Talking Numbers: On being Deal of the Day

Back at the start of the year I finally found myself in the position of having sufficient Publisher Points on drivethruRPG to submit a product to the Deal of the Day queue. As my (at the time) biggest seller I submitted The Synth Convergence, my trilogy of missions for The Sprawl, and sat down to wait. For close to five months. Towards the end of May I finally received a notification that it had hit the top of the queue and would be the featured product on the 25th. I’ve mentioned before, both here and on twitter, about wanting to be open about sales and numbers as an indie publisher. Part of that is because I’m very much in the long tail at the end that you normally don’t hear from – many of the small publishers I see talking numbers are doing sales that are already an order of magnitude above mine (my 2020 numbers can be found here as an example). The Project Cassandra Kickstarter is going to shift my earning considerably but that’s a topic for when fulfilment is complete.

With all that in mind I want to talk about how well the missions did, my thoughts and general sales numbers. Prior to the deal of the day The Synth Convergence had sold 80 copies on drivethruRPG, with gross sales of $248.08, earning me $148.85. That comes in to an average purchase price of $3.01, compared to the list price of $5.00. The differences there are due to two factors – for much of 2020 I reduced it to $1.50 as part of a pandemic sale while it is also part of a Sprawl bundle including Mission Packets 1 and 2 that retails at $6.00.

During its 24 hour run the Deal of the Day promotion, while it was available for $2.50 (or less as part of the bundle), it was purchased 47 times, bringing in $122.54 in gross sales and personal earnings of $73.65. That may not be much for publishers with a more established following but personally it represents a massive up tick in sales and earnings.

That’s not the end of the story though.

With the increase in people looking at my publisher page I saw other releases picking up additional sales . The Sprawl Bundle sold 9 copies thanks to the fact that the Deal of the Day sale price was automatically factored in to its retail price. The Tannhouser Investment, the first mission from the trilogy is available separately as a PWYW demo but 3 people paid for it, either not realising it was included or because they wanted to send a little extra my way. The Synth Divergence transmission for Technoir and my Demon Hunters Fiasco playset both picked up a sale. Altogether those boosted my earnings by another $20.37. Finally, in the days since there has been a small trickle of sales – 3 sales of the bundle, 1 of The Synth Convergence and 1 of What’s so [redacted] about [redacted]?

So those are the numbers. Now for some thoughts/analysis. Emphasis on the thoughts given my limited data.

Was submitting the missions to Deal of the Day worth it? Yes, undoubtedly so. Those numbers speak for themselves and represent a substantial boost to my sales. Over a third of all sales I’ve had of the missions were in that 24 hour period.

Would sales have been higher if I had chosen a stand alone game for my submission? Honestly, I have no idea. As a supplement they are reliant on a purchaser owning a copy of The Sprawl but on the other hand it is a well known and popular PbtA game. Combined with the sale price I suspect a lot of people will have purchased the missions on impulse alone. I just don’t have the data to know if they’d have done the same with a stand alone game.

Do I wish I’d have saved the points for using with Project Cassandra? Also yes. While I would have probably ended up waiting another year to use them it would have been nice to ensure that the game got in front of as many people as possible. It cost 577 publisher points to submit to Deal of the Day. Right now it’s over 650. As a non-exclusive publisher I receive 10 points a month plus 1 for every $10 of sales that month. So unless I can significantly increase my monthly sales it will be a few years until I can submit again. What I will do though is look into other ways that the publisher points can be used – the cost for banner adds is currently low, and with the impending digital release of Project Cassandra I intend to use them to boost visibility of the game. I’m not sure how effective banner impressions are but I’ve got enough right now to trial it and see if there is a boost to sales.

All in all being deal of the day drove a significant increase in my sales and that, ultimately, was always the goal.

What’s on my Shelf 4: Trad

It’s taken me a while to get to posting about the bottom shelf of my gaming collection but, for the most part, it’s where you’ll find my trad games. It’s also the portion of my collection that has shrunk the most over the last few years as I have condensed it down in response to multiple moves and a dramatic reduction in how often I game.

There are two main blocks of books amongst all that – Legend of the Five Rings and the original Torg. As I’ve mentioned previously on the blog my first real exposure to tabletop RPGs was through Torg but not until it had long gone out of print. I’d just started my PhD and for the first time in my life had a regular income (and quite a good one for a PhD programme) so it probably wasn’t surprising that I started to hunt down books on ebay. At one point I probably had ~75% of everything that had been printed for the game but I’ve trimmed it back considerably since then to the main setting books and the big centre piece adventure trilogy that kickstarted the living campaign. I’ve managed to hold off diving into its reboot, Torg Eternity, simply because I have no idea when I’ll ever get a chance to properly play the game. Maybe one day.

The second big collection is Legend of the Five Rings 4th Edition (and the starter set for 5th Edition over on the right). This is one of those games that I am deeply conflicted about. Having been introduced to it by an amazing GM I’ve grown to love the world building and setting of the game. I’m also, however, aware of the extent to which the game only exists due to cultural appropriation of Asian cultures and I’m ashamed to admit how long it has taken me to really appreciate that. I’ve not picked up any more of 5th Edition even though I’d like to properly check the new system out.

Dotted amongst those collections are a range of books. There’s 2 WEG Star Wars books, the original game and the Rebel Alliance Sourcebook. I picked those up as part of a bulk collection in a charity shop but again, most of them have since been sold on as I’ve moved towards a focus on core books only. Masks (not the superhero PbtA game), from Engine Publishing is one of those books that has earned its place many times over given my preferred role as a GM. How? Well it’s a collection of generic NPCs separated by genre that includes names, descriptions, backgrounds and story hooks. Invaluable for when inspiration is lacking.

You might also note the cardboard folder sticking out on the right hand side. That’s the one non-trad game on the shelf – a physical copy of Time & Temp by Epidiah Ravachol. You’re probably more familiar with his games Dread and Swords without Master (which is in Worlds without Master Issue 3). Time & Temp is a game of time travel that in over a decade of ownership I’ve yet to get to the table despite being so intrigued by it that I paid to have a copy shipped over from the US. One day I’ll actually find a group interested in trying it.

So there you have it. My little collection and not a dragon in sight.

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.

Project Cassandra: Inspiration and Origins

Project Cassandra: Psychics of the Cold War header with image of an ominous man smoking a cigar and stamped Classified

With the release of Playtest Packet 2 over on itch.io I wanted to take the chance to sit back and think about how far Project Cassandra has come since its inception. I first started working on it in 2013 with the intention of putting together a hack of the amazing Lady Blackbird RPG. That game is a masterclass in design, especially with how much depth it manages to convey in only a few pages. The characters are fully realised, the rules are elegant and the minimal description of the setting somehow flips a switch in your brain to fill in the gaps without you even realising that that is what you are doing. I’ve played Lady Blackbird numerous times and while the setup for the scenario is predefined the game always plays out in a unique way.

My aim with Project Cassandra was to replicate that, with a scenario that started the same way each time (a premonition of the President being assassinated) but that naturally spun off into its own, contained story.

But why Cold War psychics? The inspiration for that is, as it turns out, a little more disjointed. I’d reread the original Jason Bourne novels, which are set during the Cold War, not long before starting work on the game and had subsequently gone digging into some of the conspiracy theories from the era. It was a bit of a Wikipedia rabbit hole. Most, such as the Majestic 12, are just that – conspiracy theories with no actual evidence but as is often the case truth is stranger than fiction and I ended up reading about dozens of formerly classified projects.

The most famous is probably Project MKUltra – which explored extreme approaches to interrogation and mind control. That project was itself preceded by Project Artichoke – which sought to determine if a subject could be programmed to perform an assassination against their will. Then there was Project Stargate, which investigated remote viewing and psychic abilities as a method of gathering intelligence.

With all these real world examples to draw the only thing that I needed to introduce with Project Cassandra was the element of success. The secret project that had trained a group of psychics but then ignored their warnings, forcing them into direct action.

In the summer of 2013 the final piece of inspiration came into play – a video game. Specifically The Bureau: XCOM Declassified. The game was fun without being spectacular but two aspects stood out. Firstly, it was rooted in the aesthetics of the Cold War which helped reinforce my choice of backdrop. Secondly, the abilities of the characters struck me as something that would complement the system. I had already started to develop Project Cassandra, including the use of Powers (again inspired by the abilities in Lady Blackbird) but the way the game implemented them, and encouraged interaction, cemented my desire to make them a core feature of the game.

From there the game went down the usual route of alterations, tweaks and dead ends that I’m sure are familiar to any designer but looking back it’s comforting to see that many of the core elements were present early on and I can’t wait to finally release the game next year.

First Thoughts: Alien RPG

This is not a review, merely my thoughts based on two thorough readthroughs of the Alien RPG. Before I put out an actual review I want to have run at least one session of the game in its cinematic mode to get a proper feel for the mechanics.

I picked up the Alien RPG at Dragonmeet 2019 after originally avoiding the wildly successful pre-order earlier that year. I hadn’t ordered the game at that point for a simple reason – I’ve never watched Alien. Or any of the movies in the franchise. It’s impossible not to know the overall plot and tone of the movies though so when the first reviews of the game came in it piqued my interest. Everything seemed to suggest that Free League had succeeded in releasing a system that helped to build tension and explosive terror. That was enough to make me check the book out at Dragonmeet, where I was pulled in by the extensive, evocative art and sales pitch of the Effekt crew who were running the stall.

Dragonmeet was the end of November and unfortunately I’ve yet to get around to playing the game. What I have done is a couple of thorough read throughs and I’ve got to admit that I’ve come away feeling conflicted about the product and wanted to see if I could pull those thoughts together into a cohesive whole.

Remember: This isn’t a review, it will focus primarily on the issues I have rather than considering the game as a whole.

So what’s my issue? The big one is that I don’t understand the focus of the game. It feels off balance. The buzz I’ve seen surrounding Alien has been centred on the cinematic style of play – one off, high attrition scenarios designed to mimic the tone and pacing of the movies. Reading the book though they feel more like an afterthought. The GM chapter has a mere 2 pages dedicated to this style of play (though 2/3 of one page is taken up by artwork) in addition to the cinematic scenario Hope’s Last Day. Well, I say scenario but its not even the full thing, as it states in the text that it is only the third and final act of a larger adventure. This 18 page (that count includes the characters and maps) teaser isn’t even meant to occupy a typical session as, according to the text, it can be played in under 2 hours. A full cinematic scenario, Chariot of the Gods, is available as a separate purchase but I don’t understand why you wouldn’t want to showcase this mode of gameplay in the core book, especially when the recommendation is that you should start with a cinematic game before considering a campaign.

I’ve heard that page count was a constraint and I’ll admit that the book is a fair size but that’s also deceiving. There is a significant amount of artwork, more so than most books and I’d estimate you could cut the page count by a quarter (or more) and still have a beautiful book if there was less art and a more condensed layout.

The artwork is atmospheric and extensive, almost to the point of outshining the actual game

Which brings me to my second issue – campaigns. Despite having an entire chapter dedicated to them it feels lacklustre and incomplete. There are quick summaries of the three campaign types (space trucker, colonial marine and frontier colonist) and a series of tables to aid in the random generation of jobs/missions, star systems and complications but it just feels like it lacks any depth. Personally I’d have preferred a sandbox of a small region with some colonised planets and a border between two major powers to help get a campaign started.

One of the aspects that particularly stood out was money. The book makes it clear that the setting is one of hyper-capitalism, where you should expect to be living job to job, paying off debts and just struggling to stay afloat. The problem though is that it then fails to follow through in any real sense. Each framework lists a typical weekly salary, anywhere from $400-$960 while the minimum reward listed in the jobs table is $21,000.

So what can you spend all that wealth on?

Well there’s living costs, which is given a single tiny table that takes up less than a quarter of a page otherwise dedicated to yet more art. Or you could splash out on food and drink, including individual cups of coffee (Free – $1.50 per cup) which are given a page and a half of space. Yes, the book dedicates space to describing coffee.

Really though you’re going to be after gear and upgrades. Most of the personal equipment has costs in the hundreds to low thousands but ships and their upgrades may range into the millions. Oh, and you’ll also need a supply of spare parts for repairs. They cost $100,000 or more unless you can salvage them and will be consumed by even minor repairs. Which you could be doing regularly if you fail the weekly maintenance rolls.

Living expenses. Yup, that’s the extent of the mechanic.

All in all it just doesn’t add up into a coherent system. Somebody has clearly gone to the trouble of thinking about the fact the setting is one where ships should be breaking down regularly and needing expensive repairs. There’s a list of modules a ship might have but do I then need to list all the handheld equipment on the ship? If we start with a ship do we have to also purchase space suits, tools, food etc as well or does it come with a reasonable amount of equipment? Who knows, the rulebook certainly doesn’t say.

Now you may think I’m being unfairly critical here, or putting too much of an emphasis on it but I do so for a few reasons. The first reason I’m doing so is because of how many pages are taken up by gear and equipment, all of which are dotted with prices. Earning enough to get by on is clearly meant to play a significant role in campaigns but I honestly don’t think there’s a coherent and complete system here. Incidentally this isn’t a problem unique to Alien but is shared with many other systems.

The second reason I’m bringing it up is because I’ve recently read Scum & Villainy. While the tone of that is very different the gameplay also includes the completion of missions and constant need to earn credits. The difference there is that it’s baked squarely into the system. Every mission includes a structured way of having to deal with maintenance, upgrades and personal spending in a way that enhances the game and reinforces the need to do the next job. It transforms it from dull bookkeeping to an integral, and enjoyable, part of the game. I just wish Free League had managed the same here.

So with all these apparent issues you may be wondering what I’d have done differently. Primarily I’d streamline the book by removing campaign play elements entirely and focus it on cinematic play. So out with most of the gear and equipment, in with a complete three act scenario and proper guidelines on creating/running cinematic scenarios. It may be that this is the approach Free League have taken with their upcoming starter set but honestly I just don’t understand why they didn’t go in that direction from the outset.

I’m just going to close with a repeat that this isn’t a review, just things that got under my skin while reading the book. I think the core system is good, like the look of the stress mechanic and am looking forward to running a game, hopefully sooner rather than later. At that point I’ll revisit it and do a proper review but honestly, I suspect it’ll just reinforce my desire to focus on cinematic gameplay.

If my ramblings haven’t put you off the game then it is available for purchase on drivethruRPG (includes affiliate link).

2020: Initial Projects

After a rush of activity at the end of 2019 I’ve started the year a little more sedately while I work out what I want to focus on. Right now that has involved a significant amount of jumping between ideas, making a little progress and then moving to the next one. I’ve completed a draft of The Geller Protocol, the first of my Sprawl mission packets (using a minimal one page format) and made headway with Say Aaargh, an expanded version of the very first Demon Hunters adventure I ever ran. Progress on Clean-Up Crew continues to evade me – the Fiasco format is harder to get my head around than I ever imagined but I would really like to get it completed so I can wrap up the Slice of Life material.

In typical fashion it is The Dyson Eclipse where my brain is firing on all cylinders. It probably helps here that I’m still at the ideas stage, so I can just jot down options and possibilities without needing to work them into a cohesive whole. What I’m still missing though is that central conceit.

What is the core focus of the game, what do the characters do.

Until I can get that solidified any real progress is going to be at a glacial pace as I can’t lock in mechanics without that aspect. So for now I’m researching – despite being a massive sci-fi fan my collection of sci-fi RPGs is relatively small. I’ve picked a few core systems to go over, to see how they work through the problem and what options they present for gameplay beyond the typical scoundrels in space.

The final thing I’ve been working on is learning to use Affinity Publisher after buying a new desktop computer for at home. That has been a lot of fun and I’ve been going back to basics as I get to grips with it. So far, so good and I think the fact that I have a much better appreciation of layout concepts than when I first opened up Scribus has been a massive help. I’ve started to put together a series of layout templates for Demon Hunters as once Clean-Up Crew is out I’d like to do a complete revamp of my layout. There isn’t anything explicitly wrong with my existing format but it could definitely be a lot better. The alternate badness table incorporated a number of new elements and going forward I’d like to have a template that would be useable for both PDF and print formats. Yes, that’s right. Print. DrivethruRPG offer print on demand options so I think it is worth exploring. It would be great if some day in the future I could offer material at a convention and this is one of the options that would facilitate that.

After saying that I’d started off sedately putting this together actually makes me realise that I am already making progress on projects even if it isn’t automatically apparent.

Reflecting on 2019 – Part 1: Gaming

At the end of 2018 I was in the process of rebuilding after a couple of busy years that included moving away from my regular gaming group in Wycombe and then floundering about for a while failing to find a new, consistent game. After moving to Liverpool I’d started running semi-regular one shots at Sugar & Dice but really, what I wanted was a weekly game.

As 2018 came to close I got that, with The Immortals, a (somewhat) regular D&D game that ran all the way through to November of this year. I chanced into that game, as a colleague at work had picked up the starter set and was planning on running it even though they’d really rather have played. So I volunteered myself as DM, with a group of players that were pretty much brand new to the hobby. As I discussed during the round up D&D will never be my go to system but it was a fun campaign and it was refreshing to play for people that had yet to experience so many of the tropes that I’ve come to take for granted.

While our D&D campaign comprised the bulk of my sessions I was fortunate to be able to fit in a number of one-shots, primarily with the main group and occasionally at Sugar & Dice. Those covered a mix of systems and included playtests of material that I was writing for publication (which I’ll talk about more in Part 2). Including D&D I think I ran six distinct systems this year, which isn’t as high as I’d have liked but not too shabby. There were some systems that I’d planned to run but didn’t get around to, most notably Legend of the Five Rings 5th Edition and The Cthulhu Hack so I’ll have to ensure I get around to them in 2020.

Beyond gaming with a regular group 2019 was also the year I got back to conventions. Starting with UK Games Expo in June I then managed to follow-up with a series of one day events, BurritoCon 3 and BurritoCon 4 over in Manchester before rounding the year out with Dragonmeet (and a pile of con loot). While I found Expo to be a little overwhelming it was definitely worth the trip just to see how well the hobby is doing right now. The two BurritoCon events were at the complete other end of the spectrum – small, personal and focused on playing rather than selling. It’s pretty much a given that I’ll attend them again in the future. Then, finally, there was Dragonmeet. After a few years away it felt like returning home, an impressive feat given how much it has grown in those intervening years.

Despite all of that the one thing I didn’t do much this year was play. I’m used to being the GM and it is my preferred role but looking back I’ve played in a total of only three sessions this year and each of those were convention games (Victoriana, Marvel FASERIP and Goblin Quest). I’d like to play more but have struggled to find the right games (>90% of everything available locally is, no surprise, D&D).

All of that re-engagement has carried over here to the blog. Compared to 2018 I’ve written twice as many posts, doubled the number of views and more than doubled the number of visitors. While I can attribute those increases to a small number of specific factors (I did daily posts or RPGaDay while over half of the additional views came from my review of the D&D Monster Cards) it is still encouraging to see posts building some traction. I’m under no illusion about the reach of this blog, in the grand scheme of things my numbers are tiny but growth is growth and I’m going to do my best to continue building on that in 2020.

That desire to maintain, and build on, the momentum of 2019 is my core aim for 2020. With the conclusion of our D&D campaign it will include the start of a new Demon Hunters campaign, interspaced with a mixture of one-shots. I’m also going to do my best to expand my gaming beyond my regular group, not only as a GM and player but locally and nationally given how much I have enjoyed getting back to conventions. All in all I think 2020 should be quite a year.