This is the exasperated sigh of all of us knowing for years that this is what would happen.

Disney Afternoon Universe RPG, with modules for DuckTales, TaleSpin, Darkwing, Rescue Rangers, Goof Troop, and Gummi Bears.

I don't know that I have any good references for the lore of Sosaria/Britannia, so I'm not sure I can confirm that easily.

Lord British and Shamino are both directly based off of Garriott's D&D and SCA personas. Here's him mentioning the origins of Shamino:

www.youtube.com/watch?v=cWqK...

Also, if you want to dip into other media - Richard Garriott's indie computer game Akalabeth (1979) and subsequent Ultima series drew heavily from his own D&D sessions for characters, setting, and plot.

D&D in the streets (combat), GURPS in the sheets (non-combat)?

Many story games rely on speaking-stick style mechanics to share the narrative load, but giving it a mechanical cost feels more satisfying to me. It's a way to connect story consequences with mechanical consequences. This can be done with or without dice, as long as you support the flow.

(7/7)

The biggest example of this for me is Belonging Outside Belonging. The flow of resources is more subtle in games like Dream Askew, but it still applies effective narrative pressure that helps with the feeling of the story being created.

(6/7)

One of the things that FATE and BitD both do in addition to dice-rolling is the creation and expenditure of resources, and for me, that mechanic helps with the satisfying feeling of their narratives. Diceless games can still be satisfying if they use resource management well.

(5/7)

FATE can do this as well, if the players buy into the mechanics. I played that aspect (heh) to the extreme in my design of Rockalypse. Blades in the Dark also does this, but in a way that often becomes more harrowing rather than heroic over the course of the scene.

(4/7)

But even better is when the mechanics are built around escalating the narrative, and the randomness actually serves that feeling. That, in a nutshell, is what I like most about the Sentinel Comics RPG. Every scene has a brilliant story arc because of GYRO.

(3/7)

A single pass-fail d20 roll is not great, but what's worse is when a series of them flattens the experience of a scene by making it feel like there is no escalation or growth over the course of the narrative.

13th Age and Shadow of the Demon Lord both have good ways of handling that.

(2/7)

This sparks a lot of my own thoughts, so I hope you'll forgive a full thread of response.

I definitely think that dice-based mechanics can support a particular feeling of the narrative, and a lot of the frustration I see has to do with when they just...don't.

(1/7)

Bring a comb.

When he tells me he doesn’t know something, I don’t believe him. Turns out when he claims to know something, I also don’t believe him.

I took a look at both his thread deriding you and the other person's thread he mentions, and I have to say that I lose a lot of respect for people who can't be bothered to learn about the city they're talking about.

Wonder how he'd feel if I called Newark "suburban."

Dipping into the more obscure, but let's see who latches on to this one: