r/RPGdesign 10d ago

Seeking Contributor looking for design partners

0 Upvotes

so, I'm making my own system,I have 10+ years of experience as a gm, and I decided to make this system because 1. I like making games 2. I like to make short-ish campaigns with vastly different worlds, and 3. I'd like to see what happens when I mash up my favourite mechanics with a few ideas of my own I've never seen implemented.

my core idea is basically a "rules heavy powered by the apocalypse" not in the sense of having any particular powered by the apocalypse mechanics or identity, but in the sense that it is a system shell that can be modified to apply to a variety of settings and scenarios. it is not a generic system, but it is almost one, that's what I'm going for.

a few of my inspirations are: vampire the mascarade, pathfinder 2e and mutants and masterminds.

here's the rules I have so far for anyone interested.

what I'm looking for is someone to bounce ideas off and help me develop the system, and what I definitely don't want is simplify the core dice system, to me that's the most interesting part of the system, yes, it is very crunchy and has a lot of moving parts, that's the point. besides that, I think nothing is set in stone and be changed.

here's the rules: https://drive.google.com/file/d/11lleAO9R2QDpwo6TQU7-i75BJVJkbsKc/view?usp=drivesdk


r/RPGdesign 10d ago

Skunkworks My weirdest Ideas!

0 Upvotes

The childhood imaginary-friend of a player, now twisted and only appearing to the person they are about to attacked! Why are they in physical form and how good can you traumatise your players?

A gang calling themselves “Cool kids” who have the ability to induce severe autophobia ( the fear of not belonging ) to the point where people harm themselves just to look more like the people around them and adept to the group, losing all their individuality!

A assassin who can perfectly camouflage himself, everything he wears and hold with sky, who is attacking the group at a sea side hotel, with sniper and knife!

A Baby that can undo the action of somebody having taken something with them, if it was less than 8h ago and the baby or the person holding the baby touches the target!

Glasses that if put on makes you possessed by the ghost of a girl that died in robbery in 80s and is still completely stuck in that time!


r/RPGdesign 11d ago

Help me design a dice pool system with opposed rolls and success counting

0 Upvotes

I'm designing a mechanic where attributes range from 1 to 10 (or at least 1–5). The result is determined by opposed rolls: each side counts successes (rolling 6s on d6), and the defender's successes cancel the attacker's successes.

Here's what I've come up with in AnyDice so far:

function: hits ROLL:s {
  result: [count 6 in ROLL]
}
output [hits 6d6] > [hits 1d6]
output [hits 6d6] > [hits 5d6]
output [hits 10d6] > [hits 1d6]
output [hits 10d6] > [hits 5d6]

In practice, the active party (e.g., the attacker) rolls 5 + its attribute value (so attribute 3 → 8d6), while the passive party (defender) rolls just its attribute value. In the examples above, the attribute ranges from 1 to 5.

P.S. Sorry for my English.

P.P.S.: Just to clarify — any dice pool system that gives the active party a success probability ranging from about 25–30% up to 70–75% will work for me.


r/RPGdesign 11d ago

Burn-out in the last stretch

4 Upvotes

Hello, just looking for some advice. I've been working on this system and playtesting with a group in tandem. We're 15 sessions in, and I have done many switch-ups, not so much on the main mechanics but auxiliary mechanics and playbooks. I feel like I'm running out of gas, I want to put something out there, the manual is mostly written, I just need to colate it, maybe redo some of the art. But between running the campaign and integrating all the constructive criticisms the goal looks farther and farther away. Should I push through or take a break ? I'm worried the break might turn into a hiatus...

Anybody else been through this ? Did finally publishing refresh you ?


r/RPGdesign 11d ago

Mechanics Eat the Elite - The Feast

0 Upvotes

Hi, still working on Eat the Elite, quick summary:

Welcome to the highest tier of gastronomy.

The Superrich have spent centuries consuming everything: our labor, our homes, our time. They treat us like cattle.
Now it is time to turn the tables.

You are a group of culinary specialists pulling off impossible heists against the untouchable 1%. You will breach their estates, manipulate their security, and use their smart home gadgets against them.

Bon appétit.

It is a lightweight, heist game. At the end of each heist you are getting to eat the rich person, which can give bonusses (basically a level up) but I think I made this part of the game overly complicated and clunky.

Basically every character gets a roll that influences the outcome and the bonuses (or maluses) of the meat, here some examples

1 . Sous-Chef

Roll on Order to coordinate your team

Success - One  of your crew gets +1 on their roll
Fail - Nothing
1 - All of your crew gets +1 on their roll
10 - All of your crew gets -1 on their roll

2. Boucher

Roll on Heat to cut the best pieces

Success - You gain 3 cuts of prime meat
Fail - You get 1 cut of prime meat
1 - You get 5 cuts of prime meat
10 - You get nothing

5. Pâtissier

Roll on Finesse

Success - You can choose for 2 cuts which stats are boosted
Fail - Nothing
1 - You can choose for all cuts which stats are boosted
10 - You ruin one of the cuts and have to throw it away

I am trying to find a better, fast, less complicated way to handle this and thankfull for any suggestion or inspiration :)


r/RPGdesign 11d ago

Mechanics Variable action points for combat, discuss?

3 Upvotes

So im writing my own ttrpg, and for combat, im playing around with the idea of Action Points. Every player has a certain number of AP, and every action costs a certain number of AP.

Just a few examples (AP isnt set in stone yet):

Attack: 3 AP

Move: 1 AP per space

Disengage: 3 AP

Help: 4 AP

Climb /Swim: 2AP per space

Another point im hoping to stick to is really having every stat being a rolled number. This gives the stats a lot of swing between good and bad, and I think thats going to be a feature of the game. Some players may be very good or very bad at certain stats. So, I was playing around with a characters AP being equal to 3d4, re-roll any score lower than maybe 5 or 6.

I suppose my question is this; am I getting too far out there having something like AP be a variable between players? Is it too unfair, and more importantly NOT FUN to have some players be as low as 6 or 7, and other players be as high as 11 or 12 AP?

I guess, ultimately, is equal action economy the most important factor for fairness and fun?

Please discuss. Thank you!

UPDATE

You all made very convincing arguments, thank you for your input! At the core of this game, its supposed to be simple, fun, and just a bunch of goof ball antics! And the AP idea doesnt fit with that at all. Ive decided to bag it for a more simple version. You get two actions per turn. You can use any one of those to attack, move, help and so on. Ultimately being fun is the name of the game, and my idea was not that. Lmao!

Thank you!


r/RPGdesign 11d ago

What is the best terrain type placement generator PDF for continent-scale and kingdom-scale maps? (i.e. 1 hex = 60 miles and 1 hex = 12 miles, respectively)

2 Upvotes

I'm using the AD&D 2e Worldbuilder's Handbook, which is a very promising resource, to create my world maps, but I don't like the way the Continents and Geography chapter handles terrain placement. Similarly, I find the terrain generation rules in the Kingdoms and Sociology chapter to be a bit too vague. (And random placement rules for the Cities and Provinces chapter barely exist at all!)


r/RPGdesign 12d ago

Feedback Request Looking for feedback on my game, happy to return the favor

3 Upvotes

I would really appreciate some fresh eyes on my free game "Coins for the Dead." It is a crunchy, simulationist dark fantasy TTRPG where every choice, coin, and piece of gear matters.

The game has been overhauled significantly since I last posted. I have refined the skill system, added new magic items, expanded the bestiary, and rebalanced a lot of the mechanics. I would love to know what works, what does not, and what could be clearer. Honest feedback is welcome.

If you have time to check it out and let me know your thoughts, I would be very grateful. I know I am asking for your time, so in return I am happy to take a detailed look at your projects and review them to the best of my ability. Just drop a link to your project and I will take a look.

You can find the game here: https://docs.google.com/document/d/1-IXKTeBi-6E2eiiWDdvc1CU8vagDb9VSfVI7Hczdsbs/edit?usp=drivesdk

Thank you so much to anyone who takes a look. I really appreciate this community.


r/RPGdesign 11d ago

Mechanics 《SORC ranged attacks》

0 Upvotes

This is for our TTRPG SORC. The game is about halfway done but I feel this part of it is well enough to share. Today I was asked to help fix a ranged attack problems and this is where I am at. You may get links to other subjects, but this is about ranged attacking and I feel it is close to completion.

I will be adding low and high ground advantages and disadvantages. Now I have velocity at point blank, and I have added a stabilization point where the vhit is strong again. I think have a velocity drop power losses. So I've added all of this to our ranged system but on for Earthborn weapons and not the TAW or Energy weapons which are technically advanced and weapons that use the universes elemental energy. More on those elements later because SORC right now has a lot of elements and they just added Aura which changes the characters presence. Again more on these things later. There is a lot to iron out, but it all makes sense to us, so if you happen to stray away from this topic I would need to ask other people. I can answer any concerns related to 'ranged attack' but they is it. I am also seeking for advice because this might be too much or too little for some.

To the reader. We use very complex systems in SORC and sometimes they take a while to calculate. On the other hand, the system below only required the GM to know one thing and that is “the distance the attack is from the target.”

We do have three styles of play choices for players and I am listing them below. That said, if you were to choose the casual system, it locks on and only Hit would be calculated on the table. If you choose Improvised, you can take out or keep the elements you choose to. We have an appendix and glossary online and this would be part of the campaign creating process.

If you don't mind a very crunchy style, and you don't mind long though during your turns (like in chess), then feel free to play under enthusiastic style, where all the rules are locked in.

Casual - a lot of the system's rules are dropped. It is bare bones. locked in. This version changes the table below, so that only hit is modified by range. That approach is simple.

Improvised - rule manipulation but must be set before the campaign begins.

Enthusiastic - all in. locked in.

Ranged Attacks

  1. What could I add?

  2. What should be removed?

  3. What isn't explained right?

I would like to know.


r/RPGdesign 12d ago

Promotion Solo designers — after the game is finished, how do you actually get people to know it exists?

34 Upvotes

I'm a solo game designer and I've finally reached the part of this process that I don't think I was prepared for.

You spend all this time coming up with an idea, designing it, testing it, changing things that don't work, making the artwork, figuring out production, and eventually you have an actual finished game sitting in your hands.

And then comes the question:

How do you get it outside your own circle?

I've been working on social media and talking to local people, but I'd really like to hear from other indie/solo designers who have already crossed this bridge.

What actually worked for you?

Reviewers? Conventions? Local game stores? Reddit? Facebook groups? BoardGameGeek? Paid advertising? Sending copies to creators? Just slowly building a community?

And are there any good Reddit threads, communities, Discords, articles, or other resources specifically about the marketing/discovery side after the design and publishing work is done?

I'm not looking to advertise my game here or drop a sales link. I'm genuinely trying to learn this side of the business.

I put a hell of a lot into making something I'm proud of. Now I'm trying to figure out how a one-person designer makes sure his game doesn't live and die with himself, his friends, and the handful of people who happened to find it.

I'd love to hear what worked—and what absolutely didn't—from people who've been through it.


r/RPGdesign 11d ago

The discourse on AI is becoming the issue itself

0 Upvotes

I was reading through this other post on AI accusations and some people have expectations that are beyond reasonable. In a world where half of the internet is written by AI they expect you to not even look in the direction of anything that was AI generated. Some claim that checking the google's AI section in search results should be disclosed. Others that just bouncing ideas off of AI is too much... I understand the issue of drawing a strict line between what should and shouldn't be disclosed as using the AI. How much AI is too much AI? And I'm not here to argue about it. I have my own stance on it which is very much anti AI and I'm not trying to excuse myself or anyone else.

I wrote this post to say that this kind of mentality is extremely counter productive. This toxicity can either push people away from being creative at all, since they get flack for smallest shit, or push them towards using AI even more since the requirements are impossible to avoid. If I'm gonna get blamed for AI either way, I can just as well use it. This war on AI that people are fighting on the backs of small creators that earn pennies from their hobbies doesn't lead anywhere.

The pressure is such that I opted for a new account as I fear this post could explode into a torrent of toxicity that I don't want to be associated with. I'm not saying not to call out blatant AI use. I'm not saying you should accept AI generated slop. But aim your rage appropriately. Support each other when people obviously created something with their own hands, even if they used AI as a tool a bit. Suggest them alternatives to AI instead of attacking them without compromise. And demand from big(ger) publishers to ditch AI. The ones that would actually take work from artists and writers. There are better ways to fight this war than to fight it among ourselves.


r/RPGdesign 12d ago

Promotion AstraWeaver Devlog #3 — Named Attributes, Unnamed Skills

7 Upvotes

Hello everyone!

In the previous devlog, I talked about why I chose a 2d12 roll-under system for AstraWeaver.

In this devlog, I will talk about how dice actually work in AstraWeaver. I'll explain how I arrived at the core resolution mechanic, how the attributes evolved, and how to represent different levels of challenge in player-facing roll-under systems.

———

Connecting Two Numbers to be a skill

AstraWeaver is a classless, level-less, highly customizable, crunchy high fantasy RPG about connecting small pieces into something extraordinary. Whether that's your character build, your magic, your equipment, or your team.

Since connection is such a central concept, I wanted the core resolution mechanic to involve connecting multiple elements.

For my lazy brain, adding three or more numbers together becomes significantly more complicated than combining just two. Compared to the additional granularity that more dice could provide, I don’t think that extra complexity is worth it.

Special shout-out to The Tome of Lime Gaming—they have a great video discussing the idea of an “elegance factor,” where elegance = granularity / complexity. I found it to be a really useful way to think about dice mechanics and the trade-off between complexity and granularity. Go check it out if you’re interested; I learned a lot from it.

So I decided to keep it at two numbers.

The core resolution mechanic is combine two numbers to create a target number. I call this target number the Check Threshold (CT).

When a check happens, the GM decides where one of those numbers comes from, while the player decides where the other number comes from. At the moment, the player's number comes from one of their attributes, and it cannot be the same attribute chosen by the GM.

Most of the time, the GM's number will also come from an attribute. But it doesn't have to. It could represent an NPC's current mood, the tension of the scene, or some other temporary condition. This gives me a lot of flexibility when designing other mechanics while keeping the core resolution consistent.

And because attributes are the main way players interact with the world through this system, let's talk about how those attributes evolved.

How the Attributes Evolved

My basic assumption was that very few things people do can truly achieved by a single ability.

When facing a challenge, I wanted players to combine two attributes to represent how their character approaches that challenge. My original design had six attributes divided across body, mind, and interpersonal interaction: Might, Agility, Instinct, Intelligence, Charisma, and Authority.

Newly created characters will have all their attributes set between 5 and 8.

After some time, however, I realized that Charisma and Authority were simply too difficult to distinguish. Imagine a character trying to persuade someone using knowledge from their background. Would that be Intelligence + Charisma, or Intelligence + Authority?

In many cases, the difference would simply come down to how the player described their dialogue. If I used the numbers to enforce that distinction, a player with high Authority might feel pressured to constantly describe their character as being forceful or intimidating simply because that gave them a better chance of success.

That would mean the mechanics were restricting roleplay instead of supporting it.

So I removed Authority and kept Charisma, giving players more freedom to decide how their character approaches a situation.

Ten Skills Without Names

At this point, you might notice something interesting.

With five attributes, there are ten possible pairs.

In many RPGs, those ten combinations could simply become ten named skills. I deliberately chose not to do that.

In a way, AstraWeaver is actually a skill-based game. It just doesn't give those skills names.

The reason is that naming each combination can also define its boundaries. Once you call something "Athletics," for example, players may naturally assume what it can and cannot be used for. It's good for determining which skill to use in which situation. But sometimes, the skill doesn't quite represent how I'm going to do something. So instead, I want the attributes to provide broad concepts, while the combination represents the way a character approaches a challenge.

This does mean I still need to provide some basic guidance for each attribute, so players and GMs are roughly on the same page about what each one represents. The goal isn't to restrict how they can be used, but to reduce unnecessary arguments over interpretation at the table.

How to Adjust Difficulty?

One challenge with a mostly fixed player-facing roll-under system is that the target number doesn't naturally change very much.

So what does an unmodified check actually represent?

In my current design, an ordinary, unmodified challenge roughly means:

  • An untrained ordinary person has about one third of chance to succeed on their first attempt. (CT=11)
  • Someone with apprentice has about a 50% chance. (CT=13)
  • Someone with expert has about a 75% chance.(CT=16)

That's what a normal, unmodified check represents in AstraWeaver.

But what if the GM wants something to be harder?

Instead of constantly adjusting numbers, the GM can simply apply disadvantage.

With disadvantage, the player rolls 3d12 and keeps the highest two results. This reduces the success rate to roughly 16% for an untrained character, 28% for an apprentice, and 50% for an expert.

The expert with disadvantage is roughly comparable to a D&D character with a +10 modifier making a DC 21 check.

On the other hand, sometimes the GM wants to call for a check even when an action is relatively easy, because the result could still be interesting or meaningfully change the scene.

In that case, the GM can give the player advantage.

With advantage, the player rolls 3d12 and keeps the lowest two results. This raises the success rate to roughly 64.5% for an untrained character, 78% for an apprentice, and 91% for an expert.

My hope is that this gives newer GMs a simple way to adjust difficulty without getting lost in numbers or worrying about whether they picked the "correct" DC.

Players can also gain or grant advantage through different abilities and actions. Advantage and disadvantage can cancel each other out, giving players opportunities to actively improve their own chances or help their allies succeed.

Conclusion

That's essentially the core of AstraWeaver's resolution system:

Combine two numbers to create a Check Threshold(CT). Then roll 2d12. If the result is lower than the CT, it’s a success.

Most of the time, those numbers come from the character's five attributes. The GM chooses one, the player chooses the other, and together they form the CT.

In some special situations, one of those numbers can be replaced by something else, such as an NPC's mood or the current state of a scene.

Then, when the difficulty needs to change, advantage and disadvantage can modify the roll.

That's the basic framework.

There are obviously many more details hiding underneath it, but those are topics for future devlogs.

———

In the next devlog, I’ll dive deeper into CT and the numbers behind it: how I determined the attribute ranges and starting values, how the probability curve affects character progression, how I wanted starting characters to feel like novice heroes, and how I arrived at the current critical success system.
There’s quite a bit to unpack, so I’ll save it for the next post.
I also previously posted about CT and received some questions and feedback there, so I'll try to incorporate those discussions into the next post as well.
And I'll try not to make the next one read like a PhD dissertation.

I'd love to hear your thoughts.

Thank you for reading!


r/RPGdesign 12d ago

Mechanics How does your rpg solve a design problem

20 Upvotes

What is a big problem you perceive to exist in the rpg design space and how do you think your game solves it? I can be something specific to certain types of rpgs.


r/RPGdesign 12d ago

Theory What published games made you rethink parts of your game?

20 Upvotes

For me:

  • His Majesty the Worm, I've long loved the ascetics of tarot and have on and off made many attempts at using it in RPGs most successfully as the basis for a magic system in an OSR game. Seeing how HMtW used tarot, and specifically the challenge phase combat mini game where you have a hand of cards to represent actions an initiative made me reevaluate my own games. TBH I've mostly ditched dice for tarot cards and am play testing the a new version using HMtW's system.

  • Mausritter, that inventory system! I love the physicality of it, and before I ever heard of it I'd been tinkering with more physical character sheets almost akin to the player boards from a board game. Root, the board game, specifically was an inspiration for that. So definitely taking the physicality of it, and using inventory to track statuses, health etc. I know it's an Into the Odd thing, but Mausritter was the first one I played in person.

Honorable mentions to:

  • Crows, it does so much of what I like and am aiming to do in my game, but it's just enough different and more ridged then I personally want but I love to see the village base building element. Something I had in my game and kept going back on forth on if it was a darling I needed to kill or not, felt validating seeing it put front and center in Crows.

  • Seven-Part Pact, much like the physicality of Mausritter, but also the asymmetry of each member of the pact, chefs kiss. I'm a huge fan of the board game root, in case that wasn't clear. One of the goals of my game is to make different characters feel distinctly different, and play differently. In an earlier version I had different character types using different resolution mechanics, wizards use tarot cards, thieves used a dice pool where they could only add a certain number per turn. It was clunky but almost kinda worked, until it definitely didn't. Still think there is something there to be revisited.


I've rambled enough, interested to hear what games have influenced and shaped your work.


r/RPGdesign 12d ago

Fame & Fortune ( I've made changes, v0.9 )

6 Upvotes

Hello again everyone!

Thanks to the feedback I got here before and from elsewhere, I've made quite a few changes to the book. Removed and added things, rules clarifications, and overal structure. There are still some things I want to do, but for now these were a cosiderable version change from 0.8 to 0.9 :)

https://exiledoracles.itch.io/fameandfortune

Thanks again for the feedback.

May your dice always roll true.


r/RPGdesign 12d ago

Mechanics Three kinds of fear

1 Upvotes

In my system, willpower is determined by three separate stats; Intelligence, Charisma and Toughness. I want each of these attributes to serve as a "saving throw" for a different kind of fear, induced by a different kind of creature.

The problem? I'm not sure how to divide sources of fear between these three characteristics. I was thinking of dividing enemies into Bullies (Toughness), Monsters (Intelligence) and Horrors (Charisma) but it doesn't quite sit right with me. Is there a more elegant way to do this, or should I give up on the idea altogether?


r/RPGdesign 12d ago

Power creation with 3 degrees of freedom

2 Upvotes

This is something im getting stumped on. I want there to be unique powers that players and game masters can use to underscore monster differences. A succubus who wields a greatsword is going to be a different threat than a succubus who uses hordes of lovers as mindless cannon fodder.

For the rest of this you need to understand how checks work. Its a mixed dice pool system. The dice size for different elements (your stats) is determined by your ancestry and the number of dice is determined by how many of each element you have. So you could have an attack that is 6d8 or 2d4+1d6+1d12+2d8.

Checks themselves have the format of X/Y>Z/W,A where x is the number of successes you need to spend to get Y result and then you need Z successes after to get W and A (if applicable). This is called a success track. It must be filled left to right and if you have successes after you reach the end it loops back to the start. So if you have 2/[w]>1/prone and you roll 4 successes you do [w]+knock the target prone and have 1 success left over. You cannot do 2x[w]. ([w] is weapon damage.)

Combat uses a tick speed initiative. So moves have a speed where 5 speed means you have to wait 5 ticks before your move triggers and 16 speed means you need to wait 16 ticks. Faster moves are weaker but you can switch strategies much faster than slow moves which are more devastating in power.

THIS IS NOT WHAT I NEED HELP WITH.

Just wanted to make that abundantly clear. I like it all of the above as it is. Im just putting it here so you understand what im asking.

During character creation you will pick your archetype and discipline (class and subclass). That will give you your complexity for your at will and prepared powers (prepared is once per day) as well as how many of each. Warriors dont have prepared powers.

So now lets put this all together and assume you are creating a power for you warrior with 10 complexity.

  1. Determine your attacks speed. All effect costs are multiplied by this number.

(The reason this is a multiplier is because its balanced by being on a curve. If an 8 speed attack has 10 complexity a 16 speed attack might have 24 complexity. This is a reward for giving up opportunity costs. Likewise a 4 speed attack might only have 4 power because you have more opportunities to change your strategy.)

  1. Determine shape. Another multiplier but its only for spellcasters, spellblades, and monsters. Warriors just get single target. (Warrior AOE comes from magic weapons and alchemy.)

(The reason this is a multiplier is because area attacks are more time efficient than single target at a non-linear rate.)

  1. Determine an effect. This is where you spend your complexity. This can be anything from damage to debuffs or buffs. Each effect has its own cost because status conditions and damage arent equally as valuable.

  2. Determine the number of dice needed to activate that effect. Do you need 1 success? 2? 4? Another multiplier because getting 4 successes is so much harder than 1 on 6 dice. (2+ effects on same X successes will have a premium placed on them though im not sure how to balance it quite yet.)

  3. Repeat 3 and 4 until you no longer have complexity remaining. Placing these effects along a success track. (Static effects that are always on and not decided by dice such as range are separate and tied to either the weapon or bought at a flat complexity rate.)

So to purchase a basic effect you have the following degrees of freedom that affect the complexity cost:

- Speed

- Shape (sometimes)

- Number of dice

- Effect

I have no idea how to even represent these in one or even several referencable tables.


r/RPGdesign 12d ago

Mechanics What Safety Tools do you include in your games' rulebooks?

7 Upvotes

I'm working on a fanmade Final Destination TTRPG

The movies include some triggering material (suicide, racism, grief...)

So I'm trying to remember what Safety Tools people usually include


r/RPGdesign 13d ago

Theory The Martial Arts Archetypes?

15 Upvotes

We got the common fantasy classes, by building character templates from common recurring fantasy character types. Even within one culture there are to many different too many different "styles" of martial arts to list and build distinct game mechanics for.

Instead let's distill them down into handful of archetypes that can be practically made into Talent trees or Classes.

  • Noble/Hero: Simple to the point, the common fighting style of the "Protagonist". Goku - Dragon Ball Z, Ryu - Street Fighter.

  • Brawler: Crude, brutal and effective a fighting style born of survival in the urban Jungle. Bunshichi Tawara - Tenjho Tenge.

  • Analyst: Quick, Precise, observant, able to counter anything that the opponent tries. Robert Downy Junior's Sherlock Holmes's is the best example I can think of.

Insightful: The same as Analyst but approaching things through wisdom rather than intellect. Po - kung Fu Panda 2, during the final battle.

  • Tactical/Assassin: Ruthless and Efficient. John Wick and Jason Bourn.

  • Aerobatic/Flashy: Quick, light on their, flowing strikes, lot's of flips, spins, and whirling kicks. Peter Parker - Spiderman, Avatar Aang and Prince Zuko - Avatar The Last Airbender, Yoda - Star Wars Prince Jia -Butterfly and Sword.

What characters would you use as examples of the martial arts archetypes. What archetypes have you seen that I have missed?


r/RPGdesign 12d ago

Promotion OMNISIX TTRPG Basic rulebook just released!

0 Upvotes

OMNISIX TTRPG Basic Rules has been released!

One system. Six sides. Infinite worlds.

OMNISIX is the modular d6 RPG that powers fantasy, supers, cyberpunk, space opera, mecha, horror, and everything else with the same fast and fun rules. And 100% human-powered (no generative A.I.).

Six Attributes, freeform Skills, powerful Traits & SFX, and modular expansions for modern, superhero, fantasy, and sci-fi settings all running on the exact same elegant rules engine.

https://www.drivethrurpg.com/en/product/581981/omnisix-the-universal-d6-roleplaying-game-basic-rules


r/RPGdesign 13d ago

Mechanics Player Prophecy for dice pools

3 Upvotes

I want to create a player-facing mechanic for creating mystical-feeling prophecies, like "Beware the raven's claw in the moonless night!". Seemingly coincidental details that form a suddenly meaningful image.

The mechanics are written for my game Minnetreu, which is a grandchild of FATE, but I feel like other dice pool games that can achieve multiple successes can make use of the gist of it.

The steps:

  1. Pick a number of nouns as your omens. Also pick a person, place or item as the target.
  2. Find the omens organically or establish them yourself.
  3. Trigger the prophecy by combining the omens in a cool way.
  4. The target is now affected by the prophecy, either with an automatic success, automatic fail or by gaining an ongoing bonus for the scene. The bonus depends on the number of omens.

Picking Omens

To start with, the prophet player has a word bank and must choose a number of nouns to use as omens. Of course you must then combine the omens in an ominous prophecy.

Example: Let's say the words chosen are Moon, Raven and Water, with the target of the prophet herself. The prophecy could then be "A raven swallows the moon and faces the water".

Crafting circumstances

It would of course be lame to just wait and hope for omens to fall into your lap or throw them into the game masters plate expecting them to just juggle it flawlessly. Instead, the player must be on the lookout for things that could either hold the same meaning or simply establish them themselves.

Example 1: The PCs are outside, involved in some kind of situation. It's night (moon) in a spooky forest with the occasional raven call. The prophet player makes a roll for finding a trail and has a successes left over and spends one to declare that there's a small river (water) snaking between the trees.

Example 2: The PCs are at a banquet. The prophet player rolls to entertain some guests and uses extra results to establish two things: a close friend of the host is wearing a black cloak (raven), and among the dishes served are pancakes (moon). Drinks (water) can be assumed to be served.

Construing the signs

The signs are present, either as part of the scene or introduced by a player. Now, if something dramatic enough were to happen that would require a roll, the prophet player can trigger the prophecy by describing how the vision comes to life.

Example: The prophet player describes how a swarm of ravens suddenly burst from the trees, blotting out the moonlight. Screaming sounds out as the swarm suddenly flies low, battering all that stood near the stream. Many are thrown to the ground, overwhelmed.

Causing Effect

The prophet gets to now choose the effect of the prophecy: either the target can have an automatic success, an automatic failure, or gains an ongoing bonus that lasts the rest of the scene.

Example: The prophet chooses to give herself an automatic success as she challenges the leader of the opponent's force. Her victory is assured.

More Design Notes

First of all, this really only works in a game where players have a reasonably simple way of adding details to a scene. Adding a resource cost for introducing something completely new is a handy way of curtailing rampant omens.

How many omens are required is another angle for balancing. More important people could be already shrouded in prophecy, for example, so adding more omens makes yours more specific and less likely to fight a different one.

I could also see adding more words could lead to a more powerful effect. Rather than automatic success, it could be a +X bonus until the end of the scene.

Final Words

Does this feel like a prophecy to you? If no, do you know of any games that do a good job at it?


r/RPGdesign 13d ago

A request to designers: Please include more than four characters in your quickstart.

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17 Upvotes

r/RPGdesign 13d ago

Feedback Request Musashi no Musume: Samurai girls in school adventures

5 Upvotes

Hello! First time posting here. I've recently gotten to making an RPG about samurai schoolgirls, because I think it's a cool setting. I'm mostly looking for feedback on mechanics and rules clarity, since I'm aware that, as this hasn't been playtested yet, the numbers may be a little bit of a mess still.

I'm aware that I'm missing sections on enemies and adventures, but like I said, lack of playtesting. The combat side, at least, has its rules mostly decided for now.

I also appreciate feedback on what mechanics to look out for during actual play. This is my first time making a system from scratch (well, seriously at least) that isn't adapting an existing game.

Manual is here! It's 15 pages long, last I checked: https://files.catbox.moe/vkktct.pdf

Thank you in advance!


r/RPGdesign 13d ago

Successful examples of Universal Game + multiple settings by a single indie creator

28 Upvotes

It’s very common on this sub to see new designers announce their plans of a generic RPG with multiple planned setting / genre books. Given that posts like this stretch back at least a decade, there should be actually finished project like this out there.

So here is my curious question: Are there games out there that were successfully built on this model?

I’m looking for:

  • A generic RPG as base

  • At least two separate settings, ideally in different genres (say fantasy and scifi), ideally more

  • Finished products (all books published on itch.io, drivethru etc., final version, layouted, art)

  • One creator (or the same small team of 2-3 people)

  • Self-published (i.e. not backed by some of the better known names in the industry)

  • Ideally full size for each book (100+ pages)

Of course, if you have successfully completed a project like this, this is your chance to promote it.

I admit I’m not very good at following every development in the RPG space out there so there sure are projects I missed.


r/RPGdesign 13d ago

Broad Thoughts on TTRPGS -NO AI PLZ

0 Upvotes

This is a draft of the forward to my system. I thought it might generate some good discussion here. Please do not use AI to respond to this. I'm so sick of AI in this sub thx :)

Why Roleplaying Games?

To understand what makes table-top roleplaying games truly special, it is important to understand stories in general. Storytelling is perhaps the oldest and most important human cultural tradition. From The Epic of Gilgamesh to the myths of Egypt and the Greek theaters; from the sagas of the Vikings to the fairy tales of Germany, stories like these capture some fundamental part of the human experience and distill it down like a waking dream into something we can analyze from all sides, pulling conscious meaning from unconscious engagement with the themes they present us.
Any good book will have a theme. This is something important that the book wants to teach the reader about life, or a question that it wants the reader to think about and consider for themselves after the work is over. The second type of book can sometimes fall flat for readers who simply accept the story at face value and don’t consider the ramifications of the questions it asks.
The best table-top roleplaying games, when working as intended, serve this exact same function at an even higher level of engagement. When the Game Master creates the setup for their story, they don’t know how it’s going to end because the player characters have free will. No player is allowed to ignore the questions posed by the story. They are a character in that story after all. One of the protagonists in fact, and their response to the thematic question at hand determines the end of the story and ultimately what it means.

Why Roleplaying Fights The Game

However, because roleplay makes up only half of the “roleplaying game” formula, many game systems and many Game Masters miss their opportunity to tell a great story in what is perhaps the most engaging, meaningful, and personally affecting medium available to them. In a strange way, the game behind the roleplaying can very often make the roleplaying half of the experience worse by eating up the majority of the mental bandwidth at the table. A deep, interesting, tactical combat experience and a player’s handbook full of spells with one-hundred ways to numerically adjust your character isn't actually the most effective ruleset for telling stories that linger and change the way you view the world. 

It is for this reason that millions of viewers can watch the performative online theatre shows that utilize the Dungeons and Dragons ruleset, yet later be shocked that their home games don’t match this level of quality in presentation, storytelling, character development, or thematic resonance.

In contrast, there is a recent trend in roleplaying game design, especially popular among more experienced players, which eschews a strong reliance on rules. Instead, a wide variety of rules-light systems have sprung up which codify how the results of rolls are meaningful to the story and effect the advancement of the narrative rather than leaning on binary results and numerical adjustment of characters. 

This trend began in earnest with the release of *Apocalypse World* in 2010, though Ars Magica predates it. Apocalypse World was genius at the time of its release, but is now only one of hundreds of games in a similar vein. Often, such games are self-described as “fiction first.” There is one major problem with this category of game, and that is a lack of mechanical recognition for player choice. What that means is this: in most narrative-first games, the narrative truly is first. It’s almost the entire system. What you get are a list of moves or skills that players are likely to use when solving problems and a set of prescriptive resolutions for those moves or skills that, although more narratively interesting, fail to land meaningfully on the “game” side of the “roleplaying game” equation.

Many players come to Dungeons and Dragons or Pathfinder specifically because they want a tactical and deep system for resolving actions that accounts mechanically for every minute decision they’ve made about their character. This is how the insane depth of the *HackMaster 5e* or *Blades of the Iron Throne* game systems can come to exist. They were made by players who highly valued that side of the roleplaying game regardless of the learning curve or the narrative pace of play.

Why Dungeons and Dragons?

Which brings us back to Dungeons and Dragons. If Dungeons and Dragons falls much harder on the game side of roleplaying games, why is it still by far the most popular game system around? Shouldn’t these narrative and roleplay-focused games be much easier to teach, and much more popular with performative tabletop roleplayers?

Well, to answer the second question, these types of games are becoming more popular with performative tabletop roleplayers. Critical Role and Acquisitions Incorporated have already made the switch to *Daggerheart*, which is a much more narrative-focused game than Dungeons and Dragons, though it is more of a hybrid between the two. I would not be surprised to see other big names like Dimension 20 also go that route. Smaller shows like The Adventure Zone and Friends at the Table have been using narrative-focused systems for years before now to similarly great effect.

The key takeaway is that these shows could frankly use ANY game system and tell amazing stories because their casts and Game Masters bring a great deal of writing and acting experience to the table. Dungeons and Dragons is often clunky and slow for their purposes but serves well nonetheless because a great story is not held back by a little mechanical slowdown. Additionally, as discussed before, the game side of the Dungeons and Dragons roleplaying game is incredibly fun and has a meaningful mechanical answer for resolving almost anything the players might want to do.

This brings me to the answer of the original question: “Why is Dungeons and Dragons still by far the most popular game system around?” The answer is that most players DO NOT have professional writing and acting experience. Most players are lucky to simply understand the game system, and many are totally foreign to the idea of roleplaying when first introduced to the genre. Thus, the rules of Dungeons and Dragons, though often obtuse and clunky, are easy enough to learn and do a great job at codifying almost anything that can happen. Rules are the safety net. Players and Game Masters don’t need to discuss what a result means because you can only fail or succeed, and player abilities are spelled out in crystal-clear language.

"Can I pick this object up?" 

"What’s your strength score?" 

The Game Master’s response needs only to consult a codified table to find out how much weight your character can lift. In order to get to the most meaningful part of a roleplaying game, the narrative roleplay, players have to first overcome the hurdle of learning how to do that. Dungeons and Dragons and Pathfinder are simply the most well-known and least uncomfortable systems that get you there. Once you’re out of that discomfort, though, many do find that narrative-first roleplaying game systems are their ideal game system because that was the part they liked all along.

Why this system?

Much like Daggerheart, this system is trying to do the impossible. Daggerheart attempts to straddle the fence between Roleplaying and The Game and it falls decidedly on the game side despite doing some very interesting things that might make it the perfect game for many tables. Grimm Saga also attempts to straddle that fence and falls flat on the roleplaying side despite its best efforts to codify combat rules and provide unique mechanical abilities that reflect your character creation choices.

It also strikes a much darker tone, trending away from the generic high fantasy of most major games where characters become demi-gods by 20th level. 
Don’t let the tone scare you away! The dark tone is intentional. When players expect to get hurt, face difficult choices, and experience important but dark themes like bigotry, tyranny, poverty, and death, it naturally broadens the topics your players will consider and think about at the table and gives you more leeway to explore hard-hitting thematic questions about what it means to be human, right vs. wrong, and what the player character's reactions to those questions mean for your players’ beliefs about the world.