If you are familiar with tabletop role playing games, you know Dungeons & Dragons. There’s a quote I like from the late, great Terry Pratchett, regarding J.R.R. Tolkien’s influence on the world of fantasy:
J.R.R. Tolkien has become a sort of mountain, appearing in all subsequent fantasy in the way that Mt. Fuji appears so often in Japanese prints. Sometimes it’s big and up close. Sometimes it’s a shape on the horizon. Sometimes it’s not there at all, which means that the artist either has made a deliberate decision against the mountain, which is interesting in itself, or is in fact standing on Mt. Fuji.
Dungeons and Dragons is like this in the world of tabletop gaming. If you’re making a TTRPG, you need to know where you stand on being compared to D&D. Will you try to differentiate yourself with interesting mechanics, a new setting, or will you try to learn from the game that invented tabletop roleplay? Like painting a scene of Japan without Fuji, it’s hard to not have D&D in the background somewhere, making its presence be known in the way you handled stats and skills, the shape of the dice you use, or even the deep, deep roots of your game’s concept.
What do you do when you are Mt. Fuji, though? How does the mountain learn to grow and change itself when the time comes to? What influences could Dungeons and Dragons itself draw from in the late 90s, the waning days of the Second Edition and the beginning of the Third?
Dungeons and Dragons Third Edition was a turning point for the game. It was D&D’s attempt to re-capture lightning in a bottle, to relive the heady days of its 80s fame, and make a Dungeons and Dragons game that was truly worthy of the name. It was… well, it certainly was a new edition of Dungeons and Dragons, that much can be said.
I’ve been kind of obsessed with this little RPG zine called Vaults of Vaarn, if my review of it didn’t tip you off. If you’re not going to click that link, it’s a really great little science-fantasy weirdo RPG setting placed in a post-post-post apocalyptic desert loaded with mutants, weirdos, and strange creatures.
Since an outsized portion of my brain has been dedicated to thinking about Vaarn, I decided to write some of those thoughts down and arrange them into a bit of new fan content for the setting. It’s implied that Urth, the planet that Vaults of Vaarn is set on, was once an advanced and prosperous world with immensely powerful technology. It seems obvious to me that space travel would be possible in this world – so why not add space aliens to the Vaults?
So, I present to you my Vaults of Vaarn fan race: the Visitors. Click the jump to enjoy. All credit goes to Leo Hunt, AKA graculusdroog for the creation of Vaults of Vaarn itself.
In case you aren’t keyed into the broader tabletop RPG universe, there’s something of an Old-School Revival or Renaissance (henceforth OSR) going on. Many RPG gamers are looking towards the past, to the RPG heydays of the 70s and 80s, to draw inspiration for the future of tabletop games. And what, exactly, does this imply? Well, the members of the OSR aren’t always sure themselves, but it’s typically a broader focus on player agency and dungeon crawling, increased risk of character death, and reduced focus on pre-written plots. The gamemaster of an OSR game is once again an impartial referee, whose role is to simply mediate the world that the players explore in a sandbox style. “Rulings, not rules” is a common refrain – instead of having granular rulesets that explore every possible corner-case, OSR games prefer lighter and simpler rules, giving the gamemaster the final say on what is and isn’t permissible.
But what I like about the OSR scene is the incredible bulk of content for it. There’s a lot, and I mean a lot, of really fantastic OSR blogs, zines, and books out in the world filled to the brim with imaginative and wild settings. One of these settings is Vaults of Vaarn, a pay-what-you-want zine by author Leo Hunt A.K.A. graculusdroog on itch.io.
I downloaded Vaults of Vaarn on a lark, looking for more interesting RPG content to consume, and found myself blown away. Hunt emphasizes strongly his influences, naming Dune, Hyperion, and The Book of the New Sun, as well as the art of Moebius. He says it’s fine if you’re not familiar with these works, because it’ll “make his theft seem original.” Well, I’m not familiar with any of these works (aside from the art of Moebius), and Vaarn seems pretty damn original to me. So original, in fact, I thought I’d do a little review of it, just because it’s got me so jazzed.
Twilight Sparkle’s Secret Shipfic Folder was a fan-made My Little Pony card game, released in Summer of 2014. It is also, for all intents and purposes, not the normal kind of thing that we would review on Efemerovo.
We here at Eggware.XYZ have something we must admit: we enjoy My Little Pony. We’ve enjoyed it for a long time, since our childhoods. We have enjoyed the latest series, My Little Pony: Friendship is Magic, since its inception. It is a good television show and an excellent franchise, one that hits all the right notes for its target market of young girls and people well outside it.
It’s not just little girls who love My Little Pony, though. They are those who call themselves “Bronies”. Adults, typically men, have flocked to the 2010 My Little Pony reboot in droves, and they brought a lot of their adult concepts with them. This has been a problematic development for a lot of the young fans of My Little Pony, as the primary resources for My Little Pony content are primarily made by adults, for adults.
Twilight Sparkle’s Secret Shipfic Folder was not for My Little Pony‘s target audience. So who was it for, really? After the jump, we’ll explore this game postmortem and delve into some of its more “adult” choices.
Warning: This article is much more mature than the content usually featured on Efemerovo. We discuss a multitude of topics, including sexuality, consent, and incest (uh, yeah, it gets weird). Use discretion and do not view if you are uncomfortable with the subject matter.