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Messages - spigot

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31
These are some beautifully put together covers but I'm really, hugely critical of Joseph Campbell and his monomyth. I'm against it because the idea that there's only one story you can tell is really boring! I mean why not have an infinite number of stories which can be appreciated on their own merits instead of the degree to which they live up to this monomyth? In terms of writing games, I think you should give each setting its own special treatment instead of making them modulations of a single story.

There's some good arguments against Campbell's work here:

"The thing about Joseph Campbell that should immediately make you enormously suspicious is that he claims to have identified a fundamental structure to mythology and heroism that establishes a universal vision of human greatness. This is just too sweeping a claim. But that's not actually the biggest problem. The problem is how cack-handed his approach to it is. He provides an appallingly eurocentric view of mythology that manages to argue that all Eastern mythology is descended from Egyptian mythology and that culture flows primarily west-to-east. On top of that, his view of the hero is absurdly patriarchal. Given that he believes in a fundamental structure in human consciousness that creates the monomyth and that the monomyth is overtly male dominated, the necessary conclusion of Campbell's thought is that patriarchy is a fundamental structure in human consciousness, which, frankly, fuck him. (There are points in reasoned debate about literary theory where it is necessary to tell people to go fuck themselves, and most of them involve Joseph Campbell.)

No. Campbell is a crank. A well-read crank, but a crank nevertheless. Basically, he identified one story he liked about death and resurrection and proceeded to find every instance of it he could in world mythology. Having discovered a vast expanse of nails for his newfound hammer he declared that it was a fundamental aspect of human existence, ignoring the fact that there were a thousand other "fundamental stories" that you could find in world mythology and that he'd twisted large amounts of world culture badly out of shape in order to suit his pre-selected conclusion. ... [Campbell] has zero credibility in any of the actual academic fields his "research" intersects with. He's pseudohumanities. Which is an impressive feat, and I'm not sure I can actually think of anyone else who qualifies as that. He is Timecube Man with a Bill Moyers special.

That said, the story he identified does work. It's not a transcendent and fundamental aspect of human experience, but it's a pretty good story, and George Lucas was savvy to nick it for the plot of Star Wars. Unfortunately, because Campbell was a lunatic blowhard who claimed that he'd identified a fundamental aspect of human existence, once Lucas showed that it also made money it became the mandatory structure of any piece of science fiction or fantasy made in Hollywood. I mean, unfortunately, this was the real legacy of Star Wars. Hollywood got suckered by a literary crank and came to believe there's only one way to do a large number of movies. And so we continue to get a formulaic structure applied to all manner of things as though it's the only story in the world. When, in fact, it's frankly gotten boring."


There's some more criticism here and here ('Not Everything is a Hero's Journey').

32
Headspace / Re: Headspace -- A Shared Consciousness Cyberpunk RPG
« on: September 21, 2014, 02:10:58 AM »
Hey Mark,

Putting your game up in the brainstorming forum here will get you some more eyes. It would also be useful to provide an entry point to what is a very big and intricate looking game if you want to start a discussion! What specifically would you like discussed? What are you unsure about?

33
blood & guts / Re: Discern Realities VS Spout Lore
« on: September 12, 2014, 10:28:33 PM »
Firstly, you have to realise you can look beyond Dungeon World's basic moves and write something totally new! In my own hack, I copied Spout Lore verbatim for one of my moves, but when I found it wasn't working for me I went back to Open Your Brain from AW and wrote something more in that vein:

Sacred Lore
When you consult your accumulated knowledge, roll+Twilight. On a 7+, the MC will tell you something interesting and relevant to the problem at hand, and they might ask you a question or two - answer them. On a 7-9, your knowledge is vague and incomplete - the GM will reveal a single missing detail at their discretion later in the scene.

On a 12+, you experience an impossible burst of insight - you can veto or modify a single element of the MC’s answer.

And yeah, it's probably worth making a thread for your hack in here!

34
brainstorming & development / Re: Creation! An Exalted Hack
« on: September 10, 2014, 06:25:53 AM »
This is a very small update - I've revised the 12+ moves for Notice Details and Discern Intent. The first iteration was ripped straight from Apocalypse World and it just wasn't working, so here's the new ones:

Notice Details
When you take stock of your surroundings, roll+Twilight. On a 10+, ask the MC three of the following. On a 7-9, ask one of the following. Take +1 Forward when you act on the answers.
  • What here is not as it seems?
  • What has happened here recently?
  • What is about to happen here?
  • What here is threatening to me?
  • What here is valuable to me?
On a 12+, you can ask any three questions whose answer your senses could reveal, not limited to the list.

Discern Intent
When you observe or interact with someone, you can roll+Eclipse at any time. On a 10+, hold 3. On a 7-9, hold 1. Spend this hold 1-for-1 to ask their player one of the following questions. They must answer truthfully.
  • How’s your character feeling?
  • What does your character want from me?
  • What’s an Intimacy your character’s displayed this scene?
  • Is your character lying?
On a 12+, you can ask these questions of your target freely for the rest of the scene. Additionally, the MC will tell you when they display an Intimacy.

These rewrites were prompted by the question of what it means to be able to ask any question - there's so many crazy questions you could ask that . Could I ask what the lice on a guy's eyebrows are doing if I was looking at him from a kilometer away? I had to clarify what was possible firstly because when it comes to asking questions, constraint is productive. Secondly because it opens up a whole new design space in terms of the questions you can ask. You can have moves to expand your sensory capacity, allow new questions, change and enhance the 12+ results - all sorts of things!

Look at the Brainer's 'Deep Brain Scan' for instance. You can't say the move is useless because you could just ask those questions with a 12+ on Read A Person - firstly because the move gives you more reliable access to those questions (ie. On a 7+ instead of a 12+), and secondly because it gives you that access earlier than you'd get it with the Ungiven Future advances, which come way late. In Creation, you start with a Caste Mythos Exultant, which gives you access to your Caste's advanced moves from the word go.

This all goes back to Intimacy Channels, which are something I haven't gone into yet. Channels are sort of like strings from Monsterhearts crossed with Aspects from Fate. Normally, channelling an intimacy will get you an advantage on your roll - +1 Forward. With Mythos Exultant however, spending Channels on your advanced Caste moves upshifts the result of your roll by one category instead of giving you an advantage - for instance, a 10+ would become 12+.

So taking all this into account, it's quite easy for someone to get a 12+ on their Caste moves if they want to. They've got the +1 from their Caste Stat, possibly an advantage granting another +1, and they can channel an Intimacy to upgrade their roll result. If all this lines up, they've got a ~40 chance of hitting the 12+. As a result, the nature of these 12+ moves had to be changed and constrained a little. Please let me know what you think!

35
brainstorming & development / Re: Can't Go Home Again- Sci-Fi Hack
« on: August 31, 2014, 08:20:55 PM »
It's good that you're going beyond emulation! What you want to do in this case is strip BSG down to its most basic elements and abstract them, make them nonspecific. And that's what you're doing! You've got the Enemy - include a Worldship, emphasise scarcity, emphasise politics (Resulting from scarcity), emphasise flight from an old world whose spirit remains with the people and is invoked for all kinds of purposes - to produce a sense of home, to advance a political agenda, to have something to return to one day or something that is irrevocably gone.

Another quick suggestion - mandate two Fronts running at all times - one internal, relating to scarcity or political conflict, one external, relating to the Enemy.

Regarding the Agenda: The Agenda is just the stuff the MC is supposed to have in mind at all times when MCing. You can be more specific than "Make the characters' lives not boring." if you like, and I would. I like "Build towards a resolution" - how is that expressed in play? Would "Build towards a climax" be better? Consider modelling the game's storytelling structure on TV - seasons, arcs, episodes.

Regarding principles:

Create interesting dilemmas, not interesting plots (I like it! Could do with some rephrasing but the idea is solid.)
Everyone can die, but movements can endure. (I'd say "People die, movements endure" - shorter, more evocative.)
Name everyone, make everyone human. (How does this relate to the principle above? It feels like a dogma carried over from Apocalypse World, where it was a principle because the game's communities were small and . Consider the potential of including a generic faceless mass in your game. Maybe rather than naming everyone, say "Everyone has a faction" or something like that.)
Ask provocative questions and build on the answers (I like it! This should be part of every PBTA game)
Respond with challenging circumstances and occasional rewards. (This feels like a missed opportunity to emphasise scarcity - "Respond with challenging circumstances and inadequate rewards"?)
Leave the world that was lost to the players. (Not clear what this means - "Remind them of the world that was lost"? "Show traces of the world that was lost"?)
Unveil mysteries in their due course. (I feel like this would be better built into a Front mechanic)
Let the players fill in the gaps. (Covered by "Ask provocative questions and build on the answers".)
What has happened, is true. (What does this mean? It seems obvious - do you mean something like "What is done cannot be undone"?

Sprinkle evocative details everywhere (Why wouldn't you already do this?)
Make the world seem real (Why would you need to do this? It's a story! Be more specific than "real".)
Build a bigger world through play (Unclear what this means, probably covered by "Ask provocative questions and build on the answers.")
Address yourself to the characters, not the players (Generic, cool. Wherever you find a generic principle, justify it to yourself - don't just paste it from one game to another.)
Make your move, but misdirect (Generic, cool)
Make your move, but never speak its name (Generic, cool)
Think offscreen, too (Generic, cool)
Be a fan of the players’ characters (Generic, cool)

36
brainstorming & development / Re: Creation! An Exalted Hack
« on: August 30, 2014, 11:43:13 PM »
I finally finished the first draft of my Basic Moves! Thanks a lot to Riovanes for their input on the combat moves. Here they are, with stats:

===

The stats are:
Dawn, For acting in your capacity as Warmaker - the field of physical conflict. War and personal combat.
Zenith, For acting in your capacity as Demagogue and God-Sovereign - leading, and surviving great hardships unconquered - physical and mental endurance.
Twilight, For acting in your capacity as Scholar and Artisan - the acquisition, application and dissemination of knowledge.
Night, For acting in your capacity as Spy and Criminal - infiltration, disguise and trickery.
Eclipse, For acting in your capacity as Diplomat and Broker - travelling, schmoozing and doing deals.

The moves are:
Dispose of Unworthy Opponents
When you dispose of unworthy opponents, roll+Dawn. On a 7+, they’re taken care of - you can move past them. On a 7-9, there’s a problem - pick 1.
  • You suffer a condition.
  • You are slowed down, inconvenienced, or distracted from something important.

On a 12+, unworthy opponent will get out of your way for the rest of the scene.

When I say “you can move past them”, that means they’re dead, unconscious, enraptured by the impossible beauty of your martial arts - they’ve served their narrative purpose and they’re no longer a meaningful obstacle. Dispose of Unworthy Opponents is about getting things out of the way.

Let's say your goal in the scene is rescuing someone who's been captured by a horde of Fair Folk. In this case, the horde is an obstacle between you and the goal, so you Dispose of Unworthy Opponents. You're getting them out of the way, but you're not actually dealing them mechanically significant harm - you're not reducing their Magnitude or inflicting a Condition on them. Mechanically, murdering thousands of soldiers is identical to shoving someone out of the way and running past.

So an Unworthy Opponent is what's between you and the goal, and a Worthy Opponent is the goal, the whole point of the scene. In the former case, Dispose of Unworthy Opponents. In the latter, Clash!

Clash!
When you clash with a worthy opponent, roll+Dawn and select a style. On a 7+, you deal a wound and trigger your style. On a 7-9, you suffer a wound and your opponent makes a move.

Clash is still under construction! Styles are special moves triggered by this move which can inflict conditions on your opponent, enhance your abilities and more.

Defend Other
When you leap to something’s defense, roll+Dawn. On a 10+, it suffers no harm and you’re put in a spot. On a 7–9, you suffer the harm in its place - the MC will give you a condition.

On a 12+, it suffers no harm and you act at an advantage to neutralise whatever threat you defended it from.

Press On
When you press on in the face of adversity, roll+Zenith. On a 10+, you endure - if you would have taken a condition, you don't. On a 7-9, you flinch, falter or hesitate.

On a 12+, onlookers are inspired by your heroic resolve and act at an advantage against that same hardship for the rest of the scene.

Inspire
When you inspire an audience with your shining charisma, roll+Zenith. On a 7+, their passions are inflamed, pick one: Instill an Emotion in your audience; Bestow or upgrade a single intimacy and fill its channel if appropriate. On a 7-9, the MC can shift the tenor of their passions in a small but significant way - a love of hard work becomes a love of money, a love of country becomes a hatred of foreigners.

When you Inspire a PC, they can always reject the effects of this move.

If you encounter a contradictory Intimacy, this move will instead weaken it by a single grade.

In order to upgrade an Intimacy from Minor to Major, you need a supporting Minor Intimacy.
In order to upgrade an Intimacy from Major to Core, you need a supporting Major Intimacy.

Sacred Lore
When you consult your accumulated knowledge, roll+Twilight. On a 7+, the MC will tell you something interesting and relevant to the problem at hand, and they might ask you a question or two - answer them. On a 7-9, your knowledge is vague and incomplete - the GM will reveal a single missing detail at their discretion later in the scene.

On a 12+, you experience an impossible burst of insight - you can veto or modify a single element of the MC’s answer.

Notice Details
When you take stock of your surroundings, roll+Twilight. On a 10+, ask the MC three of the following. On a 7-9, ask one of the following. Take +1 Forward when you act on the answers.
  • What here is not as it seems?
  • What has happened here recently?
  • What is about to happen here?
  • What here is threatening to me?
  • What here is valuable to me?

On a 12+, you can ask any three questions you like, not limited to the list.

Feat of Athleticism
When you perform a heroic feat of athleticism, roll+Night. On a 10+, you pull it off without any trouble - you lift the burning beam, scale the mountain or vault the gate. On a 7-9, you pull it off, but there’s a hitch - the MC will offer you a partial success, success at a cost, or an ugly choice.

On a 12+, you transcend the obstacle completely. Whatever the aim of your action - to escape a threat, to rescue a friend - consider it done. Nothing will pose a threat to that aim for the rest of the scene.

Deceive
When you attempt to do something without anyone noticing, roll+Night. On a 7+, your targets see what you want them to see, whether that’s something else, or nothing at all. On a 7-9, pick one:
  • Someone gets suspicious.
  • You leave evidence of what you’ve done - if someone goes looking for it, they’ll find it.

On a 12+, no one will ever find out what you did, unless you tell them.

Discern Intent
When you observe or interact with someone, you can roll+Eclipse at any time. On a 10+, hold 3. On a 7-9, hold 1. Spend this hold 1-for-1 to ask their player one of the following questions. They must answer truthfully.
  • How’s your character feeling?
  • What does your character want from me?
  • What’s an Intimacy your character’s displayed this scene?
  • Is your character lying?

On a 12+, you can spend your hold 1-for-1 to ask any question you like, not limited to the list.

“Interact” is deliberately broad - you could roll this move in the middle of a swordfight or a game of checkers.

Manipulate
When you manipulate someone, tell them what you want, tag the appropriate Intimacies and roll+Eclipse. For NPCs: On a 10+, you make the connection - the character is willing and able to do what you want. On a 7-9, the MC picks one:
  • They’re willing, but they can’t do it right away because of some trouble they’re having.
  • They’re able, but they need a little motivation - show them you mean business.
For PCs: On a 10+, both. On a 7-9, pick one:
  • If they do it, they restore a channel in whichever intimacy was tagged.
  • If they refuse, they’re facing adversity.

"Tagging an Intimacy" means relating your demands to their Intimacies - "Hide me from the Satrap's police because I'm your best friend" for instance. Intimacies provide leverage as follows:
  • With a Minor Intimacy, you could persuade an acquaintance to ride out to your house and ferry your sick husband to the doctor in the middle of a storm. People will go out of their way to do it, but they won’t risk anything significant.
  • With a Major Intimacy, you could talk a close friend into running away from home and joining your band of mercenaries, or committing a serious crime, like murder! People will make long-term commitments with lasting consequences.
  • With a Core Intimacy, you could talk someone into giving away their things, setting fire to their house and devoting themselves to your cult. People will upend their lives, and even the lives of their loved ones - they’ll risk it all for you.

On a 12+, for NPCs: They’ll go the extra mile - anything up to a grade higher than the intimacy you tagged. The MC will give you a boon resulting from their action - you'll get more out of them and, if appropriate, you'll get it faster than you expected. This could mean engaging special resources and calling in favours from their own friends. For PCs, they also gain an extra channel to distribute freely if they do it.

If your demands contradict their Intimacies, check the grade of your tagged Intimacies against the grade of their contradictory Intimacies. If the grade’s equal, you check against the number. That means Major Intimacies beats Minor, 2 Major beats 1 Major, and 1 Major + 1 Minor beats 1 Major.

===

And that's all for now! I'm still refining mass combat, but Vincent's previews for Dark Ages have given me a lot of ideas. Clash! is also under construction but I like where it's headed. As always, comments are very welcome.

37
Apocalypse World / Re: What is a move?
« on: August 02, 2014, 07:51:50 PM »
Yeah, I think we game geeks have a tendency to want to believe our beloved games have consistent systems, even when we have to push a square peg in a round hole. AW is awesome, but not perfect or always logically consistent (sorry Vincent) :-P

Anytime you make a game with it's own unique engine, you're just going to have to break the mold here and there to make things work.

To me, they seem like a design compromise. The ideal philosophy is that Moves are suppose to be charged situations that the characters find themselves in. You roll because what happens next can greatly affect the narrative. However, you also want improvements that will introduce situations. Now you have a choice, keep things simple and call all of them "Moves" (even though they are different mechanics) or make the rules complicated to follow by introducing a more comprehensive nomenclature (these are "Moves" these are "Enhancements" these are "Move Alterations" these are Improvements", etc.).

Again, the game is not perfect, but you can't fault Vincent for being human (awesome though he is (please don't kick me from forum)).

Oh man no, I don't feel that way at all! Inconsistency's good, it gives you room to move. I don't think it's a flaw at all. Perfection is death! Perfection means you've stopped growing and changing. The fact that I can ask questions of the game and not have readymade answers is what makes it so great - it's alive!

But yeah, thinking about this has been really productive - I came up with that move chain thing and I understand the mechanics of the conversation way better than I did before, so I'm happy.

38
brainstorming & development / Re: Creation! An Exalted Hack
« on: July 26, 2014, 07:38:35 AM »
Thanks so much! Here's my answers to your questions:

On charging through and charging at an army: Yes, that's absolutely right! The way I see it, every scene is made up of goals and obstacles. The goal is the point of the scene and the obstacle is everything that gets in the way. That's what I was going for with "How do I know which move to use?" but I'll rework it and make that more explicit.

Anyway, let's say the goal is rescuing someone who's been captured by the army. In this case, the army is an obstacle between you and the goal, so you Dispose of Unworthy Opponents. You're getting them out of the way, but you're not actually dealing them significant harm - you're not reducing their Magnitude or inflicting a Condition on them. Mechanically, murdering thousands of soldiers is identical to shoving someone out of the way and running past. Dispose of Unworthy Opponents is about getting things out of the way.

So an Unworthy Opponent is what's between you and the goal, and a Worthy Opponent is the goal, the whole point of the scene. In the former case, Dispose of Unworthy Opponents. In the latter case, Clash! I'll clarify that in the document and revise the bit which says an army is always a Worthy Opponent.

On Intimacies, Channels and your last paragraph there: Yeah, I've been wondering whether to simplify that down. I think I've written two games which I need to separate out here - a kung fu fights game and a political manoeuvres game.

Exalted is basically something I can get into a dialogue with and try out new mechanics for - I'm not sure this will be the game I finish, but it's a great testing ground for new ideas. I'm planning on coming up with an original setting for the system at some point in the distant future.

On Limit Break: Yeah, it's basically your big !Forbidden Technique! panic button. It's great! You could even do Limit Breaks with purely physical effects. I'm thinking of stuff like Sing at the end of Kung Fu Hustle if you've seen that - that's what Limit Break is for.

39
Apocalypse World / Re: What is a move?
« on: July 26, 2014, 04:03:20 AM »
sully: Yeah, that's what I was thinking. You can say stuff at the table , like "I pick the Angel" or "I pick Infirmary", or you can just pick up the sheet or fill in the the empty circle next to the move. "When you pick the Angel, you then choose name, look, stats, moves, gear, and Hx."

So when you look at it like that, you end up with big "when/then" chains. "When you take Infirmary, then this becomes true: (you get an infirmary, a workspace with life support, a drug lab and a crew of 2 (Shigusa & Mox, maybe). [When you] get patients into it, [then] you can work on them like a savvyhead on tech (cf ).)"

Munin: The moves are used in one instance as "the things that make the rules kick in", and then they're presented later as "the things that make the rules kick in, plus what happens when they do (ie. the rules themselves)". So first they're presented as the "when", then they're presented as the "when/then".

I think I'm starting to get it now - moves follow huge when/then chains which kick into gear when you start playing Apocalypse World. Moves snowball. The rules regarding what make the rules kick in kick in when you start playing!

Does that make sense?

40
Apocalypse World / Re: What is a move?
« on: July 25, 2014, 09:28:51 AM »
I think the advanced fuckery chapter sort of addresses this. The Angel move Infirmary's trigger is from now on. Some of the moves aren't triggered every time something comes up, they are triggered then and there and change what you say about the character or situation from that point forward. Adding augury to your workspace, stat increases, etc all fall in that category. The trigger is from now on but it's implied instead of written.

Some moves have a trigger that is not from the fiction, but from the table itself when the session ends, for example.

Hope that helps.

Thanks! I read the section on moves' architecture in Advanced Fuckery and things make more sense now. I still don't get the double use of moves as meaning "things which make the rules kick in" as well as "mechanics following the when ___, then ___ structure". By that first definition, moves are just the "when ___", aren't they? My solution so far is to say the "when ___" is the trigger and the "when ___, then ___" structure is the move.

41
Apocalypse World / What is a move?
« on: July 25, 2014, 08:06:40 AM »
So I've been thinking a ton about moves, because I'm trying to write up the ultra basic Powered by the Apocalypse mechanics for my hack, and there's something I'm just not getting.

Take a look at Baker's bit on moves and the Conversation: "All these rules do is mediate the conversation. They kick in when someone says some particular things, and they impose constraints on what everyone should say after. Makes sense, right? ... The particular things that make these rules kick in are called moves." And then take a look at the Angel's move, Infirmary: "You get an infirmary, a workspace with life support, a drug lab and a crew of 2 (Shigusa & Mox, maybe)..." Or one of the Vampire's moves from Monsterhearts, Invited: "You cannot enter a home without being invited..." Neither of those things are things you say that impose constraints on the conversation - they're just constraints on the conversation. Both moves include things you say that impose constraints on the conversation, but there's more to them than that.

And then you look at something like the Fighter's 'Favored Weapon' from Dungeon World, and that doesn't include something you say at all! It's just a statement about the game which becomes true (ie. imposes a constraint on the conversation) when you have the move.

So the thing that really confuses me is that he could say "[The rules] kick in when someone says some particular things... The particular things that make these rules kick in are called moves", and then introduce elements of moves which don't "kick in when someone says some particular things." This all made perfect sense until I started thinking about it! I feel like I'm missing something incredibly obvious. The only explanation I've got is that the bit on moves being the things that "make the rules kick in" when you say them is a lie. Moves aren't things which make the rules kick in, they're rules which kick in when you have the move.

If moves are exclusively "things which make the rules kick in", then what Apocalypse World refers to as moves in the case of Angel Moves aren't moves - they're bundles of rules which contain moves. If they're not exclusively "things which make the rules kick in", you could say there's two different definitions of moves: The things which make the rules kick in, and the little bundles of rules presented as "Angel Moves". You could also say that taking a move is a trigger which makes everything the move says true. Like I said though, I have no idea what's going on any more.

If it helps, this all started when I tried dividing moves into fictional triggers and outcomes and asked myself what those little bits at the beginning of Infirmary and Invited were about.

42
brainstorming & development / Creation! An Exalted Hack
« on: July 18, 2014, 11:02:17 PM »
Hey everyone,

I've been working on my hack Creation for around half a year now. It's far from complete but I think it's finally reached the point where I can ask for feedback. Here's some features:

• A totally new system for combat! Modelled off Kung Fu movies. Pick big, flashy moves every time you Clash and use them to inflict conditions and bypass special defences. There's no real wounds system outside combat so battles with Worthy Opponents are the only way your PC can die.
• Intimacies! Like Strings crossed with Aspects from Fate. Unleash your world-shaping passions!
• Companies! Rules for running huge organisations. Carry out the Creation-Ruling Mandate!
• Resplendencies! Player-run reverse-Fronts. Tell tales of your victory in advance!

Here it is:

https://docs.google.com/document/d/1u6myAFd-GBbYyl-1S58WbFJdiq6isw2PaP2RFRNtQiM/edit?usp=sharing

I'd love to hear what you all think! Criticism is much appreciated.

43
brainstorming & development / Re: KULT - Death is only the beginning Hack
« on: September 15, 2013, 04:28:55 AM »
Hey Robin! Would you mind if I stole some of your material? Just the bits on madness and disadvantages. I'm writing a Kult hack of my own!

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