RPGaDay 2018, Weekend Three: Media

RPGaDay 2018 infographic

RPGaDay is an annual celebration of tabletop roleplaying.

Weekend Three: Media

  1. What art inspires your game?
  2. What music enhances your game?

(There’s some kick-ass original art under the cut. So maybe check that out. Just saying.)

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Masters of Umdaar: The Starblades of Su’ul (from universe 3858)

What Happens Next? header image from Masters of Umdaar. Pencils by Tazio Bettin, colours by Enrica Eren Angiolini, via deviantArt

Dave Joria’s Masters of Umdaar, which I recently got an opportunity to run as a campaign at long last, includes a starter adventure called The Starblades of Su’ul. In it, the player characters, the Archaeonauts, set out to find one of the eponymous legendary swords before it can be claimed by Kaji-Sa the Bloodmonger, who is collecting the blades and already has one in her grasp. It’s a great adventure, fun to play and wonderfully evocative of the aesthetic (there are Lazer-Wolves!).

The adventure can stand alone, but it can also serve as the first session of a longer campaign, in which the players race Kaji-Sa (or other villains) to find the rest of the Starblades. It’s a fairly popular way to start an Umdaar campaign; it’s certainly how I did it!

The funny thing is, I’ve never seen any stats online for the other Starblades. In fact, it’s rare to see anyone stat up any relics that the Archaeonauts might uncover, even though people share heroes, monsters, and villains aplenty (check out #Umdaar and #MastersOfUmdaar on Google+, or the Elektrokhan, Facemonger, and Scorpotaurs from Dave Joria’s own Tangent Artist Tabletop blog), and even the occasional cliffhanger-style trap. But no relics, and no Starblades. I wouldn’t have minded some examples as a leaping off point when I was preparing my campaign.

So in this blog I present the Five Starblades of Su’ul (from at least one of the alternate universes of Umdaar, let’s call it 3858 why not), and some other resources that I used to run my campaign of Masters of Umdaar. I’d love to know if you find it useful!

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Fate of the Teenage Mutant Ninja Turtles, Part 4: Unleashing the other strangeness (long-running campaigns)

Ninja Turtles (Mirage vol 4) by channandeller (Ryan Wilton)
This fanart by Ryan Wilton shows how the TMNT look in volume 4 of the comic (by original creater Peter Laird). Front row, left to right: Donatello, Leonardo, Michelangelo. Back: Raphael.

This is my fourth and final blog post about adapting Teenage Mutant Ninja Turtles (TMNT) to the roleplaying game Fate. I’ve previously discussed systems (part 1), player characters (part 2), and written a one-shot adventure (part 3).

Now I want to talk about how I’d run longer TMNT campaigns.

As I mentioned last time, the shorter your campaign, the tighter and less fantastical your TMNT game should be. For a one-shot, I focused on a simple rescue tale with a single villain. But the TMNT franchise is a vast kitchen sink world (with, for example, ninjas, mutants, mad science, aliens, robots, magic, time travel, ancient civilisations, ghosts, Lovecraftian monsters, parallel dimensions, and superheroes), so in this post I’m going to explain just how bonkers I’d want to get if my players and I were committed to a significant number of sessions.

For one thing, they’re not teenagers any more…

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Fate of the Teenage Mutant Ninja Turtles, Part 3: When the evil Shredder attacks (one-shot adventure)

The TMNT surrounded by Foot Clan by blackbat
In this third part in my series about adapting Teenage Mutant Ninja Turtles (TMNT) as a roleplaying game, I outline a one-shot adventure and a handful of featured NPCs. (In part 1, I explained why I was using the system from The Three Rocketeers, a World of Aventure for Fate Core. In part 2, I produced character sheets of the four main characters to use in a campaign.)

Although I made a big deal about making the character write-ups flexible enough to apply to multiple versions of the characters, in this post I largely throw that out of the window in pursuit of a different goal: streamlining and simplicity. This involves featuring one main threat (the Shredder), focusing on one main plot hook (Splinter is kidnapped), and cutting out everything that doesn’t support these (sorry, April).

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