Game Design

Art and Storytelling: what are your sources of inspiration? - by Anastasiya Rashevskaya Blogs - 1 March 2019 - 7:04am
Storytelling is a buzzword in the world of art. A gripping story is the foundation of any top-rated game. What if you can't find the right idea? KEVURU GAMES provides 5 top sources to find inspiration for your new game.
Categories: Game Theory & Design

5 incredible Indie Switch Games No-one is Talking About (and for good reason) - by Jonathan Harris Blogs - 1 March 2019 - 6:57am
A look into 5 indie Switch games that just barely missed their time in the limelight
Categories: Game Theory & Design

PC Backgrounds, Part 1

Gnome Stew - 1 March 2019 - 5:00am

If you rewind the wayback machine to the 70s and 80s era of published RPG material, you’d be hard pressed to find any reference to character backgrounds, historical concepts related to specific characters, or much beyond a table to roll on for “secondary skills” the character picked up during developmental years. Fortunately, thinks have changed in this area, and a vast majority of modern RPGs have a section (if not a whole chapter or splatbook) dedicated to assisting players in creating backgrounds for their characters.

What is a Background?

 A character background is a brief summary of the character’s life. Share8Tweet1+11Reddit1Email

A character background is a brief summary of the character’s life before the first session of the campaign or adventure fires off. This should include key events that formed the character into who they are in the “present time” of the campaign. Vital NPCs that altered (or guided) the character in key ways should also be included. Friends, enemies, pitfalls, triumphs, and major accomplishments show up in the background. Socioeconomic status is also key in this because “it takes a village to raise a child” can also be translated into “the resulting adult depends on what kind of village the child is raised in.”


Backgrounds are neat (for some people) or painful (for others) to write. However, this shouldn’t be solely about the character. There’s a purpose to backgrounds. A well-written RPG character background will include hooks into the world for the GM to latch onto. It’ll also include ties to (or even creations of) important NPCs, thus deepening the character’s connection to the campaign material. If possible, I also encourage at least one connection (two would be better) between the “main character” in the background and the other characters in the party.

This sounds like a background should be all roses and puppies, but that’s not the case. Everyone’s life has some form of tragedy in it. These tragedies should also be highlighted in the character’s background in the form of enemies, losses, and events that grow into motivations for the character. If your barbarian is overly protective of children and will go through great lengths and incredible dangers to save them, that’s wonderful. However, the roots of this motivation should be incorporated into the backstory. This gives the GM some leverage over pulling at the PC’s strings, but the PC also has the freedom to cut those strings if necessary.

By introducing these elements into a good backstory, the GM can incorporate a more rich and compelling story throughout the campaign.


 There are actually three different audiences for a backstory. Share8Tweet1+11Reddit1Email

There are actually three different audiences for a backstory. I’ve already mentioned the information that goes to the GM. The player running the character is another target for knowing the backstory (and arguably the most important audience member). Lastly, the other players should be aware, to some extent, about the character’s background. It’s incredibly rare for a character to exist in a vacuum and then pop into being alongside other people and then fight in life or death situations at their side. Yeah, in some RPGs, we hand-wave the appearance of new PCs (You look like a trustworthy fellow), but deeper connections between each character will provide opportunity for role playing on a more grand scale.


 Don’t go overboard with the length of the backstory. Share8Tweet1+11Reddit1Email

Don’t go overboard with the length of the backstory. We’ve advised GMs to keep their world/setting/campaign backstories to a page or less. This same advice applies to your character’s backstory. Anything longer will cause folks to skim it, or worse, not read it at all.

I recommend that you provide between half a page and a full page backstory for the GM. For the other players, I would drop no more than two paragraphs. This also allows you to keep secrets or shameful events between you and the GM by excluding those details from the other players, so you can explore those and role play them out down the road.

What about the backstory for yourself? Well, you know you better than anyone else. Write as long of a one as you like. I tend to land at about 5-6 pages for my characters, but I also type faster than the average bear and can get wordy in my creative efforts. I offer the longer one to my GM, but I also keep the shorter version handy in case they want lighter reading.

While I’m thinking about it, make sure to write up your backstory in a word processor and print it out. We’re old. Our eyes are tired from decades of reading RPG charts and tables and maps. We don’t have the energy to muddle through hastily scribble handwriting. Twelve point fonts are good, too. Don’t go smaller, please.

When to Create It?

Once session zero rolls to a close, and we have a one week (or more) break until the first “real” session of the campaign, I write my various backstory elements. In theory, some of these are already established during session zero, and I’ve made enough notes during this session to get me into writing a proper narrative. By taking my bullet lists and scribbled notes from session zero, I can flesh out a proper narrative in text form.


There are three styles of backstory that I’ve seen.

One is like a third-person novel where the character’s name is used in the text. I like this approach because it drives the character’s name home in the GM’s mind. It also reads more like a piece of history and narrative, which is really what you want.

The second is first-person narrative, which gets directly in the character’s point of view and inner thoughts. This works well for telling a personal story, but it can also get jumbled up a bit because introductions of NPCs and other PCs and key events happen so far apart. The player writing in this style generally has to put in, “When I was 13, ….” in their backstory, which gets tiresome to read.

The third style is a simple bullet list of NPCs and events listed out in order that the character met the NPC or had the event happen. This is perfectly fine for those folks that are less inclined to express their creativity in the written form.

Future Parts

That’s enough on this topic for now. In the next few sections, I’ll give more specifics about how to generate a backstory and what to include. There are several great methods, and I can’t wait to touch upon them.

Categories: Game Theory & Design

Lessons From Improv - by Gregory Pellechi Blogs - 28 February 2019 - 6:52am
Improv provides a lot of lessons for writing, creativity, team work, and even your own tabletop campaigns. But if you don't have time to take lessons, then here's a look at what you can apply to your own game writing and design.
Categories: Game Theory & Design

Historians discuss Far Cry 2 - by Bob Whitaker Blogs - 28 February 2019 - 6:46am
Historians Bob Whitaker and Charlie Thomas discuss Far Cry 2. Topics include the game's setting, postcolonial wars in Africa, Cold War ideologies, the African environment and diseases, and displaced populations.
Categories: Game Theory & Design

How blockchain can (and will) influence game design - by Daniel Berube Blogs - 28 February 2019 - 6:45am
This post talks about how the blockchain technology can and will influence game design in the next upcoming decade. It detailed the origin of blockchain technology and use simple examples to explain it.
Categories: Game Theory & Design

Come to GDC and see how Blizzard fights toxic player behavior with machine learning

Social/Online Games - Gamasutra - 27 February 2019 - 11:58am

Come to GDC next month for a behind-the-scenes look at how Blizzard has applied machine learning to combating toxic behavior -- and why that's had a meaningful impact on the company's business! ...

Categories: Game Theory & Design

Report: Amazon, Comcast, and EA now among potential Nexon buyers

Social/Online Games - Gamasutra - 27 February 2019 - 11:02am

Reuters reports that each of the three companies has submitted initial bids for NXC Corp, the holding firm that houses Nexon. ...

Categories: Game Theory & Design

PUBG's dev team has turned to machine learning to fight off cheaters

Social/Online Games - Gamasutra - 27 February 2019 - 10:25am

PUBG's anti-cheat team dives into its cheat-fighting measures, offering fellow game devs a look at how the folks behind the landmark battle royale deal with nefarious players. ...

Categories: Game Theory & Design

Designing a planet-scale real-world AR platform - by Edward Wu Blogs - 27 February 2019 - 6:58am
At Niantic, we’re in the process of developing an incredible planet-scale Augmented Reality (AR) platform. In this post, we explore where we believe AR experiences are heading and the tech stack we’ve built in anticipation of that trajectory.
Categories: Game Theory & Design

The Airy Peaks – The Town of Foot (04)

Gnome Stew - 27 February 2019 - 6:00am

As you emerge from the Pineward Forest you see the mountains known as the Airy Peaks. They loom in the north, grey, black, and unnaturally bare of snow. The Red Runner River guides your approach to the mountains and the town known as Foot. The river narrows as you come up to a stone bridge arching over it. On the other side you see the farmlands being worked by people, you notice all of them are human. Beyond them, in the shadow of the mountains, rests the town of Foot. It sits right in a crook of the mountains and the Red Lake, called such because the water is red. Some believe the water is colored with the blood of all who’ve died within the Peaks.

A waterfall feeds the lake, pouring out of the mountain but you don’t really hear it as you reach the edge of the town which has been built up around a strange building. It rests in what looks like the indentation of a huge dragons footprint. The sign hanging by the door shows a set of scales with red dragon scales on them.

Surrounding the odd shaped building are several storefront establishments making up the center of town. Near the back of the town is a one story building with several towels drying in the windows. A sign of a bathtub stands near the pathway leading to the front of the building and steam can be seen escaping from a chimney in the roof.

You can’t help but notice the local constables station and jail. The tall stone tower with bars on the windows and the man wearing a star on his green jacket sitting out front in a rocking chair are a dead giveaway.

A short road heads to the Red Lake on the east side of town. It ends at a dock and a red and white river boat, or a lake boat in this case. The water wheels on the ship are a multicolor affair but the colors are all stained red from the water of the lake. A few people move about the deck attending to tasks.

In the back of the center of town a metallic ringing of hammer on metal can be heard. It’s a blacksmith’s forges where several dwarves and humans work weapons, farm implements, armor, and other various pieces. Attached to the forge building and area is the storefront.

Just to the left of the Blacksmith is a two story building with no first floor windows. When you walk near the door a variety of smells and scents assault your nose. The sign hanging by the door has two flasks painted on it, one filled with a red liquid and the other a bubbling green.

To the west of that building is a road leading right to an opening in the mountain with a large painted sign pointing down it. It reads:

The Airy Peaks & the Goblin’s Wares.

Adventure & Fortune Await You.

There are several other buildings in the town. One is a general store with several wheelbarrows outside the stone building. A shop that has several displays of clothing in the window and a sign with a spool of thread and a needle. Then there are a bunch of houses, some near the mountain, which very suddenly rises up out of the ground, and others trailing off towards the farms. To the west you see the multicolor beauty of a flower field filled with all the colors of the rainbow right next to an old stone tower. In the middle of the field is a stone block. Surrounding the flower field is a forest.

Welcome to the town of Foot. May your stay be filled with adventure and fortune.


The town of Foot is the home base of any Airy Peaks campaign. It’s a place for adventurers to rest between delves into the Peaks, pick up rumors, spend their coin, make alliances and enemies with other adventurer’s, find hirelings, and get caught up in an intrigue or two, especially since it’s the home of the Cult of the White Fangs, the Church of Purity, and a nest of vampires. The characters might even meet a young lady who is really a golem.

In my next few Airy Peaks articles I’ll be talking more about the town of Foot and when the series about Foot is done you’ll have a home base town you can use for your games.

Map by Drew Smith

Categories: Game Theory & Design

Make the most of your crowdfunding success!

Social/Online Games - Gamasutra - 27 February 2019 - 5:02am

How do you seamlessly transition from your successful crowdfunding campaign to your own platform? Xsolla Store is the solution. ...

Categories: Game Theory & Design

Don't Miss: Most players won't finish your game - and that's not a bad thing!

Social/Online Games - Gamasutra - 26 February 2019 - 12:18pm

Most players won't play to the end of your game. That's not a tragedy -- that's a feature of video games' design landscape. ...

Categories: Game Theory & Design

The duo behind the Running Man challenge are suing Epic over a Fortnite dance

Social/Online Games - Gamasutra - 26 February 2019 - 11:44am

Epic Games has another lawsuit on its hands over a dance emote featured in Fortnite, this time over The Running Man. ...

Categories: Game Theory & Design

Flufftopia. One year later. Numbers and thoughts about a (probably) dead project - by Daniel da Silva Blogs - 26 February 2019 - 5:16am
A postmortem for the game Flufftopia. Focus on numbers!
Categories: Game Theory & Design

Remembering Advance Wars - by Josh Bycer Blogs - 26 February 2019 - 5:15am
2018 would have marked the 30th anniversary of the Advance Wars franchise, and the recent success of Wargroove made me nostalgic to talk about a great strategy series that you may have missed.
Categories: Game Theory & Design

Development of Difficulty in Games - by Kaleb Eberhart Blogs - 26 February 2019 - 5:14am
This post dives into the general development of game difficulty starting from the first display of a difficulty curve designed on accident to dynamic difficulty adjustment, mainly focusing on Japanese game design.
Categories: Game Theory & Design

Capers Review

Gnome Stew - 26 February 2019 - 4:30am

If you are like me, you have probably shot straight up in the middle of the night, sweating, thinking, “what if Johnny Dangerously or Crimewave happened in the same universe as the X-Men? What if anyone other than me had actually seen Crimewave?”

If you aren’t like me, this has never happened to you, so please disregard. However, since I am me, I actually received a response to my fever dream in the form of Capers — a 1920s based roleplaying game about the clash between law enforcement and organized crime, with superpowers thrown in for good measure.

What Kind of Glad Rags Are These?

 This review is based on the PDF of the product. The game comes in at 165 pages, including a one-page rules summary, an 8-page appendix, and two pages of Kickstarter backers at the beginning.

The book is full color, with various headers and sidebars to call out new sections and to highlight optional rules and intent. The chapter heading and sidebars use lettering and flourishes that are reminiscent of the time period, and do a good job of setting the mood for the material in the book. There is also a four-page inset between the Player and GM sections, with a full-color comic depicting a typical sequence of events in the setting, which is a nice nod both to the time period and the comic book inspirations of the game.

 A Word About Setting

 Capers is set in a world where many NPCs are a different gender or ethnicity than the historical figure that inspired that character. Given the world of 1920s organized crime and law enforcement, you aren’t going to see much in the way of diversity without taking a step like this. Despite these changes, the only real historical divergence is the emergence of super-powered individuals after World War I, and many references are made to the existing tensions of the time regarding race, ethnicity, and religious intolerance.

As a cis white male that cares about diversity, I like this on the surface, but I also worry that just because it makes me “comfortable” with the era as a setting, that may be allowing me to live in a comfort zone that I should instead be examining. I’m not saying this is a good or a bad thing, just that it’s a complicated issue that I don’t have an answer for, and I’m not factoring in this choice as a good or a bad thing overall. It is something I want to spend more time exploring and discussing in the future.

Player Section

 The Player Section is broken up into smaller chapters that cover The Game, Character Creation, Rules System, Perks, Powers, Goods and Services, and Trembium.

The Game

The Game is really a section on what the game is about. What is the setting, and what are characters expected to do? In this case, the focus of the game is on the Prohibition Era, and playing either law enforcement officials or criminals in this time period. There is a nice bullet-pointed list spelling out the kinds of actions that PCs may take, as well as how the core mechanic, which is resolved with cards instead of dice, plays into the feel of the game.

I really like that the game is deliberate about its scope, explaining that it’s very focused on 1920s “Cops and Crooks” gameplay. I also really appreciate that this section introduces a sidebar on safety very early on. It’s easy to fall into the over the top action of the setting and then trip over concepts like gang violence, racial tensions, and addiction. The sidebar doesn’t dive deeply into any one of these topics, but does make it clear that difficult topics should not be introduced if those topics push anyone’s boundaries at the table, and it mentions the importance of having discussions and safety tools available.

Character Creation

Character creation is the next chapter, and the process is one that should feel familiar if you have played any traditional roleplaying games. Characters are either Regulars, Exceptionals, or Capers, although PCs are most likely Exceptionals or Capers. Exceptionals can pick up perks that aren’t available to Capers, but they fall short of being superhuman abilities. Capers don’t get access to perks, but they get to choose powers.

Characters pick three anchors — an identity, a virtue, and a vice. These all have triggers written into their descriptions for gaining moxie, a currency in the game that has multiple effects. If you don’t have anything in mind, there are card values assigned to these anchors to allow for random draws. Characters then pick traits and skills, which are added together to determine the number of cards a character can draw when they attempt an action. The next step is picking perks and powers (and with the GM’s permission, access to special gear that simulates powers).

Characters are assigned a level, but the main function of level is to summarize how many advancement points the character has. After spending initial advancement points, each time a character levels up, they gain two more advancement points.

The Rules System

The Rules System chapter delves into how to make those things you picked in the last chapter work during the game. Character creation feels a lot like what you might do in a dice pool style game, adding skills to traits to determine how many randomizers are used in a pool for that action. The difference is, instead of using all of your randomizers, you choose how many of your card draws to use, one at a time. The value of the card will determine the success or failure, but the suit of the card will determine if there is an ancillary good or bad side effect to that success or failure. You might draw a high-value card that is likely to give you a success, but you may still be tempted to draw another card to attempt a success without a complication.

Some powers are passive effects that modify other aspects of the character (like having superhuman strength, bypassing the normal limit on the trait), while others have their own power level that determines the number of cards a player can draw when attempting to activate or use the power.

Moxie can be spent to increase card counts, reduce damage taken, use a previously drawn card, add an element to the narrative, reshuffle the deck (normally done at the end of a scene), or to take damage for another character.

Initiative is a fairly standard skill test, with ranked results determining order, and held actions triggering a change in the order. There is also a special section on how to resolve a standoff, that uses a three-round game of “keep or draw” with the cards to simulate a tense situation before the action breaks out.

Perks and Powers

The next two chapters are on Perks and Powers, but the Perks chapter is only a single page. Perks are simple mechanics that let a non-powered character be a little tougher, more skillful, or resistant to superpowers, without being super-powered themselves.

If you have seen a wide variety of games with superpowers, you may have seen that some games favor discreet rules packets similar to spells in a game like D&D to describe powers in the game, while others, like Champions or Mutants and Masterminds, include game effects that can be slotted together to assemble a recognizable superpower. Capers leans towards the former, with subsections explaining powers like “Cold Beam” having its own set of rules, as well as some upgrades that can be purchased later. Some have persistent maintainable effects that cause a character to reduce their card count while the effect is active.

The powers touch on a lot of comic book staples, but definitely stay grounded in what sometimes gets categorized as “street level” powers. Picking up a car is impressive for super strength, and mental powers lean more towards “super short term hypnotism” rather than a deep exploration of telepathic abilities.

Goods and Services

Goods and Services is another short chapter, coming in at two pages. It gives the most common prices for 1920s goods that would matter to a game centered around law enforcement and organized crime, and gives stats for items like explosives or weapons. It also covers the price of real estate, for when you need options for a new safehouse or expanding your business holdings.


Trembium is the final chapter in this section, and it’s about three pages long. Trembium is the element that has caused the upswing in superpowers. It can be used to create gear that mimics superpowers, and can be used in experiments to make super soldiers. While it is the default origin of superpowers in the setting, the rules surrounding it are optional, so it feels a little odd to have it in the Player’s Section. It’s an understandable compromise, however, since if it is allowed in the game, a lot of player options need to reference the rules.

In particular, the idea of nullifying or granting powers via direct injection of Trembium got a lot of creative juices flowing in my mind, and Trembium in general has a lot of potential if the Capers world opens up to other historical periods.

 GM Section

 The GM Section contains chapters on GM Guidelines, Backdrops, Law Enforcement, Friends and Enemies, and a GM Toolbox.

GM Guidelines

The GM Guidelines section has advice on how to structure adventures and encounters, player agency, and examples of encounter difficulty. There are also rules for advancing NPCs, statting out animals, designing your own powers, and a whole host of other eclectic, GM specific items that might come up in a campaign.

What I like best about this section is that encounter and adventure building is very much focused on having an idea of why you want to include something, and the structure for how to move from point A to point B. It’s not deeply philosophical, as games go, but it is very functional, and a clear indication of how the game is expected to run.


The Backdrops section is one of my favorites in the book, because it does what I wish a lot more books that include a setting would do. It gives you the basics of what makes an area unique, summarizes the important people and things, and then gives you sample adventure starters and rumors that are in line with the setting that has just been presented. It is very focused on how to use the information at the table.

Atlantic City, Chicago, and New York get the deepest treatment, with several pages of setting information and adventure ideas, city maps, and a few pages for stats of unique NPCs. Atlanta, Boston, Cincinnati, Detroit, Kansas City, Louisville, Miami, Milwaukee, New Orleans, and Philadelphia all get single page treatments, which save space by cutting out maps and suggesting “generic” NPC stat blocks for notable NPCs that are mentioned.

I like the degree to which all of the backdrops are “table ready,” and I enjoy seeing the subtle differences in the interplay between law enforcement and criminal elements in all of these mini-settings. Knowing how it works in one place helps to reinforce an intentional tone for other settings. If anything, it feels like more of the larger setting NPCs could have been summarized in a similar manner to the smaller setting characters, but that’s a minor quibble.

Law Enforcement

The Law Enforcement chapter goes into about two pages of details about how federal and local law enforcement is organized in the 1920s, then presents some NPC Feds for use in the game. Friends and Enemies follows, and presents a stat block and a descriptive paragraph for various NPCs that the PCs may encounter in the game. For the most part, there are about four stat blocks to a page, starting with unique NPCs that can be inserted anywhere, then moving to more general stat blocks like “Cop” or “Gambler.”

GM Toolbox

The GM Toolbox has a lot of wide-ranging material that might be of use to a GM that is looking to throw another curve into the standard campaign expectations. There are guidelines for alternate Earths, super-powered animals, and “events” where the number of people with superpowers around the world spikes, shifting the assumptions of the setting for a period of time.

I’m a comic book geek, and I love alternate reality tropes, so that’s my favorite section in this chapter. There are outlines for a world where robots are commonplace, a “mirror universe” style Earth, and one where Earth has suffered from an alien invasion, with stat blocks of example NPCs, and even some guidelines on playing characters native to those worlds.

 Reference Section

 The Reference Section includes appendices that cover a wide range of materials. This includes 1920s slang, a power index, common names in the 1920s, an NPC index, a list of inspirational material, a full index, and a one-page rules summary as well as a character sheet.

Like much of the rest of the book, this material is very functional. Having slang and names handy for improvisation is great, and I really like the one-page rules summary, as it manages to hit on some of the biggest items that would normally tempt players and GMs to halt the game and look up how a given rule works.

 It takes a fairly standard structure for how to resolve actions, and swaps in the card-based resolution that shifts expectations of how and when you should keep pushing your luck. Share1Tweet1+11Reddit1Email Successful Delivery

 The card-based mechanics add an element of gambling to a character’s actions that trigger a different risk versus reward evaluation than simple numbers can evoke. Using the suit to add dimensionality to success or failure is a great use of cards as a randomizer. The various settings for the game are summarized in a manner that makes them very useable at the table, and manages to bring out some of the differences between these regions as settings for different ongoing games.

 It’s a Raid!

 In a game where the actions flow freely without a lot of granular tactical movement or tracking, listing movement rates and ranges of powers in absolute feet feels strange to me. Initiative order and how readied actions work also feel like holdovers from older game design that doesn’t highlight the best aspects of the system. I like the anchors, but some of the items that trigger gaining moxie feel a little soft — I personally like more pointed, yes or no questions when it comes to awards based on character traits.

Recommended — If the product fits in your broad area of gaming interests, you are likely to be happy with this purchase.

The strength of Capers is that it pushes just enough to make something familiar into something fun and new. It takes a known time period and genre, Prohibition-era cops and crooks, and adds in superpowers. It takes a fairly standard structure for how to resolve actions, and swaps in the card-based resolution that shifts expectations of how and when you should keep pushing your luck.

In a few places, I feel like it played the traditional structure a little too safe, but overall, it has a great dynamic energy that is engaging. Not only am I interested in this particular implementation, I want to see how this world develops, and how these rules can be used to express other genres in other points in history.

Have you been a fan of Prohibition-era gaming in the past? Are you a fan of adding superpowers to different time periods? What are your favorite games that have done this? We would love to hear from you, so please leave a comment below. Thanks!

Categories: Game Theory & Design

Game Developers Conference 2019 – new & fun content! - by Simon Carless Blogs - 26 February 2019 - 2:39am
So, with Game Developers Conference 2019 rapidly approaching (it’s March 18th to 22nd, date fans!), I thought it would be good to highlight some of the interesting new conference content we’ve rolled out this year.
Categories: Game Theory & Design

Words on a Screen: Between Session Zero and Session One

RPGNet - 26 February 2019 - 12:00am
Maintaining the momentum as you transition into play.
Categories: Game Theory & Design


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