How to write a free RPG

[Rob Lang]

[Onix]

Short answer, I'm not the best example to answer these questions. So far the chapters are not things I've had trouble with. Long answer . . .

Usefulness? I'm not one to ever be short of ideas I'm not really sure of how I generate them. I tried to figure out if I learned anything on the first chapter and either my process (if I really have one) is different or exactly the same without thinking about it. The second chapter did point out to me that I need to set time limits for myself, other than that the grab sort and filter method is how I do things so I'll second it as useful advice.

Anything missed? I tried to figure this out on the first chapter but again, I fell flat trying to figure out why ideas pop in my head so I'm useless there. I don't see anything glaringly obvious on the second chapter but I'll follow through if I do think of anything.

Too long or short is subjective to the reader. If you read it and understand how to go about it, then there is enough information. If you don't need the information but need to trudge through it to understand what comes after, then it could be too long. So far it's comprehensible to me so it's not too short. I don't think I'd label it as too long because I can understand the need for the material.

As for being obvious, to me, so far it is but I don't think I'm the audience so far. I'll be most interested as this progresses.

What I've taken away so far. Something I've known about my research in different subjects is that I take too much time and need to worry less about missing something and more about getting things done.

[Rob Lang]

Thanks Emmett (it is the Emmett that owns the Onix account from the Artefact stable, isn't it?), that's really useful feedback. Affirmation that I'm heading the right way is great because it means the advice I give out isn't faulty.

And please do be subjective - subjective feedback gets a bad rap but I think it is worthy alongside objective thoughts!

[Onix]

Yeah its the Emmett I throw around a few names but that one's my real one.

[Onix]

and realized it illustrates how I go about inspiration research and development. I go through this process verbally most times with my cohorts and then write the results. This may be the first time I did it all in a blog post. The post is for a "treasure" item in game but the process is the same for my general development.

In this case I had specific criteria that I wanted to fulfill but that's not outside the bounds of general development. I also based the bulk of what I was developing on already existing game world information but I don't see it as much different than starting off an idea from real world or even genre norms.

I'm going to call this Logical Chaining (there is likely a "real" term for this but I don't know it). I take an idea that interests me and imagine the repercussions of it on the real world, game world or genre norms. I then take those repercussions and test them either against real world examples or existing story to see if I can support them. Those repercussions will logically alter the story world. Those changes will then give rise to a new set of circumstances either conditional or universal (changing the speed of light = universal. Change the size of a group of humans = conditional). Next I try to imagine the next logical step and repeat the process until I run out of changes or reach a conclusion I like.

I don't know if you want to include this concept in the guide. I've been told my brain works differently than most peoples so although most times people agree my thinking is logical if I explain my steps, they don't see it as intuitive. Still it's another approach.

[Rob Lang]

This is very cool, sir. I enjoyed that post immensely when it landed in my feed. I think inspiration is quite simple - it's the initial idea. It's the lightbulb moment. Everything else is setting/mechanic detail. Your process of reasoning consequences is one I do too but normally long after most of the game is complete - you need to have a lot of game already there to have consequences on. If you don't have any game substrate then it is very difficult to work out what the consequences are.

It perhaps sits better in the Setting chapter - or perhaps in an advanced creativity chapter later (I have a couple of things for that). It's also a great way of building a campaign. You start with the core known world and then change something fundamental to see what then occurs. Using the timeline driven campaign model in Icar, everything the players do affect the timelines. Without the timelines being there first, it is impossible to really say that there are consequences as without them, there is no predetermined future.

I think we definitely need to explore this mode of creativity further.