped over the weekend, raising £1830 thanks to the support of 175 people. Having had a few days away from it all, but with everything still fresh in my mind I wanted to do an initial retrospective on the campaign. I’m going to try and avoid giving advice here based on that experience. Partially because I’ve yet to actually produce and release the game but primarily because datum does not equal data. I could try and draw conclusions from what I did but looking at it with my data analyst head on the vast majority of zinequest 3 projects succeeded and many of those took wildly different approaches to my own campaign. So I’m going to stick to observations only.

The Campaign

Project Cassandra is a game of Cold War psychics trying to prevent an apocalyptic vision from coming to pass. Unlike many of the ZineQuest offerings this is a complete game using its own system. The campaign ran for 2 weeks from 4pm 20th Feb to 4pm 6th March with an initial goal of £400. Besides myself there was only one other person involved, Emzy Wisker, who I’d hired as an editor.

The Backers

After two weeks of hustle the campaign reached 457% funded, raising £1830 from 175 people. We hit the goal of £400 in the first four and a half hours. With a relatively modest goal I knew we had an excellent chance of funding but I honestly did not expect to reach it that quickly. Privately I’d set a target of hitting it within the first 48 hours, as it would turn out that was approximately how long it took to reach the first stretch goal.

As expected the number of pledges plateaued during the middle of the campaign before picking up again around 3 days before the end. The quiet middle wasn’t a surprise, it happens to most campaigns but the uptick 3, rather than 2, days prior to the end was surprising. Kickstarter sends a reminder email 48 and 8 hours before the end of a campaign if you’ve saved it but not backed it so I don’t know where this increase came from. At launch the project had ~150 followers, which increased to 252 by the end and a final conversion rate of 28%. It sat at around 18% until the final stretch and from talking to other creators a final rate in the 25-30% range is fairly normal.

Breaking the backers down by reward tier there were 63 at PDF only, 96 bought print copies (with 2/3 of those being international, non-UK backers), all 10 redacted editions sold out and 2 of the 3 online sessions went. The breakdown is roughly what I’d expected based on looking at other campaigns. I’m honestly surprised that the redacted editions not only sold out but did so within a matter of hours. I had included those as a special nod to the genre and didn’t foresee them being so popular.

Stretch Goals

Not knowing how well the game would do I waited a day before announcing the traditional stretch goals. The first was full colour printing, at £800. That was reached within 48 hours. I set the next two as multiples of the initial goal with targets of £1200 and £1600. Based on just watching other campaigns I thought £1200 was achievable and £1600 was a big push. Thankfully we hit both, the last with a day still to go.

The full colour cover of Project Cassandra

Promotion

During the run up to ZineQuest 3 I promoted the game pretty heavily on Twitter and discord but less heavily elsewhere. Those two sites are both where I’m most active and where there is a visible ZineQuest community. I should give special thanks to the other creators this year – there was substantial cross promotion and retweeting that got links in front of more people that I could have on my own. I also receive boosts from many people that follow me, which I’m very thankful for.

During the run up to the campaign I was offered the opportunity to do interviews with the Yes Indie’d and Effekt podcasts which again, anecdotally, boosted reach. I know for certain that a number of the Effekt listeners backed the campaign while Yes Indie’d reaches indie gamers I’d have otherwise missed.

The big thing I didn’t do with regards promotion was run the game much at conventions. I’ve had a hard time engaging with them following the shift online but it would have been a good way to get it in front of people I have no connection to. That I’ve also been missing having a regular group over the last year should have served as an additional push on that front.

Thoughts

I said I wasn’t going to give any advice in this post but I do want to talk a little about the bits I would do the same if I run another campaign in the future.

The first is plan ahead again. I started my planning for the campaign around November, well before I made a final decision about whether I would even run it. That gave me time to both play around with my budget and to prepare my campaign page without rushing. While I continued to tweak both right up until launch I had completed drafts by Christmas, significantly reducing my stress levels in the run up to launch.

Second, get the majority of the text written before launch. While the draft of Project Cassandra is only 90% complete I’ve been working on it for years. That meant I could present a clear estimate of the focus and goals of the game. It also meant I could include demo material that people could read over and try out. While I can’t be certain of the overall impact of that it did lead to somebody not only backing the game at the highest level but running a streamed playtest while the campaign was underway.

Third, use stock art. While I would love to be able to commission artwork in the future I cannot overstate the value of stock art. The only reason I could justify the £400 goal was because all of the art is stock, either freely available or costing £3-5 per piece. I had the advantage of producing a game set during recent history, so there is no shortage of era appropriate photos available through sites such as Unsplash. If I’d been producing a Dyson Eclipse game I’d have been severely constrained in terms of low cost choices and would have required a significantly higher goal. If I run a campaign again next year I suspect that I will budget for either a small number of commissioned interior pieces or a full colour cover.

That’s a lot of what I’d do the same, so what would I do differently? The big one is probably launch a little earlier. With ZineQuest growing over the last few years fatigue is definitely an issue. Anecdotally I saw a big drop in people talking about it during the final week of February / first week of March. I don’t know how that impacts on final numbers across the event but I wouldn’t be surprised if the biggest campaigns all launched during the first half of the month.

The Wrap-up

Ok, so this turned into a much longer post than I’d envisaged. The wrap-up is that as a campaign it was a far bigger success than I’d imagined and I think I did most things well. There are a few areas where I could definitely improve but as this one game has now blown past my total earnings from everything else I’ve ever released it’s a clear win. I’m planning to follow up with additional posts as milestones in production are reached and as I deal with the dreaded postage of the zines but for now I’ll leave it with one final thought.

Would I run another ZineQuest campaign? Yes.

What’s on my shelf 2: Cortex

Collection of RPG books using the Cortex system including Serenity, Battlestar Galactica, Leverage, Smallville, Firefly, Marvel Heroic and Cortex Prime

Following on from the overview post of what’s on the shelves of my new bookcase I want to focus in on a few individual groups of books. First up – Cortex RPG.

While Torg may have been the system that got me into tabletop RPGs it was Cortex that became the first I picked up independently, without being introduced to it by somebody else. The game that drew me in was the original Serenity system. As a massive fan of the show (which is unfortunately tainted by the actions of Joss Whedon) I picked it up as soon as I was aware of its existence and with the giddy excitement of being a brand new GM proceeded to run an absolute clusterfuck of a session. We had PCs turning on one another, half drunk players falling asleep (we were playing during a uni society overnight event following a club night) and a ‘quick’ combat that stretched into multiple hours.

Somehow that failed to put me off GMing and after gaining a little more experience we returned to the system to play the most cursed campaign I’ve ever run. Thankfully the curse here was scheduling rather than the game. Every session we did manage was great, they were just few and far between. The more we played the more I fell in love with the mechanics and naturally, being a collector, I picked up subsequent releases. One of those was Demon Hunters, a game which I have talked about at length on this blog.

As the system progressed from Classic to Plus I continued to pick up the books, focusing on the core rulebooks rather than supplements. Of the core rulebooks the only one I’m missing is Supernatural. I’m really excited about the new Prime edition and the opportunities it offers and have vague ideas of putting together a game using it. Right now I’m waiting to see what the rules for the Creators Workshop look like but if all goes to plan at least one game in my Dyson Eclipse setting will make use of the system. As far as the future of the line goes I’ve no plans to pick up the currently announced games, primarily as I’ve never been big on fantasy settings. I have mixed feelings about the focus on the digital platform, but what I’ve seen so far looks promising and it’ll be interesting to see if they can finally fulfil the potential of digital approaches.

I’m not sure I can fully articulate why the system resonates with me so much. That it was the first game I found on my own is certainly a part of it but I think the interlocking of traditional and narrative approaches is also a significant factor. It achieves a lot of what I enjoy about Fate but in a way that is slightly more intuitive and feels less meta. It’s also remarkably easy to teach, people latch onto the ‘when this applies grab the associated die’ and as a result I’ve run it repeatedly at numerous conventions.

Combining it all together I expect Cortex, in one form or another, is going to be one of those forever systems for me and I’m glad to see that it’s in good hands going forward.

What’s on my shelves

My recent interview with Matthew and Dave of the Effekt Podcast got me thinking about what’s on my shelves and why I’ve chosen certain games to form the core of my collection. Over the last six months or so I’ve been slowly whittling down my collection by selling large chunks of it on ebay. Most of what I’ve sold have been supplements for games I haven’t opened in years while others are games that no longer suit my preferred style of play. Among the casualties were a substantial number of Torg and Star Wars books (both original WEG editions), Corporation sourcebooks and a variety of individual games.

My RPG collection is easily half the size it once was and having finally invested in a new bookcase it is also now proudly on display. Given how much of an avid reader I used to be that I’m down to such a small collection of both gaming books and fiction feels a little odd but I’m also conscious of the fact that I don’t read as much as I used to. Anyway, enough rambling about the relationship with books (its complicated ok!), on to the gaming collection.

The top shelf is going to become my display shelf. Right now that includes my dice case, a birthday gift that needs filling, a selection of art books and special editions. Gaming wise that includes my leather bound copies of Demon Hunters: A Comedy of Terrors and Serenity (with a dedication to my old crew from the main designer). There’s also the D&D Art & Arcana book which is a gorgeous dig into the history the game and its art. Below are a couple of shelves of fiction, after which we get to the collection proper.

I think I’m going to focus on these two shelves over a couple of future blog posts but if you want to get a feel for my life in gaming then this picture speaks volumes. I’ve shifted towards digital releases a lot lately, especially for supplements and smaller indie games so it’s not fully representative of my tastes. There are a few games I would definitely like to add to this space, and one or two that I probably wouldn’t miss if they weren’t there. At some point I’d really like to put together a shelf of just starter sets, I don’t know why but it’s just this idea I’ve had floating around in the back of my head for long enough that I should probably start on it.

For the most part though it feels good just to have everything out where I can see it after it being in boxes for far too long.

Project Cassandra: Now on Kickstarter

The last few weeks have been exceedingly hectic with regards life in general but gaming in particular. Why? In short the Project Cassandra kickstarter launched on Feb 20th as part of ZineQuest 3 and while I’ve been heavily promoting it I somehow forgot to post about it on my own blog! Quite an oversight so I thought I’d drop a quick post now.

The campaign runs until the 6th March and has already exceeded my expectations – We’re over 200% funded as I write this with a week and a half left to run. We’ve unlocked the full colour printing stretch goal and I’m hopeful that we’ll hit at least one of the two remaining stretch goals. I’ve also been fortunate to be a guest on both the Yes Indie’d Podcast and the Effekt Podcast (the latter of which was streamed to youtube) so check those out for more details about the game.

2020 in review: Earnings

Continuing from my 2019 summary I once again want to talk about earnings as an indie publisher. I’m under no illusion about the fact that I’m operating at the bottom end of the scale with very little reach or name recognition but that’s part of why I want to report on these numbers, as I think it probably reflects on the scale that many hobbyist publishers are operating at.

So without further waffle here’s those numbers. Unlike last year I’m going to focus on just paid sales rather than total downloads.

drivethruRPG

ProductSales in 20202020 Earnings ($)Total salesTotal Earnings ($)
Channel Surfing*43.1188.23
A Demonic Fiasco*53.4553.45
Lockdown*21.20106.97
Talentless Hacks*32.4053.10
Missionary Opposition*21.2099.00
Trick of the Light*21.2088.22
The Tannhauser Investment*44.2344.23
The Synth Convergence4663.7762111.77
Mission Packet 1*2719.132719.13
Mission Packet 21612.401612.40
The Synth Divergence35.8535.85
What’s so [redacted] about [redacted]47.8047.80
Total earnings125.74200.15
*Was available as a Pay What You Want download for all or part of its release period
Numbers do not include any earnings from the affiliate program.

itch.io

ProductSales in 20202020 Earnings ($)Total salesTotal Earnings ($)
Channel Surfing0000
A Demonic Fiasco*10.5710.57
Lockdown*0000
Talentless Hacks*0000
Missionary Opposition*0000
Trick of the Light*0000
The Tannhauser Investment
The Synth Convergence1740.021950.74
Mission Packet 11115.081115.08
Mission Packet 277.4877.48
The Synth Divergence36.8936.89
What’s so [redacted] about [redacted]32.0932.09
The Stars will Carry you Home11.4111.41
Project Cassandra (beta)413.48413.48
Total earnings87.0297.74
*Was available as a Pay What You Want download for all or part of its release period
#Provisional, the final total may end up different from this initial reporting.

Thoughts

Across 2019 my total earnings came to ~£110, roughly half of which came from the stretch goal writing for the Crystal Heart Kickstarter. This year the total reaches $212.76, or ~£158. That’s just from direct sales of my own products. There’s another $25/£18 if I add in sales from bundles that I participated in.

In terms of totals that’s not a big jump but given that has come exclusively from sales of my own work (or bundles that I contributed to) it’s a massive jump. Unsurprisingly the vast majority of that has come from The Synth Convergence, with strong sales on both drivethruRPG and itch.io. Sales on drivethruRPG spiked after I put it on a 75% off pandemic sale but even after returning to its full price sales have continued to trickle in thanks to a bundle that adds both Mission Packets. While the absolute number of sales on itch.io have been lower the inclusion of tips and lower cut have brought its total earnings up.

That itch boost means the two sites are much closer than I would have initially expected, though I don’t feel like I’m seeing the sort of difference that many people in the indie community regularly talk about. I think that only really comes when you have an established following, which I don’t. I’ve made some small progress in getting my name out this year but not nearly as much as I’d have liked. I’d hoped that 2020 was going to be Convention heavy but, well it was 2020 and despite the many online offerings the online conventions never properly clicked for me.

So where do I go for 2021? Realistically the only way is up, as I’m working towards a ZineQuest 3 Kickstarter with a goal in excess of my existing earnings. I wouldn’t be surprised though if my total take home for the year is lower though, as the majority of the Project Cassandra money will be spent on its production, which doesn’t include a substantial writing budget. After that I’ve got a number of smaller projects planned but I don’t expect them to have the pull that The Synth Convergence had.

2020 in Review: Publishing

While I may not have gamed as much as I’d have liked this year it has turned into a bumper year for releases with 9 new products hitting the market. Coming off of the successful launch of The Synth Convergence at the very end of 2019 I had a long list of ideas to work on but surprisingly some of the most enjoyable work I did this year was on projects I didn’t see coming at the start of the year.

I started the year with the final Demon Hunters: Slice of Life inspired adventure starter. Slice of Life: A Demonic Fiasco (also available on itch.io) took a very different approach from the prior entries in the collection, not least because it was written for use with Fiasco rather than Demon Hunters: A Comedy of Terrors. While it took longer than I’d hoped to finished of it came together and made for an extremely fun playset. This was also my first try published material prepared with Affinity Publisher and the difference in what I was able to produce compared to Scribus was striking. This was probably most notable from the production side, elements that took me a long time to prepare previously were far simpler to lay out with the new software. One of my aims for 2021 is to compile all of the Slice of Life material together with a new, updated layout based on the one that I developed for this.

I had always envisaged The Synth Convergence (also available on itch.io) as my only real release for The Sprawl but it seems that I wasn’t finished with cyberpunk dystopias. Building on material I had explored for the original trilogy I released two Mission Packets with condensed outlines for a series of missions. The first, Mission Packet 1: N.E.O. (also available on itch.io) explored the realm of Near Earth Orbit while the second, Mission Packet 2: Subversion (also available on itch.io) turned the focus towards undermining the Corporations with the inclusion of new faction rules and a custom move. Having already laid the groundwork with The Synth Convergence these two releases were far easier to construct but just as enjoyable to write. I don’t know when I’ll next return to The Sprawl but it’s definitely a game that will stay on my radar should inspiration strike again in the future.

Even that wasn’t enough to quench my interest in cyberpunk. One of the first Kickstarters that I ever backed was for Technoir, a game of hard-boiled roleplaying that sadly never got the level of recognition or support that it deserved. It’s a great take on the genre, focusing on investigations and the back and forth story beats of noir novels. Having reread it during a week off I set myself the challenge of reworking elements from my Sprawl material into a Transmission – the format the game uses for adventures. Unlike a traditional adventure rely on the group weaving together plot threads by connecting nodes from a series of themed tables. An investigation that starts with an anonymous shipping container and a local celebrity overdosing at an exclusive nightclub may end up revealing Corporate corruption fuelled by an esoteric religious order. All built organically during play.

The end result of this reimagining is The Synth Divergence: Liverpool Corporate Authority (also available on itch.io). While it draws from the same material the reversed focus, from structured mercenary missions to emergent investigations drives a radically different tone and style of play. Having put in an significant amount of work on the layout front I’ll definitely be returning to Technoir in the future, if only to recoup some of the time investment!

2020 was also the year where I experimented with formats, starting with To Travel far from Home and The Stars will Carry you Home, two business card microgames that came together in a burst of creativity while I was watching a rocket launch. I knew that I wanted to round them off with a third game but it wasn’t until the Bookmark Game Jam that I worked out how to approach it, which included updated versions of the first two to form a trilogy of journal writing games that include messages being passed back and forth through the vast expanse that is deep space. They’re not perfect but the constraints of the formats made for an intriguing challenge and I’ll definitely be looking to produce further microgames in the future.

My other game jam submission this year was What’s so [redacted] about [redacted]? (also on drivethruRPG) as part of the What is so cool about Jam. Based on What’s so Cool about Outer Space I used this opportunity to rework the psychic spies theme of Project Cassandra into the WSCA framework. It’s a fun little game and served as a good exercise in adapting ideas to a new rules set. I’d like to expand on it at some point in the future (maybe the ‘Declassified edition’) but right now my focus is very much on its progenitor, Project Cassandra.

2020 was the year where I finally started making proper progress on the game. I released an updated Playtest Packet, containing the core rules, introductory mission and full layout test. The first draft of the current version is nearing completion and I’m gearing up for kickstarting the game as part of ZineQuest 3 in February 2021. In preparation for that I’ve been doing a lot of researching into costing everything out. I’m aiming to keep the total as low as possible while still ensuring that it breaks even. I’m not expecting to make any real money on this, that’s not why I’m doing it and realistically if I wanted to pay myself a fair rate it would never fund. Of course the Brexit shenanigans means I’m going to be tweaking the budget throughout January as new rules come into force and shipping prices are updated. My aim is to launch at the end of the window – Tuesday 23rd for a 2 week span and a goal in the £350-500 range. Expect to hear more about it throughout January and February.

2020 in review: Gaming

2020. To say it’s not been a great year overall would be one hell of an understatement. Gaming wise it has been what I can only describe as a slow year for me, primarily as I have failed to make the switch to online gaming necessitated by the Covid crisis. It’s not that I don’t enjoy online gaming, I’ve just found the process of finding and joining a regular group rather… disheartening.

In an ideal world I’d have gone into the crisis with a regular group and an involved game to stay focused on, as it was the group I had been playing with was already in the early stages of fragmenting. Not an ideal situation, especially given we’d only just started a mini campaign of The Cthulhu Hack, a game I’d been itching to bring to the table for quite some time.

That’s not to say that I haven’t gamed this year, just that it wasn’t nearly as often as I’d have liked. I finally managed to play in, rather than run, a couple of sessions of Demon Hunters: A Comedy of Terrors, including a session at ZOEcon run by Silent Jim himself (aka Don Early). I’ve also had the opportunity to play one shots of Tales from the Loop, Lancer and Paris Gondo. All fun games, though I feel that Lancer isn’t suited to one shots with new players as the system is far too crunchy for the restricted time frame.

On the GMing front I’ve run a few things, with the majority being lighter, one offs. Again fun but not really scratching that itch and more often than not reminding me how much I miss a steady group.

So where do I go for 2021? Well really the only way is up. Publishing aside (which I’ll cover in an upcoming post) I want to join or run a more involved campaign. Something that I can sink my teeth into. That’ll probably require finding an online group with a space as unfortunately I don’t see in person gaming returning until the second half of the year (at the very earliest). I also want to see about arranging some more one offs / mini-campaigns to try and work through the various games I have sitting around unplayed. Alien is top of that list as I’ve been itching to bring it to the table since picking it up at Dragonmeet 2019 while Star Trek is one that I want to save for a rotating in person group. As far as conventions go I want to say I’ll be back to them but right now I just don’t know. The UK Games Expo are aiming for an early June event but with the current state of things that seems too early for it to actually occur. Dragonmeet in December is more plausible and I believe there are plans for a post summer BurritoCon which I’d probably attend as it’s both local and small scale. So who knows really but fingers crossed, it can’t really be much worse than 2020.

New Release: The Synth Divergence – A Technoir transmission

The Synth Divergence: Liverpool Corporate Authority – A Technoir transmission

In the wake of the rising cost of air travel and development of clean propulsion methods the city of Liverpool has returned to its roots as a hub of ocean shipping. Thousands of workers have flocked to the docks in search of employment, managing a never ending stream of bulk cargo. Then came Synthetics, true artificial consciousness with the potential to upend the economy. As their numbers increase so does their dominance in the workplace and the careful balance between workers and the Corporations hangs by a thread.

This is the Synth Divergence – A transmission for Technoir, the game of high-tech, hard-boiled roleplaying.

Building on the success of my work on missions for The Sprawl during the past year The Synth Divergence remixes the material into a Technoir transmission centred around the city of Liverpool and its dominant Corporate Authority. Where The Sprawl is built around action oriented missions Technoir spins the cyberpunk dystopia towards noir investigations with intuitive mechanics that weaves a web of intrigue and connections as the plot is revealed.

Inside the transmission you’ll find the 36 connections, objects, locations, events, factions and threats used to construct the plot map and draw the characters in to the investigation. These include The Auctoria super-luxury hotel and CHES, its resident Synth, MetroNews, the custom Manta-Masti sports car, legendary racer Fabio Scorpius and a host of additional nodes inspired by the city of Liverpool.

You can pick up The Synth Divergence: Liverpool Corporate Authority now from itch.io and drivethruRPG for $3.