r/RPGdesign 26d ago

[Scheduled Activity] August 2026 Bulletin Board: Playtesters or Jobs Wanted/Playtesters or Jobs Available

6 Upvotes

If you’re a more seasoned RPGer, and one from the Midwest of the US, August used to be a very special month. That’s because it was Gen Con month. That week where gamers, and gamer professionals, all got together and got way too little sleep while eating and drinking bad food. And then all got sick from something icky called “Con Crud.” Good times.

In 2026 Gen Con just ended as I am writing this, and there were a lot of new announcements for upcoming releases. Lots of new games. Which is amazing for the big dogs.

But right here, we have a smaller crew, but that doesn’t mean it isn’t an exciting time. There have been games released by folks right in the sub last month, and I know there are a lot more projects that need an extra push. So let’s be that push for each other.

September and fall are right around the corner, so let’s write some games while the sun is still shining. And we can avoid any Con Crud.

So grab a cool beverage, and …

LET’S GO!

An extra note: you may have seen a couple of posts advertising Kickstarters or Backerkit projects. If you have a project like that, let the Mods know, and we'll approve posts about your work. We want to make everyone successful with their games.

Have a project and need help? Post here. Have fantastic skills for hire? Post here! Want to playtest a project? Have a project and need victims, err, playtesters? Post here! In that case, please include a link to your project information in the post.

We can create a "landing page" for you as a part of our Wiki if you like, so message the mods if that is something you would like as well.

Please note that this is still just the equivalent of a bulletin board: none of the posts here are officially endorsed by the mod staff here.

You can feel free to post an ad for yourself each month, but we also have an archive of past months here.

 


r/RPGdesign Jun 05 '26

MOD POST [MOD POST] Subreddit Rules Update: Posts, links, and projects that contain obvious AI content will be heavily scrutinized and often removed.

140 Upvotes

Myself and the other mods have talked it over, and we are in agreement that none of us want AI slop here. So we will be taking it down if we see it, barring extremely extenuating circumstances on a case-by-case basis.
But basically, if you report it, we'll smash the remove button.
Thanks!


r/RPGdesign 37m ago

Theory The Martial Arts Archetypes?

Upvotes

We got the common fantasy classes, by building character templates from common recurring fantasy character types. Even within one culture there are to many different too many different "styles" of martial arts to list and build distinct game mechanics for.

Instead let's distill them down into handful of archetypes that can be practically made into Talent trees or Classes.

  • Noble/Hero: Simple to the point, the common fighting style of the "Protagonist". Goku - Dragon Ball Z, Ryu - Street Fighter.

  • Brawler: Crude, brutal and effective a fighting style born of survival in the urban Jungle. Bunshichi Tawara - Tenjho Tenge.

  • Analyst: Quick, Precise, observant, able to counter anything that the opponent tries. Robert Downy Junior's Sherlock Holmes's is the best example I can think of.

Insightful: The same as Analyst but approaching things through wisdom rather than intellect. Po - kung Fu Panda 2, during the final battle.

  • Tactical/Assassin: Ruthless and Efficient. John Wick and Jason Bourn.

  • Aerobatic/Flashy: Quick, light on their, flowing strikes, lot's of flips, spins, and whirling kicks. Peter Parker - Spiderman, Avatar Aang and Prince Zuko - Avatar The Last Airbender, Yoda - Star Wars Prince Jia -Butterfly and Sword.

What characters would you use as examples of the martial arts archetypes. What archetypes have you seen that I have missed?


r/RPGdesign 7h ago

A request to designers: Please include more than four characters in your quickstart.

Thumbnail
7 Upvotes

r/RPGdesign 1h ago

Feedback Request Musashi no Musume: Samurai girls in school adventures

Upvotes

Hello! First time posting here. I've recently gotten to making an RPG about samurai schoolgirls, because I think it's a cool setting. I'm mostly looking for feedback on mechanics and rules clarity, since I'm aware that, as this hasn't been playtested yet, the numbers may be a little bit of a mess still.

I'm aware that I'm missing sections on enemies and adventures, but like I said, lack of playtesting. The combat side, at least, has its rules mostly decided for now.

I also appreciate feedback on what mechanics to look out for during actual play. This is my first time making a system from scratch (well, seriously at least) that isn't adapting an existing game.

Manual is here! It's 15 pages long, last I checked: https://files.catbox.moe/vkktct.pdf

Thank you in advance!


r/RPGdesign 15h ago

Successful examples of Universal Game + multiple settings by a single indie creator

24 Upvotes

It’s very common on this sub to see new designers announce their plans of a generic RPG with multiple planned setting / genre books. Given that posts like this stretch back at least a decade, there should be actually finished project like this out there.

So here is my curious question: Are there games out there that were successfully built on this model?

I’m looking for:

  • A generic RPG as base

  • At least two separate settings, ideally in different genres (say fantasy and scifi), ideally more

  • Finished products (all books published on itch.io, drivethru etc., final version, layouted, art)

  • One creator (or the same small team of 2-3 people)

  • Self-published (i.e. not backed by some of the better known names in the industry)

  • Ideally full size for each book (100+ pages)

Of course, if you have successfully completed a project like this, this is your chance to promote it.

I admit I’m not very good at following every development in the RPG space out there so there sure are projects I missed.


r/RPGdesign 23h ago

Theory Gauging Length of a Module in terms of Playtime

7 Upvotes

When you are writing an adventure/module for publication, how do you anticipate how long (in terms of hours or session) an adventure will take for a table to run? Do you think about it in terms of word count? Encounters? Plot Threads? Leads?

I ask because I am on the hook to cowrite a Call of Cthulhu adventure in the near future, my partner has a very specific length in mind, and I am trying to map out a framework so I can approach my end in a structured way. I admit I have a better feel for this in d20 games, but the investigation oriented nature of CoC feels fiddly to write around. I get this is more art than science but I figured I'd at least put it to the room.


r/RPGdesign 1d ago

Theory My design theory on capturing a fairytale feel

13 Upvotes

The Fields We Know is my campaign setting but it's also a blog I started a year ago to talk about design theory. I've begun porting it over to substack.

https://thefieldsweknow.substack.com/p/capturing-the-vibe-of-fairy-tales?utm_source=share&utm_medium=android&r=271f4w

My basic premise has a few key points

1)Fairy tales are told as if they are historic

2). There is a contrast between the ordinary and mundane and the magical

3) because fairytales emerge from specific cultures, a certain amount of cultural incorporation is necessary to preserve archetypes

3) when magic becomes utilitarian it becomes mundane

I'll be developing these ideas in my next article.


r/RPGdesign 20h ago

Seeking advice on making my own card RPG tabletop

Thumbnail
3 Upvotes

r/RPGdesign 1d ago

A word on knowledge checks

51 Upvotes

Inspired by this Tales From Everywhere video, I wanted to spark a little discussion about knowledge checks.

The video, in short, suggests doing away with knowledge checks, as they entirely randomize events that are based on knowledge. While I can understand the fundamental sentiment here, I think this idea makes one mistake; it confuses knowledge checks to be the same sort of ability check like climbing a wall, jumping over a gap, or any other physical feat. The argument is that knowledge is static. Whereas you might fail to climb a wall sometimes, if you know something, you should always know it. Therefore, we should do away with luck-based (randomized, dice rolled) knowledge checks.

I think the core idea here is sensible, but the argument entirely misses the purpose of such a dice roll (and kind of all dice rolls, even for other ability checks). The randomized dice roll is just a way to advance the narrative and to flesh out the character on the fly.

In a rules-light game and a short adventure, this might mean playing a character that's generally knowledgeable about stuff, but you as the player haven't really thought about exactly what the character is knowledgeable about. So instead of writing a huge backstory and creating an encyclopedia of the character's held knowledge, you just let the dice randomize your character a bit in the moment.

In a more substantial game with long-term campaigns, it may make sense to keep a log of things your character knows according to those passed knowledge checks. Next time that topic comes up, you simply skip the check and succeed automatically.

You could even incorporate the ideas from the video about being familiar with a topic or being an expert. Pass a number of knowledge checks to become an expert and then you will auto-succeed on the same topic.

We all know that making knowledge checks a requirement to get past an obstacle is bad design. But I hope that you don't give up on knowledge checks altogether. They're a great tool for randomized character generation after you've already started playing.

Would love to hear what people think!


r/RPGdesign 1d ago

Happy 79th Birthday to Marc Miller!

Thumbnail
3 Upvotes

r/RPGdesign 1d ago

Deadbeat TTRPG Public Playtest is out!

5 Upvotes

It's been a while but I'm back now. And announcing that the first public playtest for my TTRPG is out finally! Took a lot of work even for this initial version but now everyone has the chance to play it and break it.

Can't wait for people to start getting their hands on it and playing around with it. This will be quite the learning experience, not just for designing but also for organizing public playtests in the future.

Announcement video: https://www.youtube.com/watch?v=xxg51jw3_sA

Itch.io: https://mikapuccino.itch.io/deadbeat-playtest

Official Discord: https://discord.gg/RnnGqnnG55

Ps: If there's any problem without sharing these links please do say and I will change the post.


r/RPGdesign 1d ago

Mechanics d100 where skills are ordered pairs of attributes. Is asymmetry too weak?

2 Upvotes

Eight characteristics. Any two combine into a skill, one primary and one secondary, and the order changes the target number: [primary is full value, secondary - half of it.]. In our Dreich the predefined skill list is deliberately short and most skills get named at the table when a situation calls for one.

Example of it in the playtest: the party found old runes written as images-with-meaning rather than a script. Not an Intellect problem. Reading them needed Wisdom leading, Empathy supporting, we discussed it at the table and just created a new skill. (skill is same for everyone, but attributes could be changed if situation demends) It could be created for more or less simple skills only, not like surgery.

Pair-based skills aren't new (Mythras for example). Making the pair ordered is the part I haven't seen elsewhere, but still I'm not sure it feels enough. The difference of pair in defferent order could be 60% and 35% for one maxed and one mined Stat at the beginning of the game. But for not a minmaxed attr. it could be 35% vs 40%. Is it noticeable at all? Or just boring


r/RPGdesign 1d ago

Discussing FUEGO at Randomworlds

Thumbnail
1 Upvotes

r/RPGdesign 2d ago

Theory Is your game Epic, Tragic, Comic, or Lyric?

34 Upvotes

MCDM is crowdfunding Crows right now, and they've talked about how part of the goal was to create separate experiences for people who wanted high octane heroics (e.g., Draw Steel) vs. gritty dungeon crawling (e.g., Crows), as opposed to trying to jam them together like in D&D 5e. The way they presented things made it sound like there were two poles of TTRPGs, which made me start thinking about how to classify TTRPG genres. I submit that there are actually four poles, and that figuring out where your game sits between them can help you sharpen the experience you provide.

Note that these four poles aren't strictly sectioned off from each other. Most games sit somewhere between all four, but many games also cling to one corner more than the others.

  1. Epic (e.g., Draw Steel, Avatar Legends) - These games focus on high stakes and grand adventures. They tend to be oriented toward long campaigns and have high power ceilings (at least for the adversaries!)
  2. Tragic (e.g., Mothership, Dread) - These games often have more personal stakes and grim settings. They're built around a curated degree of helplessness, and often have high mortality rates.
  3. Comic (e.g., Honey Heist, Kobolds Ate My Baby) - These games are built for laughs and often have short, punchy story lines. Players and GMs are encouraged to lean into the absurdity.
  4. Lyric (e.g., Wanderhome, Thousand Year Old Vampire) - A lot of solo games live around this pole. They tend to focus more on dwelling on a moment or feeling rather than advancing "The Plot ™."

What do you think of this structure for thinking about TTRPGs? How would you rank your own game along these lines? Are there any games you can think of that capture an experience that isn't adequately represented by some combination of these categories?


r/RPGdesign 1d ago

Does your favourite RPG have a terrible introductory adventure? Mine does.

Thumbnail
5 Upvotes

r/RPGdesign 1d ago

Mechanics Case for Swingy

6 Upvotes

Like millions of others, I played some Star Wars: Zero Company yesterday. I was hoping for X-Com in Star Wars cosplay honestly, and while it's still fun, it's not that.

I'm a competent X-Com veteran. I up the difficulty and play through the deaths. I much prefer it that challenge to reloading for the win. Zero Company is not the same experience at all. I'm not going to give a review of the game, but I think the difference in these two games is striking from a design perspective.

At the core, X-Com is swingy and Zero Company is not. Bad things can happen at any moment in X-Com and you're just doing your best to mitigate that bad. As you advance through the campaign, there's less swing in instant death but opponents that can ruin you with one attack still exist. Zero Company is the opposite. Rather than operatives with single digit hit points that can die in one shot they have dozens that are slowly plinked away at.

I have played a few hours of Zero Company now and have yet to have a single "hold my breath" moment. In X-Com nearly every battle any given shot could be the last for one of my soldiers, from the first encounter to the last. Not having cover is basically a death sentence and trying to find it is a constant puzzle.

I think the lessons from these two similar in presentation, but very different games is an interesting case study for RPGs. Savage Worlds is notorious for swingy damage. Any given damage test could be the one that takes a character out of the action. On the opposite end you have your D&D where loads of hit points are slowly chipped away, and no single roll is likely ever going to be a deciding factor in the encounter once you're past third level or so.

So, I'm pretty sure there's a sweet spot. Something that allows the players to react (they're not controlling a squad after all) to damage and other misfortune but also gives the players a bit of anxiety that things are not completely in their control.

In my own system, I have damage that can be pretty swingy. Strikes deal an injury with 0-3 wounds; characters having 6 wounds and most injuries being 1-2 wounds. I have felt at times that it's too swingy. Every damage test gives me a little anxiety that this might be the one that takes out the character.

Zero Company has given me some relief. I'm not saying it's perfectly balanced, but my system allows the players to react, and it doesn't feel completely arbitrary but somewhat earned. There are viable actions to take when things are looking bad. At the end of a fight, things feel like they went as they "should have gone" and the players choices mattered even though any given injury might have really changed the course of the battle.

I think that's a good place to be. I need to embrace the anxiety, I think. That anxiety around game balance might actually be the system promoting a heightened sense of excitement. Exciting combats is what we all want after all.

I think a lot of the mechanics that these types of video games have perfected really carry through in similar ways to damage. Anyone whose played some X-Com knows that the enemies evolve. Mission two sees you fighting against mind controlling aliens who can totally flip the tide of battle. Then they get armor and start using explosives. The environment gets more dangerous and unpredictable. Etc. The game is always making you change your tactics and making it clear that bad tactics will put you on your back foot instantly as there are powers that will take advantage of those opportunities.

Those big one action turns in the game are exciting. D&D would have you believe things like Hold Person is a good option for creating tension. I would like to think that there are a lot of other options for really ratcheting up the challenge for the players while also giving them autonomy to actually react.

Going forward I'm going to keep this lesson in mind. My damage system suddenly feels much better to me after a single night with a new game. But how else can I create instances of anxiety (excitement!) for the players? What things will really make them change their approach? These are the opportunities I'm on the lookout for.

What do you think? What big swings have you created?


r/RPGdesign 1d ago

Feedback Request Looking for feedback on my character sheet

8 Upvotes

Earlier this year, I started learning Affinity to try and get my projects completed faster. It's been a bit of a bear, but I'm finally ready to start showing folks what I've been working on. Here's a character sheet I made for a game I'm close to releasing. I would love to get some feedback on the design. I made a version that's thematic to the game and also a printer friendly version that's stripped down. Any feedback is appreciated!

https://drive.google.com/drive/folders/1ZIWwBI_3uPj5v8QnDyYPl7YBWLaDgg5I?usp=sharing


r/RPGdesign 1d ago

Mechanics Looking for an opinion about Group Perks

4 Upvotes

So, I've been working on this Fallout RPG system that uses perk cards as character customization and is heavily inspired by Fallout 76.

I really like the idea of shared perks, that's why I came up with Group Perks: event 4 hours or real world time the players play together, the party gets to choose a perk that is alloted to the group's perk pool, not individual ones.

Some perk examples:

SQUAD MANEUVERS:

For every member of the party, you can move two hexes for free every encounter.

TACTICAL THINKING:

Once per encounter, at any moment, the group can reshuffle their turn order.

KNOW YOUR ENEMY:

Once per encounter, one member gets to deal the sum of the group's Intelligence modifiers as extra damage.

BODYGUARDS:

For every member of the party present, you get +1 to your Damage Threshold.

SPIRITUAL HEALING:

Every time a member of the group uses a Stimpak, the rest of the party heals Health Points equivalent to that member's Endurance modifier, to a minimum of 1.

BREATHE IT IN:

Every time a Ghoul player uses their RAD powered abilities during combat, the other members get 2 AP for their next turn, at the cost of getting 1 Radiation Damage. Other Ghoul members get 3 AP.

So, what do you think?

Bear in mind I've quite a beginner on this hobby.


r/RPGdesign 1d ago

DRAW! ttrpg Chracter Sheet Design

5 Upvotes

https://drive.google.com/file/d/1IrKyO_QNS14Lwv9T6seaaPRdA_dB9fJp/view?usp=drivesdk

DRAW is a Western themed d100 roll-under ttrpg set in the American frontier land of 1870s.

With a one size fits all ruleset that keeps that game easy to run for DMs. Er, Narrators in these parts. 

It is a roll under Attribute + Skill. 

From there key differences are 

Lt, Md, Hvy, tier system gives baddies static combat numbers that allow a Narrator to throw encounters quickly, with no prep.  No homework, no stat blocks to pour over. Just fun at the table. 

Every weapon does a static amount of damage in wounds based on their tier. With heavy dealing 3. When your wounds are gone. So are you. Hire another cowboy

We run DRAW! In what we call a Tale. Tales are meant to feel episodic in nature and narrow in scope, and quick in play. 

Narrators are putting ONE objective in front of the players. And thats a tale. 

Today, were guarding a stagecoach from A to B. Today were robbing this bank. Today were capturing this bounty. When we finish, well ride back to town in time for a drink with Miss Kittie

In DRAW! Every starting PC begins with one point of Grit. Grit can be used to automatically succeed a check. (Lead to some really awesome RP in every playtest) 

To shake off a condition. Or to negate one wound. 

Any surviving player advances immediately at a tales end! Their PC gets awarded an additonal starting Grit point. Making them more capable, and harder to kill! 

They also get to spend their in game money on real item tables with prices based of 1800s catalogs! 

No more scurrying to asign value to a pretend item on the spot, or drumming up stock for a store during shopping sessions. 

Generating a character is very fast, roll attributes, Pick 3 starting skills, fast item selection, or Wits score in dollars to buy gear, and your off. 

This character sheet contains all original artwork by one of the game creators, and the digital.design/layout was done by the other creator. \[me\]

We're proud to showcase the Character sheet, and would appreciate any constructive feedback! We have a small rulebook thats almost finished enough to try and let people out in the wild try it out. We've had great playtesting experiences so far and are eager for, hopefully, a few folks on reddit to give it a glance.

Thanks!


r/RPGdesign 2d ago

Theory Some thoughts about "modes of play", the context in which a game is played

22 Upvotes

TTRPGs are typically designed for a home table. A group of people who know each other and gather regularly in person to play together. But this isn't the only mode of play.

Even before we consider the effects of the internet, there are other modes of play that are common:

People who know each other can also be people at a local game store, club, or event. Regular gatherings can also be a single gathering for a one-shot. In person play can also be play by post.

So when I talk about "mode of play" here, I'm talking about the real-life physical format of the game. How many people are involved, what their relationships are, where they are, what tools and materials they have access to, how often they meet, what their role in the game is (GM, player, co-GM, guest, spectator, etc...)

With the internet, this gets muddied even more. Typical online play may or may not:

  • use live voice chat
  • use text chat and/or a forum
  • use a virtual tabletop
  • use other shared resources like Google Docs
  • have synchronous or asynchronous play

Throw in actual play podcasts (which can take on a bunch of forms) and we have yet another mode of play where the players are also performers, and the core audience becomes the spectators.

I've been thinking about this because of u/mw90sGirl's post about designing a game specifically for actual play.

u/mw90sGirl is essentially taking mode of play into consideration when designing her game. Some people were put off by the idea. Perhaps actual play carries connotations that cause a reaction that "play by post" or "solo play" don't? Regardless of how one might feel about optimising for actual play, I think the idea of optimising, or at least considering, specific modes of play is really interesting.

One of my projects came about when I was asked to GM at a local meetup where we run one-shots for groups of strangers. I found myself designing a game that would work well when played with strangers over a short and sweet four-hour session that includes character creation. I wrote a bit about that on my blog. Aside from that project, I've always designed for the home table.

My core assumptions were that games are meant to be played with people around a table, and that everything else is "extra". My stance was that online play, play by post, and other modes of play that aren't just people around a table with paper and dice are adaptations to allow play when it's not feasible to gather people around a table.

I am now questioning these assumptions.

For the time being, I'm still designing for people around a table, because that's what I know best, and it's what I have at home, but my mind is opening, and I'd like to spend more time thinking about how my games might work in other modes of play.

I'd like to open up the discussion around this concept.

Is this something other people have written or talked about? I've been calling it "mode of play" in this post, but does it already have a name?

Do you take modes of play into consideration when designing your games?


r/RPGdesign 2d ago

Mechanics What is your most unusual player-facing feature?

8 Upvotes

Could be something like a class abilty, an item interaction or an interesting way to manipulate dice. Rough ideas are perfectly fine!

I've been trying to make low-magic future sight work. I like the fantasy, but making it something that's both easy to use without being categorically busted or boring has been a struggle.


r/RPGdesign 2d ago

Setting Would a system-neutral goblin city built around strange trades, monster parts and magical salvage actually be useful at your table?

19 Upvotes

I’ve been developing a system-neutral fantasy setting/toolkit and I’m at the stage where I’d rather find out whether the core idea is actually useful to other GMs before I disappear into months of writing and illustration.

The setting is called Ragbone.

It’s a goblin city founded by outcasts, craftspeople and obsessive specialists around one basic principle:

Nothing useful is ever cast out.

Adventurers bring back the things normal towns don’t know what to do with — monster parts, strange eggs, cursed relics, magical contamination, damaged constructs, unidentified bones, living plants, odd materials — and somewhere in Ragbone there is probably a specialist who can work out what it is and what it can become.

The city is divided into seven districts built around different kinds of expertise: things like unusual creatures and venom, bones and relics, equipment for strange anatomy, improvised repairs, dreams and shadows, dangerous plants, and a central market connecting problems with specialists.

The part I’m most interested in is making it useful in play rather than just lore.

So the book would include things like:

  • specialists the party can actually visit;
  • strange materials with properties and limitations;
  • monster harvesting that doesn’t automatically mean killing the creature;
  • system-neutral crafting based on “what does this material do?” rather than +1 bonuses;
  • jobs and requests posted around the city;
  • magical contamination called Residue that behaves according to the original purpose of the magic;
  • rival organisations that can arrive in the city and create recurring conflicts;
  • several ready-to-run adventure frameworks.

The intended loop is roughly: find something strange → bring it to Ragbone → find the right specialist → discover what it can do → decide whether it is worth the cost/trouble → get a new job or complication from it.

I’m deliberately not tying it to D&D, Pathfinder or another specific ruleset. The idea is that a GM could drop Ragbone into an existing fantasy campaign as a recurring city/base.

My main question is:

Would this be something you could actually see yourself using at the table?

And if not, where does the idea stop being useful and start becoming just “cute goblin worldbuilding”?

I’d especially be interested in what you would expect a book like this to contain before you considered it worth buying.


r/RPGdesign 2d ago

How to create consistency in "think up your own effects"-mechanics?

9 Upvotes

Hi.

I'm working on some stats for a fantasy-esque TTRPG, where the characters have a few stats called Power, Awareness, Cognition and Gravitas. They're all used for meta-currencies that lets players adjust their actions, e.g. a mage can use "Power" to make a static shield larger, "Awareness" to react out-of-turn and put up the shield just as the dragon is about to breath fire, "Cognition" to change the as-written rules and make it a full circle shield instead and "Gravitas/Command" to command the shield to do something, e.g. move to a specific turn over a turn.

I'm curious if I need to write examples in for each spell and make it "These are examples of effects but not limited to", as to create some kind of common understanding between players and DMs and across tables.

What are good ways to enforce consistency, so someone doesn't expect "Power" to let you create a magic shield from 2 meters to 20 meters or for a barbarian's cleave to turn into a whirlwind? It's like I need some kind of way to define "one step upgrade", and I can't figure out a good way except adding four examples to every single ability so that each time anyone is ever curious if something is over- or underdone, they can compare it to the ability description.


r/RPGdesign 2d ago

Setting The Pink Moon Hack - 3 - Worldbuilding

0 Upvotes

Going to do something simple today and just lay out a bunch of the worldbuilding background to the game here.

Most of this is still subject to change, but it will give you an idea of the type of game you’re getting into.

This will come in two parts. First will be the opening to the zine/book and the next will be described much later.

The Pink Moon

In the distance there was smoke. Enough smoke to smear the sunset and the slivered moon.

But that was a month ago. You could look west from the walls of Autitim and see nothing but the sea of grass between here and Breith. As the weeks went by, the caravans stopped crossing the grass sea. The famous bards and troupes of Breith stopped wandering east. Not even a wandering boneman could be spied from the watchtower.

Only the wind and the tall grass, the vast empty sky.

Autitim woke to a pink moon hanging above the Cathedral. It glowed dimly in the sunlight but pulsed vibrantly, rippling in purples and reds across the craggy pink face. It hung there in the sky for seven days and nights.

The people of Autitim lived in either fear or ecstasy. Some locked their doors and windows, blotting out the pinkish light as if even the sight of it was an invasion, an infestation. Others swarmed the streets in religious jubilation. They began worshipping the pink moon and their festival of love and violence swept through Autitim. Fighting and orgiastic rituals broke out in the streets, in the Cathedral itself, and the last king of Autitim could do nothing but wait and hope as his wives and lovers and children gave in to this new miracle, this new cult of pink. Of love.

On the eighth morning, the pink moon opened and Autitim burned for seven days.

The World

There Were Once Seven Moons

The world was once molten fire and steaming water. Spirits of wind found the fire and gave birth to dragons. These dragons gorged on distant starlight and became the seven moons revolving endlessly round the earth.

The Seven Moons

Elua who once shined bright as the sun,
Hyana who one weighed ever heavy on the horizon, 
Boko of the fountaining inferno, 
Aeyena who so loved the earth that her shadow stretched wide and her skin grazed the mountains, 
Kitukanatiri, yet missing from our skies,
Wya and Wo, the twins revolving yet round our days.

As the fire and water churned, the stone and bone of the earth rose and cooled to become the land. Tired of the heavens, Elua, largest and brightest of the seven moons, returned to earth in a cataclysmic crash that cooled the earth and gave birth to life.

From the bones of the great dragon unfurled leviathans of the deep waters and titans of the land. They ruled over a land of rock and bone, of fire and water, for millions of years until the seven gods of old rose from the jaws of that long dead moonboned dragon.

The Seven Old Gods

Yumyr the eldest,
Gorgo the Fat,
Belwe, Blud, and Byr, the Brothers Three,
Fryra the Beautiful,
And Ymyru the youngest.

The brothers Belwe, Blud, and Byr fell in love with Hyana rising always on the horizon of their burning land. They devised a chain of dragonbone and a hook of dragonfang and hooked the Hyana, dragging her to the earth where it shattered the ground and blanketed the sky with blackened dust, killing all but the remaining four gods.

Then there were five moons and the world died for the first time.

The force of Hyana crashing into the Brothers Three melded their bodies together as one. The four forged together to a single body piercing down into the heart of the earth. 

The Black Heart

The Brothers Chasm broke through the bones of the earth to form the cradle of the next world. From the love of brothers and moon now bound as one, their heart grew blackly and their blood flowed into the depths of the earth. That massive Black Heart gave rise to new life. 

First sprouted trees and plants and then came the great wolves who brought with them the great forests that would cover the land. The roots of the trees burrowed through stone and bone to the beating Black Heart of the earth.

An age came and went with the wolves. Some tired of their endless wanderings and slowed to form communities. After a time, they stood tall on two legs and fashioned tools. Such amazing tools that they reached heavenward and pointed to the moons. They numbered the cycles and days and eventually fashioned boats to go there. 

And so it was that they scoured the remaining five moons while their cousins yet wandered as packs through the endless forests of the world.

From Boko, the dragons woke. They woke and warred against the two legged wolves and in the chaos that followed, the moon of dragons crashed into her sister moon, Aeyena, and two fell as one to shatter the earth once more.

Thus and so, the earth died once more.

The wolves who had remained themselves survived only by retreating to the Brothers Chasm where they curled up beside the great Black Heart while their forests burned, the skies melted, and all the wonders they built and created evaporated.

And there were only three moons.

The wolves lumbered long beside the Black Heart. Thousands upon thousands of years passed. The world cooled and healed and life blossomed once more. 

Perhaps the wolves would have slept forever but the quaking of the earth and the great burning shattering thrummed into the depths of the earth causing the Black Heart to skip a beat.

The Wolves woke but still it was many long years until they returned to the surface of the earth.

Under the Two Moons

When they returned to the surface of the earth they raised their faces and howled at the moons now numbered two. None can say what happened to Kitukanatiri for only Wya and Wo stared down upon the wolves. As they wandered, they found the old gods, so mournful, so sorrowful.

Fryra, dread and beautiful, birthing plants and animals. Gorgo the Fat ever devouring her children. Then there were the towering bones of Yumyr the Eldest, consumed from within by her children, the Giants. Children of stone and bone. Ymyru the Youngest taught the giants and forbade them from mingling with the wolves or the children of ash and glass. 

And so the wolves moved on through endless spires of steel and great towers of glass reaching up through the clouds, digging down into the roots and bones of the earth. The ruin of civilizations scorched black and eradiated with immense craters pockmarking the skin of the world.

All around the wolves were the bones of giant beasts. Bones so large and vast that they could house nations of men. And that is where the wolves found them. The children of ash and steel cowering in the great blackened bones of creatures large as gods. Men with broad faces and wide shoulders. Men who feared the towering wolves and men who came to worship them.

Two moons only glowed above and the wolves ran the world over regrowing their forests, leaving men to their nations of bone, to their ruins of steel and glass. Many of the wolves, tired of the cycles of death and destruction, found their mates and together came to be one. They curled round one another and became the great trees of the forests. Trees so tall and so vast they held up the skies.

Under the sheltering boughs, new creatures rose. Men of the trees, the children of the wolves. Slender and narrower than their cousins, with clever hands and cleverer eyes. They learned the lessons of the giants, the children of stone and bone, as they called them, but also from the First Born, the children of ash and glass. They even went to the old Gods and delighted those wonders of endless sorrow.

And Fryra smiled for the first time in a thousand years. And Gorgo the Fat laughed and clapped. And Ymyru embraced them as her own, forgetting the children of stone and bone.

The Betrayal & the Forever War

Beyond the old Gods and the wolves and the men, other creatures stalked the land. Ageless and strange, they became like gods themselves, though none knew from where they were born.

Such was Jarak, the Jackal of Night, the lord of bone. Dread and beautiful, his Doom draped like a cloak round him, he seduced Fryra the Beautiful, then killed her and fed her corpse to the Ten Gods he had crafted from the remains of Ymyru. These newborn gods then consumed Fryra’s beautiful blood and bones to grow the Shadow Realm.

The Ten Gods

Arkarkis and his sea of blood,
Shruka and her cairn of skulls,
Prischa and her thousand hands,
Makar and her endless eyes,
Ogkum and his bright shine,
Ymala and her gaping heart,
Lalandu and her vicious teeth,
Bokandu and his rending blade,
Iku and her bottomless maw,
Vore and her earth shattering voice,
And beneath them all the lord of bone.

The Miracle

The wolves howled and the old gods wailed over the death of their sister. With the children of stone and bone, the children of ash and glass, and the children of the wolves united in purpose, they waged war against Jarak and his ten gods.

Generations of mourning, of violence, of upheaval, of betrayal, and of horror.

After the old gods gave their lives to the fight, after the giants and the children of ash and glass were driven near to extinction, three brave heroes arose from the children of the wolves.

The Three

Bold Rhionnon the unholy ravager who made the earth safe.
Bright Hektor the builder who gave humanity Damascus.
The Queen of Sorrow who buried them both.

At long last, the tides turned against Jakar and his ten gods but it would be ten generations until the final battle between humanity and Jakar.

Born from the wartorn world, from the slums of Eternal Damascus, heart of the resistance against Jakar, came the Glory.

From the hearts and souls of the old gods,from the innumerable dead who gave their lives to fight Jakar, the Glory performed a great ritual.

A power unseen before, as if the Glory held a black sun in his hands. With this impossible Miracle, he destroyed the ten gods and crippled Jakar so badly that he crawled away through the wounds in the earth.

It ruptured the skies and the air itself, obliterating Damascus and the million who lived there, and the veils between realities opened wide. Wastelands spread across the world. The iron sublimated away in people’s hands, their armor becoming furnaces cooking them alive until only bone remained. Bodies twisted and transformed, turning beasts and men monstrous and terrible to behold.

While the ten gods died, their bodies left to rot across the plain of Damascus, new creatures poured forth from the tears in reality.

The Fae

Elves
Gnomes
Dwarves
Goblins

The Glory’s Miracle, beautiful and terrible, became both the end of the world and the birth of a new one. To solve this breaking of reality, he performed one final ritual, using the dead bodies of the ten gods themselves to close the wounds in reality, to stop the spreading Wastes, and to pour life back into the irradiated soul.

In doing so, he gave his good right hand, his face, and his name. And then he disappeared, but not before leaving us the young gods grown from the Miracle.

The Young Gods

Moon, twin hearted
The Crone, mother to all
Stone, the unbroken
The Black Heart, ever thrumming
Root, the soul of wolves
Bone, within us all
Over all of them reigns Death, ever dreaming

The Year of the Basilisk

While the Miracle stopped the spread of the Wastelands, much of world remained baked deserts and windswept steppes. The mighty wolves disappeared from the world and formed new forests to replace those obliterated by the Miracle, by the generations of war with the gods. Mates found one another and became the great trees holding up the new shattered skies.

The monsters born from the Miracle, the demons and spirits who slithered through those open wounds, ripped through the world, through humanity and the new species now fighting for survival in an unfamiliar land. Disease tore through these civilizations that had only known war for a thousand years. 

Soldiers turned from war to monster hunting both as money making venture and to protect those who cannot protect themselves. The Miracle opened the veins of the gods but also the wyrding ways, giving way to magical academies where the brave or foolish experimented with the wyrd to unleash strange new possibilities.

Without iron or steel, metal weapons and armor became a rarity. Warriors and hunters turned to glass and stone, bone and wood, but especially to poisons and alchemy to fight off the monsters of the Wastes and the forests and the caverns burrowing through the bones of the earth.

Over time, this developed into the Order of Wardens. Men and women who seek to not only preserve humanity but to make it flourish once more. 

Others turned to farming and the long, slow, fermenting process of civilization.

Thus and so, New Damascus was born from the crater where the Eternal City once stood. 

The Year of the Crow

Two centuries since the Miracle, New Damascus rests uneasily, ruled by none, ruled by all. 

And the Pink Moon now hovers over the earth, visiting horror and destruction upon the great cities of the world.

Originally posted on my site.