Tag Archive for: Fifth Season

Playing With Stunts

Stunts are one of the pillars of the Adventure Game Engine, the system we use in Fantasy AGE, Modern AGE, Blue Rose, The Expanse, and the upcoming Cthulhu Awakens and Fifth Season roleplaying games, all descended from design work on the grandfather of them all, Dragon Age.

Heading into the new edition of Fantasy AGE and Cthulhu Awakens, as well as some proposed and to-be announced projects, I played with how stunt point generation and stunts functioned. Part of game development is exploring ideas that won’t necessarily make it into the final game—and sometimes even ideas that would never have done so, but act as conceptual landmarks.

Relationship Bonds and the newer Stunt Attack option aside, the basic way to generate stunt points is to match any 2 dice on a 3d6 test. This prompts a look at the Stunt Die (Drama Die in some games, or Dragon Die in Dragon Age), which tells you how many stunt points (SP) you get. But what if we did it differently?

Let’s take a look at some of these options.

Creating your own house-rules like stunts is part of what makes AGE so fun!Highest Die is Stunt Die: Instead of having a fixed Stunt Die, it’s always the highest die. Since you get SP on the set of successful tests your SP will always tend toward the higher range in the first place, but this exaggerates the effect even further. I don’t recommend this as a standard practice, but it might work as a special ability provided by a talent or extraordinary effect.

Lowest Die is Stunt Die: Woah, this one is interesting on a few levels, and in fact, is the most mathematically “logical,” but it isn’t fun enough to replace the ordinary Stunt Die. For one thing, that means you need a natural 18 to get 6 SP—and there’s a 0.46% chance of getting that. That’s why it isn’t fun enough, as part of the purpose of the Stunt Die is to add more variable results— “swinginess,” we call it, sometimes—to the regularity provided by the 3d6 curve.

SP and Degrees of Success Are Separate Dice: As we also use the Stunt Die to measure your degree of success, making the highest or lowest rolled die the Stunt Die becomes a problem for things like automatic weapons in Modern AGE, as well as advanced tests and other things that rely on degree of success. So, you might retain a visually distinctive die called the “Success Die” or “Power Die.” Even if you keep the usual Stunt Die you might split it from the Power Die. I looked at this pretty seriously as it opens up a lot of design-level opportunities, but in the end, I didn’t think it was worth it.

Anti-Stunts: Cthulhu Awakens actually has a limited version of this, but the version here is simpler. If you blow a roll but get doubles, you generate SP—for bad things. The simplest application is to hand them over to an opponent who spends them on stunts that are bad for you on their turn, in addition to the SP they might gain. Enemies who do the same naturally give you SP in return, so if you use this option SP ebb and flow from one side to the other. Besides the convolutions necessary outside of straightforward situations like combat, the problems with this one are the sheer number of SP that can concentrate in one place, which can get out of hand.

Degree of Success to SP: One recent idea I had was to award degree of success -5 SP regardless of whether a roll scores doubles or not. This means 1 SP on a 6. It gets really interesting when characters gain the ability to add focus bonuses to degrees of success. In newer AGE games this bonus maxes out at +4, so a roll of 6 with that bonus on the Stunt Die would provide a degree of success of 10, which converts to 5 bonus SP. The tricky bit comes when we score doubles. We could drop that completely, which would be miserable because low level characters could only ever get 1 SP from a roll, but if we keep SP from doubles the range of SP would be (degree of success -5) + Stunt Die, which might award up to 11 SP, which is too much.

Everything is Stunts: The answer to too-many-SP variants of course is, “What if it’s all stunts?” In this scheme we would add a Base Effect stunt table and the General Stunts from the Modern AGE Companion, and instead of stunts being an extraordinary result, we use SP as the building blocks to do anything—but no SP, no result. This would produce a really formal set of AGE mechanics which don’t fit the GM-guided goals of the system but might be fun to experiment with, nonetheless.

What do you think of these ideas? Would you try any of them? AGE is house rule and variant-friendly by design, as shown in the optional systems in Fantasy AGE. Modern AGE has two books that are filled with optional and variant game systems: the Modern AGE Companion and perhaps more relevant to this article, the Modern AGE Mastery Guide. Regardless of what we cook up in the lab, so to speak, we like it when you make the games your own.

Fifth Season Preview: When Are We?

The Fifth Season Roleplaying GameReaders already familiar with the Broken Earth trilogy may wonder: When during the context of the novels is the Fifth Season RPG set?

As readers already know, the Broken Earth novels tell an in-depth story of their main characters and their story has significant effects on the world and its future. Therefore, the decision was made to set the Fifth Season RPG sometime prior to the key events of the first novel, The Fifth Season, although it’s entirely possible to set your Fifth Season campaign during the events of the novels, looking at how your comm deals with all that unfolds during them, if you wish.

The RPG looks at things on a much more local level than the novels, although you can decide to take the future of the world in an entirely different direction, if you want. One of the great things about roleplaying games is they place imaginary worlds into the hands of your game group, to spin out your own stories however you want. They also allow us to explore different aspects of a fictional setting in ways the source fiction did not, or only touched upon.

Deadciv Ruins are very mysterious

Wait… is that a Freeway?

Deadciv Ruins

One aspect of this for Fifth Season is the concept of “deadcivs,” long-dead civilizations and the ruins they have left behind. The history of the Stillness is tens of thousands of years, significantly longer than the entirety of recorded human history in our modern world. There have been many Seasons over that time, and untold numbers of comms and entire civilizations have come and gone, to say nothing of what may have existed in the time before stonelore was first recorded, in the lost annals of human history.

While most deadciv ruins have been buried, crushed, or otherwise destroyed by the churning, shaking, and thrashing of Father Earth, the potential for artifacts, remnants, or even some surviving locations of those lost civilizations is a rich field for Fifth Season Game Moderators. They can offer unusual places for characters to explore, filled with their own hazards. Unique items may intrigue and fascinate Innovators in the comm, while deadciv artifacts can be treasures to make a comm thrive — or lead other comms to covet what they have. With “sufficiently advanced technology” most deadciv artifacts can serve as the equivalent of “magic items” in a Fifth Season setting, although far more rare and more easily misunderstood than their fantasy RPG equivalents.

Fifth Season Preview: Game Play

The Fifth Season Roleplaying GameGame play in the Fifth Season RPG proceeds on two distinct scales. The story of the comm unfolds in seasons, each of which is a “turn” of part of the year, and features an event, a check of the comm’s prosperity, and an opportunity for the comm to work together on an activity to achieve a particular goal. Within the unfolding of the seasons are stories focusing on the individual characters from the comm. These adventures are often tied to the events of the season, but not necessarily, and the encounters the characters have during them may have impact on the comm as a whole. In some cases an adventure is meant to address a misfortune suffered by the comm during a seasonal event, and may be able to mitigate that misfortune or eliminate it altogether.

Comm Turns: Seasons

A comm “turn” is a “season.” Ordinarily there are four seasons in a year. During each season, the GM rolls for a seasonal event, the comm makes a prosperity test, and can initiate a comm activity.

Seasonal Events

Seasonal events represent the random fortunes of a comm surviving in the Stillness. They are not the only things to happen in the entire season, just particularly noteworthy events. The Game Master rolls on the Seasonal Events Table to determine what the key event will be for that season and integrates the event into the narrative of the campaign as desired.

Many seasonal events are misfortunes that can befall a comm. These are similar to hazards encountered by characters but on a comm-wide scale. Misfortunes can weaken a comm, reducing its Stability and, if severe enough, even bring about the comm’s eventual dissolution. Also like hazards, many misfortunes can be mitigated or avoided altogether. This usually involves a test using one of the comm’s traits, although in some cases the Game Moderator may substitute an adventure for the test if characters intervene in the event.

Everything changes in a Fifth Season

“Everything changes in a Fifth Season”

Intervention

The tests and outcomes for seasonal events assume the comm is bringing what resources it can to bear, but that the player’s characters are not doing anything in particular apart from assisting like any other members of the comm. However, in some cases, the GM may wish to set up an adventure either based on the season’s event, or in place of it. In these cases, the player characters are said to be intervening in the seasonal event, and their intervention may affect its outcome. Essentially, the adventure takes the place of the usual test or tests involving the event and the characters’ actions decide its outcome.

Comm Prosperity

Once the event of the season is determined, the comm’s prosperity is tested. This is a measure of the comm’s overall success and survivability. Failure means the comm suffers misfortune and loses Stability. If the test succeeds, the comm continues to do well, at least meeting its essential needs, perhaps even succeeding well enough to apply an advancement to the comm’s Cache score.

Comm Activity

Each season, a comm can also initiate an activity, similar to a character’s action, such as Conflict with another comm or group, Growth to build up the comm, Improvement of one of the comm’s traits, Innovation to add a new focus to a trait, Preparation to add a bonus to the comm’s next prosperity test, or Recovery to restore lost Stability to the comm.

Comm Conditions

Comms can take on certain conditions to deal with a loss of Stability, like characters do to mitigate damage. The comm then needs to recover from the condition using the recovery activity. Conditions are not as necessary for comms to avoid Stability loss, as they tend to be more resilient than individual characters.

The Fifth Season

“Everything changes in a Fifth Season” according to stonelore, and that is true of Seasonal play and events as well. The Game Moderator ultimately decides when a Fifth Season occurs in the context of the game, although there is a guideline for a Fifth Season to begin as a Seasonal Event. During a Fifth Season, the difficulty of a comm’s tests increase, seasonal events differ, and the comm relies upon its Cache for prosperity tests rather than its other traits, and Cache slowly diminishes over the course of the Season. A Fifth Season makes it more difficult for a comm to survive, and to recover from its misfortunes. A comm with a strong Cache score can last through a Fifth Season … if it is not too long.

An Interview with N.K. Jemisin

We wanted something special for the last three days of the crowdfunder and here it is: an interview with N.K. Jemisin herself!

Check out the Fifth Season RPG on Backerkit now!

Crowdfunding campaign ends this Thursday! Signed Bookplate Bundles still available!


Q: Roleplaying games and speculative fiction are close cousins. What did you find most intriguing about bringing The Stillness to tabletop RPGs? Do you have any experience with RPGs yourself?

I played a little tabletop back in college — Marvel Superheroes, if I recall, and just a little D&D (back then it was AD&D). My group back then was mostly into adventure with a lot of fighting, which I wasn’t much into, but they were my friends. I had fun with them no matter what or how we were playing. Since then, I’ve been invited to join a couple of groups, but just didn’t have time — juggling two careers doesn’t leave a lot of room for leisure. But since I’ve ratcheted down to just one career, things are better, and I’m gearing up to join a new D&D group now. Also playing around with world concepts for if I decide to try GMing for the first time.

As for bringing the Stillness to tabletop, honestly, I’m still just fascinated by the idea of other people wanting to go to this place where the apocalypse happens every Tuesday! For fun!  LOL. But I can’t wait to see people play it.

Q: You incorporated a lot of real-world orogeny, geology, volcanology, and plain physics into your novels. What was the most interesting thing you learned in your research for the Broken Earth?

Mount Rainier. This probably isn’t super interesting to other people, but I constantly see character in concepts and natural forces, maybe because I partially grew up along the Gulf Coast where hurricanes have names, and we speak of them like they’re people… or maybe just because I think like a fantasy writer. I’d been to Seattle before and just thought, “Ooh, such a pretty mountain.” Then I read up on it and realized it’s a Decade Volcano — one of the most potentially destructive mountains in the world. It could wipe out Seattle and Tacoma like that, in a variety of absolutely horrific ways. There are worse volcanic threats out there (there’s a chance the Yellowstone supervolcano could wipe out humanity), but the specific danger of Rainier is its beauty. People want to live near it, and I can’t blame them. I would love to wake up to the sight of that mountain every day — but a population that size in the vicinity of a mountain that terrible is a horror movie waiting to happen.

Nothing but respect for people who choose to live in such places. I get that the ephemerality of it is part of the appeal. I just prefer for my own natural disasters to be slower-moving, and not so apocalyptic.

Green Ronin is based in Seattle so we’re in the blast zone. Lucky us! Nicole, our COO, grew up in Oregon and she remembers the Mount St. Helens eruption vividly.
Q: The Broken Earth Trilogy tells a specific story, but game groups will create their own. What ideas do you think they could explore in the Stillness?

The Stillness is a pretty big world, and there’s lore throughout it that got alluded-to but not shown in the Broken Earth books. I’d love to see people play around with all that hinted-at stuff.  What other secrets do the lorists keep behind their black-painted lips, and why must they stay secret? Were there ever expeditions that tried to sail around the great empty ocean that covers half the world, and did they find anything (maybe like an ancient city full of stone eaters) when they did it?  You’ve seen some of the ways that terrestrial animals and insects change during a Season, but what about the plants or marine life? If a quiet farming comm discovers a huge and dangerous ancient ruin lurking underneath it, how do they deal with that?  How do people have fun in a world that’s constantly on the brink of extinction? There’s lots to explore.

Q: Can you give aspiring Game Moderators a few things to bear in mind when they are making their own stories in The Stillness?
  • The cultures of the Stillness are different from those of our world in one key way:  They understand that rapid adaptation to change is essential for survival.  A typical comm’s structure is modular, with every resource — food, weapons, labor, knowledge — meant to be shuffled around as needed in the event of a Season. This means that comms which opt for democracy or consensus at ordinary times turn instantly authoritarian once Seasonal Law I declared.  Hoarding or charging money for goods and services within the comm is instantly illegal.  Having more children without permission is instantly illegal. A wealthy merchant becomes neither wealthy nor a merchant once the Season comes, because any resources they possess are confiscated for the community pile, and the merchant’s life becomes governed by their caste and its duties.
  • Every person is trained to expect this modularity from childhood, though some keep the lesson in mind better than others. The formerly-wealthy merchant knows better than to protest if their goods are confiscated — but they might do it anyway, because they’re used to the privilege of wealth.  Too much protest means exile.  Meanwhile, members of the Strongback caste are always aware they can be exiled if they aren’t willing to work and obey others.  The partners of Breeders, if not Breeders themselves, must be prepared to accept non-monogamous behavior and to raise a child which might not be their own.
  • The people of the Stillness are exactly like us, psychologically — especially in being prone to react irrationally under stress. The onset of a Season is a critical time in which a community’s survival depends wholly on if its Leadership can overcome the natural human tendency to freak the hell out during an emergency. If they fail, the people of a comm could revolt against their Leadership, wasting resources and effort that should be spent on survival on infighting. Comms that do this rarely survive Seasons.
  • Good Leadership, therefore, requires a balanced approach, discouraging change resistant behavior while not being too heavy-handed. Too much authoritarianism, or totalitarianism, is inadvisable.
  • Seasonal Law is resource-focused but still explicitly anti-eugenicist. Bigotry, which is known to destroy or weaken communities, is illegal at all times. Disability is not a cause for exile in itself, though a disabled person must find a way to be useful; fortunately there are many necessary tasks that can be done by someone with limited mobility or cognition. Medical care is in a permanent state of emergency triage:  those who can be saved more easily are prioritized over those who will need more resources or whose condition is more precarious.
  • Commless people aren’t all bandits. Many are “free spirits” who can’t or choose not to function within the expected modularity — or who want to develop their own ways to survive a Season. Some of those ways, such as those of the comm of Meov in the books, are viable — though the only way to be sure of viability is to wait for a Season and see.
Q: The Fifth Season RPG will be lavishly illustrated. Will this be the first time (apart from cover art) that readers will get to see visual interpretations of the Broken Earth?

No.  The Subterranean Press special editions of the Broken Earth books feature astounding art by Miranda Meeks, and since the books have been published in many other languages, several of the foreign editions have had unique cover art that’s astounding. I also regularly see fanart from my readers that blows me away! But I always love seeing new depictions by skilled artists, and I’m loving what I’ve seen so far from you guys.

Q: We understand that the Broken Earth trilogy has been optioned for a television or streaming series. Can you tell us anything about the progress of that project?

Just that it’s not going to be a TV series anymore, but a feature-length film series; the rights were bought by Sony Tristar. I turned in the first movie script a few months ago.  Beyond that, I can’t say, sorry!

No worries, a feature film series is exciting stuff! Thanks for taking the time to talk to us today. 

Fifth Season Preview: Character Creation

The Fifth Season Roleplaying Game

Crowdfunding now on Backerkit!

Once a Fifth Season game group has created their comm (detailed in Fifth Season Preview: Comm Creation) they can get down to creating individual characters. Those familiar with Adventure Game Engine character creation know it often involves choosing a character Background, a Class or Profession, Talents or Specializations, and a Drive or Goals. The Fifth Season RPG is similar in many regards, with a few notable differences. Let’s take a look at the steps of character creation:

Step One: Concept

Come up with the sort of character you’re interested in playing. Talk with the GM and the other players in your group about your character concept and how well it will fit into the kind of game the GM is looking to run, the kind of characters the other players want to create, and the comm you have co-created for them.

What About…?

Orogenes and Stone Eaters? Yes, they’re mentioned in Fifth Season. The Orogene talent allows for the creation of feral orogenes, but there’s no provision to play a Fulcrum-trained blackjacket with one or more rings yet. Likewise, there are no rules yet for playing a Guardian, much less a nonhuman like a Stone Eater. The focus in the core game is on the human inhabitants of comms in the Stillness. Further development of character options will appear in later Fifth Season supplements.

Characters in the Fifth Season can have a variety of backgrounds and use-castes

Step Two: Caste

In the society of the Stillness, each person has a role to play in the survival and well-being of their comm. These roles are broadly defined by use-castes, or simply castes: the ways in which people are useful to society. People are generally born into the use-caste of their same-sex parent  by default, although it is not unusual for someone to apply to change castes, or to be encouraged to do so, as particular talents or inclinations emerge as they reach adulthood or even later in life.

Fifth Season focused on five of the seven primary use-castes (the other two being Guardian and Orogene), as follows:

  • Breeders have a bonus to Perception and choose from the Companion, Crafter, and Safeguard specializations.
  • Innovators have a bonus to Intelligence and choose from the Geomest, Geneer, and Lorist specializations.
  • Leadership has a bonus to Communication and chooses from the Diplomat, Organizer, or Trader specializations.
  • Resistants have a bonus to Constitution and choose from the Caregiver, Cultivator, or Stalwart specializations.
  • Strongbacks have a bonus to Strength and choose from the Guard, Hunter, and Laborer specializations.

Step Three: Abilities & Focuses

All AGE system characters are defined by nine abilities. They’re scored on a numeric scale from –2 (quite poor) to 4 (truly outstanding). A score of 0 is considered average or unremarkable. The abilities are:

  • Accuracy measures aim and precision, and your ability to hit targets with lighter and ranged weapons.
  • Communication covers your character’s social skills and ability to deal with others.
  • Constitution is overall health, fortitude, and resistance to harm, illness, and fatigue.
  • Dexterity encompasses your character’s agility, hand-eye coordination, and quickness.
  • Fighting is your character’s ability in close combat with heavier weapons.
  • Intelligence measures reasoning, memory, problem-solving, and overall knowledge.
  • Perception is the ability to pick up on and notice things using any of the character’s senses.
  • Strength is sheer muscle power, from lifting heavy things to feats of athletics.
  • Willpower measures self-control, discipline, mental fortitude, and confidence.

In this step, you allocate points to your character’s abilities, modified by their caste. You also choose focuses. An ability focus (or just focus for short) is an area of expertise within the broader ability. For example, while Communication determines in general how effective a communicator your character is, the Persuasion focus describes a particular expertise in convincing other people to agree to the character’s proposals.

Step Four: Drive

Your character’s Drive describes what motivates them to act, to say “yes” to an opportunity. Drive gives you cues for action as a player and provides the GM with “hooks” to encourage your character to take action. While some drives are more common for particular castes than others—Leader for Leadership, for example—any drive can be combined with any caste or specialization as the player sees fit. Interpret your character’s drive based on their other traits.

Your Drive provides you with a quality and a downfall, one ability focus, and one talent.

Step Five: Improvement

In this step, round out your character’s traits by improving two of them. You can choose the same option twice, but the benefits don’t stack. So, while you can choose two Ability Improvements, you cannot apply them both to the same ability score.

  • Ability Improvement: Increase an ability score of your choice by +1. This can increase the ability to a score higher than 3.
  • Ability Focus: Gain a new ability focus of your choice.
  • Talent Improvement: Gain the novice degree in a new talent, or improve an existing talent by one degree.

Step Six: Finalize Abilities

Once you have allocated abilities and chosen caste and drive, along with their associated choices, and made your improvements, now it’s time to finalize your character’s abilities. You can make any tweaks or adjustments, shifting an ability point here or there, or changing around some of your focus or talent choices, to get the final set of your character’s abilities.

You also use this step to calculate your character’s secondary abilities like Speed, Defense, Toughness, and Fortune.

Step Seven: Goals

While a character’s drive moves them forward, the character’s goals are what they move toward. Ideally, goals should help to define what is important to your character, and offer the GM inspiration for stories and ways to involve your character in adventures. You’re asked to come up with at least one short-term and one long-term goal for your character.

Step Eight: Relationships

Comms are made up of people, held together by a complex web of relationships: parents and children, siblings and cousins, lovers and spouses, friends and rivals, and more. All of these various relationships define the comm and the place of the individual characters in it. Certain relationships are especially important to characters, and Fifth Season reflects that by giving those relationships a description (the relationship bond) and a numerical value (the relationship intensity).

Your Fifth Season character starts out with an intensity 1 bond with their comm, defined as they see fit, along with additional relationship intensity ranks equal to the character’s Communication ability score, if it is 1 or higher. Relationship bonds can be spent as bonus Stunt Points for actions related to that relationship.

Step Nine: Challenges

As an optional step of character creation, you can define one or more personal challenges for your character. A personal challenge is similar to the kinds of challenges the characters face and overcome in the course of their adventures, but this challenge is both specific to your character and something they carry with them wherever they go. It can show up in the course of the game, by your choice, to challenge your character. A personal challenge can be a physical disability, a psychological difficulty, or a social challenge, as you define it.

Encountering and dealing with a personal challenge in the context of the game provides a bonus to the character: they gain Fortune. The Fortune gained from overcoming personal challenges is temporary, so it can restore lost Fortune, but if it raises the character’s total over their usual Fortune score it only lasts until it is expended, then it is gone.

The key thing about personal challenges is that they arise as challenges only when the player wants. Otherwise, that aspect of the character still exists, it just doesn’t particularly pose a challenge. This allows players to portray characters who have particular qualities without feeling burdened by them, if they don’t want to be, or when they are not in the mood to deal with that particular challenge in game. We don’t always have the option of consenting to challenges in our real lives, which is why it is important to give players that option when it comes to their characters at the game table.

Step Ten: Description

Finally, you take the opportunity to gather up everything you’ve learned about your character during this process and put together a description of them: their name, what they look like, how old they are, what their personality is like, and some of their likes and dislikes. It doesn’t have to be long, just a paragraph or so to briefly introduce others to who the character is, just like you’re describing a character from a favorite book, movie, or television show. In fact, if you like, you can even “cast” an actor or personality in the role of your character and use that to enhance your description!

Next: With the comm and the characters in place, we look at moving the story forward on two different levels of game play.

Fifth Season Preview: Comm Creation

The Fifth Season RPG live now on Backerkit!

While the freely available Fifth Season Quick-start provides a substantial “test-drive” of the Fifth Season RPG (now crowd-funding on Backerkit) the Quick-start necessarily leaves out some things in the interests of space and getting folks up-and-playing the game as quickly as possible. For those interested in the Fifth Season RPG, we’re going to take a tour through some of the features of the full-fledged game that the Quick-start doesn’t touch upon, starting with comm creation.

A Fifth Season campaign also starts with comm creation. As the book itself says:

“The comm is what binds the characters together as a group. Presumably, whatever their personal goals and agendas, the success and survival of their shared comm is foremost in the characters’ minds … In many ways, the comm serves as a kind of “meta-character” within a Fifth Season chronicle, a shared part of the story created and sustained by the entire group. While individual player characters may come and go, survive or perish, prosper or fail, the comm goes on. In a long-running chronicle, the comm may even outlive all of the characters, as future generations come up and take their places and see to the care and growth of the community.”

The game group creates the comm before creating their individual characters. This provides a good basis for character ideas and concepts, ensuring they fit in with the comm and the overall direction of the campaign. That said, players may have certain character ideas in mind while creating the comm, and it’s perfectly valid to guide comm creation in the direction of those concepts as well.

The process of creating the comm has four steps:

Comm Creation is an important aspect of the game and your characters

Step One: Concept

First, the players as a  group decide on an overall concept for their comm. Where in the Stillness is it? How big is it? How old? What kind of comm is it? This is influenced by the game’s Session Zero and the type of campaign the group wants to run.

It is best to keep the concept loose at this initial step, subject to changes based on the rest of the process, just enough to offer a basic framework for the group to create the comm around. For example, it’s sufficient to say “A small comm in the Nomidlats, probably north of the Tufa Mountains, possibly near a river.” Even that narrows the field of possibilities considerably and offers some direction to the comm creation process.

The comm’s concept can help to direct further decisions about the comm and its traits, people, and qualities, but those things can also affect and change the comm’s concept as they develop.

Step Two: Traits

Like characters in Fifth Season, comms have traits that define them, describing areas where a comm is strong or weak, fortunate or unfortunate. The primary comm traits are related to five of the primary common use-castes of people in the Stillness:

  • Strength: Strongback caste. A combination of the comm’s ability to perform physical labor and their military might in fielding soldiers.
  • Resistance: Resistant caste. The comm’s ability to withstand disease, starvation, and related challenges, both due to the presence of a strong Resistant caste and their skills in caring for others.
  • Innovation: Innovator caste. The comm’s ability to come up with new solutions and ideas and to practice technical skills.
  • Leadership: Leadership caste. The quality of the comm’s leadership and organization and the comm’s ability to handle matters diplomatically.
  • Resilience: Breeder caste. The comm’s resilience and ability to recover from setbacks and losses.

Comms also have the secondary traits of Size, Cache, and Stability. The players assign values to the comm’s traits as a group, as well as choosing focuses for them, similar to the ability focuses AGE system characters have.

Step Three: Qualities

Traits provide quantitative values for the comm. This step looks at the comm’s qualities. It poses a series of questions to the players (chosen or randomly rolled from a table) wherein each player answers something about the comm: Qualities include Status, Geography, History, Features, Culture, and Secrets. You can use the prompts provided in the game or make up your own using those categories. Each player gets input into what the comm is like, and ideas about the comm may develop and change as different qualities are applied.

Step Four: The Year Before

To complete the comm creation process and move on to the creation of the primary characters the players will portray, the group plays through one year (four seasons) of comm level game play as defined in the rules. This defines the kind of year the comm has had just before the campaign begins.

Some groups might want to play out a longer or shorter time, anywhere from just a season or two to multiple years, but the year before is the minimum recommended time. Play out this time before creating the player characters, as the events in the year before might well spark some ideas for characters and their own stories.

Next: Character creation in Fifth Season, including use castes and specializations, along with talents and some possible secrets…

The Fifth Season RPG on Backerkit is Live!

The Fifth Season RPG now crowdfunding on Backerkit!

Join us for a special livestream with the developers and designers of The Fifth Season RPG!

 

The Fifth Season Roleplaying Game, now crowdfunding on Backerkit, is designed for you to play out adventures and stories set in the world described in the Broken Earth trilogy of novels by N.K. Jemisin—a world where constant and unstable tectonic and volcanic activity threaten all life; a world whose peoples have learned to adapt in order to survive. It is a world where everyone learns that Father Earth hates his children and is always trying to kill them, where metal rusts and even stone crumbles, and the best you can do is be prepared for the next disaster. In the world of the Broken Earth, community—the comm—is everything, because in community there is support and a chance to persevere.

You and your fellow players take the roles of members of such a community, working to overcome internal difficulties and external threats, in order to be ready when that inevitable Fifth Season comes. Are you a lifelong native of this place, someone everyone has recognized from childhood? Maybe you’re a more recent addition to the comm, someone who’s come from a distance, contributing something to the comm that makes the possibility of your secrets and past catching up to you worth it. Or perhaps you are an orogene, one who was born to sess the movements of the tectonic plates, gifted with a forbidden power to still the shaking earth and bleed heat in your environs away until frost coats everything in a perfect circle around you.

These may be times of peace and plenty, but strife and lean times are ahead, with the next Season of Death looming like a dark thunderhead on the horizon.

Welcome to the Stillness.
Download the Free Quickstart right here
Come check out the campaign, and if you pledge in the first 48 hours, you get a free printed copy of the game’s Quickstart (normally $10) if your chosen pledge level includes printed books (the Standard Edition and/or the Special Edition). The printed Quickstart will also be available as an add-on after the first 48 hours.And our top pledge level is the N.K. Jemisin Bookplate Bundle. This gets you the SpecialStandard, and PDF Editions of The Fifth Season RPG in addition to the signed bookplate. This pledge level is strictly limited to 500 backers.

Be sure to head over to The Fifth Season RPG on Backerkit and pledge early, before they run out!

Four versions available for the Fifth Season RPG

With four versions available, including Roll20!

The AGE System is a Map

Nothing quite starts off a new year like a cryptic blog post title, so here we go! Seriously though, I’d like to chat about how I feel about what the Adventure Game Engine is as it now powers a wider array of games than ever: Fantasy AGE, Modern AGE, Blue Rose, The Expanse, Cthulhu Awakens, and as per our recent announcement, The Fifth Season. And of course, it all goes back to its roots in the Dragon Age roleplaying game and Chris Pramas’s design.

Unfamiliar with the Adventure Game Engine? We’ve got you covered with our handy “What Is AGE?” primer!

The AGE System provides nearly infinite story opportunities and options!

I’m the Modern AGE developer, and that means taking an expansive view of the system that has come to be my default. This makes AGE something of a map: The system has “bare metal” mechanical features I can play with in a number of different ways. Very few things about the system are fundamental, but what is there—the fixed points on the map—help me answer questions about how a given instance of the game is supposed to work, and what the play experience should be like.

Are classes essential? Modern AGE proved they weren’t, but that protecting unique niches still mattered. Spending points on spells and other powers? Not essential, but a sign saying power should have some kind of cost.

The core of the AGE experience is something I like to call a “punctuated curve.” The core mechanics are 3d6 + modifiers versus a target number. 3d6 outputs a curve of results, where some numbers on the dice, in the middle of the range, are more likely than others. So, a character’s abilities are fairly reliable. But this sort of thing wouldn’t be especially cool without an additional element. In AGE, this is scoring doubles and generating stunt points. Thus, in the set of successful rolls there’s just under a 50% chance of a more interesting success.

This principle doesn’t tell us what a “more interesting success” is, and of course, that’s up to what stunts the player will pick—and stunts turn out to be something we can greatly customize by a game’s genre and setting. In Fantasy AGE Trojan War, divine stunts can be acquired with the help of the gods. In Cthulhu Awakens, certain stunts represent mind-melting insights won through exposure to the Mythos. The Expanse has stunts related to spacecraft.

But that point on the map can be zoomed in on, divided by area, and customized even further. Stunts represent exceptional results, but we can split them off from doubles. This is how we get the stunt attack mechanic in newer AGE rules sets, and how we use Bonds, where we add an opportunity to do amazing things because of a relationship or belief.

This is the kind of flexibility that lets AGE work for multiple games—we strip it down, see what remains, and it shows us what we can play with to address themes and play experience. While we sometimes do aim for cross-compatibility between games, we usually don’t fret that option A in one game contradicts B in another. You can pick and choose when crossing over. The point is to generate familiarity that lets you make your own crossovers and house rules, while presenting lots of readymade options to choose from.

What do you think is essential to the AGE system? What’s flexible? What should be one, not the other? Feel free to let us know!

Fifth Season Crowdfunding on Backerkit

Fifth Season Roleplaying on BackerkitWe’ve got some exciting news today! The crowdfunder for The Fifth Season RPG, based on N.K. Jemisin’s award-winning Broken Earth Trilogy, launches on January 24. Click here to visit the landing page on Crowdfunding by BackerKit, where you can sign up to be notified when the game goes live. You will also get a direct link to the game’s Quickstart PDF (with 44 pages of rules, an adventure, and pre-generated characters) sent to you on launch day!

Our basic funding goal is $50,000 and we want the campaign to open with a bang. If you pledge for the print edition of the core rulebook within the first 48 hours, you’ll also get a printed copy of the Quickstart. This is great if you want to play the game around the table.

The Fifth Season RPG is set in the Stillness, a vast, furious land that is home to thousands of Comms, settlements large and small where people gather for safety in a dangerous and unpredictable world. Each member contributes according to the dictates of their use-caste, and all with one goal: to prepare for the next Fifth Season, those cataclysmic events when Father Earth himself rages against humankind. It is only through the wisdom of the ancient Stone Lore that the people of the Stillness stand a chance of survival. The game gives players a chance to portray the folk of the Stillness, working together to deal with the problems that face their Comm to better prepare for the coming of the next Fifth Season. Players build a Comm together, create characters of that Comm, and face the challenges that the Stillness has to offer.

Fans of Green Ronin games will be happy to hear that the Adventure Game Engine (AGE) powers the Fifth Season RPG. If you’ve played Blue Rose, Dragon Age, The Expanse, Fantasy AGE, or Modern AGE, you already know the core of the rules. As with every AGE game, we customized the rules to best reflect the setting.

Can you survive in the Broken Earth? Find out in The Fifth Season Roleplaying Game!

Living in Dev-Time

Dev-Time is a lot like Time Travel

Dev-Time is a lot like Time Travel!

“When is that book going to be done? When?”

It can be strange living in what I call “dev-time” (or “development time”) because eagerly-awaited projects are often not just yesterday’s news for me as a writer but most likely last year’s news at times. The development cycle of a book, much less an entire game, is a fairly long one, and getting all of the words written is among the very first steps. Typically, I may get to see a project at the concept stage, getting in on discussion of whether or not to do it at all, along with what it might look like, contain, and so forth. More often, I get involved at or after the outline stage, when the overall concept of the book is pretty well established, and the developer is looking for someone to write stuff. That’s me.

Now, these days, I don’t write too many entire books for RPG publishers, including Green Ronin. While product development time for a book is long, actual writing time is relatively short. So unless I’m publishing a book myself (as I do with Icons Superpowered Roleplaying) and can take 4 to 6 months to write it all, or I’m working with an extended publisher timeline that allows me to write sixty to eighty thousand words or more, chances are I’m only writing a part of a book, a chapter or two (maybe three). Solo projects tend to be short: adventures, Patreon write-ups, articles, and the like, and many of those also get incorporated into larger books or collections.

I get my assignment, write it, and (ideally) hand it off at the appointed deadline. There’s feedback, development, revisions, new drafts, and then I hand over a final version of the text. Typically, that’s where my involvement ends. Sure, an editor might have the occasional “what were you thinking here?” question (tinged with varying degrees of frustration) or an art director might need notes or “does it look like this?” confirmation but, for the most part, my text sails off to those other shores to continue the rest of its journey towards becoming a finished book without me. That can sometimes be a long journey, even under the best of conditions. When conditions look like they have over the past year or so … even longer.

Thus the eagerly-awaited book someone is looking forward to is already in my rear-view mirror, often several exits back behind other recent projects I have handed off, some of which the public hasn’t even heard about yet. There’s a running joke in the freelance business that sometimes the only answer to a polite inquiry of “So what are you working on these days?” is “Upholding my non-disclosure agreement.” Dev-time is such that many projects aren’t even announced publicly at the time when people are writing them, although there may be rumors (the tabletop game industry being quite small and tight-knit).

While I have moved-on to other projects, the words I’ve already written are sailing through development, editing, layout, illustration, and proofreading. If they’re destined to see print, there will also be preflight checks, print buying and quotes, print proofs, and more before the book is finally handed-off to the printer. Even then, there’s printing, binding, shipping, warehousing, and distribution before it finds its way to a game store or gets shipped off to the buyer. In every one of those steps there is both margin for error and the potential for things to go wrong. I mentioned before about “ideally” handing off my text by the agreed-upon deadline. I pride myself on getting my work in on time, but life happens. This past summer, I took a fall off my bicycle and fractured my hip. While my recuperation didn’t overly impact my ability to work, allowances still needed to be made. Multiply that times all of the people who touch a project before it sees print and you magnify those allowances accordingly. People get injured, sick, divorced, married, pregnant, quit or take on new jobs, lose loved ones, run into financial problems, and all of life’s other challenges, to say nothing of encountering global pandemics, political upheavals, and more—all in the same year!

So if anyone involved in the publishing process of a book or product ever looks vaguely bewildered concerning its eagerly-anticipated release, it is quite possible that they exist in “dev-time.” From their perspective, that project has been “done” for some time, and it’s not that they’re not eager to see the finished products (believe me, there are several of my projects I’m looking forward to actually holding in my hands), it’s just that they’ve had to move on to other things in the meanwhile. Patience and understanding that there is more going on behind the scenes than you know will always get you a kinder response.