Tiny rpgs

edited December 2010 in Make Stuff!

A lot of game-ideas never see the light of a reading lamp. Most games-to-be are forgotten, deemed too weird, or too boring, or possibly not so good after all ... but such negativity will not do! All game-ideas deserve a life, however small! BASTA! So this thread is here to make them breathe and live and (possibly) make us reevaluate what a role-playing game may be. Let us post all the tiny games we may conceive, and see what comes out of it.

And let us not be blind to the fact that posting such tiny games, may well be a big step for some of us, a way to actually finish a game-design. Doing that is always useful!

So; this thread is for posting tiny role-playing games. You may post whatever game suits you, as long as it fits in a single post, may be labelled a "role-playing game", and is somewhat "playable".

There are some simple rules to observe:

1. You have to start the post with a comment on the last game posted in the thread, before your own. You may comment on several games, of course.

2. You have to give your tiny game a title.

3. The game you post has to be your creation.

4. It has to be written within the confines of one post on this forum.

Go game!


  • edited December 2010
    by Tomas HV Mørkrid
    - a game for 3-5 players
    - you need paper and pencils
    - a solid mug for each player, and a solid table to bang it on, is good (but not obligatory)

    Each of you play a viking.
    - Give your viking a name.
    Male examples: Geirr, Frode, Harald, Harvar, Thorik, Kark
    Female examples: Borghild, Gydrid, Hedda, Kauta, Thordis, Rauda

    - Give it three traits; one physical, one social and one mental. Anything that makes you see or feel a character in budding. Make them viking'ish.
    Examples: Big hands, Strong singer, Mead-mower, Hardheaded, Bear-hugger, Foxyface, Berserker, Addertongue
    - Give your viking a feeling towards another viking in the game.
    Examples: I respect Hertrond, I hate Magnar, I lust for Eidhild

    Read your characters to each other. These vikings know each other well. Get ready to play them ...

    The first scene
    You start the game in the house of an uncle (anyones uncle). There are much beer to be had. Be boisterous, as really hard-drinking and hard-hitting vikings. Use BIG voices and make rude remarks. This is a feast, and it is not for the timid.

    Any player may describe what the uncle is doing and/or saying. None of you has any claim to the uncle, so anyone of you may participate in describing him and his reactions.

    During the scene any one of the players may decide that his viking has had enough of the uncle, and raise the axe. if he does so, the other viking may try to convince him the uncle deserve to live. If he let the axe go, any other viking can take it up later. The scene ends when the uncle is killed with the axe. The one player killing him is responsible for describing the details of the axe-blow (blood, gore, screams, shit, crushed bones, etc.). that description concludes the scene.

    New scenes
    Any player in the game may now set a new scene with the vikings. He/she place them wherever he wants, and describe the place. And then the player introduces one or more non-player characters, which is the ones you may want to kill during the scene.

    Play out the scene with BIG voices, making rude remarks and being generally festive and boisterous.

    Any player may describe what the NPC's are doing and/or saying.

    During the scene any one of the players may decide that his viking has had enough of the NPC's, and raise the axe ... etc-etc.

    Axe rules
    1. You may not raise the axe two times in the same scene!
    2. You may hit another viking with the axe! Such a blow is never fatal! No fight amongst the vikings leave them dead or crippled, but they may bleed profusely and be very angry.
    3. The one holding the axe may only be persuaded to put it down. If he/she dont want to do that, there is nothing the others can do to stop the killing of the NPC(s).
    4. A viking killing the NPC(s) with the axe is the end of each and every scene, bar the last one.

    The end
    You will go on setting scenes with the vikings, and new NPC's, until you find someone none of you will kill. If all of you have raised the axe and failed to use it, or have expressed a reluctance to raise it, then the game is at the end.

    Now you co-operate in telling how the NPC(s) have his/her way with the vikings, and how they all are affected by it. Take turns adding facts to the tale, weaving he fate of your vikings.

    Their fate may be anything you deem appropriate to your game, and may include killing them, making them well-behaved, leading them marauding in any part of Europe, marrying them off to flirting NPCs ...

    It's up to you!

    Have a boisterous evening!
  • edited December 2010
    Posted By: TomasHVMUNDER THE AXE
    by Tomas HV Mørkrid
    I like the idea of this thread. It inspired me, and kept me sufficiently distracted from getting involved in a flame-war somewhere...

    As for "Under the Axe," while I'm not sure I understand how the rules really work, it leaves enough for it to be reinterpreted as an alcohol-based game. Especially with the recommendation of solid mugs and wooden table. I'm thinking you have to have to take a swig of your beer, with another swig per applicable ability, against whatever other player opposes your possibly axe-wielding action, and then compare to see who drained the most. At least, that's how I want to play it. Vikings + Random Violence + Alcohol = Win.


    Animated Antics
    by GremlinLegions
    This is a short RPG in the vein of the classic TOON (a la Steve Jackson Games) and Ghostbusters (from the defunct West End Games). Maybe some inspiration from Risus and DungeonSquad. Possibly a bit from DangerPatrol. Hard to keep track, nowadays.
    One player will be the Director, and the others take the role of Characters. You'll need three or four standard sets of polyhedral dice (1D4, 1D6, 1D8, 1D10, and 1D12), or at least one set per player, and the usual assortment of scratch paper and writing utensils, sugar, caffeine, and carbohydrates. And alcohol. Definitely alcohol.

    Making a Character
    Each Character is defined by four abilities. These could be anything – physical features, personality traits, professions, special devices, magical spells, etc. How you describe your abilities will determine how and when they can be used. These descriptions don't always have to make sense either, or they could sound bizarre. This is supposed to be cartoon-inspired, after all. Distribute 1D6, 1D8, 1D10, and 1D12 among your four abilities. Obviously, larger dice represent better abilities.
    To prevent abilities from being too broad or all-encompassing, try to define them as either an Action, Benefit, Effort, or Talent. This doesn't really make any mechanical difference at all, but helps when deciding your abilities.
    •Actions involve dexterous stunts, avoiding trouble, diverting problems, dealing with situations indirectly or from a distance, or otherwise doing things with finesse. Examples: Acrobatic, Kung Fu Hero, Hunter, Invisibility, Thief, Lord of the Dance, Wriggly, Fast-Paced, John Woo Reject.
    •Benefits give the character some advantage, such as strange forms of travel, bizarre eating habits, polkadot manipulation, summoning rabbits from hats, etc. Examples: Teleport, Stretchy, Dimensional Pocket, Levitate, Cyborg Brain, Were-Penguin.
    •Efforts let the character face situations directly and forcibly, overcoming problems with courage or aggression, and resisting influence or difficulty. Examples: Giant-sized, Regenerate, Blockhead, Telekinetic Strength, Massive Ego, Heat Vision, Lumberjack.
    •Talents allow a character to out-smart, out-wit, or out-talk their problems, gather clues or figure things out, and tinker with their environment. Examples: Genius, Detective, Inventor, Telepathic, Dumb Luck, Cunning, Wascawy, Improvise, Man of Many Hats.

    Characters also start with 20 Points. Points measure your condition, experience, progress, and advantage, all wrapped into one. You earn Points through successes, and lose them through failures, and the situation determines the descriptive effect. You can also sacrifice your abilities to earn additional Points, and spend Points to gain bonuses, but this is described later.
    If a Character runs out of Points, he is out for the rest of the Scene, whether blown up, disintegrated, fallen down a ravine, boggled (if you don't know what a boggle is, watch a couple of Tex Avery cartoons), or otherwise discombobulated. At the beginning of the next Scene, he'll be back, likely wrapped in bandages or covered in soot, and gets 5 Points back (so be careful).

    Making Challenges
    Directors don't make Characters, they make Challenges. These can be non-player Characters (okay, so I lied, they can make Characters), obstacles, complicating situations, difficult conditions, etc. These will be made in much the same way as Characters, except without a pool of Points. They will have a number of dice representing their significant abilities or features, whether a creature or a bank vault. The Director can also have really basic Challenges without assigned dice, which use a default D4 for their effects.
    Sample Challenges
    Criminal Ringleader (Creepy Stare D6, Laser Ring D8, Plotting Mind D10, Secret Plans D12)
    Goon (Rough n' Tumble D6, Shoot 'em Up D6, Unsavory Personality D8)
    Bank Vault (Steel Doors D12, High-Tech Combination Lock D10)
    Dinosaur (Big Teeth D8, Sniff You Out D8)

    Doing Things
    Whenever you want to do something, figure out what you want to accomplish, while the Director determines if there is anything stopping you from accomplishing it. If you're just not doing anything important, the Director should just allow you to do it, no questions asked. If he wants to attach some strings, he can always play the "Yes, but..." card. We all know how that goes.

    However, when you want to do something odd, difficult, disruptive, or otherwise reality-bending, you'll need to make a roll, and the Director will need to decide what will oppose you, whether a bad guy, an obstacle, or just a challenge.

    First off, grab a D4. Each ability that can be used towards your goal adds its die to the collection (and you should describe how it plays into the story). If the ability doesn't quite fit the situation, you can still use it, but it'll reduce the die by one size for the rest of the story (so don't do it too often). If the ability is completely unrelated, you don't get anything for it, even if you work it into the description.

    If you have any items, clues, or other MacGuffins (collectively called Props) that you've collected during the story that may come in handy, you can spend a Point to add a D4 to the roll, increasing it by one size per additional Point spent, to a maximum of D12.

    Once you've collected as many dice as you can get, roll them. Each die that results in a 4 or more is a Hit. Each Hit reduces one of the opposing Challenge's dice by one size, and once all of its abilities have been reduced below D4, it has been defeated. For the most basic of Challenges, for example, all it will take is a single Hit (since they really don't have any abilities), while the sample Goon would take seven total Hits. When a Challenge is defeated, you earn a number of Points equal to the number of abilities it had. Basic Challenges, therefore, would provide no Points, but the Goon would provide three Points.

    On the down side, each die resulting in a 1 to 3 is a Dud. For each Dud the Character rolls, roll one of the Challenge's applicable dice (or, if none apply, a D4). Total these dice and subtract them from the Character's Points. This could be getting hit by an anvil, suffering severe emotional reactions (see boggle), being chased down by the Keystone Cops, or whatever else the Director might think is appropriate. If the ability used is one that had been reduced by a Character's Hits, use the new, reduced value (because we're generous like that).

    End of Scenes
    When a Scene ends (or maybe you call them encounters or instances), characters that got knocked out of the action gets to come back, recovering 5 Points. Now, we realize that isn't a lot, and makes a Character seriously vulnerable to getting smacked around again. By reducing one of your own abilities by a die size, you can add 5 Points to your total.
    Also, if you have Points to spare, you can spend ten Points to recover one die size in a single ability. You can also gain a new D6 ability by spending twenty Points, or increase a current ability by one die size. Raising an ability above D12 adds a new die to the roll, such as D12+D4, D12+D6, etc. Doing this costs forty Points per die size.
  • edited December 2010
    S O L I T A I R E . . . S O L D I E R
    - a solo-rpg
    by Tomas HV Mørkrid

    You need
    - Yourself, no one else.
    - A house where you may play undisturbed (no phones or doorbells). Or possibly a car and a good, long highway to drive on while playing.
    - Strong, dark music and the means to play it on high volume during the game (AC/DC - Back in Black - are recommended). You should have approximately one hour of music for the game, and it should come with clearly divided tunes (each tune being one scene in the game). Prepare the music, but don't play it until the text tells you to put it on.
    - A serious and imaginative attitude.
    - The guts to play unsafe.

    Your soldier
    Start by making your soldier. Follow the procedure below. You do not write anything down; the character-basis is simple enough to remember by heart.

    Use your own name (for simplicity), or make up one easily remembered.

    Your soldier is a green recruit who has never seen battle. He/she comes from a normal family, not unlike your own. She/he will possibly leave a husband/wife and a child or two, to face the horrors of war. Think about the people your soldier love, and would fight to defend. Fill yourself with the warm feelings your soldier get when hanging out with his love, his friends or his family. Take a moment to make three or four positive feelings of this kind.

    Choose one of the following as your soldier's idea of him/herself as a soldier:
    1 - I am brave! My training is top-class! My equipment is supreme!
    2 - I am level-headed, and grimly aware of the horrors to come! I know no training or equipment can prepare me for it.
    3 - I am scared shitless by the thought of real war. My training has been hard, my equipment is heavy, and my sergeant has told me I will die.

    Read your chosen line out loud three times.

    Your soldier's idea of him/herself will be paired with the same number from this list (read it out loud to yourself):

    1 - During the game I will have a nervous breakdown. The horrors will get to me, and make me a blabbering fool in the field. I may come through it, or it may get me killed ...

    2 - During the game I will become increasingly brutal. I will struggle against it, but my logic will drive me to extremes; I perceive it to be my only chance of survival. I will loose myself in this brutality, and become a creature of war. It may bring me through the war alive, or a stray bullet may kill me anyway ...

    3 - During the game I will loose my equipment, including my weapon. It will be my own doing, as I do not see the importance of it, and will leave it on the field. I will struggle on, in sheer terror, and I will survive a lot of the horrors I face, somehow;
    - maybe by stealing a weapon from a corpse ...
    - maybe by hiding amongst the dead ...
    - maybe ducking behind comrades who are shot ...
    - maybe by becoming as mad as the war itself ...
    I may survive and return home this way, or in the end I may face a cool enemy who will kill me ...

    Your attitude as a soldier, and destiny in the war to come, are reflected in the two points above. Whether you survive or not is entirely up to you. Go with the flow of the game, and let the narrative bring the outcome most fitting for your soldier.

    How to play the game
    Unlike in the text on your soldier above, you will not say "I" in this game. You will use the name. Everything done by your soldier will be described using his/her name, and most of the things seen by him/her too. This is done to make the game into a subjective narrative on your soldier.
    Example of play: (heavy music, shouting) John Bjornson has stepped behind a bush in the night, taking a piss. The night is silent and cool. John steps out fromt he bush, and looks around with his night-goggles for his comrades, and spots them a stone-throw away. John starts towards them, but are suddenly blinded. The darkness of the desert-night is illuminated by a strong flare. John can hear the gunfire of the enemy, and on his com-set he can hear his comrades grunts, as they are being killed. And then John is back in the silence of the night. The flare has gone out, the gunfire has stopped. John can see three bodies, and no movement. They are dead. John throws himself back behind the bush. The dry ground smells of his own piss. The enemy may have seen him, so John needs... (music stops, player abruptly stops shouting, and waits for next tune/scene to begin ...)
    You will never describe the thoughts of your soldier. The narrative will not consist of internal dialogue or feelings. That is left to the silent part of you. Your imagination may, or may not, serve up strong feelings and thoughts as your soldier goes through his/her hardships. But you will never narrate this out loud. Your narrative will focus on actual actions, the landscape at hand, and the figures of war which relate to your soldier (as foe or friend).

    Your soldier will be in "the war" somewhere, with a landscape you choose. The enemies will be people with a language you do not understand, so your war is far from home. You will not ever say where this war is fought, or for what reason. That is no concern of your soldier or this narrative.

    Make your narrative a human drama, not an action-packed movie full of technical wonders. Night-goggles are nothing "cool", but a piece of equipment. A high-powered semi-automatic rifle is a tool of war, nothing more. There is no higher meaning to it all, no objective of high value to be conquered. Fellow soldiers will disappear or be killed during the first scenes, and from there on your soldier is on his/her own. There is only your soldier, the unfamiliar landscape, and his foes.

    Find a nice rhythm to your story-telling. Make it simple, take one step at the time, and use any cues in the music. As you narrate the landscape of a scene, your soldier may be pulled or pushed in a certain direction; go with that, and see what happens.

    Remember that your soldier is pre-destined to go through a change during this game, as described in the sentences you chose initially. Make that change the theme of your narrative. Let your story flow towards the inevitable change, the crisis following, and the outcome of it ...

    When you turn on the music, the game starts. Your soldier is in the thick of battle, so you will start at once; telling where he/she is, what is happening, what he/she does. Do not hesitate. Shout out what is happening!

    Each scene will last for one tune of the music. The second the tune stops, you stop narrating. No wrapping up the scene; just stop, and wait for the next tune. This wait is a jump in time (an hour, a day or a week). Your soldier will live through it, of course, but you will concentrate on the scenes.

    The next scene will start with the next tune; at once. Shout out where he/she is, what is happening, and what he/she does.

    The use of music and shouting
    You will play the music on high volume, and you will shout what is happening.

    This is done to "harass" the narrative. The music and your shouting should bring you into a state of emergency, where you are not entirely master of what is to happen in the game.

    This state is the core of the game-method, so show your guts and let it happen.

    Ending the game
    When the music ends you will stop shouting.
    You breathe calmly for a while, making sure the music is ended. And then you give your game a short epitaph.
    - If he/she has survived; tell how he/she is welcomed home by friends and/or family. Use short sentences, and a low voice (no shouting and no music here). Describe visible actions and reactions.
    - If killed; give him/her an "eulogy"; a short funeral speech by a loved one (family or friend). Use short sentences, and talk as if you hold the speech (no shouting or music here).

    And then; silence. Take a minute or two to breathe, and calm yourself. Your game is for your heart only. Keep it.

    Now you are ready start! Put on the music, gather your guts, and play unsafe!

    Any actual-play examples and/or comments on actual-play of this game will be appreciated. Thanks!

    Other comments and/or discussions of it may be taken to the solo-rpg thread.
  • edited December 2010
    Well it's almost more an exercise than a game, but making the player shout everything is a clever way to enforce tone and change the story possibilities. It is very hard to pull Robert Burns style war narration when shouting, but at the same time if you actually stick to making it a "human drama, not an action-packed movie" you'll almost have to try.

    I might try it next time I'm running a war campaign regardless of the rest.

    Spare Some Change?

    At first it was just a slight buzz, a bit of tinnitus. Soon it got louder, louder. No one else heard it no one else cared. Still I thought maybe it was real, coming from some construction somewhere in town, so I left one day and the noise stopped. I came back and settled in but it came again. And again. Each time travel staved it off less. I moved, left town for good and it went away again. That was five towns ago, now I don't even bother trying to find an apartment, I live in hotels I can stay any where longer than a week. Even that is shrinking.
    I have to leave again soon.
    I can't stand it any more...

    You have been driven to the road and to rail. Something, some mad piece of the residential world has rejected you. To stay sane you have joined the itinerant legions. You have the change in your pockets, the clothes on your back, and the tools in your bindle.
    Unsatisfied with the itinerant world, some hobos band together to peel back the veneer of the residential and find that mad part that rejected them, to defeat it and find a way back into the residence.
    But the residence fights back.

    The war has just started.
    "The true king of hobos has disappeared mysteriously, homeless shelters all over the city exploded in flames, and to a few who call the streets home, there are signs to be seen in the chaos
    Not all is as it should be, not everyone who owns a home and wears a suit is truly human. Wisdom can be found in the newspapers you wrap yourself in, or at the bottom of a jug of wine.
    Take a knife, or a hubcap, or a string of powerful scavenged nonsense. The world is rotten, and filthy. It can't go on like this. Can't anyone spare some change?"

    In Spare Some Change you play as party of hobos. The world is broadly divided into the Itinerance and the Residence. Each side has it's non-combatants and each has it's soldiers. The soldiers of the Residence are invisible to most people, they appear to be respectable business men, police officers or suburban mothers, the hobos of the Itinerance can see their true forms. They form the immune system of the Residence keeping it insulated from the harsh realm of murderous hobos. Some of the hobos want back in, some want revenge, some just want to murder somebody. Your party is made up of these hobos as you fight the Residence for whatever reasons you have.

    To murder the Residence you will need:
    At least 3 quarters per player
    A bowl of pennies
    A character sheet per player
    Pencils with erasers for book keeping

    Character Creation:

    All Hobos start with 10 health points and 20 Sanity Points.
    Your hobo needs a name, a totem, and optionally some starting equipment.
    The name should be something faintly ridiculous but evocative of the character and his circumstances.

    From E-Hobo.com:
    Stewbuilder Dennis
    Cholly the Yegg
    Holden the Expert
    The Rza
    Jack Skunk
    Jack Skunk Fils
    Lord Dan X. Still-Standing
    Marlon Fitz-fancy
    Whispering-Lies McGruder

    Next they need a totem. Totems are bits of junk which become imbued with uncanny powers as a hobo slides further into insanity.
    Currently there is no true list of example totem's here are some sketches:
    A hubcap: this powerful shield will protect you and your friends, reducing damage and eventually making you functionally invincible
    A paper hat: this crown allows you to exert influence over fellow hobos and even normals, at the peak of insanity it acts as mind control

    In general totem's should be quite powerful, work with your GM to create items that will give you extreme advantages with out ruining the plot of the game.

    Now divide 5 points between your hobo's Combat and Non-Combat Rating.

    Skills are ranked in a pyramid. Stabbing always starts at rank 3. Choose two skills at rank 2 and three skills at rank 1. All skills can be used by any hobo with unranked skills treated as 0.

    Tentative list of Skills
    -Rocks and bottles, includes firing guns
    -Finding food, doors, things
    Hobo Lore
    -Hobo myths, train tables, the best dumpsters in a city
    Resident Lore
    -Pop culture, conspiracies, information about Resident soldiers
    -Building traps, fixing technology
    Wilderness Survival
    -Finding food in the wild, recognizing poisonous plants, building shelters
    These are simply ideas try to fine tune or invent new ones during play.

    Doing Things:
    In the course of play your hobo will be challenged to accomplish various tasks. These task might be finding food for the night, or researching the local Residence base.
    When a challenge comes up the GM will set a Non-Combat Rating for the task. If the hobo's NCR is greater than or equal to the challenge's NCR you automatically succeed at the minimum level. A minimum success would be finding just enough for for one hobo for one night, or learning that the Residence base is located somewhere in the Greater New York City Metro Area.
    If the NCR of the challenge is greater than the hobo's or in order to get a better outcome you can flip for it. Flip a number of quarters equal to your skill rank and any amount of additional pennies.
    Any coin that lands heads up is considered a success. If a challenge is rated high than a hobo's NCR you must make up the difference with successes.
    If you hobo has an NCR of 3 and a challenge is rated at 5 you must get at least 2 heads in order to succeed.
    Tails only matters for pennies. For every penny that lands tails up, mark one box off of your insanity track.


    If you are acting as a group other hobos can help with the task. Add half the NCR of any hobos helping you, rounding up, to your own. This allows you to overcome extremely difficult challenges.
    Note however, that no matter how high your NCR plus Help is it still only counts as a minimum success, you still need to flip if you want a strong out come.


    Murdering the Residence is an important part of the game. The GM should schedule combat early and often. Combat is similar to regular challenges. Combat Ratings are compared in the same fashion.
    In combat successes count directly as damage, when hit mark off the appropriate number of boxes in the health track. Taking damage is also harmful to you sanity so an equal number of boxes are marked on the sanity track.

    Help In Combat:
    The help system is also slightly modified from regular challenges.
    All combatants have three ranges associated with them: close, middle, and far. In order to help against an enemy a hobo must be in close range with the enemy. In addition if there are 2 or more hobos in close range of an enemy all damage taken by the hobos is reduced by 1 per additional hobo.

    More on Ranges:
    The range system is an abstraction for a hexagonal grid, as such close range is limited to 6 combatants or objects. A table might take 1 slot, a wall 2-3 slots, standing in corner could be 4-5 slots. This allows for an simple use of terrain to prevent a combatant from being flanked.
    Middle range is for thrown objects such as bottles or rocks. The CR of hobos in close range with the target can still be used for help on the assumption that it will prevent the enemy from dodging or noticing.
    Far range is for guns. At this range hobos in close range do not help an attack. From the gun wielder's point of view hobos in close range are a living backstop more than anything else. If a hobo is using a gun it is very likely then that pennies will be needed in order to over come a difference in CRs. It is implied then, in game, that guns are weapons of the Residence and it is costly to the sanity of a hobo to use them.
    Moving between ranges takes 1 turn.


    Due to the low skill of any given hobo you will almost certainly build up insanity fairly quickly, this is a good thing. As a hobo gets crazier delusions become concrete and totems become objects of real power, every 5 marks of insanity causes the totem to increase in power. When every box on the insanity track has been marked off the totem breaches the absolute pinnacle of it's power, this should be something great, invincibility, total mind control, a death ray. In contrast however if the hobo goes beyond their insanity limit they become uncontrollable and for game purposes are considered dead.

    Restoring Sanity:

    Rest: sleeping for several hours will restore 3 sanity, restore an additional 1 sanity for: food, hot food and shelter.
    Strong Success: restore 2 sanity for every non combat action where you get at least 3 success and no failures.

    All hobos have a bindle containing several basic items: a can opener, a low quality shiv, a pair of gloves, items that have no effect on the game. Other equipment may be found through out the course of play however.
    Mechanically equipment modifies the out come of challenges these come in two flavors, adders and multipliers.
    Adders: increase the successes by one or more. Adders only effect flips with at least 1 success.
    Multipliers: multiply successes by 2 or more.
    In either case they should confine their effect to a single skill.

    EDIT:Obviously all numbers herein are completely arbitrary and are likely to be completely unbalanced or simply unfun.
  • edited December 2010
    [comment about game vs exercise redacted until I can phrase it better] not to be taken as a slight against it and of course the standard disclaimer about opinions apply.

    As to my game, the mechanics are largely nonsense. I threw it together because I liked my fluff. Then I wanted something that:
    Had a semi dedicated combat system- it came from a thread about murderous hobos, murdering needed to be a focus
    Forced you to go insane- again because of its origins.

    If it wasn't for the need/desire for a good solid stabbing subsystem it'd just be DRYH with itinerance substituted for insomnia.

    *fun fact: apparently I had to invent the word Itinerance as an antonym for residence .
  • edited December 2010
    I really like the opening of Avshalom's game. It really tingles my imagination.

    So, while I am tingled, I will try to create my smallets rpg ever.

    'Ere we go ...

    -a role-playing game for 2 players
    by Tomas HV Mørkrid

    You need: yourself, one other player, something nice to drink, and one cup. Fill the cup before the game start. The cup is the solid symbol of any help given in this game.

    One of you is the beggar. You have nothing.
    The other one is the businessman. You have the cup, with a nice drink.
    The two players will sit opposite each other by a table.

    The beggar will ask the businessman for help. You do this any way you like, but by words alone. If you get help, you may drink from the cup.

    The businessman will decide if he wants to help the beggar. He may talk with the beggar, if he like, or ignore him. If he want to help the beggar, he will give him the cup, to drink from. But he may as well decide to help himself to a refreshing drink from the cup ...

    The scene ends when a player drinks from the cup.

    Now you play a similar scene, with the same beggar and the same businessman. The situation is the same; the beggar asks the businessman for help. And the scene ends when one of you drink from the cup.
    - But you have to consider that the beggar may have had help from this man before ... so have he squandered what help he got? Does he really deserve to be helped?
    - And you may have to consider that the businessman is partly responsible for the situation of the beggar, if he has failed to help him before ...

    Play five such scenes. Try to play them out in earnest, without resorting to gags and giggles. Observe how the relationship between you change ...

    Go game! Be happy!
  • This is a system I designed for use with generalized storytelling games. It works pretty well for everything I've tried, but it has exceptional PCs in mind. Please enjoy!

    CHECK: On three dice.
    Impossible: 16 and up. Nothing the player should -have- to do should be this difficult.
    Very Hard: 14 and up. Unusually difficult actions.
    Difficult: 12 and up. Things a skilled person would have a shot at doing, with some trouble.
    Competitive: 8 and up. Most actions done with another person resisting.
    Anything else should not require a roll.

    BONUSES: +'s on any action.
    +6: Creative preparation only.
    +4: Excellent, tangible advantage. Should be uncommon.
    +2: Some kind of distinct advantage, perhaps a personal skill. Can also be added if things are going well, because they may tend to keep going that way.

    DETRACTORS: -'s on any action.
    -2: A major pain injury, such as a low-caliber gunshot wound or knife gash. Also things like drunkenness and genital injury.
    -4: Massive, genuine damage such as a badly-broken bone or a large loss of blood.
  • Interesting system, seems rather bare-bones but at the same time it gets the job done. I like the inclusion of "creative preparation" as the way to get the highest bonus. Here's mine.

    Adventure Awaits!

    An RPG system designed for 1 on 1 play.

    For any important action roll 1d6:
    1: Things went worse than expected
    2 or 3: Things went differently than expected
    4 or 5: Things went as expected
    6: Things went better than expected

    If you’re great at something, replace one “things went as expected” with a “things went better than expected”. If you’re the best at something, replace both. Similarly, if you’re terrible at something replace one “things went as expected” with a “things went worse than expected”, and if you’re the worst at it then replace both.

    Expectations are based on relative difficulty/power.
    Characters only improve in power relatively, but they can gain new capabilities.

    Play in any setting!
    And that’s it.
  • I like it! Although I think it's a bit redundant to replace "As well as expected" with "Better than expected", when your relative skill also changes what exactly is expected... like, if I'm great at something, I don't necessarily perform better than I expect to more often, I just expect to perform better. Actually, making those two things independent might be interesting... so you could have overconfident characters and ones doubtful of their ability, each of whom still might or might not be better or worse than average at the skill in question. But that could also be drifting a bit from the simplicity of the system, which is definitely a strength.

    I also noodled around with a tiny abstract/settingless rpg concept a few days ago, a game semi-inspired by the Monarda law in Nobilis, so it's just called "Monarda".

    Whenever a PC does something, the GM must respond with one of the following phrases:

    * Yes, And...
    * Yes, But...
    * Yes, If...
    * How?
    * Why?
  • I played in one of Dave's' campaigns and that system was all we needed - but Dave was a good GM - I expect the system wouldn't work in the wrong hands.

    I'll post one of "my" minigames later (when my kid gets off the computer...)
  • This was from the game mashup thread, but I've played it with my daughter multiple times since then and it's my goto system for roleplaying with her now. It makes a better story than Once Upon A Time and plays quick.

    Once Upon A Time In An Archipelago by Matthjis Holter and
    Richard Lambert
    Andrew Rilstone
    James Wallis
    and me

    Key phrases:
    * Try a different way, because ... (As per Archipelago)
    * Can you describe in more detail? (As per Archipelago)
    * That might not be so easy (As per Archipelago, but you use Once Upon A Time cards to resolve)
    * What’s my fate? (Requesting a fate card, but you use Once Upon A Time cards to resolve)
    * ...and scene. (Ends your turn)
    * Help (Request help because you're out of ideas)

    Deal enough cards from the main deck in a pool until you have a number of characters out equal to (number of players * 2 ) and you have a number of cards equal to (number of players * 4).
    Everyone pick a Character and another card - it can be Character, Aspect, Item, or Place - that’s your character’s hook. A Place, Aspect, relationship (NPC Character) or Item that’s theirs. If anyone wants the same card, and you’re sitting adjacent (or willing to swap seats with someone so you become adjacent), that becomes your shared card - pick another card to be yours alone.
    At the end of that, if you don't have a shared card yet, with the person on your left and the person on your right you pick another card from the pile to share.
    Define relationships. Some will be obvious - royalty will probably be related. A prince may be from another kingdom, courting the princess - or vice versa - or they could be brother and sister.
    Decide what the backstory is about the card that you share. Do you live in the same Place? Do you share the Item, or do you both covet it, or does one of you have it and the other want it? You’re both related to the same Character - how are each of you related? Why is it important that you both have the same Aspect?
    Discard any pool cards that aren’t taken, except for the Place cards. These are your "map"; a bunch of salient landmarks in your world.
    [2-player example:
    We dealt Child, Orphan, Parent, and Queen, and a bunch of other cards. One player took Child and Kingdom; the other took Orphan and Cursed. We had to decide "How can a Kingdom be uniquely the place of this Child?" and decided it was a private magical kingdom that only she knew how to get to. We had to decide "What is the Oprhan's curse?" and decided the Orphan was haunted by his dead parents. Then we picked "Parent" as our shared card - we decided that the Child's mother took the Orphan in.]
    Name your characters.
    Now deal out (number of players * 2) Happily Ever After cards. Everyone chooses one of these cards to be one of their destinies. You can share a destiny - but then you don’t get one of your own. (But maybe we want more than one destiny for suspense or “antinomy”?)
    [We chose to share the Happily Ever After "The Queen gave them the prize as she promised." Later, in play, we decided that the prize was that the mother could legally adopt the Orphan - he'd be her son for real, and the brother of the Child with the private kingdom.]
    Everyone is then dealt 2 cards, which you keep to yourselves - these are for fate. (Instead of drawing these as needed, like in Archipelago, you hold them so you can think about what they might do ahead of time. It puts you on the spot less. ALSO - if they're Interrupts, you can play them on any other player at any time.)

    Take turns framing a scene with your character, with an eye towards what has come before and what will get you to your Happily Ever After. Invite the other players to add detail or play NPCs. You can invent anything you want, subject to Try a different way - you don’t have to limit yourself to what’s on the table. If you’re stuck you can,
    * ask for Help - someone else might have an idea what could happen to you next
    and, once a game, ask
    * What’s my fate? - in which case another player can play one of the Fate cards they're holding, inventing an event, related to the card, that happens to your character. [For example, Character Queen might be: "the Queen is passing with her entourage in the street outside". Or when the Orphan ran off in the forest, scared of his ghosts, and asked for his fate, the Child player played Event - Transformation: "You find your courage, and you're not going to be scared of the ghosts anymore."] If none of the other players wants to, choose a player and they have to. If they’re stuck, they can show a card and ask for Help, but the player whose turn it is cannot help. Their fate is beyond their control.
    Anytime during the narration, you may describe your character doing something challenging. Other players may respond with Try it a different way if it seems unbelievable to them that your character could do that, or That might not be so easy if they want to add some suspense.
    You can only ask What's my fate? once per game, though you might end up getting an additional "Interrupt" fate played on you. (Note: in a 2-player game two fates per game is reasonable. Which means maybe we should deal 3? Or you draw again after you play one?)

    That might not be so easy
    Here’s where it gets dodgy. The other players draw a card from the main deck and together interpret what it means for your character, depending on what type of card it is. You can only do one a turn - if you want to do more, end the scene and you can do another next turn.

    Character: You can only succeed if you get help from another player’s character who is not in the scene. (If all the player characters are in the scene, you need help from an NPC not in the scene.) A character like the one on this card is involved - how and why?
    [For example, a prince enters a jousting competition - and draws the queen. So maybe he needs help from a character like a queen - there’s no queen in the game, obviously (otherwise you couldn’t have drawn it now) but there *is* a player playing a princess. Or he draws a witch - so maybe he needs help from a character like a witch - there’s no witch, but there *is* a player with a magic wand. Or maybe a witch is casting a spell that’s interfering with the competition - one of the prince’s friends must go stop the witch so the prince can win.]
    Event: You succeed, but in the process, a new threat appears, related to the Event on the card. [The event could be an event from your past - an event in your future - or something that happens right now that gets in your grill. Returning to the jousting competition, an Event like “Race” could mean - yes, you win the joust, but now you have to enter a race.]
    Place: You fail, but when God closes a door he opens a window. Perhaps in this Place, there’s a clue, lead, or answer to your problems?
    Aspect: You succeed, but only if you do something that shows you have this Aspect. This Aspect is then added to your character. [For example, you draw “stupid” - the conversation might go like this: “Joe, you have to do something stupid to win the joust.” “Um, I forget my lance?” “Try a different way? That seems too stupid, bordering on silly.” “My shield?” “Oh, yeah, ok - so you’re jousting, and the other knight sees you’re missing your shield and doesn’t want to hurt you - he turns his lance away just in time, is off-balanced, and you knock him off his horse. He complains that it isn’t fair! But the judges think that if you win without a shield, then you’re definitely a champion.”]
    Item: You fail, but when God closes a door he opens a window. Perhaps this Item you discover or acquire in the process will help.

    "Interrupt" cards behave as above, but players must pay an additional price above and beyond. In the jousting competition, you might get injured, your horse might get injured or exhausted, you might anger a rival...

    Play, continued:
    Take turns framing scenes - and try to pace the game so it lasts (everyone gets their Happily Ever Afters) for about 12 scenes. (2 players, 6 each; 3 players, 4 each; 4 players, 3 each.) If they’re right on top of their Happily Ever, slow them down with Not so easy and Try a different way - if they seem a long way off, work to give them leads and help to get there.

    Once you’ve had your Happily Ever After, if your turn comes up again, you may frame a scene for another player character on your turn, with your (happy) character in it if you like.

    (Edit from later - if you're hardcore, instead of keeping your cards, write them down and shuffle them back in to the top 1/2 of the deck; this will make it so fates and not-so-easies often relate directly to stuff that's already in play...but it also means you don't get to keep your purty cards in front of you, and you have to write stuff.)
  • edited December 2010
    An interesting mashup, Jamie. I've played both Archipelago and Once Upon a Time. This seems to mash them in a nice way.

    My tiny rpg for the first night of 2011:

    * *
    * * FAERY * * *

    - a story-game
    by Tomas HV Mørkrid

    You need to be 3-5 players, with paper & pencils, and 1D6.

    The Faery
    I will take my own name and mix the letters, to make a beautiful faery-name for myself. If I lend a letter to someone, it is a symbol of some relationship between my faery and his/hers.

    I will write my name and my relationships on a paper. When all of us have made our names, we'll take turns telling the player to our left what is the true meaning his/her name. I'll write the meaning of my faery-name on the same paper. This is also the name of my birth-song, given to me by my faery parents.

    Any faery can Fly, Weave and Sing too. And we may Hide, due to us being so small and mostly transparent. Faery are the size of mice, actually, and much less heavy. Frail and feathery, we are. I note these skills on my paper.

    My faery-name, its meaning, relationships and skill are all referred to as traits in this game. They may all be used during the game, to meet challenges and solve dilemmas. I am the sole judge of how the traits of my faery may be used. I will tell the story of it, if my faery ever need to use a trait, so everybody know how this trait is used to save my faery (at least I hope it will save me ...).
    Example of a faery:
    - my name is Tomas. I mix it, trying to create a fairy-name for myself. Lending an "i" from my wife Lise, I make the name "Miotas" for my faery. Lise and I agree that the "i" I lent from her is a symbol of infidelity. We love each other, but are too lustful to keep away from others. And Roger, the player to my right, tells me my name means "the orange fungi". So I note my character down as:
    - "the orange fungi" (birthsong)
    - Infidelity (to my love Iseli)
    - Fly
    - Weave
    - Sing
    - Hide
    - Frail and Feathery
    The Song
    You take turns telling the story. Anyone may start, taking The Word in his/her mouth, telling how the faeries live in their blessed forest. Anyone may interrupt the story by holding up a hand to the storyteller. Then the storyteller must end his current sentence, and give The Word over to the one stopping him/her. The new storyteller will continue the story.

    The first round of storytelling will all consist of how the faeries live together, in love and harmony, around their small faery-fire by the bubbly spring. None of you may introduce unhappy, shadowy or bad elements in this round. This round is to be light and lovable. Tell of love and playfulness, nice fruits and animal-friends visiting, or anything else you see in a good faery life. All of you will take The Word once in this round, and contribute to the happiness.

    You end this initial story-round by making soft singsong sounds together, as if your faeries are singing some wordless tune around the faery-fire.

    The Struggle
    When you now take The Word again, after the idyllic first round, you are free to introduce dark elements (general threat, bad character, force of evil) in your story. And you have the right to connect one other faery to the darkness in some way (general threat = faery X has a contagious illness, bad character = a friend of X, force of evil = X is a secret servant of it).

    This may go on for several rounds, deepening The Struggle as you go, involving all of you in it, giving challenges to each other, and trying your best to meet the great challenges together.

    If you have been placed in liege with a dark element, you may struggle to break free of it, but that must be told as part of the story, and such a telling must lead to your faery using one of his/her traits to get rid of the dark influence. Using a trait like this means you tell the other players what you expect will happen (what you hope for, mostly), and then you roll a die.
    Posted By: ElastriusFor any important action roll 1d6:
    1: Things went worse than expected
    2 or 3: Things went differently than expected
    4 or 5: Things went as expected
    6: Things went better than expected
    You use the illustrious die-system by Elastrius to determine how successful your faery is. When the die has been rolled, you leave it to another player to tell how your faery fares in this challenge, and what the delightful or dire consequences are ... (according to the die, of course).

    The Sacrifice
    In this story-game you are expected to prevail against the forces of darkness. But not without sacrificing something of value. As you close in on your adversary, you should prepare yourself for the sacrifice. One faery may be sacrificed, or a strong relationship, something you all hold very dear, or something that is important to all faeries.

    The Sacrifice should be told by one of you, with great pathos! Spare no sentiment, no nostalgia and no detail of The Sacrifice! If anyone hold up their hand to you, and take The Word, you will give it over with trepidation, and join in the chorus that follows the telling. For there will be a chorus of woes and wailing, when The Sacrifice is told. All of you will support the telling of The Sacrifice with your woes and wailings.

    The Sacrifice will end The Struggle, and save what is left of the faeries and their forest. The darkness will hide and the faeries may once more sing and dance beneath the green leafs of blessed oaks. The Sacrifice is the only way to end The Struggle against darkness.

    The Faery-fire
    When The Sacrifice has been done, and The Struggle is over, you return to one round of storytelling again. Once again you tell of the life in the blessed forest. Each one of you contribute one part of this telling, taking The Word in turn, and showing how the faeries are living.

    You may tell anything, but the faery-fire should be different in some way, and that should be part of your tale now. Each one of you may change the faery-fire in some way. You may, or may not, let the forest and the faeries be influenced by the changes in the fire.

    There is nothing to be done with the changes. The faery-fire is not the same anymore, and if anything else has changed, it too is changed forever ...

    When all have told their part of this final story-round, you end the game by making soft singsong sounds together, as if your faeries are singing some wordless tune around the faery-fire.

    You may want to sit back and think the story through. There may be tears and laughter to be shared, and some hugs and handshakes to be dealt out to your fellow storytellers.

    Have a nice faery-night! Take care!
  • I don't have another game of my own right now, but I just want to say that I totally love the "make an anagram out of your name" rule. Man. Potential fairy names for myself:

    May Brew Ninja
    Nary Wine Jamb
    Amber Way Jinn

    Anyone telling me I'm doing it wrong will have to face my DRUNKEN VERNAL NINJA SKILLS.
  • edited December 2010
    Re: FAERY
    There is something entirely predictable about this, though I am not quite sure what it is.


    All but one of the players is a fake nun. You natter until the last fake nun is uncovered.

    It is set up with cards like murder in the dark. Non-nuns have to write down a sentence of backstory beforehand.
  • edited January 2011
    Re: Nuns - How exactly does one natter?



    1. Unless your character has an ability anything that he does happens.
    2. If your character has an ability and you use it, you roll the dice.
    3. Your character has a name, two primary abilities and three secondary abilities. The primary abilities can be used without help. The secondary abilities require one of the other character's to use his primary ability before you can use your's.
    4. You character knows the other characters. Tell us how. 1d6 1-5 They like each other. 6 They don't.
    5. When you win, you gain a level. Once all the characters have the same or greater level move to the next level.
    6. The game is over when all characters get to level ten.
    7. A character helps another only if he likes him. If not roll 1d6: 1-3 No help 4-6 Help

    Primary Ability Rolls 1d6

    1-2 Fail - No secondary abilities work
    3-4 Some success -- Other player's secondary ability is powered up.
    5-6 Overwhelming success +1 to secondary ability of other player.


    1-4 Player picks: my character safe or my character takes it. GM says what happens.
    5-6 Player says what happens.

    Secondary Ability Rolls 2d6

    <=1 Total Total Fail -3 Levels
    2 Total Fail -2 Levels
    3-7 Fail - 1 Level
    7-8 Some success
    8-9 Success
    9-10 Overwhelming success +1 Level
    11 Success gains new advantage +2 Levels
    12 Game changer +3 Levels

    Levels for the Dungeon
    1 - Bar
    2 - Battle
    3 - Travel
    4 - Find
    5 - Enter
    6 - Riddle
    7 - Battle
    8 - Treasure
    9 - Boss
    10 - Escape

    Rules for the GM

    1. You make something happen on each level.
    2. When a roll fails you cause: injury, death, something evil to move closer, remove a level, make the current level have two items, divide the party, make the next roll -2
    3. When a character takes it, he loses an ability. When safe, one other character doesn't like him.
  • edited January 2011
    Brian: your nuns are very dungeon-minded! ;-)
    Posted By: Andrew MRe: FAERY
    There is something entirely predictable about this, though I am not quite sure what it is.
    Very-ery-ery-ery much so, yes. I revel in un-originality from time to time. Really, I do. Working "old designs" has its merits; you make something that is easily compared to what has been before, and may win some insight by the comparison.

    I like that several of you have risen to this challenge, but I wonder at why you to do it almost solely by conflict-resolution? Why not use this thread as an opportunity to break out of that design-tradition, and do something completely different? But then: you do what you want to do in this thread, of course. Each one of us got a creative star to follow, and are best served by following our own instincts when we do.

    Here's another one by me, and it is quite straight; a frpg in pocket-format:

    - a fantasy rpg
    - you and some friends may play
    - you need a normal deck of cards
    - take a deep breath, and go for it!

    One of you take the deck of cards, and becomes the games master (GM).

    Character building
    GM flips one card for each player;
    - diamonds are a merchant (with all conceivable skills a merchant may have)
    - clubs are a knight (with all conceivable skills ...)
    - spades are a graverobber (with all skills ...)
    - hearths are a prince/princess (with no skills, but a lot of mouth)

    Only one of the players may be a prince/princess, so if you flip a second hearts, flip a new card. The cards go into the deck again when all players got a character. Shuffle the cards, and start the game!

    GM flips a card for each scene ...
    - and frame the scene according to it:

    - Diamonds are an offer to earn some money, or some other reward, by doing something. The higher card, the more money, and the more spectacular challenge or quest.
    The 2 of diamonds is the simplest of challenges; the characters are charged with bringing a letter to the castle door. All other lesser cards, 3-10, are small challenges to be undertaken in a scene or two (one or two cards). The scene where you get this challenge must be played, most likely with some non-player character making an offer, and the agreement negotiated. If there are no merchant amongst the characters, they may be fooled into doing something dangerous for little gain.

    The ace of diamonds is the evil sorcerer, plotting against the royal family in some way. This is a challenge that must be played out in three or more scenes (three cards, or more), but it may never end with the sorcerer being captured or dead. If it has been played out, you have to make the sorcerer return in a "major quest".

    A major quest is initiated by a royal card of diamonds (knave, queen or king). Such a quest has to be played out with three or more scenes (three cards, or more). The knave is a quest concerning the prince/princess of the kingdom. The queen is someone trying to murder, or save, the queen, and the characters getting involved somehow. The king is killing the king in the castle, or his pet dragon, or warning him against such a plot.
    - Clubs are some conflict, due to someone competing with your goal, or trying to stop you, og just someone quarrelsome. The higher card, the more resolute resistance, or the more adversaries. The conflict has to be played out, by you (the GM) telling the players how the fiend attack them, and the players answering, and you answering, and so on ... until one side hesitates, or repeats some move already done. You are the judge of hesitation/repetition. If are hesitant/repetitive, the conflict is won by you. If you do, and realize that, the players win. Keep up the speed in such scenes. No thinking! Word it or loose!

    - Spades are boring chores that has to be done. It may be anything, and it has to be done. You may have the mother of a character ask for help with laundry, or a man demanding help moving a woodpile, or anything. It must be something plain, and it has to be played out with a lot of sighs and complains. Keep doing it (there is no end to the laundry, or the woodpile), until all the characters are portrayed as tired, limping, blistering, fed up and/or totally exhausted; only then will the chore be finished! Any such scene will pile up on previous scenes, with bigger chores for each one. Keep'em workin', those lazy adventurin' no-goods!

    - Hearths are the hapless bowman Amor shooting someone, and them having a love-scene. You (the GM) points to two players, and they have to tell the rest of the players how they sneak away from the quest, and how the two of them is having a highly romantic scene. The scene will last until the other characters, irritated with their untimely disappearance, hunts them down and drags them into the quest again! That is; the other players may let them romance themselves (and they must) as long as they see fit, before ending the scene ...

    GM NOTE: you may have to frame scenes outside the challenges and quests; do that with a shrewd eye to interrelations between the characters; poke'm as much as you can, and see what comes of it ...
    - and keep at it until some challenge or quest serves up in the cards.

    The End
    Any quest concerning one of the royal diamonds (knave, queen or king) is the end of the game. When the quest is solved, or failed, the game ends. Make it a great finale!

    If you had but a handful of scenes before your finale, you may change the GM, shuffle the cards, and play again ...

    Good luck!
  • edited January 2011
    Posted By: Andrew MWHO'S THE NUN?

    All but one of the players is a fake nun. You natter until the last fake nun is uncovered.

    It is set up with cards like murder in the dark. Non-nuns have to write down a sentence of backstory beforehand.
    Me like! Tiiiny! Bravo!

    Have to try make something real tiny too:

    One player is the priest. The others are his congregation.
    The priest pray, and the congregation repeats his prayers, word for word.

    After each sentence, the priest roll a die (preferably on a cloth, to make it silent);
    - odd number: the priest will be more fanatical in the next sentence
    - even number: the priest will soften up the message in the next sentence

    The congregation has to follow the priest, but they may display different forms of silent reactions while praying; fear, bafflement, smiles, nods, etc.
    The prayer ends when the priest crosses himself, and rise to stand by the door. The others repeats his last sentence, cross themselves and rise.

    Now you play out the congregation giving the priest the traditional handshake by the door, and a comment on todays prayer. When all have had this small dialogue with the priest, and gone out the door, the game is over.

    Try not to laugh until the game is over. Keep your face. Be faithful!
  • edited May 2011
    Feels like doing a tiny-rpg again:

    - inspired by the music of Jethro Tull, the classical album Stormwatch

    - play this with 2-4 friends
    - you need a d6 to play, nothing more
    - set it up by the sea, on a beach or on some sea-cliffs
    - if you need a map; draw it in the sand, or make it up with sticks and stones on the cliffs

    - this is a story-game
    - you take turns narrating
    - use simple personal/geographical names; names you know, or names which are easy to remember
    - simple names will help you narrate with better flow
    - agree on who shall start
    - let him/her start it!

    The beginnings of the tale
    - first: you say where you are from, and what you are named
    - do that, one by one

    - secondly: you narrate how you grow up, and how you got your first job
    - do that, one by one

    - thirdly: you narrate how you relate to the sea, and how the sea "conquers" your heart
    - do that, one by one

    Spinning the tale
    - now you take turns, telling the story of your life
    - each one of you are master of his/her scenes, and may narrate whatever you want
    - make the scenes short, to keep the story flowing between you

    - if you're trying a special feat (like getting a new job, or fighting a monster, or crossing a great ocean), any other player may state a challenge
    - then you stop narrating, and roll the die
    - on a 1-4 you succeed; you get to tell how you succeed, and the scene ends
    - on a 5-6 you fail, and the challenger may tell how you fail, and then the scene ends

    - you may challenge yourself too
    - when you do, make the die-roll as in a normal challenge
    - you choose another player to narrate if you fail

    - any challenges may be shouted towards the sea
    - the sea is the greatest challenge, and may be faced again and again

    - let the characters meet up at some points, when you feel like it
    - characters in conflict is a challenge, to be rolled by the narrating player (1-4 = he wins, 5-6 = the other character wins (and narrates))

    Ending the epic
    - the characters should come to some kind of conclusion, with their life, their love, their struggles

    - let there be an ending to the life of the characters; them dying, fulfilling some dream, or finding some peace
    - end it all with an epilogue on the sea/the oceans/the storms raging on ...
    - do the epilogue, one by one
    - the game is over

    Explore your world, as you build it ...
    - explore the oceans of the world ...
    - and explore your characters!

    Have a good time!
  • Well, why not have one of mine too:

    Pixel Bitch
    Get a set of photos: you can cut things out of magazines and catalogues if you like.

    Shuffle them up and turn over the top one.

    The first player takes on the role of the Avatar: the picture is what the Avatar can see.

    The first player attempts to interact with the picture: they describe what the Avatar does, which can broadly be one of five things:

    •Examine an object or person in the picture: if this is successful, describe an action which may or must be taken with that target; anyone attempting that action gets +1 on their roll, in addition to any other bonuses. If the player fails to examine tha target, the next player describes the result but the current player gets to take another action. No target may be examined more than once, unless it is changed as a result of a later action.
    •Attempt to pick up an object.
    •Attempt to talk to someone.
    •Attempt to use any object or fact in the Avatar's Inventory in conjunction with an object or person in the picture; if this is successful, the player may change any or all of the objects, people and facts used in this action.
    •Attempt to leave the scene depicted and go to another one; this is automatic if a prior link between this picture and the one the player wants to go to has been established.

    The player rolls 1d6 for whatever they are trying to do:
    1: What? I don't understand? The attempted action fails and can never be attempted again (unless the target has been assigned that action as a result of being successfully examined); pass to the next player, who also describes the failure and gets +1 to their first roll.
    2-3: No, that won't work. The attempted action fails; pass to the next player, who also describes the failure.
    4-5: I can't do that yet. You're close to success; add another detail to what you're doing and try again, with +1 on that roll only.
    6: Success! The attempted action succeeds: either describe the result and pass to the next player or allow the next player to describe the result and attempt another action.

    Picking up objects adds them to the Avatar's Inventory; talking to characters or examining objects may add facts to the Avatar's Inventory; any player may use the objects and facts in the inventory when attempting an action. When doing so, a result of 4-6 is treated as a success; if you roll a 4 or 5, the object or fact is also removed from the Avatar's Inventory.

    The setting that connects the pictures and the identity of the Avatar, as well as any plot or over-arching goal, should be allowed to emerge naturally from player contributions. Players should be provided with pens or pencils with which to edit the pictures as they remove objects, change the scenery or close out possible options.
  • edited May 2011
    I like the idea of using pics from the news as a springboard for this game! Nice!

    Here's another tiiiny one:

    The Books
    Each player start by picking up a book. Any book will do.

    You are the book you pick up.
    The name of the book, is your name in the game.

    You, the books, are engaged in a debate.
    You are debating the reality; what is it?

    You may only talk in sentences taken from your book.

    If you reach a conclusion, or if one of you seems to be the victor, the debate is over.
    Put down the books, end the game.

    Good luck!
  • edited September 2011

    You play your self in this game, and so do 3-4 of your buddies. You all live in our world.

    The only problem is that you and your buddies have discovered that this world is, in fact, quite tiny. Our globe is actually nothing more than a tiny electron swerving around a neutron, in a small atom, somewhere in a "galaxy" where the billions of "stars" combines to nothing more than a pebble on an infinite beach ...

    You know this.

    Now you are gathered to discuss what implications this knowledge has, and how you may communicate it to the rest of the world.

    You play the game by having a meeting, discussing what to do, to convince the world ...
    - and then you take turns narrating scenes, one each ...
    - and then you have a new meeting, talking about how to make things go better, in convincing the world ...
    - and a new round of narrating scenes ...
    - etc.

    In the narrative scenes you tell how you do stuff to convince the world (or significant parts of it; like your family, your colleagues, the local university, the prime-minister, etc.).

    You are the boss of your own scene, so you may decide to include one or more of the others in it. If you do, they talk for themselves, but they do not get to narrate anything. Anyone not included in the scene, may talk for persons you meet. You narrate everything that happens (including what your buddies do, physically); such as you and your buddies being politely (or brutally) showed the door ...

    Every time you narrate how you, and the other players, present your idea to someone, the other players decide if you manage to convince the "outsiders" by raising hands. Do this quickly, and end the scene soon after you have done so (the "outsiders" being happily convinced by you, or regrettably unconvinced ...).

    Be really realistic about how you vote; give nothing for free; the idea is preposterous! A man with such ideas may well be taken for lunatic, and not at all convincing, in this matter.

    Every time you loose a vote, you automaticly get one vote against you the next time (use coins to note this). These automatic no-votes accumulates, so it will be harder and harder to succeed in what you do. If your personal no-votes accumulates to more than the number of players, you are turning intensely eager in your wish to convince the world about its tiny'ness ...

    The end
    The game ends with all of you having a last meeting, where no restrictions to what you dream up, and plan to do, is left. That's the crux of the game; where you are all totally insane, and enjoy being so!

    Have fun!
  • During the scene any one of the players may decide that his viking has had enough of the uncle, and raise the axe. if he does so, the other viking may try to convince him the uncle deserve to live. If he let the axe go, any other viking can take it up later.
    I feel like this game would really benefit from a prop axe to raise, a la Cash 'n' Guns (especially in conjunction with real booze)!
Sign In or Register to comment.