Tabletop Gaming Feeds

 Interbellum is a tabletop roleplaying game published by The Red Room, heavily rooted in the OSR (Old School Renaissance) style of play. It was originally launched as Wretched Interbellum in late 2023 and later updated and re-released simply as Interbellum in June 2026.Here is a detailed breakdown of the game's setting, themes, and Needleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

I wasn't planning to write about Deathbringer. Then I started reading the reactions to it.

I honestly couldn't believe what I was reading.

Apparently fantasy has beautiful women now, and this requires a symposium.

Several months ago I wrote a post called Frazetta Armor. It had absolutely nothing to do with Deathbringer. Truth be told, I'd been making the same joke on social media for years. While working on my Hyborian themed Shadowdark campaign, I finally turned it into a blog post.

The joke was simple. The less armor the hero wore, the harder they were to kill.

Everybody got it.

Because that's been part of fantasy for as long as I can remember.

I grew up on painted paperback covers. Every bookstore had a fantasy shelf full of warriors with impossible muscles, forgotten temples, giant snakes, skulls, sorcerers, and yes, beautiful women. Nobody stood there wondering whether the armor met OSHA PPE regulations. You picked up the book because the cover promised adventure.

That's what fantasy looked like. That's still what fantasy looks like to me.

So when I see people calling Deathbringer embarrassing because it has attractive women wearing revealing clothing, I honestly wonder where they've been. This isn't some shocking new direction. This is one of the oldest visual traditions the genre has.

I've seen people say the women are too attractive.

Too attractive? I didn't realize fantasy was supposed to stop celebrating beauty.

Then there's the clothing. Really?

We're talking about a genre where Conan wandered around in a hardly there loincloth, where Red Sonja became one of fantasy's most recognizable characters, where every other wizard somehow owns a robe with sleeves long enough to trip over. Fantasy has never dressed its characters for practicality. It dresses them to create an image you'll remember.

That's the whole point.

The criticism that really puzzles me is the claim that this somehow makes Deathbringer shallow.

Why? Because it has beautiful women?

Fantasy has always dealt in ideals. Bigger monsters. Greater heroes. Darker villains. The artwork isn't trying to convince you this is real life. It's trying to convince you this world is worth visiting.

There's a difference.

Look, you don't have to like the art. Maybe it isn't your thing. Maybe you think you've seen it all before. Fair enough.

What I don't understand is acting like this aesthetic is somehow foreign to fantasy.

It isn't.

It's one of the reasons a lot of us fell in love with fantasy in the first place.

When I look at Deathbringer, I see a game that's perfectly happy to admit where it came from.

Apparently a lot of other people were looking for exactly that.

Judging by the BackerKit numbers, I'd say they found it.

 

Zagartha is a floating island wandering some 1000 feet above Berlaith. Like the other floating rocks of Parsulan, it contains large amounts of thaumatite. It was ejected from the surface during the early years of the Demon War owing to the magical surge from the weakening of the Great Barrier.

Zagartha, when it was an earthbound mountain, contained a large temple complex and was the site of a famous oracle, but it was abandoned after it was desecrated by demonic forces. At least two conflicting stories are told regarding its reinhabitation. The first holds that the Seven Great Sages, disputing some obscure points of the oracles last series of pronouncements, journeyed there with their followers and were holding a symposium there when Zagartha rose into the sky, stranding them. The second holds the Sages led a group to a place of (relative) safety from the Fomori on the already skybound island with a magical conveyance that was wrecked upon landing. Even among Zagartha's inhabitants, both stories have their adherents. 

The original sages passed long ago, and the number of students their successors enjoy have dwindled over time as they tend to be drawn from outsiders, not from the ranks of locals who feel a sense of duty to the sages and support them materially but have little time for their ascetic lifestyles and philosophical arguments. Both groups dwell in and among the ruins of the previous temple complex. Either the buildings have been repurposed or their materials used to build new structures. The locals are mostly craftsmen, farmers, and merchants. They maintain the all-critical cisterns, tend the small fields, and conduct trade with the "ground-folk." 

One important aspect of their lives is the capture over other floating rocks. Some of these are added to Zagartha to expand it. Others are mined for materials. In both cases the rocks are reached through the use of the skywires and skywire harnesses that use small thaumatite to shoot lines at force. The skill necessary to employ them effectively takes years to master but makes many Zagarthans skilled aerialists.

 Here is a complete, ready-to-use stat block and profile for Evil Ash from Army of Darkness, built specifically for the Sword of Cepheus (2nd Edition) ruleset. This blog post picks right up from 'I'll Swallow Your Soul '- The Necronomicon Ex-Mortis (also referred to as "Naturom Demonto" and "Book of The Dead") for Sword of Cepheus 2nd edition & Adventure EncounterIn Sword of CepheusNeedleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

Last post was about Cunning and Prowess, which are the stats PCs roll against to accomplish almost everything. But that's not the first part of character creation.

First, you come up with two Marks, or "specials". There's a list of 20 fleshed-out examples to build from. Here are a few to give you an idea what I'm talking about.

"2. You have a silver flute that was given to you “for luck” by an old woman on her deathbed. Playing it clears your mind and lets you focus. Sometimes playing the flute allows you to see solutions to problems or divine facts you could not otherwise have known."

"17. A vicious vulture plucked out one of your eyes. You know its name and nature. A desert devil, it is. A supernatural monster with part of your soul inside it. When you close your good eye and concentrate, you can see through the evil old vulture’s eyes. You can often make it fly where you like so you can see distant places. One day it may find you and try to finish the job."

Marks don't include game mechanics. The way they work is to be sorted out between player and Judge, but usually comes down a modifier to an Action Roll (Prowess or Cunning) or an Oracle (1d6)... the two mechanics used in the game.

I'm trying to keep this focused on the setting's theme, on characters, and the stuff that develops naturally through play. The mechanics underpin it, but I wouldn't call this a crunchy or fiddly system at all. 

 The Archeon Market is a massive, multi-tiered commercial meat-grinder hidden deep within a jagged obsidian chasm on the dying planet. Heavily inspired by the cosmic horrors of Rifts Atlantis, this market is not run by mere desert outlaws; it is a trans-dimensional and hyper-technological bazaar controlled by an ancient, multi-eyed alien cabal known as the Grand Taskmasters. This picks rightNeedleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

Dead Wizards is a sword and sorcery RPG set in a sandy land. A bit of sand and sorcery, if you will.

The idea came up about ten years ago as an OD&D hack inspired by Corben, Howard, and Tanith Lee. Revamped it later and it changed into something completely different, becoming GOZR.

But now I'm back to the original concept. I started with GOZR mechanics as a base and I've been working from there. I stripped a few things away, added other things.

I'll try to do this as a series of posts over time, just talking about one aspect of the game or another. If you read this, feedback is greatly appreciated.

First up, the core character "stats": Prowess and Cunning. Prowess for all things physical and Cunning for everything else. Why just these two? Because in all the sword and sorcery tales I enjoy, characters deal with their world through only these two modes. I don't think any more are needed.

You roll for your stats. But like GOZR, lower is better because the stat is the target number to meet or beat on a 1d20 roll.

The roll to set the stat is 1d4+2 for each, so you can only get 3-6. A very narrow range, which is extremely on purpose and I spent a lot of time thinking about it, running simulations, and all that. It means the guy who gets a 3 and the guy who gets a 6 are still fully compatible in terms of skill.

The rolled target number is for a Basic level of difficulty. Then each level higher adds 3 to that target number. The difficulties are Basic, Arduous, Grueling, and Epic.

So if your Basic Prowess is 5, then you'd have a spread like this:

Basic 5
Arduous 8
Grueling 11
Epic 14

As with GOZR, this simply means you look at your sheet to see what your target number is. Quick and dirty. But here the Judge has options for increasing difficulty. The Judge can decide case-by-case how difficult a task is.

Bonuses to rolls are low. In most cases, you're not getting one. But you can get a +1 for some things and maybe even +2. That makes those target numbers more challenging, but not daunting. You are playing heroic, capable sword and sorcery characters... not farmers and zeroes.

Once your target numbers are set, they do not easily change. There's a way you can swap points between adventures, making Prowess 1 better and Cunning 1 worse, for example. But 3 is the hard limit. Nobody has a stat target lower than 3.

Characters are more differentiated by their histories and their special traits. More on that later. 

 Here is a 2d6-based random encounter table for a Kull-era Atlantean campaign utilizing the mechanics of The Sword of Cepheus 2nd Edition. This blog post picks right up from D100 Kull Era Atlantean Relics and Monster Encounter Tables For A Sword & Sorcery Sword of Cepheus 2nd edition Part IIIn the Thurian Age, Atlantis is not yet a sunken realm; it is a harsh, mountain-ringed Needleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

 In ACKS II, managing an estate and a private army is a core part of the game. For a planetary romance or space opera setting, the standard medieval ruler translates into a Space Noble. Instead of managing medieval peasants and wooden castles, a Space Noble commands high-tech orbital fiefs, handles interplanetary trade logistics, and maintains a private standing army of high-tech infantry orNeedleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

A common criticism of later editions of D&D from fans of older editions is that they produce "fantasy superheroes." I don't agree with that characterization. In fact, I wonder why we don't see many rpg examples of fantasy superheroes because, like Stargazer here, I think it could be an interesting idea.

For clarity, I don't mean characters in a fantasy world that have secret IDs and codenames and fight crime wearing costumes--though I think a Zorro or Iron Monkey sort of frame of masked fighters for justice could easily fit what I am thinking of. Mostly, though, I'm just thinking of comic books like Battle Chasers or Dreadstar (the latter is really space fantasy, but its basic setup is a useful example) and animated series like He-Man and the Masters of the Universe (2002, particularly). Epic fantasy stories featuring super-powered characters. 

So what makes those examples "superheroic" in a way a 4e campaign isn't necessarily? In Superhero: The Secret Origin of A Genre, Coogan lays out his "MPI" definition of a superhero. That is, a superhero is a person with Mission, Powers, and Identity. He also has the fallback of "generic distinction" to catch characters (like the Hulk) that might fail by the initial test and to exclude characters that might seem at first blush to fit but are better accounted for in another genre.

Regardless of whether the fantasy heroes I'm thinking of would be superheroes in Coogan's estimation, I'm think about characters that:

• Have a mission, which might be something like "defeat Sauron," but could be something more like "overthrow the God-King who betrayed us." This wouldn't be the place for picaresque wanderings or "get rich or die trying."
• Have powers that are beyond reach of regular folks to a notable extent. Those powers would tend to require explanation and come with an origin of sorts. That could be as simple as "born an air bender," but whatever it is, it would set a character apart from most people. While this pillar is where there is the most overlap with modern D&D, I think D&D's approach to powers that largely makes then originless (other than being a particular class) and outside of spells, more an artifact of game rules than a setting element, fails to place it within the proposed genre.
• Have an identity, in the sense of being distinct, likely from other heroes in the party, but certainly from broader humanity. The difference between characters a normal D&D party is something like the difference between the members of the Fellowship of the Ring, but here the difference would be more like the differences between the members of the X-Men or Legion of Super-Heroes. I feel like a lot of identity is in a distinctive visual, but that probably comes from this subgenre being mostly a thing of visual media. Still, I feel like it would be something to think about in an rpg.

 Here is a d100 Atlantean Artifacts table tailored for a Castles & Crusades campaign set in Robert E. Howard’s pre-cataclysmic Thurian Age (the era of Kull of Atlantis). This blog post picks right up D100 Kull Era Atlantean Relics and Monster Encounter Tables For A Sword & Sorcery Sword of Cepheus 2nd edition Part IIIn thisNeedleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

 The Necronomicon Ex-Mortis (loosely translated as "Book of the Dead"), also known as the Naturom Demonto, is an ancient, sentient tome of ultimate black sorcery. Bound in human flesh and inked in human blood, it acts as a gateway to the dark, chaotic dimension of the Kandarian Demons (or "Deadites"). This blog post picks right up 'Hail To The King Baby!' Ashley 'Ash' Williams From The Needleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

 Here is a d100 table designed for Old School Renaissance (OSR) campaigns. It blends classic science-fantasy, cosmic horror, and ancient, decaying civilizations—perfect for dropping straight into your wilderness hexes, deep under-empires, or forgotten jungle ruins.The encounters are divided into active Encounters (01–50) and strange Ruins & Relics (51–00).d100 Serpent Men Encounters &ampNeedleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

 To run a caravan in an Arduin campaign using ACKS II, you must merge David A. Hargrave's gonzo, trans-dimensional trade items with Alexander Macris's strict logistical and economic simulation. This blog post picks right up from Integrating Adventurer Conqueror King System II (ACKS II) with the legendary, chaotic, and maximum-gonzo DNA of Dave Hargrave's Arduin Grimoires - ACKS II Needleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

 Here is a 2nd Edition Sword of Cepheus write-up for Ashley "Ash" Williams, custom-built to reflect his descent into a sword-and-sorcery, "weird science" planetary-romance, or dark fantasy campaign.In Sword of Cepheus 2e, characters utilize a streamlined 2d6 task resolution, slot-based inventory (you can carry items equal to your Strength), and standard characteristics. Below is Ash'sNeedleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

I'm reading DC Comics' output from January 1980 (cover date) to the end of Crisis! This week, I read the comics on sale on July 18, 1985.

Talent Showcase #19: We arrive at the last issue of this title, and it doesn't really go out with a bang, but just with a kind of sense of obligation. There are more 1 page humor pieces than usual. There's a Western written by Rowlands about a writer who becomes his character, only to have the role taken up by a fan when he grows weary of it. That Darwyn Cooke is back with a story called "Private Eye" that already stands out visually, showing promise if not being terribly interesting otherwise. Dennis Yee is back with another installment of his Texan superhero team, the Desperados.

DC Comics Presents Annual #4: Maggin and Baretto/Ordway bring back Maggin's creation, Superwoman. Historian Kristen Wells, still eager to learn more about the mysterious Superwoman's career (particularly since she now knows she is Superwoman!), travels back to 1985. Baretto/Ordway show us that women history professors in the 29th Century dress like the movie version of an 80s pop star with a Mad Max theme. In fact, she and Stiletta in Hex may shop the same boutiques. Anyway, time travel being inherently risky, she loses her memory. As she struggles to regain it having various minor misadventures, Superman faces certain doom by Green Kryptonite at "Luthorcon III", in a deadly game of "monkey-in-the-middle" (like "keep away," I guess) between Luthor cosplayers who don't know that he's the real Superman or that the fake Kryptonite they had was secretly replaced by the real thing by the real Luthor. It's silly, but in a fun way, the issue's only flaw perhaps being it didn't need the pages allotted to it by annual length.
In the epilogue, we see Wells' colleague in the future (some point more in the future than when we last saw him) staring at a statue of Superwoman and wondering what was his friend's ultimate fate in the past. He's surprised by the appearance of Wells who has just returned from the 20th Century prepared to relate her adventures as a superheroine in the past. Maggin clearly hoped comics would chronicle those adventures, but that was not to be, certainly not with the dawning of the post-Crisis universe. Outside of one more tale--an obscure "imaginary story" by Moore in 1986 you probably haven't heard of--Wells hasn't really appeared again. 

Batman and the Outsiders #26: Kobra sends his agents to ambush the Outsiders as they go about their lives, and the goons all fail utterly. Batman even stops one agent from suicide using his cyanide filled tooth to interrogate him with "truth serum." Apparently Kobra's thought of that and given the goon a drug that kills him when a truth serum is introduced to his system. Either that or Batman misjudged the dose and killed him and is just covering up. Luckily with some forensic detective work and a knowledge of pine straw, they trace Kobra to the commune, realizing that Halo must be in his hands. They've barely started exploring the hidden (and now deserted) base when Kobra appears on a screen, boasting that he has taken control of the satellite missile defense program (thanks to the general he mind-controlled last issue) and is threatening to give it to the Soviets if the U.S. doesn't surrender Fort Knox to him.

Blue Devil #16: Mishkin/Cohn and Kupperberg/Farmer give us essentially the Blue Devil Swimsuit Issue as the whole cast goes to the beach. The fun doesn't last though as the Fisherman (in his first appearance since 1977, and his last pre-Crisis, outside of the Who's Who--see below.) shows up to rob the partygoers. Blue Devil manages to capture him while battling a horde of mini-monsters that rain down as a side-effect of cloudseeding. There might also be some effect of the weird, red skies (allow this to be an official Crisis tie-in) which the people of L.A. take in stride without all the doom and gloom hitting Gotham and Metropolis. Anyway, no sooner has Cassidy defeated the villain than he is recruited by Green Lantern to the go to the Justice League satellite.

Green Lantern #193: Engelhart and Staton/Patterson pick up where last issue left off. The 3 Lanterns on Zamoran have to leave because Star Sapphire hasn't really committed any crimes yet. On the way back to Earth, Stewart and Katma encounter a creature that looks sort of like a winged gargoyle composite being like the Super-Adaptoid or Composite Superman. He's Replikon, a guy who fought Hal Jordan before, as he wants to make the Earth into a replica of his destroyed home world so his species eggs can be incubated there. The fact that that would kill life on Earth is of no consequence. Stewart defeats him but then gets the Guardians' permission to make a planet suitable to the creature's needs. In doing so, he passes another test in his training. Katma Tui also tells him her backstory, and the two express their love for one another. They also get word the Guardians are becoming involved with this whole Crisis thing, with the issue telling us this is effectively the point where Crisis #1 comes in.
Meanwhile, Hal Jordan is sitting on Earth alone, regretting his life choices.

Infinity, Inc. #19: As the cover tells us, this is part of the last "Justice Society-Justice League Team-Up" in this continuity. It's also a Crisis tie-in and catches the title up to those events. Commander Steel and Mekanique show up from Earth-One and convinces the Infinitors (except Obsidian who has disappeared for Crisis) to help him take out the "criminals" who have usurped the name of the JLA. I have to say, repeated storylines regarding them getting duped into helping a badguy do not make the team look very smart. Once they have mostly helped him defeat the Detroit League, his behavior and the little details don't quite add up, so they realize they have made a mistake. Commander Steel orders Mekanique to attack them too. 
This issue also introduces Beth Chapel, the physician treating Jade's poisoning and former student of Charles "Dr. Midnite" McNider.

New Teen Titans #13: This is another of this month's Crisis tie-ins and the most continuity conscious. Wolfman starts where last issue left off and works his way up to the "present" (in terms of this month's issue of Crisis) telling us what the Titans did along the way. First, we see the Tamaranians coming for Kory slowed down by the anti-matter wave. After Cyborg finally has his talk with Sarah, he is whisked away by Harbinger and is missing for much of the story. The Titans deal with the time disruption, and we see their brief team-up with the Outsiders depicted in COIE #3 rescuing people from the anti-matter wave.
About a month after the issue's beginning, Cyborg is reunited with his teammates, and the heroes get a bit of respite from fighting the disaster in the nearly rebuilt Titans Tower. Suddenly, Captain Karras and his crew arrive, announcing that Koriand'r must return with them to Tamaran at once.


Sgt. Rock #405: This storyline was heavily advertised in comics leading up to its publication, but I've never read it before. "Angels with Black Wings" may well be the last in a long line of anti-racism stories Kanigher did in his career, many of which, unfortunately, haven't aged well. We'll see how this one goes. We start off with a double frame of sorts. The story opens in a postwar civil rights march where a black former soldier recognizes one of the police barring the marchers' way from the war. We then flashback to Rock and his Lieutenant meeting Captain George Dennis, one of the Tuskegee Airmen as Easy is camping near their airbase. The lieutenant means to keep his distance, but Rock is interested in how the airman got here. He also offers the first explanation I've seen of how he has a black man in his unit: paperwork mishap. Anyway, most of the issue is Dennis telling his story and the story of the Tuskegee Airmen to Rock. It's more didactic than the typical Sgt. Rock story, but we'll see how it develops in the next installment.

Saga of Swamp Thing #41: Moore and Bissette/Alcala bring Swamp Thing back to Louisiana, where a night-time soap about the antebellum South is in production at a plantation nearby. Abby gets a job there and is a witness to the growing darkness as the past refuses to stay the past, and ghosts begin to influence the behavior of the actors playing their parts. She asks Swamp Thing to look into it, and they arrive as the extras are conducting a voodoo ritual in the fields, and the stars seem prepared to re-enact a gruesome murder inside the old house.

Warlord #97: I reviewed this issue here.

Who's Who #7: It's fitting that Flash (drawn by Infantino) appears in Who's Who the same month his series ends. The Fisherman also happens to appear here, looking much more menacing under Luke McDonnell's pencils than he does in the pages of this month's Blue Devil. Beyond that we've got Felicity from Omega Men and the Floronic Man from Swamp Thing. The Forgotten Heroes and Forgotten Villains aren't yet forgotten as they get a page each. Both Firebrands from the pages of All-Star Squadron are here as well. Fire Jade (recently deceased) from Amethyst shows up drawn by Dan Jurgens. The entry on Firehawk doesn't really make a big deal of her romantic relationship with Firestorm, following the comic's lead in just kind of dropping the previous love triangle (or quadrangle, if we consider Firestorm is a composite of two people). She's drawn by Rafael Kayanan.

 For a Victorious role-playing game campaign (a system of Victorian-era superheroes and steampunk powered by the SIEGE Engine), setting a cosmic horror/sci-fi threat in the Bermuda Triangle fits perfectly into the "Gilded" or "Grim" settings.Historically, the late 19th century saw the birth of modern ocean liner routes crossing the Needleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

 To bring the classic cosmic menace of a Kree Sentry (like Sentry 459) into your Cepheus Engine space campaign, we have to scale it as a highly durable, high-Tech Level (TL 15+) heavy security unit.A Kree Sentry on Guard. Source: Avengers Alliance 2 Wikia - FandomIn Cepheus Engine terms, this is a giant, heavily armored humanoid combat Needleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0

So for a couple of years, I've been slowly putting together an explanation of how I run tabletop roleplaying campaigns, and I finally got a good intro and summary that tie everything together and give me a foundation for organizing the details of what I do.

The Living World SandboxA Sandbox Campaign is a way to run a tabletop roleplaying campaign in which the players, rather than the referee, determine the campaign's focus. The referee creates the world, its characters, locales, and geography. During play, the referee role-plays the creatures and non-player characters and adjudicates the players' attempts as their characters. The players are free to pursue whatever catches their interest or go wherever they believe will further their goals.
A Living World Sandbox extends the Sandbox Campaign by bringing the setting to life. The goal is to let the players feel as though they have stepped through a wardrobe into a living, breathing world while pursuing the adventures that interest them.
A Living World Sandbox is not a game system. It is a way to organize and run a campaign. The referee presents a setting whose inhabitants have their own motivations, resources, relationships, and plans. The players decide what their characters attempt, and the referee uses the rules and the setting's established circumstances to determine what happens next.
The referee does not prepare a predetermined story for the players to follow. Instead, the referee prepares the circumstances, places, and people that make up the setting. The campaign develops from the interaction between what the players attempt and how the setting's inhabitants respond.
Because of this, a Living World Sandbox can be run using many fantasy roleplaying systems, including the original 1974 rules, AD&D First Edition, GURPS, Fantasy Hero, Dungeons & Dragons Fifth Edition, or others.
Some systems are easier to use than others. Generally, the more a system focuses on describing what characters can do rather than defining a story path or narrative structure, the easier it is to use for a Living World Sandbox. In my experience, most traditional roleplaying games lend themselves readily to this style of campaign.
How the Campaign UnfoldsThe referee describes the characters' current circumstances. The players respond by describing or roleplaying what they attempt as their characters. The referee decides what happens, using the rules when the outcome is uncertain, and then describes how the setting's circumstances change or role-plays how its inhabitants react.
This process repeats throughout the session and throughout the campaign
After the session, the referee considers what the players changed, who knows about it, and what the affected characters (or creatures) will do next. Those consequences become part of the circumstances presented during the next session.
The result is a continuing cycle of choices, consequences, and new circumstances propelling the campaign forward.
Elements of the CampaignA Living World Sandbox has four important elements:

• Locales where events and adventures can occur.
• Characters with whom the players can interact.
• Plans made by characters and factions.
• Natural or supernatural events that occur independently of those plans.

These elements do not need to be detailed in advance of play. The referee only needs enough material to begin the campaign and respond to the players' initial choices.
These elements do not need to be detailed in advance of play. The referee only needs enough material to begin the campaign and respond to the players' initial choices.
LocalesThe iconic adventure locale is the dungeon, a maze of rooms that may be empty or contain monsters, deadly traps, strange features, or glittering treasure. Dungeon mazes can be stacked upon one another to form multiple levels, with the danger of the monsters and the value of the treasure increasing as the characters venture deeper.
In the world outside of the dungeon, locales are just as varied. There are natural locales like creature lairs and hazardous terrain (deserts, icefields, and jungles). Some locales are built, like villages and towns, camps and castles. Some locales are old and no longer used, creating ruins that may be inhabited by monsters and their treasure.
At the beginning of a campaign, create or detail about half a dozen locales. These may be original creations or places taken from an existing setting.
About half should be places where the characters can seek adventure, such as dungeons, monster-haunted forests, abandoned mines, or ruined monasteries. The remainder should be inhabited locales that the party can use as bases or visit for aid and information. Examples include a large village, a castle belonging to a local lord, a roadside inn, a market town, or a druid circle hidden deep within the forest.
These locales establish the immediate geography of the campaign. They give the players places to explore, people to meet, and resources to use.
CharactersThe characters encountered during the campaign are the key element that allows the players to make their mark upon the setting. Some may become allies. Others will remain neutral unless circumstances change. A few will oppose the player characters from the beginning.
Prepare about a dozen notable characters. As a starting point, three might be potential allies, six might be neutral, and three might be potential enemies. These are only the characters' initial attitudes. Do not be surprised when the players, through good or poor decisions and roleplaying, completely rearrange the list.
Examples include:

• A village reeve.
• A castle lord.
• A master druid.
• The chief of an Orc tribe.
• A merchant who controls the local smuggling ring.
• A priest of an evil god who commands a band of outlaws.
• A disgruntled old farmer who knows everybody within a day's travel.
• An ambitious yeoman seeking adventure.
• A retired Magic-User who sells potions from a cottage at the end of the lane.

Create a few relationships among these characters, but keep their number low at first. The old farmer and the castle lord may have been rivals for the love of the same woman when they were young and remained enemies ever since. The young yeoman may yearn for adventure so he can gain the fighting skill needed to avenge his family against the Orc chief.
Just as the passages and chambers of a dungeon provide natural avenues of exploration, the relationships among the characters provide social paths for the players to follow. At the end of these paths may be allies, enemies, information, resources, and complications that lead to further adventures.
PlansThe inhabitants of the setting have lives of their own. They possess hopes, fears, ambitions, and plans for the future.
The players decide the plans of their own characters. The referee decides the plans of the non-player characters and factions. Together, these plans become forces that shape the campaign.
Detailing the plans of three to five important characters or factions adds enough complexity to fuel numerous adventures.
For example, an evil priest has taken up residence in the forest. His god has commanded him to exact vengeance upon the region. Two generations ago, followers of the goddess of justice purged the dark god's worshippers and drove them from the area. The priest has now attracted a collection of outlaws and desperate peasants and organized them into a gang of bandits.
Most of the wealth and supplies stolen by the bandits are given to the priest. He uses these resources to search the forest for the lost axe of Chernak, a legendary Orc chief who led his tribe into the forest long ago. The priest hopes to use the axe to gain the allegiance of the present-day Orcs. Together, the priest, the axe, and the Orcs will become his god's instrument of vengeance against the followers of the goddess of justice.
Some plans are modest. A farmer may want to purchase another field. A merchant may want to eliminate a rival. A young knight may want to earn enough renown to receive a fief.
Other plans may threaten an entire region.
Regardless of their scope, these plans represent what could happen, not what will happen. They are not plots that must be completed. The actions of the players may advance a plan, delay it, change it, or make it impossible.
When that happens, the referee considers the character's motivations, knowledge, resources, and current circumstances and decides what they will attempt next.
EventsEvents are natural or supernatural occurrences that happen for reasons largely independent of the choices made by the setting's characters (PC or NPCs). Some events may be anticipated or prevented through timely action, but a character's plan does not normally cause them.
Natural events can include droughts, floods, fires, disease, severe storms, harsh winters, or earthquakes that devastate the countryside.
Supernatural events might include the opening of a passage into the realm of Faerie, a surge in the local flow of magic that makes spells dangerously effective, the awakening of a slumbering taigh, or a conjunction that allows the dead to walk abroad.
Events should occur because they follow from the setting's conditions, not simply because the referee wants to create excitement. Their number should be sufficient to make the campaign feel like a living world, but not so great that the players constantly feel beleaguered.
Too many natural disasters will cause the campaign to become focused on people struggling against nature. Too many supernatural disruptions will make extraordinary events feel ordinary.
Use events sparingly enough that they remain significant.
Running the Living World SandboxOnce the groundwork has been laid, it is time to begin the campaign.
Three primary techniques help create the feeling that the players have stepped into the setting as their characters:

• The Initial Context establishes where the characters are and what they know at the beginning of the campaign.
• World in Motion manages how the setting changes as the campaign progresses.
• The Bag of Stuff provides material when the players do something unexpected, and the referee has no time for detailed preparation.

The Initial ContextThe players' choices as their characters propel the Living World Sandbox forward. To make meaningful choices, however, the players must understand their circumstances and their characters' place within them. Otherwise, their choices are little better than random dice rolls.This is particularly important at the beginning of a campaign, when there are no previous sessions or events for the players to use as reference points.
The Initial Context establishes the characters' circumstances at the beginning of the campaign and provides players with enough information to make informed choices from the outset.
The Initial Context does not have to be elaborate. It only has to be sufficient.
What is sufficient varies from player to player. I have had players create detailed histories and backgrounds. Others found a single sentence sufficient.
"Max likes to hang out at bars in Eastgate and gets involved in trouble."
That player decided to create a Human Thug for a campaign set in the City-State of Eastgate.
Most players find a paragraph or two of personal background sufficient, along with a handout describing the region, town, or city where the campaign begins.
When the players are uncertain about the available options, prepare three to five rumors, pieces of lore, problems, or contacts for them to investigate. Anything their characters would certainly know should be included in a short handout or explained by the referee.
Keep the handout as brief as possible while still covering what the players need to know.
Ideally, the Initial Context should answer the following questions:

• Where is the character starting?
• Who does the character know?
• What are the character's immediate goals?
• What social complications exist for the character at the beginning?

The answers do not have to point toward a specific adventure. Their purpose is to give the player enough context to begin making decisions as the character.The Pre-gameThe basic idea of the pre-game is to sit down one-on-one with each player before the first session and flesh out the character's background. This usually consists of discussion mixed with a little light roleplaying.
The referee might ask how the character knows a local merchant, why the character left home, what obligation they owe to a temple, or why a local lord considers them troublesome.
This technique reduces the amount of written material needed for handouts. Discussion and roleplaying often work better and are more enjoyable than reading a document, particularly for players or groups who want detailed backgrounds at the beginning of the campaign.
If this feels too formal, or if the time is not available, that is fine. The important point is that the Initial Context is sufficient for the group's time and interest.
Setting the World in MotionAfter each session, review the plans of the important characters and factions affected by what occurred.
Begin with what the players did as their characters. Then consider:

• Who knows what happened?
• What do they believe happened?
• How does it affect their plans?
• What resources do they have available?
• What will they attempt next?
• What signs of their response will the players be able to observe?

The distinction between what happened and what the inhabitants believe happened is important. Characters act upon what they know, what they have been told, and what they can reasonably discover. They do not automatically possess the referee's knowledge of events.
You do not have to manage the entire world at once, or even an entire region.
The players' choices usually affect their immediate social circle first. This includes the characters with whom they directly interacted, followed by those connected to them. Beyond that, your notes only need to be updated when you have the time or when events make those distant characters relevant.
For most purposes, characters more than two degrees removed from the player characters are beyond the campaign's social event horizon for a session or two.
As the player characters gain experience, wealth, allies, and authority, their actions will begin to affect a wider area. A fight in a tavern may concern only the owner, the local watch, and the participants. Killing a baron, destroying a temple, or founding a mercenary company may concern an entire realm.
After each session, review the relevant plans in light of what the players did or failed to do. Sometimes an NPC's existing plan will become impossible. When that happens, consider the character's personality and motivations and determine what they now want from the future.
This process helps the referee avoid forcing the players along a predetermined path. The non-player characters may pursue their own goals, but they need to respond to changing circumstances just as the player characters do.
When you suspect that your preferences are influencing the outcome too strongly, use a good set of random tables you like. Random results can help you create unexpected reactions, complications, decisions, or new plans that you would not have considered.
Balance random results with judgment.
Overreliance on judgment may cause the campaign to reflect the referee's biases. Too much reliance on random tables can make events feel disconnected from the personalities, motives, and circumstances already established.
The purpose of the random result is to address uncertainty, not to replace the setting's logic.
The Bag of StuffWhen acting as their characters, players do the unexpected all the time.
They may decide to visit a shrine you noted but did not detail. They may abandon the dungeon you prepared and explore the forest instead. They may take an interest in a nameless guard, travel down a road you never expected them to use, or attempt to speak with a monster you assumed they would fight.
When this happens, the referee must improvise.
The Bag of Stuff is a collection of locales, characters, plans, situations, and other material that can be pulled out and used to run part of the campaign without preparation.
The material does not need to be elaborate. It only needs to give you enough information to adapt the material, begin describing the situation, and roleplay with the players.
Once something from the Bag of Stuff enters play, take notes. It is now part of the setting. If the players return to it, you can develop it further between sessions.
LocalesPrepare or gather six to twelve generic locations that commonly appear in the campaign.
Examples include:

• A shop.
• A crossroads.
• A forest clearing.
• A section of swamp.
• A peasant's hut.
• A roadside shrine.
• A ruined tower.
• A small cave.
• A merchant camp.
• A manor house.

These locations do not need extensive descriptions. A sketch map, a short list of features, and a note about who may be present are usually sufficient.
When you use one, alter a few details to make it fit the circumstances. A generic forest clearing may contain an abandoned cart in one session and a weathered stone idol in another.
Take notes during play if the locale is likely to be revisited. Later, when you have time, develop it into something more distinctive.
CharactersA major section of these rules describes common non-player character types in the same general format used for monsters. These entries are useful when preparing an adventure or locale, and when you need to draw something from your Bag of Stuff.
When the players unexpectedly interact with someone, choose an appropriate NPC entry and change a few details.
Give the character a name, a mannerism, an immediate concern, and a reason for being present. That is usually enough to begin roleplaying the encounter.
If the character becomes important, make a note of what happened and develop them further after the session.PlansPrepare a short list of personality types, immediate concerns, and broad goals. Add to the list whenever you have a useful idea.
Examples include:

• Wants recognition from a superior.
• Needs money to pay a debt.
• Is concealing a past crime.
• Wants revenge against a rival.
• Is afraid of losing social standing.
• Wants to protect a family member.
• Is searching for forbidden knowledge.
• Wants to leave but lacks the courage.
• Is loyal to an institution but distrusts its leader.

These ideas provide a starting point for players interacting with someone you did not expect to become important.
As with locales and characters, use only enough detail to serve as a memory aid. The character's fuller personality and plans can develop through play.
Afterword on the Living World SandboxWhat started me on the path of running campaigns as Living World Sandboxes was a willingness to let the players trash my setting.
In the early 1980s, I gained a reputation as the referee who allowed the players to kill the king, build wizard towers, and become magnates controlling the underworld of a city-state. The referee who let his players trash his setting.
Much of this came from my background in early wargaming. My friends and I would set up scenarios and battle them out to see what happened. When I was introduced to Dungeons & Dragons, that same fascination carried over into my campaigns.
I built the world, detailed the characters, let the players decide where to begin, and then ran the campaign to see what happened. I had no particular destination or conclusion in mind.
My creativity was engaged not by writing stories, but by considering what could happen and then accepting the constraints of roleplaying the non-player characters under the same circumstances and rules as the players.
The results were often unexpected, surprising, and memorable for the entire group.
Across the decade, that remained the heart of the Living World Sandbox. The referee creates the setting and brings its inhabitants to life. The players step into the setting as their characters and decide what interests them and what adventures to pursue.
And they will trash your setting as a result.

 Because the Clement Sector leans heavily into grounded, human-centric hard sci-fi, "Dark Artifacts" in this setting aren't supernatural or magical items. Instead, they represent terrifying pre-Collapse human military experiments, highly illegal genetic or cybernetic technology, lost subsector projects, or deeply unsettling remnants found on worlds that look suspiciously terraformed by an Needleshttp://www.blogger.com/profile/11243274667834930867noreply@blogger.com0