Play the (Disc)World

Here’s a thing that can sometimes happen when someone is interested in starting out with play the world or FKR gaming:

New Referee: I want to get started with FKR gaming.

FKR: Great! All you need are players ready to describe their character, a world to play, and an experienced referee to adjudicate.

New Referee: Well, I have some experience with other RPGs, but I’m not sure how to resolve actions without some sort of rules mechanics and guidance. What should I use?

FKR: Well, you’re the referee now. How about opposed rolls, roll high, percentiles, roll and read, dice chains, dice less?

New Referee: But I’m just getting started. Can I get some guidance on the mechanics and adjudication?

FKR: You’re the referee now. You decide.

And so it goes.

Now you can start on the Discworld

Need a clear set of FKR-ish* play the world rules with a clean resolution system and implicit character creation?

*Not entirely free kriegsspiel because the wargaming/combat “krieg” element is deprioritized. There are no combat rules per se, only general resolution – which can apply to combat.

Then find yourself a copy of the free Discworld QuickStart Guide from Modiphius, because this guide contains a complete and accessible set of rules for FKR resolution in a fictional world.

In this case, the world in question is Terry Pratchett’s Discworld, but consider what you get in this guide.

• A complete free-form resolution mechanic: the player describes their action, based on any element of their character sheet. The referee assigns an Outcome die from d4 to D12 based on the character’s traits and situation. The referee only ever rolls a d8 because the chance of success is relative, but this is also a nod to Discworld lore.
• Depending on the rolls, the referee resolves the consequences, from success to mixed success to consequences from Inconsequential [sic] to Minor, Major, and Exceptional. These occupy the character sheet until resolved. The character has a small pool of Luck to help manage consequences.
• Sample characters, and since characters a wholly based on description, it’s easy to infer that character generation is just a matter of specifying Organization, Background, Niches (2), Quirks (2), and Core (belief). In effect, a complete character gen system.

The system suits an open, conversational, and humorous style of play ideal for the Discworld. And to be sure, the forthcoming full rule book will be mostly to structure and fill out the fictional world on the back of the Great Turtle. But for the new FKR referee, the point is that everything in the QuickStart edition can be adapted to the world YOU want to play. 

Consider, for example, a character from a darker, sword and sorcery city:

• Organization: Thieves Guild of Blackwillow
• Background: Raised in the shadow of the Noose
• Niche: Deft pickpocket
• Niche: A stab in the dark
• Quirk: Often overlooked
• Quirk: The meddling priest sees your good side
• Core: Slip by, right under their noses

In time, you’ll want to tweak the rules – that’s what a FKR referee does. There’s no reason, for example, to always roll a d8 in your game, if you want to tilt the odds further. And if you’re ready, then you can start at the Many Ways Inn, and let your own world take shape. But the core of the Modiphius Discworld system puts a whole world of FKR at your fingertips, with clear mechanics and examples.

Reality check

Realism, in an RPG, is mostly a mirage. Even if the dice could do more than broadly approximate probabilities in the real-world, most players – and GMs – would not want to subject their characters, for example, to the actual risks of death and injury in a medieval battle.

Some groups aim for genre emulation – heroic fantasy, anime, pulp, horror, and so on – as a touchstone. But genre is a literary and narrative construct, and so it can lead you to try and meet the expectations of the story rather than find the story by playing the world.

In the fictional worlds of the games I play, I aim for _verisimilitude_, the appearance or sense of being real, which comes through consistent and believable details that emerge from real-world experience and expectations. Verisimilitude creates the impression that things are plausible without trying to accurately simulate the precise parameters and probabilities of any given event, like a sword-swing or a hike on an icy mountain path.

So in pursuit of verisilimilitude, it's a good thing to check your expectations against the real world. Over the years, I've gone into dungeons (like the catacombs of Paris), castles, towers, and recently the bunker forts of the Atlantic Wall, and each time I'm reminded of some useful, and grounding, facts that we can apply to our fantasy adventuring sites.

Passages, chambers

Passages in fortifications tend to be narrow – and cold. In your dunqeon designs, the corridor space is often less than 5 feet across, and ceilings are low. 

In game terms, there's often no room to swing a blade. Slashing sword attacks and similar strikes will be at a severe disadvantage. Dungeons favor thrusting weapons.

And in a chamber, the roof is rarely flat. It's likely a vault or an arch. Even so, there's often not a lot of headspace, and you're unlikely to be able to manage a down strike, or shoot an arrow or thrown spear very far without hitting the ceiling.

In game, missile attacks are limited to close range.

And stairs

Towers are great settings, but stairs, especially circular stairs tend to be extremely steep and narrow. Climbing is tiring, and the risk of putting a foot wrong on the narrow steps is considerable if you're under pressure: attacked or in a hurry. 

In game, climbing stairs under pressure should require a dexterity or fatigue check. And defenders have an advantage striking down. Consider also how missiles and objects thrown down stairs can create serious hazards!

Darkness and light sources

The actual underground is absolutely dark. Without light, players are effectively blind, and almost blind a very short distance from the entrance.

In actual pre-modern contexts, lights such as lanterns, candles, lamps, rushlights, and torches, only effectively illuminate a few paces in advance, or a small chamber. And if they're knocked out of your hand, they're likely to go out instrantly.

On the other hand, even a dim light is visible to observers from a long way away – effectively in line of sight.

This means that the most effective scout will move forward in the dark towards an unknown light source, rather like Bilbo Baggins sneaking up on the trolls' bonfire.

Used well, the effects of undeground darkness and low light can help create a tense, engaging situation for players, and keep them on edge as they explore unknown spaces. But many games, including current editions of D&D, forestall these options by making many character backgrounds adept at seeing in the dark, or with magical or other options for lighting available throughout the dungeon complex. If you like your encounters to effectively play out in well-lit arenas, so be it. But to add back some of the danger and uncertainty of low-light conditions, consider restricting those "night vision" abilities to situations where there is at least minimal incidental light, or applying other restrictions (for instance, low-light vision is greyscale only).

And while we're at it, lamp oil is not the basis for some kind of medieval Molotov cocktail. Fire, on the other hand, is potentially a great hazard in structures built with wood, with many wall-hangings and flammable materials.

Micro-Encounters and scene aspects

Mostly, all you need is a d6. Here are a couple of compact six-sided die tools developed for inspiration and guidance when either playing solo or with a group.

Micro-Encounters

This is a compact, generic tool for whenever you check for encounters, either in the open or in a closed environment, like a dungeon.

Roll d6; +1 for safer environments; -1 for dangerous environments:

1- Hostile, typically an immediate attack by a hostile encounter
2- Danger, a dangerous or potentially hazardous encounter; can mean an active physical threat (storm, flood, trap, etc.)
3- Obstacle, a barrier to progress, which could be locked gates, guards, security systems, and so on.
4- Neutral feature/observation, a point of interest, not immediately dangerous, such as a landscape feature
5- Information, a potential lead, or opportunity (clue, track, hint, informant)
6- Useful, a discovery, meeting, or useful resource

Guiding Aspect

For situations where you need an oracle to suggest an interpretation or inspire the next move, the guiding aspect is the overall governing term of the moment.

Each aspect can be "reversed" for another layer of possibility or meaning. If the aspect does not immediately suggest a suitable meaning, roll 4+ to check if the aspect is reversed.

Roll D6

Element: Aspect — Aligned/Reversed

1- Shadow: Darkness — Mystery/Discovery
2- Earth: Growth — Harvest/Decay
3- Air: Breath — Message/Silence

4- Fire: Energy — Revive/Conflict

5- Water: Movement — Journey/Stasis

6- Spirit: Light — Order/Chaos

Alone on the range: Strider Mode

 Recently, the tinkerage picked up Strider Mode, the solo rules for The One Ring RPG. Strider Mode, as you might think, contains rules for playing a single player-hero in Middle-earth, adapted from the system of The One Ring.

Now, The One Ring Second Edition is a fine system with many thoughtful and atmospheric touches, but it still isn't the game I would choose to run adventures in Middle-earth. As per my review of the first edition, the system is still too programmatic and committed to phases and counters of all sorts. It feel sometimes as if deep down it's a board-game, where your character's engagement, reactions, and choices are shuffled off to dice-rolls on a table. As readers might gather, my instincts for gaming in Middle-earth are either to strip everything back to a free-form core in the style of the Green Dragon, or to use the clean, flexible structure of Basic Role-Playing.

Strider Mode, on the other hand, is a great resource for playing through a solo Middle-earth experience. It contains two elements that are essential to solo play (and darn useful for group play also): a chance resolution system and a semantic generator.

By a chance resolution system, I mean a way to pose the question how likely is a certain thing to come about, roll, and resolve that question. In Strider Mode, that's a d12 roll ranging from a "certain" chance to an "unthinkable" one, with an extreme result on either end. I often use the same sort of roll to determine the severity or intensity of a certain condition, so a low roll is hardly at all and a high roll is extremely so. This can range from the friendliness of an inn to the severity of the weather on a given day. And chance resolution also provides a basic action resolution system, as you can check whether, given current conditions, a character's action is likely to succeed or not.

What I call a semantic generator is the "oracle" in other systems. The semantic generator allows you to randomly generate words or phrases that you can use to attribute meaning to an uncertain or open situation. Strider Mode calls this the Lore Table. In my play all the books approach, this would be the library of tables and generators that you can call on to frame an otherwise open encounter or scene. In fact, as you travel in Strider Mode there are "Event Detail" tables that provide descriptive seeds for events along your journey (from mishaps to chance meetings), as well as the atmospheric lore tables which suggest the Action, Aspect, or Focus of the moment.

These two tools provide the adventure and discovery for the player that the GM's preparation or the written scenario usually deliver. If you lost your way, did you stumble on a ruined tower or a bandit camp? What is the tale of that ruin? The task for the solo player is to deliver these questions to the dice and then play the options they suggest.

As I mentioned before, I don't use the core rulebook for The One Ring for resolution, but rather a free-form approach using the chance resolution system. Of course, there's nothing wrong if you enjoy using the published rules and engaging with the variables of the full system, but I find that a lighter, more adaptive system allows me to engage with the scenario at hand rather than the intricacies of the rules. 

One might think that this adds another kind of challenge, switching between the GM's mindset of making assessments and calls on the fly and the player's mindset of responding to the action without the support of firm procedures. This isn't what I find. Consider that even with a complete "system" in play, the GM or the scenario author has already prepared the encounters and considered the modifiers and relative difficulties, and this means neither setting dead-end tasks that are too difficult nor challenges that are too simple. All you need to do to GM yourself is be open to the chance of success and failure, which means that you sustain the uncertainty and hence the drama of the moment, and estimate chances fairly. For any given roll, there's always a chance of a wildly high or low outcome; and if you're rolling for yourself, that wild result is bound to come up. Finely-measured probabilities are not really required. And as Hickman et al observe, in the end it always comes down to a probability, assessed as a number on the die or dice that is constrained to a given range. Call it fairly as you see it, check the result, and keep going.

In my test of Strider Mode, I found myself bushwhacked by bandits in an abandoned farmstead, trading words with stiff-necked dwarfs, and battling orcs and a cold-wyrm in a ruined tower. The Lore Tables in particular do a good job of pushing your to engage with Tolkien-like tropes and challenges. For something that's either in one's own head, or in the dice and the tables on the page, that's a pretty good trip, alone, across Eriador.

Getting in to Adventure

The scenario is the bridge between the characters and the world. But how do your characters find themselves gathered at the Many Ways Inn?

Roll a die:

1. Runaway: whether from a cruel or dull situation, you had to escape.
2. Landless: through conflict or other chances, you have lost all your prospects and must, perforce, begin again.
3. Summoned: whether by a letter from a patron or some other call, you are brought here to answer.
4. Commanded: a patron or lord has ordered you to join some mission or venture.
5. Happenstance: pure chance or a series of unfortunate events brings you to this juncture.
6. Choice: Perhaps worst of all, you have chosen a life of danger and uncertainty.

What the character will do and encounter (the scenario) comes before mechanics (the game system). And although every scenario needs a setting, consider not just the “where” of the adventure but the “when…”. A scenario is not just a place, it’s a challenge, a dynamic, with constraints and possibilities, that the characters approach organically.

Here’s a simple starter.

Mutton and Marauders

Two ettins, Nygel and Treffor, have crept down from the Garshaws barrens to remedy their hunger, rounding up a small flock of sheep and a shepherd for good measure. Unknown to anyone, grimlock rustlers on a similar mission have picked up the ettins’ trail, and so rescuers, trolls, and grimlocks are set to intersect near a site* at the base of the Garshaws.

Nygel, Ettin [3] - Armed with tree-root club
Towering, massively strong, dull-witted, slow

Treffor, Ettin [3] - Armed with nocked axe, heavy hides act as crude armor
Lean, strong, sly, greedy

Grimlocks [1] a troop of 13 - Armed with spears, daggers, oddments of armor
Ragged, half-starved, nasty; dangerous when cornered, or when able to surrounded and sneak-attack an opponent

* Note that the adventure site is left open, with an eye to continuing the adventure. Is it a cave, leading into greater depths; or a stone circle near a partly exposed barrow-tomb; or a ruined hill-fort, a remnant of better times for the kingdom?

Resolution

The key to play-the-world or FKR resolution (the game system or rules) is not that every action is determined by referee fiat, but that the players concentrate on their characters and the situation, and the referee is ready, through judgement and experience, to resolve their efforts with tools that are both fair and simple to use.

It’s not that there are no mechanics, but that the mechanics are compact and easy enough to generate the chance element that means that the play is not simply dictated but develops in unexpected and dramatic ways as it runs.

Of course, the right tools that are also fair and simple require some judgement or a sense of what works at the table. This might well come from one’s experience of another game, but for anyone new to this style of play, it means that some guidelines, however slight, are useful.

So, here’s a brief rundown of the Tinkerage’s current resolution toolkit.

Roll and Read

Roll and read for characters assumes that characters have a fair, but by no means certain, chance of success, based on the conditions and their own aptitudes.

• Roll 2d6 and read the outcomes, adjusting to circumstances: 2–3 (fail); 4–5 (mishap); 6–8 (standard - the expected outcome); 9–10 (good); 11–12 (great).
• Can roll opposed and read for active opponents. Resilience rank breaks ties in opposed situations.
• Modifiers of +1/-1 are very rare, for exceptional circumstances (magical gear, terrible conditions).
• For a specific aim or outcome, like shooting a bow at a distant target, also read to meet a threshold number within the basic ranges: 6-8 is within standard range of difficulty; 9+ hard, and so on.

Combat is a kind of challenge where characters attempt to inflict strikes on their opponents while maintaining their own guard. A hit of sufficient force inflicts a strike, and when strikes are greater than a character’s resilience they are struck down. A character struck down may be stunned, injured, disarmed, or even killed or in a critical condition.

Screening rolls

For the referee, a single die is often the best tool. A screening roll is a quick roll of a die to clarify a situation or filter out a range of possibilities. 

• Roll for quality or conditions: 1 is worst, 6 is best.
• Roll for questions of probability: 2+ is very likely, 6+ is very unlikely.

Play the Adventure, not the Rules

Look back and think about Mutton and Marauders. The ettins are tough — unless the characters find a way to weaken them first, they should be harder to hit even for the strongest warrior in the group. Maybe roll and read and look for 9+ to hit? What if a character is hit by Nygel’s tree-root club? Make a screening roll to see how bad that strike is. The grimlocks aren’t strong individually, but what if they get the drop on the characters during the hunt, are they then defending at -1 or worse? What is the weather like when the characters set out to track the ettins — there’s another screening roll, perhaps.

And finally, if you don’t care for 2d6, then grab a d10 or put a classic d20 on the table. Think in terms of percentages? Then roll a d100. Know the rough chances of success and failure, give the characters a decent chance when they make a decent choice, and you have the core of freeform play at hand. Sooner or later the dice will surprise you and your players, and that’s when the adventure begins.

Geting in to Character

 Those who meet at the Many Ways Inn are a curious group, driven by many strange paths to seek adventure, after their fashion.

Every game, free-form or otherwise, rests on the interaction of characters and world. And although the referee is the arbiter of the given world, players and their characters represent the active inhabitants and movers of that world. Player characters are there to question and explore. These questions can reveal even to the referee opportunities and realities that were never before apparent.

Characters briefs: in the world, not the numbers

The peoples of Arihmere, townsman and peasant alike, have long settled within stout walls and hedges.

In a free-form system, characters are not defined primarily by mechanics but the terms of the world itself. 

So, we begin with the character’s descriptive brief: a short summary of abilities, background, and calling.

It’s sometimes useful to throw the dice for inspiration to shape your character's background, but there's always choice and room any character concept that appeals.

Roll or select an attribute, a feature of your character that is distinctive and characteristic.

1. Strong
2. Agile
3. Tough
4. Clever
5. Learned
6. Bold

In the largely feudal realms of Arihmere and about, determine a social station: roll 1d6 low to high, or work out a background with your referee.

1. Outlaw, outcast, or an outlander
2. Serf
3. Peasant
4. Freeholder
5. Wealthy
6. Gentry (petty nobility, knight)

Most individuals come from a manor or village attached to a stronghold, but on a roll of 6 they may originate in a larger city or town.

Weave together station and background with a calling. All along the Wolves Lane, we find those who fight, those who work, and those who study.

1-3: called to toil and trade

4-5: called to arms

6: called to faith and learning

For example, a high station and martial calling would suggest a knight errant. A lower standing a soldier or levy. A peasant, called to toil and trade, may be a sort of crafter, or perhaps a forester. An urban freeholder may well be a merchant or artisan.

Character record

Now we're ready to introduce your character with a few notes and mechanics.

Assign three notable abilities related to to their:

• attributes (characteristics or physical and mental features)
• skills and training related to calling and background
• Player characters have one distinction (a special ability, characteristic, or knack that makes the character unique).

Resilience

For the purposes of play, characters have an initial Resilience rank of [2].

Resilience is used to assess how many major impacts or injuries the character can withstand, and also their general level of ability and expertise.

0: Unranked—weak or untrained

1: lowly — commoners, levies, harriers

2: adventurers (start here) — trained militia, soldiers

3: skilled —veterans, captains, tough creatures

4: experts — strong, deadly

5: masters — champions, exceptional, monsters

6 or more: legendary — heroes, dragons

Many ways in (to the FKR)

The Many Ways Inn is famous for standing at the meeting of three great roads on the chaotic margins of the Harrowmarch, and infamous for the many adventurers and ne’er-do-wells who gather there seeking rumors of suspect ventures.

Over the last couple of years(!) circumstances as well as interests have guided the tinkerage farther in the  direction of free-form, minimalist rules — or the Free Kriegsspiel Roleplaying (FKR) style of gaming, lead by play worlds, not rules principles.

Now there are plenty of resources online to learn more about FKR, and the Green Dragon and Fighting Fantasy systems I’ve discussed earlier are also an introduction to this style, but in the next few posts I’m going to delve into some of the many ways in to free-style gaming that have developed.

But first, a note about FKR play.

FKR is based on the innovation of the original “frei kriegsspiel” wargames, where detailed and systematic resolution methods were discarded in favor of an experienced referee or adjudicator. 

Hence, a free-form toolkit has these elements:

• A world, being the shared setting for the game and its scenarios. This world can come from an existing game (like the dungeon-y system), an existing fictional world (like the Star Wars universe or Middle-earth), or, of course, the referee and players’ own invention. That being said, the world serves best as a starting point: it’s a place to enter and explore, to map and develop. And although a trend in some FKR circles has been to lean towards playing in existing fictional worlds and genres, for me it’s the creation of one’s own world with rules-light play that offers the most fun and challenge, while (as I’ve said in my Play ALL the Books posts) it’s hugely productive and fun to ransack all the sources you have at hand for tools and inspiration.
• A format for characters. This is usually diegetic, meaning that simple description tells you about the character in terms of the game-world, not with reference to detailed metrics like stats and ability modifiers, hit points, skills, and so on. See Getting in to Character here, for an example.
• A resolution system that is as minimal as possible, so that it operates behind and not in front of the character’s choices. See Getting into Adventure for an example.

The key to play-the-world or FKR gaming is not that every action is determined by referee fiat, but that the players concentrate on their characters and the situation, and the referee is equipped to apply, through judgement and experience, with a set of tools for resolution that are both fair and simple to execute. It’s not that there are no mechanics, but that the mechanics are compact and easy enough to generate the chance element that means that the play is not simply dictated but develops in unexpected and dramatic ways as it runs.

Ramshackle rules and roles

While tinkering with the free-form Fighting Fantasy rules, it strikes me that the simple trio of characteristics and basic tests can be adapted with relative ease and speed for a wide variety of worlds. Here's one such adaptation.

Ramshackle

The vast, labyrinthine structure, from Gormenghast to the Hayholt, from the citadel of Nessus to Mampang, is as important a part of fantasy as the underground dungeon. Here, I’ve adapted the Fighting Fantasy rules for playing in places that tower as far above as descend below, anything from immense ramshackle piles to sprawling cities.

Adventurers

Our adventurers use the attributes:

• ABILITY (like Skill, begins at 7)
• ENDURANCE (like Stamina, begins at 1d6+6)
• COURAGE (like Luck, begins at 1d6+6)

Courage works just like LUCK in FF. It represents bravery, resolve, and the character’s readiness to take — and dodge — extreme risks. Courage is worn down by every danger the character encounters, but restored by significant victories, small acts of grace and kindness, and fortuitous choices.

Character standing

One's position, or social standing, is a critical part of your background in the convoluted and sometimes archaic society of the ramshackle pile. 

Choose, with GM approval, or roll a die on the list and take +1 initial Courage for accepting the risk!

1 - Lowly: a scullion, scullery maid, or apprentice.
Staring equipment is shoddy or makeshift. Weapons such as a knife, club, hammer, or pick (1 damage only on.a roll of 1-2). Kitchen staff have access to plenty of provisions.

2 - Servant: footman, maid, valet, gatekeeper, guard.

Have access to workaday but sturdy equipment, Weapons such as dagger, staff, spear, halberd, if their duties permit. Guards may have common armor (1-2 chance of -1 damage).

3 - Staff: Senior or trained household retainers, such as butler, tutor, officer of the watch, falconer, artisan, cook, bailiff, apothecary. Equipment, suitable to the profession, and specialist weapons (swords, muskets).

4 - Household Companion: professionals, usually close to the family and part of the gentry, such as tutor, archivist, chaplain, sorcerer, astronomer, knight errant, duelist, surgeon. 

Well-made professional equipment and specialized weapons that require special skill (rapiers, great-swords, pistols, well-crafted armor).

5 - Scion; part of the ruling family or clan—noble, heir, gentry, magistrate.
Has access to the best equipment, weapons, and armor (improved damage or protection), and considerable personal wealth.

6 - Outsider: an explorer, wanderer, or even a monster; any individual from the outer world (if there is an outer world).
Equipment at the GMs approval, possibly rare, exotic, magical, or dangerous (or all of these).

Missions in the ramshackle halls

Through vast labyrinths, halls, cloisters, galleries, adventurers will find themselves on many missions, often driven by the needs and rituals of the place itself as much as the inhabitants, who are, after all, merely temporary.

Roll a die:

1 - Fetch

Go and recover for her ladyship a bunch of the lost copper roses from the ruined conservatory among the Ash Towers. Beware the argumentative and senile sphinxes that guard the approach.

2 - Hunt

Two wild hippogriffs are hunting in the western galleries. Track and eradicate or drive off the beasts. Ensure his lordship comes to no harm during the hunt.

3 - Deliver

Take this impossibly fragile crown constructed from the bones of extinct birdlife to the Catechist of Ethrain, in the Ninth Ward. Of course we can't tell you what she looks like: she wears a mask at all times, and it's impertinent to ask.

4 - Discover

Find for us a certain volume of impious prophecies concealed in the lower shelving of the Gaunt Archive. Never mind the literate rats or the mummified librarians; it's the crow-headed researchers you need to avoid.

5 - Guard

Secure the crumbling Oblique Tower from the intelligent were-ferrets and their demented pine-martin shock-troopers.

6 - Capture

Retrieve the phoenix tapestry the House of Kellin recklessly purloined from our drowned treasury. They have no idea what will happen if the wrong threads are tugged.

Lurking creatures

1 - Vermin

1–6 Giant Rats ABILITY 5 ENDURANCE 3

2 - Pests

1–3 Crow-folk ABILITY 6 ENDURANCE 4

3 - Prowler

1–2 Were-ferrets ABILITY 6 ENDURANCE 5

4 - Hazard

Ghouls ABILITY 7 ENDURANCE 6 (infected claws)

5 - Marauder

1–3 Gargoyles ABILITY 7 ENDURANCE 8

6 - Hunter

Hippogriff ABILITY 8 ENDURANCE 10 (flies, pounces for 4 damage on first attack)

An adventure for FF Freeform

Orzan's Twist

A scenario for SKILL 7 adventurers. For basic rules, see Fighting Fantasy for your freeform game.

1.

Orzan's Twist in a long cave that provides a winding link between two valleys in the Clattering Hills. The Twist allows passage between two villages that would otherwise be four days weary climb apart. Perhaps the characters are soldiers with an important message, carrying magical ingredients to a sorcerer, or charged by townsfolk to open the quickest path through the hills.

In addition to normal equipment, characters begin with at least one light-source each: lantern, candle, or torches.

2.

As they approach the cave mouth deep in a ravine, they encounter two HALF-WOLVES. If the adventurers are not cautious, the wolves attack with the advantage of surprise (a free attack). Although the players won't be able to see from a distance, the wolves are chained here to guard the cave entrance on behalf of the goblins lurking further within.

HALF-WOLVES, Reaction: Hostile
SKILL 6 -- STAMINA 5
SKILL 5 -- STAMINA 4

The wolves are likely to be defeated, especially if they are caught at the end of their chains. Their barking and howling will surely alert any other creatures inside the cave!

3.

After various twists and turns, the adventurers reach a clear parting of ways. One side (go to 4) seems to lead upwards, and the sandy floor is less scuffed. The other is darker and deeper, and characters who test for Skill may notice the path is well-trodden by a variety of creatures (go to 5).

4.

Eventually, the passageway leads to a pit. A narrow crack far overhead admits some light, but it is unreachable. Test Skill to climb down; 1 STAMINA damage if any adventurer slips and falls. At the bottom of the pit among the remains of small animals and other vermin are the bones of a warrior in rusted armour.

Underneath the corpse is a fine-looking wooden hunter's bow. Any adventurer may take and use the bow, but unknown and unseeable, the bow has a crack in the core and after ten uses it will break the next time it is drawn (a character who tests for LUCK on the last draw will finally notice this). Nearby is a small flask of useable lantern oil (the lantern, though, is broken).

5.

The passage opens into a large chamber with many ledges and alcoves. A goblin gang (12 GOBLINS) camps here. The goblins are unfriendly but not necessarily hostile. They are more afraid of the two dry-ghouls skulking in the heart of the caves.

GOBLINS (10)
SKILL 6 -- STAMINA 6

GOBLIN LEADER
SKILL 7 -- STAMINA 8
Tougher and brighter than the average goblin. Mainly concerned with guarding his loot and planning next raid outside.

GOBLIN WITCH
SKILL 5 -- STAMINA 4
A minor magician at best, the witch has a collection of petty spells and curses that can trip and irritate targets, but she has nothing that will seriously harm stronger monsters like the ghouls. Her main skill is fortune-telling, mainly telling the goblin leader what he wants to hear.

Clever adventurers may even find a way to persuade the goblins to gang up on their mutual foes. See 6 next.

6.

Here, the passageway simultaneously dips sharply and turns, creating a disorienting corkscrew like formation, the cave's famous "twist".

In the center of the twist lurk two noxious DRY-GHOULS, semi-mummified horrors, who have found the caverns a convenient lair and trap for wandering prey. The ghouls are nasty, intelligent, slow moving, vulnerable to fire, and any character hit three times by their claws will be paralyzed!

DRY-GHOULS, Reaction: Hostile (hungry)

Mikence
SKILL 9 -- STAMINA 10

Tromp
SKILL 9 -- STAMINA 11

These ghouls are stronger than the adventurers. Remember that the simplicity of the rules means that characters can try anything to gain an advantage, from rope traps to spear walls to throwing burning oil.

Add 2 LUCK each for defeating these vile creatures. At the bottom of the Twist, the ghouls have stashed a well-made dagger with a silver-bound handle, two fine hunting spears, and copper and silver coinage from various realms amounting 3-18 silver pieces. Feel free to add other treasures of your own devising.

Fighting Fantasy for your freeform game

Fighting Fantasy (the minimal gamebook rules) could be enough of a framework for rule-light, freeform gaming, with a little judgement and tweaking.

Core Rules

Choose your character type, such as WARRIOR, SORCERER, or ROGUE.
Your initial SKILL is 7.
Your initial STAMINA is 1d6+6
Your initial LUCK is 1d6+6

Choose three Special Skills to complete your character, and note any equipment your GM allocates (usually a weapon, a backpack, some coin and rations, and optional potions).

Now, since most of the FF rules are easy to remember, you can start playing.

Test for Skill when character abilities and Special Skills are on the line.
Test for Luck when chance and happenstance are the deciding factor.
Roll probability (x in 6) when the chance of success depends on a variety of factors, including the external circumstances and the soundness of the player's plan.

In combat, the highest roll plus SKILL hits, and the standard wound is 2 STAMINA. Bigger creatures can ATTACK more than one target per round, but never roll more than once.

Apply modifiers freely as the conditions and tactics on the battlefield change.

Playing FF as a Freeform Game

From then on, the GM is free to work like the author of an adventure gamebook to develop and extend the rules according to the direction the game takes.

Experience

At certain key points in the campaign, characters advance 1 SKILL and 2 STAMINA. Advances in LUCK are rare and memorable.

At first, SKILL 7 characters will be able to defeat only weaker creatures (goblins, orcs, rat men, wolves); choose their foes carefully, and encourage "inventive" tactics. Common Trolls have SKILL 8. In this world, many stronger creatures become deadly terrors, dreadful, lurking threats to be avoided or outwitted, at least until the adventurers gain a few SKILL points.

Humans have a maximum of 12/24 in SKILL, LUCK, and STAMINA. Dragons are always terrifying.

Combat

STAMINA damage is weariness as well as wounds and shock. Player characters are truly injured at zero STAMINA.

Most weapons begin at 2 damage, but over time the characters may discover finer weapons, or come across armour with a x in 6 chance of stopping a point or two of damage.

Arrows (test of Skill to hit) become an important strategy to wear down a foe before closing for battle.

Magic

Add a MAGIC score (or another custom score, like RESOLVE, if your campaign requires it). Design a list of spells, set the cost in MAGIC, and continue. Perhaps learning spells leaves little time for sword-play (-2 SKILL in battle).

Craft and Luck at the Green Dragon

[Since the Blogger app caused an inadvertent repost of Narrative Adventures at the Green Dragon pub, the Green Dragon discussion continues with a close look at resolution. This minimalist mechanic is "balanced" because all outcomes are weighted around the middle – a fair roll indeed!]

Let us look at the table used to assess a character's skill and luck in a doubtful situation. This well worn table, somewhat revised, is consulted whenever characters take action according to their particular skills and abilities in a risky situation.

The player rolls two common tavern dice, and the professor interprets the result:

2-3... Horrible. This is often counted as a fumble or serious misfortune. In battle, the character may be severely wounded or even defeated.
4-5... Poor. An error or mishap. In battle, the character's guard is down and they may be wounded or forced to retreat.
6-8... Tolerable (6) to Fair (7) to Skillful (8). A tolerable to good outcome, usually interpreted broadly as the expected or middling result. In battle the character stands their ground and may wound their opponent.
9–10... Fine. A very good to excellent effort. In battle, a strong hit.
11–12... Marvelous to Exceptional. An outstanding result, often described as uncanny or elvish craft, combining exceptional skill and good fortune. The outcome is always decisive.

NOTES

• The professor rarely provides an adjustment, but often rules precisely according to the situation, especially in the 6–8 range. For instance, if a skilled hunter rolls a "5" while tracking a stag, this may not mean utter failure, but rather the tracks become muddled or pass through a tangled briar.
• When a character has a substantial advantage, the professor grants them an additional die to roll, and the player chooses the best pair. In the case of a crucial disadvantage, the professor chooses the worst pair instead!
• A 6 on any die is called the "crown" and grants an immediate advantage in the situation, in addition to the benefit of the current roll. Two "crowns", being a 12 in total, are greatly valued.
• A 1 on any die is called the "evil eye" and imposes a disadvantage in the situation, which may affect the next turn. Two evils eyes, 2 in total, are greatly feared as more than a mere mishap.
• Rolling a 1 and a 6 means the situation holds steady!

On some rolls, a "hazard" is included, representing the number to be rolled to avoid some threat or overcome a particular difficulty, thus:

7. Doubtful
8. Daunting
9. Desperate
10. Sheer chance!

If the player fails to roll greater than or equal the hazard, this does not always mean their character failed (unless, perhaps, they rolled 2 or 3), only that the danger was too great. For example, if a character is fording a raging river with a hazard of 8 and rolls 7, they are taking every precaution but still find themselves swept off their feet by the current.

Solo tinkering — Play all the Books

The Tinkerage has been experimenting with solo roleplaying as a way to test some of the freeform, light and Play the World concepts with house rules and designs.

One unexpected benefit of this approach, which could be brought to multiplayer games, is that you get to play not just your own system but ALL the RPG systems, and so one's collection of gaming books acquires new life when you're not tied to a single rules set. So far I've used Warhammer Fantasy Roleplay to generate careers and encounters, BareBones Fantasy to generate missions and locations, Blacksand for Advanced Fighting Fantasy for urban design, adapted Traveller to set up combat ranges, and so on. Now, all the careers, classes, spell-lists, and random mission, encounter, and reward generators scattered across a shelf of game books and systems become relevant and useful again, and help to generate a world and adventures I would never have picked from my own head.

The "system" is free-flowing and based on roll and read principles with other ideas I’ve used here, but structured enough to generate variety and surprises.

For characters, I pick or adapt a handful of basic characteristics from any system that inspires or feels right. In this case, Strength, Dexterity, Intellect, and Will. I roll 2d6 for each characteristic, and a 9+ is "+1" and an 11-12 is "+2"; a 5- would be "-1", but for the sake of playability I would discard a character with a net negative set of characteristics.

Then, from the career or class description (I used a Soldier from Warhammer, rolled at random) I choose a suitable 4-5 skills or talents, and allocate 6-7 points, with +2 the highest single rating.

The player character has 3 Hits, but experimentally I converted each "Hit" to 1d6 hit points, so rolling for a total from 3-18.

For example:
Corporal Angfire, Peasant, Soldier
Strength 6, Agility 9 (+1), Intellect 9 (+1), Will 8
3 Hits (12 hp)
+1 Fight, Cool, Dodge
+2 Marksman

In play, whenever the character is in a spot, a point where I, as player or GM, can't easily judge the outcome, I roll 2d6, and add any modifiers for the character:

• On 7+ the outcome is a bare success, enough to keep the scene moving. The character may still be in trouble.
• A roll of 9+ is decisive.
• 5- is a setback or failure. A hit in combat. 
• A 2-3 indicates severe negative consequences, such as a heavier hit.
• The target roll occasionally shifts to indicate situational risks or advantage, but it is is never less than 5+ or more than 9+.

Most combats are skirmishes, and so only the character rolls to attack and/or defend. If the combat were to be more dangerous or against a single, determined opponent, both sides would roll and compare totals.

As I said, the character's Hits are tallied by hit points, and so damage is also converted to a d6 roll, with armour reducing the hit points lost by a small amount (1–2 points for light to medium protection). Ordinary creatures and opponents just have a fixed number of Hits to take them down.

There are two other rolls I use to represent the uncertainty of a scene in a solo game:
Probability - what are the chances? (1d6):
Very likely 2+
Likely 3+
Possible 4+
Unlikely 5+
Very unlikely 6+

Situation - how good or bad is the current situation? (1d6):
1- Very Bad
2 - Bad
3 - Doubtful
4 - OK
5 - Good
6 - Excellent

So with a light framework and some inspiration it’s possible to play all the books.

Freeform, Light Characters

As outlined in the last post on playing the world with freeform, light rules, creating a character becomes a process of developing a description and highlighting only the significant, to play, attributes.

How might this work?

First, come up with a concept around the role you want to play. This can be a profession, a character type, or even a simple background. Later, you'll attach a name and a short title to this role.

Then, come up with a description of a couple of lines or sentences. This description will include the characteristics (such as deft, tough, cunning) and the skills (swordplay, climbing, crafting) that best fit the role you have in mind, and any quirks that make a character unique.

How to come up with a concept or description and pick skills and characteristics? The freeform technique means that this can be almost anything. You can choose from a book or show that you like. You can draw a picture or choose a miniature, and let what you see be your guide. You can pick up any RPG rules and choose character professions and characteristics and abilities that capture your interest and look playable. You can even roll a few dice for the stats in that rulebook (such as strength, dexterity, intelligence, and so on) and shape your concept around the results.

When you're satisfied with the description, then pick out the notable attributes: from 5 to 7 is a good number. Assign a +2 score to two at most, and +1 to the rest. This does not have to be exact, or add up to given number of points, because it's up to the player and the GM to judge how valuable each attribute might be.

Here are two characters, built using this method, with sketches as inspiration.

Gilbert Lurkerer, professional sneak, is extremely quick and quiet, clever, handy with a short blade or a thrown missile, and an affable gossip.
Quick+2, Quiet+1, Clever +1, Short blades +1, Throw +1, Gossip +1

Temerra Quickfoot, woodlands archer, is uncannily deft and graceful as any of her elven kin. She is a deadly archer, skilled hunter, and master of all the woodlands.
Deft+2, Elvish Grace+1, Deadly Archer+2, Hunter+1, Woodlands+1

Play the World

Searching the for insights into the 'free-form" role-playing procedures of some of the earliest GMs and designers, the Tinkerage came across an intriguing series of posts called "Play the world, not the rules" on Darkworm Colt.

This is a method that you can summarize on a page, uses only six-sided dice, descriptive character generation, and just two basic mechanics. And the point of this is that the rules, the "Visible Rulebook" to borrow a term from from S. John Ross, are necessary only to the extent that they facilitate the interaction between the players, their characters, and the worlds they want to explore.

Here's the method for playing the world:

1 - Characters

Briefly describe your character, including notable attributes, like skills, characteristics, or professions (maybe five or so). One or two attributes may count as outstanding (use two words for emphasis like "excellent tracker"). The necessary level of detail is to create a playable role.

If you're stuck, roll dice to help you decide on your attributes, and refer to any work of fiction, rule-set or character generation system for ideas about stats and skills, professions, and backgrounds.

In general, a modifier for a notable one-word attribute is +1, an outstanding two-word attribute (skilled swordsman, talented pilot) is +2, and rare superlative attributes (exceptional swordsman; best pilot in the system) are +3.

2 - Tests

When you need to account for risk or uncertainty, roll the dice. An average roll (around 7) is average, you most likely continue but the situation is not necessarily resolved, high is good (around 9+) and usually decisive, low (around 5-) is bad and entails negative consequences.

Apply modifiers for suitable character attributes and the situation and equipment in the +3 to -3 range.

3 - Opposed rolls

Roll the dice for opposing efforts (such as combat, but also other cases of active opposition) and compare. Highest wins, and the bigger the difference the more decisive the outcome. Apply modifiers, as for tests.

4 - Hit points

Darkworm Colt uses a "three strikes" system: character can take three hits and then they're out. Tougher characters might have more hits at the GMs discretion.

For the sake of greater flexibility, I'd suggest six hits, with stronger characters adding 1 or 2 more as indicated by a suitable attribute. Lighter attacks deal 1 hit. Heavier attacks can inflict 2 or 3 hits. The GM should apply judgement and err on the side of character survival. A character at exactly zero hits is stunned, staggered, dropped, and so on, but not dead.

5 - Play the world

The game isn't in the method; the game is in the sources you choose for inspiration, in the worlds you construct, and in the scenarios the GM devises and the creativity players bring to them.

A skirmish at the Green Dragon pub

As has been noted elsewhere, at some of its most dramatic moments, the professor's curious mix of tale-telling and game can involve combats, about which the professor is remarkably clear-eyed.

Such encounters, be they skirmishes or pitched battles, arise from the scenario and choices made in play: they are never forced for their own sake, and the players' characters often (but not always) have a chance to avoid them. Rarely, if ever, do two equally matched opponents stand forth for a gentlemanly bout.

Sometimes, whatever playing pieces are at hand, from chess-men to checkers, may be first arranged to show the rough situation, but this is far from necessary, and short encounters may well be resolved without them.

Whoever chooses to act and move first, whatever the consequences, does so. If the characters are ambushed, then they must respond to the ambush. If they charge or strike, then they have the initiative. From then on, each move and counter-move is resolved as most makes sense. Every player may take some sort of action before the turn is ended.

Given the risk, dice are rolled to resolve each combat. Each player rolls, and the professor adjudicates the outcome based on their skills, tactics, armaments, and position. Usually, a roll of six or more is required for the character to hold their ground and at least keep up their guard. Depending on the foe, a higher roll may be required to strike and prevail. For example, we see in the notes that a "man-at-arms" or "greater goblin" may be slain with a roll of seven or more, but a fearsome troll is wounded only on a roll of nine or more, and a dragon struck on a twelve only. More formidable foes may withstand several hits before they are felled. Even so, when allocating hits, the higher the roll, the better.

A roll of less than 6 means that some sort of setback, a blow, hurt, or wound, is suffered. The lower the roll, the more severe the consequence. The professor is unsparing of both sides, and so a player who rolls low may be wounded, dazed, or even felled and left-for-dead. Some enemies wield dreadful weapons, which may leave a festering wound or even sickness of spirit.

Players look always for sixes – the "crown" on the dice they roll, and two crowns are unstoppable. A single crown indicates a minor boon or advantage. Perhaps the blade bites deep, hampering the foe, or an opponent can be daunted or forced to retreat. Ones, the "evil eye" are feared. A single one may show a disadvantage or complication, but double-ones indicate an evil turn. When ones and sixes appear at the same time, the roll is an alarming close call, with gains and losses for both sides!

Fights do not necessarily end in death. Stern opposition may indeed cause the enemy to falter, but they may flee, or regroup, or attempt to surround the adventurers or even split them. Many goblins could retreat from a single warrior, only to turn and launch arrows at his shield to weight it down. By this token, wise warriors know when to flee, and when a threat is beyond their powers. Recklessness and blood-lust are not rewarded in the Green Dragon game.

Against the most dreadful monsters, only a cunning strategy, knowing the fatal flaw in a dragon's hide or the means to pierce the spell that protects an ancient horror, has any real chance of succeeding. There is always a place for heroism, though, and even a common soldier may hope to defeat the old and strong and cruel if he or she is stout-hearted and battle-wise.

Bullet Journal for scenarios - with a scenario

The Tinkerage has been experimenting with adapting the Bullet Journal concept to generating notes for gaming.

Bullets are a way of marking and arranging journal entries in a concise, logical fashion, and so they seem ideal for generating notes for RPG scenario planning and actual play.

These notes are not tied to any particular system, and can be used freeform as well. For example, a High difficulty (+) might read in a system as a high difficulty class (DC 15+ on d20), a Hard difficulty modifier (-30%), or even a difficulty adjustment (half skill rating).

Here are the (trial) bullets and entry formats for RPG scenario journaling.

Characters

Name, Type [Resilience]
The Name or Description of the character, type (optional), and Resilience (equivalent of hits, toughness, HD, CON, Stamina, Luck, and so on).

Examples:
Shifty, Thief [2] - a moderately tough thief
Wolf [1] - a lone wolf

(Condition) - a temporary or ongoing state

Examples:
(stormy)
(charmed)

| Equipment x/n uses

Example:
|Arrows 16/20 - a quiver of 20 arrows with 16 remaining

Level of Difficulty, Threat, or Quality 

! Very High
+ High
* Standard
- Low
? Very Low

Examples:
* Stone door - requiring a standard roll to force open
+ Locked door - a high level of difficulty to pick
? Rusty gate - easy to break open
! Swordplay - the skill of a deadly master swordsman

Locations and Scenarios

:: Location

Example:
:: Ruined crypt

: Note/Story/Background

Example:
: The crypt roof has collapsed, and a wyvern lurks inside.

Events in Play, Actions

> Event/Action

Example:

> Wyvern hides in barrel vault

A Bullet-styled Scenario: Drowned Tower

: The laird of Orfyre needs retainers (or adventurers) to call at the toll-bridge at Nystie and enquire why the tolls have stopped flowing to his lordship's treasury.

:: Nystie Bridge
: Arched stone bridge, in full view of the tollhouse tower and the archers there

2 Archers [1]
! Concealed
* Archer

:: Downriver
: Shallow crossing. The bodies of the tollkeeper and his guards are washed up here
+ Strong rushing water

:: Tollhouse, a longhouse with square tower and gate, guarding the bridge
* Barred gate (recent damage)
- Makeshift bars across the rear windows
* Rough walls, climbable

: Keiraffen, a ne'er-do'well minor noble and cousin of the laird, attempted to rob the tollhouse, killed the tollkeeper and his men, but could not find the coffers, and is camped here with his gang of brigands drinking and making a desultory search. Because he's kin, his lordship will be less than pleased if Keiraffen is killed (unless it looks like an accident, or someone else's work).

Keiraffen, a ne'er-do'well nobleman
+ Swordplay
* Gambler
* Schemer
- Drunkard

4 Brigands [1]
* Brawl
* Skirmish
* Sneak
- Undisciplined

: The tollhouse coffers with more than a month's taking are cleverly +concealed under the bridge, not that Keiraffen would ever think to look there.

Reviews - Tiny Dungeon and Dungeonpunk

Two low-cost games show the potential, and limits, of rules-lite and free-form RPGs.

Tiny Dungeons

Tiny Dungeon, by Brandon McFadden, Smoking Salamander Games, is a rules-lite, well-produced fantasy RPG that relies on an extremely simple dice mechanic. In fact, there are only three kinds of test, a standard test, a test with advantage, and a test with disadvantage, and consequently exactly three probabilities to roll for. Adventurer characters are also simple, having a race, a short list of Traits, a Weapon Proficiency, and a fixed number of Hit Points. Weapon Proficiencies and Traits confer advantage on tests, neither armor nor weapon type have any effect in combat (a hit is one Hit Point), and that's pretty much the game.

The Traits list is interesting and well-chosen, and would offer a variety of ways to make a character, although the race list is close to what you might expect of a generic fantasy. The low-key magic is interesting and essentially freeform. The Spell-Touched trait confers the ability to cast a variety of minor magics at the GM's discretion, while a Spell Reader can read spell scrolls to greater effect (though the scroll contents are also up to the GM).

Since there are only three probabilities, it's fair to ask why the system doesn't use the same dice roll with an "easy, standard, hard" target number, rather than adding or subtracting a die to generate advantage or disadvantage, but in such a simple system, this hardly seems difficult. One consequence of this system is that a standard test has a reasonable chance of success, which makes it harder for characters to hide effectively (since creatures have a fair chance of spotting them), and also more likely that combats will be decided not by skill but the higher Hit Points.

The PDF is well-designed, with engaging, somewhat cartoon-style artwork, and there's room in the short document for a scenario, as well as some GM advice. Given the scope of the rules, the system might not carry you through a long campaign, but there's certainly enough there for a few adventures, with few barriers to engagement or fun.

Dungeonpunk

Dungeonpunk, by Eric C. Medders, is a free-form system that presents itself as fun and easy, but lacks coherence when it comes to figuring out how you actually play. The tone and approach are intriguing, but sometimes the details matter.

Dungeonpunk, much like Sword & Backpack, takes a freeform approach to the rules. Characters have a class and a brief description, and are backed by 5 all-purpose Destiny Points. The essence of the system is: roll high good, roll low bad, 1 fumbles and 20 crits. There's a lot to like in a system with no modifiers, ever, where the roll is considered "'outside' the game itself." But what is a "high roll" or a "low roll"? There are no guidelines, not even something like the rough chances, to help eyeball the probabilities. Furthermore, some rolls are against a Difficulty Class (DC), a target number, whereas in other situations you simply look at the number on the D20 and take it from there. So when do these apply? In combat, there's mention of an attack and defense roll, but then the result seems to be a matter of comparison: highest roll wins. In which case, why does the scenario at the end use a system by which the players score so many hits per points rolled on the D20?

Now, in line with the punk aesthetic, the Game Master section advises you to "Make the game up as you go", but although punk is brash and anarchic, it's also tight and fast, and this approach comes close to getting bogged down in a mix of GM say-so and uncertainty. On the one hand, it's liberating to be able to write instead of roll a character, but what we're looking for with freeform is a set of clean procedures and mechanics that can serve the moment and also provide a flexible frame for resolution, and Dungeonpunk isn't quite there yet.

Unlike Tiny Dungeon, the Dungeonpunk PDF is a simple text document with a handful of stock-art images, and its clarity further suffers from a lack of proof-reading and consistency (at one point, for example, the text mentions a "Plot Roll", which sounds fine, except the term is never explained). Nevertheless, if Dungeonpunk was tighter and clearer, it could potentially offer a lot more depth of play over time, because freeform provides space for elaboration and development from a simple set of rules.