I’ll be GMing for the first time (for any rpg) tomorrow.

I’ll be GMing for the first time (for any rpg) tomorrow.

I’ll be GMing for the first time (for any rpg) tomorrow.  I’ve made it explicitly a two-shot, and I have two different groups (next group will be next weekend, and I’ll be able to apply lessons learned from this one).  I’d appreciate any feedback or advice on my plans to turn the sandbox nature of UW into more of a one-two punch, with some shortcuts in character creation and structure, while hopefully retaining player-prompted content. Also feel free to take inspiration from the ideas here!

So, I just picked up Uncharted Worlds. I really, really wanted to like this game, but it’s left me a little flat.

So, I just picked up Uncharted Worlds. I really, really wanted to like this game, but it’s left me a little flat.

So, I just picked up Uncharted Worlds. I really, really wanted to like this game, but it’s left me a little flat.

There are a few key points to most Apocalypse World games that I love:

1) The play books have custom moves that ensure each character has a unique role in the game, and really highlight that role.

2) The moves are written to force the players into making hard decisions.

3) The game usually (though not always) includes some sort of mechanic to model the relationships between characters.

4) The best AW hacks have included extensive guidance about how the game is supposed to be run (especially for the GM).

UW feels lacking in all of these. The moves, as written, feel a bit flat. The skills are often shared among the different careers and origins. And there’s no inter-party relationship mechanic (that I can find). And very little guidance to help GMs best use the mechanics.

Also, I am not a huge fan of the combat system (as I understand it). It sounds like there should be one roll, then you narrate back and forth based on the roll.

Personally, I prefer a system where there are small chunks of back and forth narration, punctuated by rolls. And, while one-roll combat resolution has a place (for example, for combats that are not narratively important), I don’t want it to be the default.

The rules do hint that multi-roll combat resolution is possible–but it doesn’t show how that would be done. I haven’t been able to figure out a good approach on my own.

Am I missing or misunderstanding something? Or should I just chalk this up as “not for me” and move on?

So I’m going to be running UW for my Saturday group.

So I’m going to be running UW for my Saturday group.

So I’m going to be running UW for my Saturday group. We’re switching from FATE and we played about 8 sessions before we decided to take a break.

Question: Should I write some custom moves for my players since we are coming from a background of established characters?

My thoughts: I feel like this may be a good way to capture what their old characters had established as gimmicks and specialties.

#UnchartedTravel

#UnchartedTravel

#UnchartedTravel

Some people roll through here asking about how to best handle alien environments in their game; how do we make up the worlds that our PCs set foot on — where they get up to no-good? There’s plenty of ways of making these planets, and I think one excellent way would be to crowdsource these worlds! I mean, hell, why not, right? Who’s to say that a planet you make up wouldn’t fit perfectly into my game? So, I’m throwing out the hashtag #UnchartedTravel  as a place where we can showcase the things we’ve made up that anyone’s heroes could run across on their travels: worlds, locations, individuals… Think of it as a tour guide for the galaxy!

So, for the inaugural entry I’m going to draw people’s attention to Vast & Starlit on Drivethrurpg. It’s a lovely little microgame by Epidiah Ravachol that uses no dice, and is just all about having an exciting conversation about space brigands. It’s pay-what-you-want right now, so you can scope it out for nothing if you’re wary of this. But man there is some solid stuff in there! Such as, for example, its guidelines to making aliens and far-off planets.

You pick a baseline, and the rest of the players tweak, exaggerate, or reverse specific aspects of that baseline. Do this three to five times, and then reincorporate the aspects while discarding the baseline. By way of example, I’ll take it for a spin.

I’ll be using my hometown, Pittsburgh. I’ll be using these five aspects:

1. The area has a unique dialect sometimes called the ugliest accent in America.

2. The City is known for its three rivers and its “golden triangle” collection of bridges.

3. Former steel city, now a booming city for medicine.

4. Pittsburgh has pretty okay public transit… its free anywhere within the city, as long as you don’t cross the river.

So let’s mess with those and learn about the planet Yinza VII!

1. Ugly dialect? Exaggerate! The people of Yinza VII have this weird extra sound-producing organ in their chest cavities that kind of sounds like dubstep through a garbage disposal. They can understand you just fine, but you’re going to need an interpreter if you’re going to make any kind of deal with a Yinzese merchant.

2. Rivers and bridges? Tweak! Yinza VII is known for its Golden Pyramids, strange alien objects left behind by the Yinzese gods (so they claim). It’s hard to argue with them though (language notwithstanding), because water has bubbled up from the soil beneath the pyramids for eons, flowing into three life-giving rivers surrounding the capitol.

3. Steel, then Medicine? Exaggerate! Yinza VII is practically overflowing with medicine — its those pyramids and that water again! Pretty much everything edible or drinkable on this world will treat what ails you, keeping you healthy and young. However, the metals in the soil are of really poor quality, and the people don’t get out into space on their own. They’re stingy about exporting any of their crops, just to give themselves a bargaining chip with the rest of the galactic community.

4. Free Transit? Reverse! Yinza VII is highly strict about the movement of its citizens, for two reasons. One: ensure no one disturbs the Golden Pyramids (except of course for the wealthy and powerful, but ain’t that always the truth?). Two: ensure that the delicate ecological balance that lends rejuvenating qualities to their food and drink is not disturbed. The end result is something resembling a “benign” police state. You’re free to go wherever and do whatever (within the bounds of the law), as long as you can demonstrate you’re not traveling too far afield without your papers or without proper clearance from the powers that be.

So, hey, there’s a planet for you to use in upcoming games of Uncharted Worlds! Yinza VII! World of Golden Pyramids, inexplicable rejuvenating rivers and foods, a populace whose language is impenetrable to offworlders, and a transit bureau with all the enforcement power you’d expect from military police. Does one of your PCs need a medical miracle right now? Can they get the permits to land, or do they run the blockade? Can they get someone to understand what they need? What if a member of the crew is “relocated” by the transit bureau for byzantine reasons, or something from the ship goes missing across the nearest border?

Hope folks enjoyed this example of making a planet the Vast & Starlit way. Seriously, its a fun way to think up weird space opera stuff, should you need it.

(apropos of nothing, I picture the Yinzese as looking like smaller, bipedal versions of that giant pig that shared water with Finn in Force Awakens)

http://www.drivethrurpg.com/product/124325/Vast–Starlit

I kicked off 2016 the right way: I showed my young sister-in-law Return of the Jedi for the first time, completing…

I kicked off 2016 the right way: I showed my young sister-in-law Return of the Jedi for the first time, completing…

I kicked off 2016 the right way: I showed my young sister-in-law Return of the Jedi for the first time, completing her viewing of the Original Trilogy in time to take her to see The Force Awakens this weekend. As I was watching it, some thoughts rattled around in my head, so I decided I would talk about them.

The Star Wars movies make really great use of Jump Points. Not quite perfect, I’d say, since everyone always winds up scattered and dealing with things sequentially rather than simultaneously. While I admit that simultaneity of crises isn’t necessary for a good Jump Point, I would imagine it works better than “So you two show up at the crime lord’s palace… and okay, so later, you two walk in… and okay, so finally you show up.” But, I digress.

Star Wars has really awesome Jump Points! “Your Military Personality Leia stands before Jabba… Hey, Industrial Explorer Chewie, what con are you two running to get close to the Scoundrel Starfarer Han? Oh, she’s posing as a bounty hunter and you as her prisoner? Rad… And hey, Leia why is Jabba about to take you seriously? Oh shit, you have a LIVE GRENADE in your hand? Hell yeah, okay, let’s go from there…” That is so rad! It goes off great, with a perfect 10+ and Chewie is in the palace waiting for the breakout, and then it all goes downhill with a really bad miss while defrosting Han.

This is just such a fun way to start off a session, especially if the GM keeps a good pace and keeps things moving — this part in the movie runs for something like 15 or 20 minutes before the whole band is back together and about to get eaten by the Sarlacc. There’s definitely something to learn here: be like George Lucas… don’t leave any players sitting around doing nothing for very long; round ’em up, and throw them all into danger fast as you can.

Second thought, and probably the more interesting thought: oh man I frickin’ loved that lightsaber duel with Vader at the end. Jeez. And as I watched it, I processed stuff that I totally knew before, but that I was seeing differently now that I have Uncharted Worlds in my brain. Like, scope this out: obviously Vader is dangerous, sure, so he’s a Threat (Agenda: “Push Luke to the Dark Side” I figure). But if Luke makes his roll, then the fights over, right? No way! Vader as a person isn’t the only threat here!

Remember, after all, that Anakin Skywalker was a master swordsman! His form and superior swordsmanship (because, honestly, Vader is the better duelist of the pair — Luke only beats him by giving in to Dark Side) are a Threat in and of themselves! Can your Mystic Explorer (or whatever you want to call Luke) work through Vader’s [Superior Defense] (its agenda is to “Protect Vader” probably) to even land a blow? Hell, if you wanted to, you could even throw [Dread] on top as its own Threat! Luke obviously didn’t want to do this, didn’t want to fight his father, especially not being egged on by the Emperor as he was! I think [Dread] is a perfect Threat, and its Agenda is probably “Weaken Resolve.” So that’s Three Threats right? But in a Star Wars game, The Dark Side is probably a constant, ubiquitous Threat… and then there’s Palpatine with his Control of the Imperial Machine, Force Lightning, Lightsaber Skills, and whatever else you can imagine…

Return of the Jedi showed me that THIS is how you make one-on-one fights in Space Opera resonate mechanically. You, as the MC, still need to bring the pathos, the scene building, the stake-setting and all that to the table… but if you feel like a one-and-done roll deflates the drama? Remember that Threats come in all shapes and sizes! They’re not all Slugs on sailbarges getting choked out (uh, THAT was a one-and-done roll to kill a Threat!). Some of your Threats have impossible levels of training that must be overcome, reputations that cripple their enemies’ spirits, and all manner of advantages even before the PCs can take an honest swing at the Bad Guy behind the mask! Think beyond the dude being thrashed on by your PC when you want to make the fight feel mechanically heavy — think about the reasons why this dude is so dangerous, or why this situation is so threatening and important… I bet you’ll find what you’re looking for.

And hey, this is my first post under the hashtag  #UnchartedMedia  (or #MediaMonday , take your pick) where I hope to ramble about how the sci-fi goodness we consume can influence the games we run! I’m going to try and do a few of these each week, and I would love it if the community got involved in responding or making their own #UnchartedMedia  posts!

I discovered Uncharted Worlds on drivethrurpg and think it’s one of the more streamlined Apocalypse World hacks I’ve…

I discovered Uncharted Worlds on drivethrurpg and think it’s one of the more streamlined Apocalypse World hacks I’ve…

I discovered Uncharted Worlds on drivethrurpg and think it’s one of the more streamlined Apocalypse World hacks I’ve read to date. Can’t wait to try running a game with it.

However, having read several other AW hacks, it feels like there is lack of guidance on session/campaign structure in Uncharted Worlds. 

I noticed in some Shadowrun/Cyberpunk flavored AW hacks (The Sixth Word, The Sprawl) they have really embraced how interacting with corporations can really drive sessions forward; the kind of thing that seems suited to the factions in  Uncharted Worlds.

Has anyone developed any outline structures to flesh out Jump Points in a similar fashion to Dungeon World’s Fronts? What about building out planets/solar systems with starting details?

Looking for inspiration? Here’s an excellent book series you’ve probably never heard of: Black Ocean.

Looking for inspiration? Here’s an excellent book series you’ve probably never heard of: Black Ocean.

Looking for inspiration? Here’s an excellent book series you’ve probably never heard of: Black Ocean.

——-

Science to build a starship. Wizardry to take it past light speed. A crew to give it a soul.

In the year 2254 gravity was officially declared to be magic; the scientists gave up trying to figure it out and handed it over to the wizards. Without the inherent respect for the laws of physics, the wizards poked and prodded at gravity, poring over all that science knew about the attraction of one object to the next, and dismissing it as poppycock. They discovered ways around the tired old limits, and gave birth to the first true starships. Some enlightened journalist, covering the maiden voyage of the Impossible, noted that the ship was shaped like a hand giving the middle finger to science.

The dreams of children came alive, and humanity expanded into the cosmos, unlocking the secrets of the galaxy.

Who could have foreseen that three hundred years later, a down-on-his-luck captain would be answering distress calls, hoping to arrive in time to get first pick of the salvage …

http://www.jsmorin.com/js-morins-books/black-ocean/

I’ve just been reading through the game, can’t wait to play it.

I’ve just been reading through the game, can’t wait to play it.

I’ve just been reading through the game, can’t wait to play it. But I just had a few rules clarifications I was hoping for.

Firstly, with the custom flyer/vehicle skills it says “claiming a new vehicle as your Custom Vehicle, adding an extra upgrade to it.”. I read this in two ways. One is that you claim an existing vehicle as your new custom and add an extra upgrade to that. The other is that you claim a whole new vehicle identical to the one you lost but with one more upgrade. I was wondering which one was intended.

Secondly, if you  start the game with a vehicle and choose for it to be armed/turreted, does its weapon count as one of your starting items (e.g. I choose an armed vehicle for my class two and its gun as one of my class ones)?

Thanks.

Thinking about possible Jump Points. Some one-liners to start with:

Thinking about possible Jump Points. Some one-liners to start with:

Thinking about possible Jump Points. Some one-liners to start with:

* The characters are surrounded by a room full of people with guns

* A smuggling deal is ambushed

* The characters are in the middle of a bar-room brawl

* The crew are defending a facility from a determined attacker

* The characters are breaking someone out of a cell

* The characters are capturing / kidnapping someone

* The ship is under attack

* Zero-G salvage of a wrecked ship is interrupted

* The ship has responded to a distress call

* The crew discovers a stowaway on board

* Someone has hijacked the ship and locked the crew out of the bridge

* The ship has had a critical breakdown and is heading for danger