RPG cards. The Jedi Editing Technique, or These Aren’t The Words You’re Looking For | Sarah Newton - Writer. “Anyone else think passive constructions are cool?” “Brevity is the soul of wit,” says Polonius. Unfortunately he says it in a whacking great monologue which practically puts everyone else to sleep. As a piece of editing advice it’s pretty apt; you’ll find it honoured in the breach just as much as in the observance. Recently I’ve been doing a lot of editing and rewriting, both on subs for the British Fantasy Society Journal, and also on the multiple rewrites of my current work-in-progress (provisionally titled “The Filthy Japanese Novel”). It’s made me think about my earliest experiences self-editing, and I thought I’d blog about it today. Years ago I was a literature student, au fait with analysing themes, character, plot, structure, the whole caboodle of literary dissection. I’m still learning that – whacking great shifts in insight and ability drop on me regularly.
In On Writing, Stephen King says the formula for writing success is “second draft = first draft minus 10%”. Cheers, Sarah. The 100:10:1 method – the heart of my game design process | Nick Bentley Games. This is the first post of a series on practical game-design techniques. In my years designing games, my methods have evolved from Games-Randomly-Emerging-from-the-Inchoate-Chaos-of-my-Brain-Area to something resembling an honest-to-goodness, write-downable process. I’ve decided to share this process here, for four reasons: 1. I’ve used it to create 3 of my 4 favorites among my own designs (Catchup, Stinker, and Cat Herders - Odd is the exception), which suggests it might have value. 2. 3. 4. …so thank heaven for this I call it the 100:10:1 method. The 100:10:1 Method It has three steps: Step 1 – I quickly write 100 short game concepts in a notebook. Here’s an example I just pulled randomly from a notebook: “Mortals: pieces age as they move – they’re dice and when a die moves, the pip count of its top face is reduced by one.
Note: the exact number doesn’t matter as long as it’s a metric crap ton. Cat Herders : 1 year Stinker: 3 years Catchup: 4 years Why does the 100:10:1 method work? 1. 2. 3. Open Courses — Education. Online. Free. Seth Priebatsch: The game layer on top of the world | Talk Video. Jane McGonigal: Gaming can make a better world | Talk Video. Jane McGonigal: The game that can give you 10 extra years of life | Talk Video. Jane McGonigal: Massively multi-player… thumb-wrestling? | Talk Video. Fate Misconceptions and Aspect Spamming | Ryan Macklin. There are a couple things I’ve seen pop up again in the Fate community, which seems to pop up as new people discover Fate.
People, you gotta understand two things about Fate: To the people who say “It can do everything!” No, it can’t. Fate has a particular player dynamic and information economy that lends itself better to some types of play than others, much like how you can use a Leatherman multitool — which can cut things and screw in things and file things down — to bang a nail in, but that’s gonna take more effort and result in something less optimal than using a hammer. Understand that when Leonard Balsera and I were sitting down to start the rewrite of Fate Core, we took this idea as a feature.
We accepted that survival horror (where characters aren’t especially empowered), gritty combat (better executed by systems that give a damn about equipment), intense mysteries (where all the information creation is in the GM’s hands) are not strong suits in Fate. . - Ryan P.S. Borejko: Zarobki z pisania o grach. Było już skrótowo w pierwszej części, zatem dziś trochę rozwleklej. W obliczu kolejnej żenującej aktualizacji i pytań via prv o dochodach z pisania o RPG.
Z perspektywy osoby która miała ponoć dużo odwiedzin w tym roku w blogosferze RPG PL Dla zdroworozsądkowej równowagi są i opinie innych.Daj sobie spokój z tym zarabianiem. Przynajmniej do czasu, dopóki nie wygenerujesz treści, która zainteresuje grupę Czytelników, większą od aktywnego fundomu online. Jeśli jest poniżej kilkuset unikalnych odwiedzin dziennie, naprawdę nie ma sensu męczyć Czytelnika reklamami.
Ja na początkach prowadzenia bloga tytułowałem odwiedzających per Hipotetyczny Czytelnik. Pomyśl czy są wydawcy, sklepy, portale z którymi mógłbyś nawiązać współpracę - z reklam i programów afiliacyjnych będziesz miał niewiele. Jeśli chcesz zarabiać na publicystyce o grach fabularnych, wolna droga - niektórzy uważają że się da, możesz zacząć od Gamer Lifestyle Johnna Foura, ale niekoniecznie. Analogiczny program prowadził Rebel. Borejko: Skalowalność. Przyznam szczerze, nie bardzo znam się na grach planszowych.
Gram ponad 25 lat w gry fabularne, jednak z planszówkami jestem na bakier. Wiecie kim jest Susan McKinley Ross? Ja bynajmniej nie wiedziałem, do czasu kiedy nie zapoznałem się z wywiadem z nią w biuletynie reklamowym. Susan zaprojektowała i opatentowała ponad 30 gier i innych zabawek dla dzieci. Wiele z tych produktów zdobyło znane na całym świecie nagrody, min. Zapewne jeśli gracie w gry planszowe słyszeliście o tytułach takich jak Qwirkle, Color Stix, czy Skippity. Podejmowane w RPG decyzje dają oczywiście multum satysfakcji, jednak czy któraś z gier fabularnych jest prosta do nauczenia? Źródło cytatów: Wywiad z Susan McKinley Ross GRA 4 2011 (12) Rok IV Biuletyn Gry Planszowe i łamigłówki.
Tworzenie Savage Worlds - Shane Lacy Hensley i dziesiątki fanów. Bobrownia: Gamedev od kuchni #1 - Fakty i mity. Hitbox Team - Designing game narrative. Imagine one day you are struck with a flash of inspiration: freshly seared onto your mind is a story, one that is undoubtedly the greatest tale ever conceived by Man. It has all the elements of a great narrative: a gripping plot, nuanced characters, and an evocative setting. How would you write a book to convey this story? First, let’s look at how the medium of literature works. Writers use words to express ideas, arranging them in ways that draw the reader into the world of the story. Now, let’s say you write your book while disregarding all of these guidelines. . “ It was a dark and stormy night.
You continue to churn out the whole book in this horrible style, somehow still managing to communicate the bare facts of the amazing story you had in mind. People who read the book would laugh. Of course, you know better. Now, let’s look at the medium of cinema. The audiovisual experience in a film is a whole new realm of possibilities for artistic expression. Story versus storytelling “Who am I?” Structured RPGs. Sharing this from twitter, since it's easier to respond to these things when you aren't restricted by 140 characters.
It might sound a little disjointed since it was originally a series of tweets. Maybe this is the board game fan in me, but I'm starting to really like structured RPGs. Games like Mouse Guard, TBZ, where there are specific and explicit divisions of play. Mouse Guard has the seasons and the player/gm turns, for example. I love that. You don't see it is a lot, which doesn't surprise me - some folks seem terrified to admit there is any Game in their roleplaying game. Most of the games I design blur the lines between RPG and board game and card game, and that's no accident - blending things owns. It is not a bad thing for an RPG to abstract things and make it explicit there is a Game going on. I'm writing another game in that style right now. Pull from all kinds of sources. The Alexandrian » Jaquaying the Dungeon. I believe that dungeons should always be heavily jaquayed. Okay, it’s true. I’m just making words up now.
In the case of jaquaying, the term is referring to Paul Jaquays, who designed Caverns of Thracia, Dark Tower, Griffin Mountain, and a half dozen other old school classics for Judges Guild, Chaosium, Flying Buffalo, and TSR before transitioning into video game design. In the latter capacity he recently wrote some essays on maps he designed for Halo Wars: Memorable game maps spring from a melding of design intent and fortunate accidents. Paul Jaquays – Crevice Design Notes That’s timeless advice, and a design ethos which extends beyond the RTS levels he helped design for Halo Wars and reaches back to his earliest work. What Jaquays particularly excelled at in those early Judges Guild modules was non-linear dungeon design.
For example, in Caverns of Thracia Jaquays includes three separate entrances to the first level of the dungeon. Next: The Jaquays Techniques.