Explorers Design
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Explorers Design
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Bespoke adventures, tools, and resources for tabletop game designers.

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The Bloggies 2026!
The blogosphere's annual celebration is coming back.
www.explorersdesign.com
December 3, 2025 at 1:01 PM
You might have noticed that Explorers Design hasn't published any new articles recently. That's because The Ennies Post-Mortem is busy being written, re-written, and organized into a multi-part series.

Stay tuned! The first post is already a 15-minute read.
August 14, 2025 at 1:56 PM
Exploring The Royal Art Gallery Heist
_**You're in a design delve,** an exploration into the creative work of a book, zine, or pamphlet. Our goal? The same as always: to discover the new, strange, and novel, to hone our design blades, and fill our pockets with glittering insights._ # The quick pitch and play. This system agnostic one-shot is free and available right now on Itch. It's designer and publisher, The Department of Unusual Observations, has a couple of one-shots and micro rpgs around the same length (just 4 pages!). They're longer than a bifold but shorter than a zine. It's an adventure length we don't get enough of, and it's going to be a big topic of conversation later in this design delve. But before we get to that, let's skulk into today's design delve with some opening text. > In a shadowed corner of a noisy tavern, a weathered figure leans in close, his voice a raspy whisper. “Are you in?” He slides a rolled-up set of plans onto the table. “The Royal Art Gallery,” he adds with a grin... Talk about a familiar trope! A mysterious figure in a tavern? Call it played out if you want, but one thing is certain—it's efficient. Not only that, it's still visual. The real question is: what comes next? The cover of The Royal Art Gallery Heist The entirety of The Royal Art Gallery Heist adventure (clockwise, starting from top-left); the intro page, adventure proper, diegetic map, and roll tables. ## Delving into The Royal Art Gallery Heist What comes after the intro page is your classic one-page adventure with a map in the center and room descriptions squeezing into whatever's left. Royal does this well—though it's still plagued with tiny type like most adventures in this format. Where it excels is in its overall visual design, which is clean, orderly, and approachable. Not one page feels overwhelming or overstuffed. The real challenge is the overall design of the adventure itself. It's a one-shot with a lot of narrative decisions that are either serving that end or _relying_ on it. For example, there's explicitly only one entrance to this museum, a fairly linear path through it, and—perhaps most shockingly—canned scenes at the start and end of this adventure. It's a different approach from the high-agency games I've grown used to. But is it bad? I'm not so sure. One-shots demand a certain amount of forcefulness to keep moving. What makes this adventure work is context. The fact it's a one-shot and _short_ means a lot of the more prescriptive, canned, and railroad-y aspects can be chalked up as play support by way of example. If this linear adventure with its assumptions and prescribed solutions were several pages longer, it would be more work to dismantle and ignore. Thus, I'm reminded of the subtle importance of page-count. Never mind the physical considerations, like binding, developmental editing, and layout. Short works meet different expectations. The more pages we add, the more expectations we rush to meet. Had this adventure been longer, I would be more critical, but at the end of the day—what can 1 page do wrong that I can't fix immediately? Not much. In particularly short adventures, I don't expect a lot of support. I don't even get them for that. I want ideas and a tiny play set to put them in. This does that well. It's brevity is its strength. Examples of the more prominent typefaces used in The Royal Art Gallery Heist. ## Design Lore **Type and layout.** A lot of Department's work uses Helvetica Neue and Futura—both famous and popular type families nearly everyone (including you) are familiar with. Helvetica is a grotesk typeface. It has clean unadorned strokes in similar mono-widths from one letter to the next. It's clean, sterile, and "simple." Similarly, Futura is a geometric typeface—which means the letterforms draw on standard shapes. Both of these typefaces are a double-edged sword in this adventure. They're a perfect choice for a system and setting agnostic adventure, but The Royal Art Gallery Heist is only one of these things. It's system agnostic but setting intentional. Fantasy with the serial numbers filed off. This works against the adventure's overall type and layout choices which are innately modern. In the text, the gallery reads like Versailles but the type is modern like MOMA. Sometimes a juxtaposition or dissonance like this creates new meaning, but in Royal's case it feels like a mismatch. There is another typeface used sparingly within the document called Seraphic, which more closely evokes the setting with its serifs and raw uneven strokes, but it's relegated to the intro prose and player handout. In the bulk of the work, it's overshadowed by the more modernist design system. Despite those misgivings, there is a beneficial edge to this sword, and it's the functionality. The more modern typefaces are easy to read at small sizes, draw the eyes, and contrast when appropriate. Like I've written before in Typography 101, a typeface is defined by its context and function. Despite the context clashing with the overall work, these typefaces were designed to be legible and hyper functional in more pragmatic use cases. This adventure can be interpreted as one. ## Design Loot * **Not every page has to be the adventure proper.** Royal uses just one page for the core text. The remaining pages are an intro, random tables, and a handout. These additions flesh out the work by providing easy pacing into the work, like with the intro, or by putting general purpose gameability on the bones, like with the roll tables. * **Don't repeat things when space is scarce.** The diegetic map, in addition to being a good handout, obviates the need for overly technical writing in some of the adventure. For example, guards are described in the adventure proper, but the handout actually shows their exact position and routes. In a longer adventure format, this could cause problems by separating pertinent information from each other, but in this tiny adventure it works great. * **Accent colors go a long way.** There's only one color in the entire adventure that isn't black or white—it's sepia and I think it does a great job of tying the overall work together from the archival photo to the parchment-like intro page. It's one of those economical creative decisions that makes a big impact overall. * **Writing your first adventure? Start small.** Not only does a short adventure have greater odds of being completed, you get more leeway for certain design decisions. This is not Department's first adventure, but it's a great example of how adventure format sets expectations. # Final Thoughts Overall, I think this could be a good one-shot. I'd add quite a bit to it, and change how the one interactive npc works, but I could do it minutes before a session. This adventure is a great case study in the power of brevity. The less you ask from the audience, and the more you do to help them, the more grace you get. I didn't even mention there's a twist at the end of this adventure. It's a pretty good one that could use a little more telegraphing. I won't spoil it here, but the adventure does suggest something is amiss, but in order for the environmental storytelling to work, a narrative has to emerge—as it stands, the telegraphing mostly sets a tone. It needs a little more than spooky paintings and mean statues to make the players investigate further. You can find The Royal Art Gallery heist on Itch. It's free and worth a look. Especially if you're looking for inspiration into density and organization. Until next time, I'll keep exploring. The Royal Art Gallery Heist by The Department of Unusual ObservationsA one-shot heist for your favorite dungeon game.itch.io * * * _Explorers Design_ _is a production of Clayton Notestine. If you liked this article, please consider liking, sharing, and subscribing. Members who pay $5/month also get access to additional tools, templates, and inspiration._
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May 20, 2025 at 10:01 AM
How to Roleplay Without Accents
Every morning, I wake up, and I mourn that I can't give my dwarves a Scottish accent, my elves a Swedish accent, or anything a Boston accent. That would be my third genie wish: the perfect Boston accent, one so wicked and loud, native Bostonians could guess my street address just from the way I drop my Rs (then put them where they don't belong). That's my dream. But it's not my reality. In the real world, I can't do an accent besides my own—a midwestern shrug. It's great for ordering beer and debating the price of corn, but it's not particularly evocative at the table during play. So, in order to play and inhabit evocative characters, I have to rely on other techniques. Thankfully, you don't need to do accent work to make characters work. In fact, accents are just one tool in the toolbox. Maybe the coolest and splashiest—but just one tool. There are others. This limited list is what I have shuffling around in _my_ toolbox... * * * # Roleplay with voice and tone. ### **The high and low approach.** Some characters talk with their voices right at the end of their mouth, like they're cutting words with their front teeth. These characters tend to talk fast with quick clicky voices. They're the exact opposite of the low voice speakers who have to flow their words around their Adam's apple. * **_Prim and Proper (High):_** A snooty bookseller in a Call of Cthulhu scenario. * **_Drawling (Low):_** The. Slowest. Clerical. Worker. In. The. Triangle Agency. * **Overly Fastidious (High):** Literally just C-3PO complaining about flying. * **Deep Drawling (Low):** A rural farmer in Liminal Horror giving directions. ### The loose and tight approach. You might be thinking these are the same as high and low—but try pairing high and loose together. Loose voices tremble, gravel, and let words crash into each other. Tight voices keep thing neat and clipped, from chipper to brutish. * **_Gravely voice (Loose):_ **A low-level goon with a club in Blades in the Dark. * **_Reedy voice (Loose):_ **The wheezy hippy dodging questions in Delta Green. * **_Brutish voice (Tight):_ **My Thwomp-like Cairn troll who likes to eat sheep. * **_Chipper voice (Tight):_ **Your little robot mascot and buddy in CBR + PNK. ### The breathy and stifled approach. Exhale when you talk. Do it like you're blowing out candles then try it like you're sighing with relief. Let it shake your vocal chords. It can sound exasperated, manipulative, calm, or even sensual. Now do the opposite, breathe in or stop breathing when you talk. You probably don't sound natural. * **_Husky voice:_ **Your boss in Scum and Villainy who is _definitely_ not evil. * **_Raspy voice:_ **The sweaty overworked warp drive engineer in Mothership. * **_Gasping voice:_** A zombie raised from the dead by some Mörk Borg heretic. * **_Hissy voice:_** The lizardfolk who talkssss like thissssss. * * * # Roleplaying with personality. ### Roleplaying a one-mood character. One of my oldest friends uses this technique all the time. The character who is perpetually angry, happy, or silly. It has more range than you think and gives you the chance to break character later for maximum impact. * **_Always smiling:_ **Your lord in Pendragon who won't take no for an answer. * **_Always angry:_** The J. Jonah Jameson editor who hates your fucking guts. * **_Always nervous:_** The newbie space marine who stutters and whines a lot. * **_Always bored:_** The retired adventurer tending bar and rolling his eyes. ### Roleplaying a character motivation. Some NPCs want something so bad everything they do and say is tainted by it. These are your archetypes who wear their motives on their sleeves and like to angle every line, stare, and question toward's their inevitable aim. A good rule when roleplaying motivated characters is to filter everything through that motivation—if it doesn't serve the motivation, they don't do it. * **_Wants to manipulate:_** The whispering, prodding, giggling Knave wizard. * **_Wants the spotlight:_** The OSE king, arms wide, talking in 3rd person. * **_Wants to have a good time:_** The Pirate Borg pirate who laughs too much. * **_Wants to eat:_** An Apocalypse World cannibal who licks their lips a lot. ### Roleplaying the cartoonishly obsessive. This is the cartoon approach to roleplay. Pick an object, activity, or person and mutate the character around it. The animated movie, Atlantis: The Lost Empire, does this really well, with characters who are obsessed with dirt or explosives. * **_Object obsession:_** The mole-loving lurk that moves and acts like one. * **_Activity obsession:_** The gun-nut who looks and handles everything like one. * **_Person obsession:_** An OSE hireling who looks and acts like a PC but poorly. * **_Fear obsession:_** A dwarf who talks quiet and stays low in fear of cave-ins. * * * # Roleplaying with physicality. ### Using posture to roleplay. The way you sit in your seat, stand over the gaming table, or pace has this amazing ability to change everything else. It's especially powerful in person, where players can't help but notice a change your physicality. * **_Leaning back in your chair:_ **The devil may care mech pilot in Lancer. * **_Looming above. Shoulders raised:_** The dragon-like eagle in Mausritter. * **_Straight back. Chin up:_** Your no-nonsense corporate contact in CY_BORG. * **Limp and rolling:** A corpse animated by the D&D spell Speaks with Dead. ### Roleplaying with your hands. This is about 50% of some accents. Using your hands to talk, command attention, or convey a mood. Some characters do it on purpose, while others do it unknowingly. Sometimes hand work can even tease a profession or backstory. * **_Handwaving and cig-flicking:_** The classic mobster in Call of Cthulhu. * **_Fidgeting with hair:_** A punk kid being questioned by City of Mist detectives. * **_Clenched fists:_** A blue-collar teamster with callused hands and no bullshit. * **Hands in claws. Elbows tucked:** An Electrum Archive insectoid merchant. ### Using movement to roleplay. Sometimes an entire character can be the speed at which they move, or how they move that makes them stick in the player's minds. I'm reminded of the James Cagney technique for looking tough: Raise your head to whoever's talking _and then_ raise your eyes to meet them. It'll make you look threatening. * **_Moving too fast too often:_** The wastelander on too much Jet in Fallout. * **_Slow delayed movement:_** A giant who doesn't have to move fast for anyone. * **_Avoids eye contact:_** The not-innocent businessman in Brindlewood Bay. * **_Constantly looking around:_ **A Delta Green contact with valuable info. ### Making faces to roleplay. This technique works well in remote games where you're limited to just your head and voice. Make an exaggerated face, then hold it. If you let your head go slack and jaw hang open, you're a skeleton. If you stare at everyone past your brow, you're an imp. This technique is great for playing monsters. * **Making a stank face:** The NPC who (correctly) thinks the adventurers reek. * **Eyes-wide, lips pursed:** The DCC paladin whose head is now a chicken's. * **Mouth hanging open:** A lich's not-so-bright henchman from Into the Odd. * **Blank face:** Your Android companion in Alien telling you to remain calm. * * * # Roleplaying with worldbuilding. ### Acting out cultural behaviors. I love this roleplaying technique because it works overtime. Invent an overt cultural behavior and then show that cultural behavior in a character. It'll tell players something about the world and how that character relates to it. * **_Language dipping:_** A monk in Pendragon who mixes in latin curses. * **_Formal phrases:_** The frog who goes "Ribbit!" when she's done speaking. * **_Intense eye contact:_** The Mörk Borg town where everyone is just German. * **_Salutes to everyone:_** A nervous cadet who is trying to memorize the ranks. ### Acting out fantasy characteristics. How do you roleplay an ooze creature? What does a ship's computer sound like in Mothership? I've found verbal tics and reflexes to be really powerful in this instance, even when they're really silly and simple. Matt Colville's impression of a dragonborn comes to mind, where he talks with a strained, broken syntax to show how dragonborn don't have vocal chords or lips like the other humanoids. * **_Saying "blub!" between words:_** The sentient ooze in Eco Mofos!! * **_Skipping every 5th word:_** The scientist on the radio in Mothership. * **_Dropping non-sequiturs:_** An android that used to be a jukebox. * **_Whispers everything:_** A Mausritter mole used to talking underground. ### Let the meta do the roleplay. Sometimes the best way to convey a character is to get meta with it. Break the fourth wall, describe how a character says a line, or trigger mechanics and procedures around certain characters. * **_Say there's an accent:_** Sometimes the players have a better version of the voice in their head and they'll act off the direction without actually hearing it. * **_Only talk to one player:_** Whenever the character talks, talk just to one player. You can even make it explicit, "He looks at you and says ________." * **_Talks in Not-Voice:_** If a character talks through telepathy, I might write down what they say and pass it to the table or even show them pictures. * **_Trigger the rules:_** This won't work for some games, but it can be powerful. In my Star Wars hack of Scum and Villainy, players discovered Vader could only be hurt or swayed with the help of devil's bargains and perks. * * * # Final thoughts Part of my game prep is figuring out how to depict characters. Remembering to do just one thing. That's enough to make a character stick the landing. As you can tell, this list is just a start. So, I'm asking to look into your tool box. What kind of stock characters and techniques do you have? Let me know in the comments or tag me on BlueSky. Until then, I'll keep exploring. * * * _Explorers Design_ _is a production of Clayton Notestine. If you liked this article, please consider liking, sharing, and subscribing. Members who pay $5/month also get access to additional tools, templates, and inspiration._
www.explorersdesign.com
May 13, 2025 at 10:01 AM
What's Under the Pope's Hat?
# The blogclave is upon us. Today's article is part of the Blogclave. A casual blogging event sparked by the real-life Catholic conclave. There will likely be new cleric subclasses, essays on rpg religions, and a whole lot more. One thing is certain: you now have exactly 36 things to discover under the new pope's hat. This is a weird one for Explorers Design. For future design writing, reviews, and more... Subscribe ## What's under the pope's hat? Roll 2d6. Treat each result as one of the two decimal places. 1. A smaller, cuter rat pope pulling at the Human Pope's tonsure like Ratatouille. 2. One of three foxes operating a rope-and-pulley pope disguise. 3. A pompadour to rival that of Johnny Bravo. Perfectly shaped. Hyehh! 4. A serial number. P0PE 268. (Curiously 1 more popes than expected.) 5. Another face. This one is really, really fucking angry. 6. His mitre-shaped head. Wait, he's a squid? DEX save to avoid ink. * * * 1. A smaller mitre housing a mitre-housing mitre. It's hats all the way down. 2. The massive blinking eye you weren't meant to see. It's bloodshot. 3. His brain. You just tore off the top of his head, you barbaric infidel. 4. The crumbling husk of the previous pope. Whoever has the hat has the church. 5. A third hand pointing the Holy 1911 Handgun of Cheboygan at you. 6. The glass dome to a small war room housing 4 praying mantis cardinals. * * * 1. Two knobs like the kind on an amp: morality and violence. 2. The pope's scaly head with a bright retractable frill to scare predators. 3. A mourning dove wearing a mitre. It takes flight. 4. The pope's thrall. He blinks awake, "Wh-wh-wht?" The hat screams. 5. A flaming sword's hilt. Once used to protect the Garden of Eden. 6. Another mouth with some rude, frankly undignified, things to say. * * * 1. A big blinking antennae. The cardinals go into attack mode upon its reveal. 2. The fabled tattoo map to buried Vatican treasure. Just as your dad predicted. 3. A birthmark that suspiciously resembles Mikhail Gorbachev's. 4. A stashed pack of Rotten Apple Cigarettes. "Take a bite of this poisoned apple!" 5. The cymbal-bashing wind-up Jesus discontinued in 1973. 6. Something off-screen that bathes you in gold light. You pause to take it in. * * * 1. Martin Luther's Ninety-five Theses. Rudely stapled to the scalp. 2. A stupid looking toupee. Genuinely one of the worst you've ever seen. 3. Hair with the curlers still in. You thought it was natural? 4. A computer terminal operated by a tiny roach in a NASA shirt and tie. 5. Snakes that turn you to stone. WIS save to resist petrification. 6. A barbed wire tattoo. Roll for initiative. You're about to fight this pope. * * * 1. A factory reset switch. Installed by God. Just in case. 2. A crumpled note. _If you're reading this. I'm dead. It's now up to you..._ 3. An old man. No really. Have you noticed how old the pope is? 4. Multiple eyes. Oh god. He _is_ divine. He's not human. He's one of _them_. Run. 5. An old photo of some dudes on a fishing trip. Back when we believed in things. 6. With mild disappointment: a boring pair of devil horns. * * * ## Who is this pope anyway? Roll 1d6 to decide what kind of pope we have under the hat. 1. **_Dead pope._** Who said they had to be alive to run the church? 2. **_War pope._** A bandolier is like a rosary if you really think about it. 3. **_Young pope._** This pope listens to The Beastie Boys and packs Zyn. 4. **_Antipope._** The Pepsi of papal candidates. A contrarian. Ripe for division. 5. **_Pope Max._** Catholic as hell. The tiara is back. The organs are piping. 6. **_Doomsday pope._** Enough with the bullshit. Warhammer 40k meets Mörk Borg. # Concluding Rites That's it for this week. Did you find something under the pope's hat? Let me know in the comments or repost this article on Bluesky with your own additon to the table. Just imagine the d666 possibilities. Peace be with you, fellow rpg designers. * * * _Explorers Design_ _is a production of Clayton Notestine. If you liked this article, please consider liking, sharing, and subscribing. Members who pay $5/month also get access to additional tools, templates, and inspiration._
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May 7, 2025 at 5:25 AM
Why Riso Makes This Magical
_**You're in a design delve,** an exploration of a book, zine, or pamphlet. Our goal? To discover the new, strange, and novel in tabletop games, to hone our creative blades, and fill our pockets with design lore. Find more in __critique_ _._ # A journey through riso printing. The Rumored Lands zines are my favorite kind of zine. Riso-printed, on colored stock, at just 16 pages a piece. They're fun to ogle at, easy to schlep, and an absolute breeze to read. On the credits page, I see two names I've not seen before, Kris Mukai and Arlin Ortiz—illustrators, writers, and talented designers. Along with those credits, and a special thank you to Ramie and Adalberto Ortiz, we get our first taste of the work's voice and tone. > Whispers of a distant frontier riddle your mind. This text holds only fragments of what awaits you in this rumored land. Simple and concise with no gilding the lily. It's a good and simple intro that wastes no time getting into the dirt and sky of these rumored lands. Let's delve deeper. Covers (from left to right); The Anchor Coast, The Ashlands, and The Spoiled River. Cartography (left to right); The Anchor Coast, The Ashlands, and The Spoiled River. Interior pages (left to right); The Anchor Coast, The Ashlands, and The Spoiled River. (Text blurred by me.) ## Delving into Rumored Lands These zines are essentially location-based rumor tables that have been polished to a degree most zines are not. It's why I picked them up. I'll skip ahead and say right now, "I want to see adventures made by Mukai and Ortiz. The the Rumored Lands will require some work before they get to the table, but like any good rumor in a full-fledged adventure, they've got their hooks in me. So, let's start with what I love. These three zines are compact little nesting dolls of cool ideas. Looking from the top down, each land is defined by a conceptual idea that warps its locations, creatures, and denizens. The Spoiled River, for example, isn't polluted by just anything, but magic crystals that mutate the landscape. The Ashlands are gathered around a glassy crater with a massive eye floating over it. The Anchor Coast is named for its giant anchor and chain which links the depths of its oceans with an unseen flying ship belonging to sky giants. What makes these ideas good is how they domino into the resulting pages. Mukai and Arlin have done a good job of using the top-level conceptual ideas to formulate the smaller, more intimate creatures and scenarios at the player level. My favorite example is probably in The Spoiled River zine where spawning mosquitos on the aforementioned river's muddy shores have mutated into horse-sized monstrosities. Monstrosities that the setting's npcs have no problem using as pack animals in a city that now literally hums with industry. This work isn't without its limitations, though. The Rumored Lands is not immediately gameable. There are no stats, dungeons, or any of the smaller details that fill out the beats of an average rpg session. Just a paragraph description and 6 to 12 rumors that (as far as I can tell) are all true. For some locations, this works out fine because the locations are small—like a hut. The real challenge is when the locations get big. Some GMs might be able to run a a night of city adventuring on one paragraph and 6 fun facts—I'm not that GM. I need all the help I can get. But let's go back to those rumors. They don't feel like rumors in the traditional rpg sense. There's no conflicting information, ambiguity demanding interpretation, or even tension. They read like facts about the setting, person, or thing. Sometimes sequentially like a timeline. They're still compelling. Trees that explode will always compel me, and that was one "rumor" among a list of 6. But they don't have a stickiness for the players. There's not really any implied call to action, or a secret being divulged, it's mostly just detail that sets the stage. For those reasons, these rumors feel like they're written for the GM and not the players. In fact, Rumored Lands feels less like three adventuring locations and more like three lite campaign settings with thought starters. Picture of riso prints and printer via Risotto Studio. ## Design Lore Rumored Lands' physical edition was made with riso printing. The digital editions are either direct scans of that end product or they're well made digital facsimiles. Both versions look fantastic. But what is riso printing? It's like if traditional photocopiers and screen printing had a baby. Paper goes in and colors are added one layer at a time by metal rollers. First goes the "bottom" stencil forms inks, then layer by layer, we get spot colors applied, with a little overlap here and there. What is Risograph Printing? | RISOTTO StudioRISO prints are made with a Risograph printer. It looks like a photocopier, but works as a screenprinter; using rich spot colours and stencils to create tactile and vibrant prints, affordably and with little impact to our environment. Free getting started guides avilable.RISOTTO Check out this explainer for some visual aids. It's a beautiful physical process that creates tiny imperfections with every page, often the result of variations in the paper's pulp, saturation in the ink, or the metal rollers which skip and trundle across the page. What's magic about these imperfections is that they draw the senses to the stuff people are starved for in our digital age—paper, ink that creates depth of color in the light, and small indentations on the page that only our fingers can feel. Rumored Lands shows off these details really well. It's clear both designers have experience and mastery over this process. Their art is bold, geometric, and symbolic—a perfect fit for the stencil and color construction of riso. Another thing that is particularly powerful about riso, which we don't see as much here in Rumored Land's one-color execution, is that it's range of colors are famously limited. This might sound like a weakness or limitation for creativity, but it's secretly its strength. In order to achieve a wider range of colors, the spot colors of a riso project are layered on top of each other. The result is a new color made from layers of bright inks just 2 to 4 microns thick, stacked on top of each other, like stained glass windows. This is why risograph prints are so rich and textured. When you see one in person, you are are seeing light penetrate and ricochet between the imperfect layers of specially formatted inks. Inks that are inherently brighter and more volatile than the stock consumer-grade stuff that goes into an inkjet. A brief note on typography (which looks perfectly weathered but legible in this work): Recently Adobe updated their PDF viewer with overly confident AI, which means I can't be 100% certain what fonts were used in these zines because I can't turn it off. The AI says this book is set in Trebuchet, Times New Roman, and Arial. Maybe those fonts are somewhere in here, but if this isn't Futura, I'll be damned to hell. Feed me to the horse-sized mosquitos. ## Design Loot * **Consider using colored paper.** A lot of printers, especially specialty ones, have paper with colors and textures you can't recreate with ink (or do so cheaply and reliably). These zines use colored pages for their covers with black ink. * **Give your illustration a bit of caricature.** The more I see it in rpgs, the more I love it. For example, if your adventure has owls with big eyes, give them stupid-big eyes in the art. GMs have to transmit these details to players and conveying these details through exaggeration isn't heavy-handed, it's using every tool in the toolbox. Some GMs might show the art to the players. Either way, a bit of caricature makes the images indelible on the collective imagination. * **Create a layout that plays well with your format.** Rumored Lands uses a fairly narrow page size, something narrower that US Half Letter or Crown Octavio. That means horizontal space is scarce. Any additional columns would squeeze the type into short, choppy lines. Their use of the one-column manuscript grid is the correct one. They even use Futura (I swear they do) which is a little wider than most type, which in this case fills out the space just right. Lines have just the right amount of characters. # Final Thoughts The Rumored Lands was my first dive into the work of Kris Mukai and Arlin Ortiz. After reading these zines, and writing my thoughts, I had to dig deeper. Not surprisingly, I saw a note that Ortiz is making maps for Dolmenwood (which is a combination that feels inevitable.) I also learned, after writing and scheduling this design delve, that they _did_ release an adventure set in The Spoiled River setting. I'm looking at the preview images and I can feel my hand reaching for my wallet like it's a sidearm. I'll have to grab that adventure, _Trouble in the Gladden Brook Reservoir_, along with _Rumored Blades_, and Ortiz's _Monster Pamphlets_. Thanks for reading, let me know if you've picked up these zines. Did you get the physical edition? Have you played the adventure? Drop a note in the comments or tag me on BlueSky. Until then, I'll keep exploring. Rumored Lands Digital Edition by AoSmilesThree illustrated zines! Each a rumored fantasy land.itch.io * * * _Explorers Design_ _is a production of Clayton Notestine. If you liked this article, please consider liking, sharing, and subscribing. Members who pay $5/month also get access to additional tools, templates, and inspiration._
www.explorersdesign.com
May 6, 2025 at 10:15 AM
The Explorateur: Issue #7
## 90% of good design is good writing. I like to repeat this often. I know it sounds dismissive or even reductive, but hear me out. You can put a game in a beautiful typeface, on a beautiful page, with beautiful colors, but it won't matter if the writing—the idea, the prose, the rules—don't matter. And that's the obvious argument. The less obvious argument is that, as much as "The medium is the message" the inverse is true. The message decides, shapes, and limits the medium. Writing _is_ design. And design _is_ writing. The end result of the two is one. And while players and audiences can forcibly (some might say "easily") ignore part of that finished work, it isn't in the spirit of the thing, but in spite of it. Good design is in dialogue with the writing, creating harmony and tension like a flowing narrative. Bad design fights with the writing, ignores it, or tries to distract the audience from it—like a movie with great effects and no plot or ideas to speak of. And just like I said earlier, the inverse is true. Long purple prose with no sharp ideas or evocative things to imagine, is difficult to design around. It's hard to fit on a page, to pair with good colors, or depict with an illustration. And that's before we even consider mechanics. The bigger and more hard coded the writing, the smaller and more prescribed the design. There's a reason why Pathfinder's design favors big pages and clean tables—how else do you fit the writing on it? 90% of good design is good writing. The jury is still out on the opposite... Until then, on to last month's discoveries. ### Quest Givers This section shares any game jams, contests, and collaborations. If you want to share a community event, jam, or project message me on Bluesky. * **Meatheads Jam Part II.****** Nothing is better than a big ole' blockhead with muscles. Why make something about spells or songs, when it can be about punching something really, really (really) hard? Jam ends May 15th. * **The Maple Jam.****** Celebrate Canadian creators and spotlight Canadian art, history, and culture by making an rpg, supplement, or some other rpg related thing. I can't wait to see what comes out of this. Jam ends July 1st. * **Spring Supplies and Shots Jam.****** Make one-shots and random tables for Frontier Scum, the rules-lite acid Western roleplaying game. It's a great acid-infused take on Spaghetti Westerns. Jam ends July 11th. * **Fun with Fäng Jam.** This one's all about creating adventures for Fängelsehåla (lovingly referred to as Fäng). It's a family-friendly, rules-lite game out of Sweden with a horde of resources and prizes. Jam ends Sept 11th. * **Desert Dwellings Jam.****** An Explorateur exclusive (or rather, a jam shared with me in advance). Make a game or adventure using**** Odds & Ents' Desert Dwellings art pack (it's free when the jam starts). Jam starts June 1st. * **Enter the Zungeon.** People keep making awesome adventures for this, so I'm going to keep sharing it. Check out the Zungeon Manifesto and make your own Zungeon before the year is up. ### Reviews & Exhibits Critique and examinations of tabletop rpgs, adventures, and more. I try to share exhibits with something to say other than the usual, "Is this worth buying?" * **Playing the Chaplains Game******_by Skeleton Code Machine._ Spoiler warning: If a solo game about war and paranoia sounds interesting, you should play _Mechs into Plowshares_. Otherwise, you might read this and wish you had. * **The White Horse of Lowvale******_by Widdershins Wanderings._ Tania Herrero's previous adventure, Crown of Salt, is one of the rare Mörk Borg adventures that stands toe to toe with Johan visual design. Is this a repeat but for folk horror? * **High Number Too Good!******_by Hendrik Biweekly._ Cthulhu Dark squeezes a lot of narrative juice out of its die rolls. Its a rare game whose mechanics perfectly encapsulate the genre _and_ create great dramatic pacing. * **Mothership is Good Enough******_by The Indie Game Reading Club._ I'm a confesssed Mosh fan, but I agree with Paul here that the beauty of the game has always been the culture and community around it. The rules are good enough. * **Dialect (Why You Should Try It!)** _by Tomas Gimenez Rioja._ Dialect is one of my favorite rpgs of all time. If you somehow haven't heard of it (or forgot how good it is), this review over on Gnome Stew gives a great overview. ### Rumors & Bestiary The never-sponsored section of the newsletter. These links are the treasures I found while wandering the internet wilderness. * **Knock! Issue #5 is crowdfunding!******_by The Merry Mushmen._ If you read this newsletter, odds are you know about adventure gaming's infamous bric-a-brac of old school magnificence. But if you haven't... hand over your wallet! * **Blogs on Tape Season 6 Has Begun******_by Nick LS Whelan.__Podcast_ _._ If you prefer your blog posts delivered via dulcet tones, I'm afraid this is the only option. The good news: the quality and curation is immaculate. * **Ship of the Dead's "State of the OSR"******_by Limithron. Podcast/__Video_ _._ Ignore the title if it gives you hives. This panel is actually a blast with thoughts, stories, and ideas from great creators like Brad Kerr, Kelsey Dionne, Matt Finch, Yochai Gal, and Luke of Pirate Borg fame. * **How Jennell Jaquays Evolved Dungeon Design P.1******_by Nickoten._ If you're reading this newsletter, you probably already know Jaquays' influence on the hobby, but if you somehow haven't, this is shaping up to be a great history and guide to "Jaquaysing the Dungeon." * **D &D 2024 Ignored One of 5th Edition's Original Goals******_by DM David._ Before creating 5th edition, the Wizards team gave themselves specific design goals. This article looks back at what we lost when those goals changed. * **The Witches of Bizharr******_by Bruno Prosaiko._ A PWYW comic full of fearless adventurers in a strange (very strange) science-fantasy world? By one of the most prolific and successful illustrators working in rpgs today? Say no more. * **It's All a Great Big Mess...******_by Zakary Ellis._ The mess in question is Zak's work on Peasantry, a beer and pretzels game about dirty grubby peasants. To be clear: design is supposed to be messy, so I found this post very comforting. ### Theory & Advice Any ideas, guidance, and tools that make playing and creating in the tabletop space more engaging, meaningful, and rewarding. This is the catch-all section. * **When Is the Cake Baked?******_by Idle Cartulary._ Nova reviews somewhere between 2–3 modules a week, and many of them, frankly, feel only half-finished. Which begs the question: how do you know when it's fully baked? * **Graphic Design Tips for Print & Play******_by Revivify Games._ The tariffs have officially arrived (booo!) which means at-home printing is back (yay!). But before you export those files and press publish, check out these solid tips. * **Don't Ask These Playtesting Questions!******_by Skeleton Code Machine._ Playtesters always know how your game feels, and _never_ how to fix it. This list has 10 questions to ask at your next playtest (and 3 to run from). * **Typst for Tabletop RPG Design** _by WindowDump_. Every year markup-based typsetting systems get bigger and better. This thread on The Cauldron explains how to use maybe the most popular option: Typst (w/ examples). * **Practical Examples and Analysis of TTRPG Layouts******_by Matthew Andre._ Pulling apart layouts is a fun exercise. This two-part series features many examples, showing not just their differences, but Matthew's ideal layout. * **Writing RPG Adventures: NPCs******_by Joseph R Lewis. Video._ Another week, another video. This time with practical advice about NPCs, their design, and why it might not be ideal naming your NPC "X'arxis Dœ'Böaç." * **Better Social Stats in Fantasy RPGs******_by Drolleries._ This article interrogates D&D's discrepant social mechanics by showing what we lose when it's divorced from the narrative and overly reliant on charisma-takes-all. ### Design Lore Design inspiration from beyond tabletop rpgs. I share them when I find them. * **Creating Bluey: Tales from the Art Director******_by Goodsniff._**** I'm always entranced by the work of cartoonists. This dive into the nuts and bolts of Bluey's design is clever, insightful, and deeper than you think. * **Typographic Posters Archive.****** Over 11,000 posters from 44 different countries. It's an overwhelming torrent of color that might just shake a cover or convention flyer idea out of you—so get to it. * **A Look Into the Rise of Design-led Board Games******_by Chappell Ellison._ Maybe it's the tariffs endangering everything I love, but sometimes I like to look at pretty board games and get all teary eyed. These are works of art. * **Item Zero's Design Words from A to Z.****** Item Zero makes gorgeous books and fonts that demystify the design process. Unfortunately, they cost an arm and a leg, so I'll settle for their online glossary of terms which are fun to read. * **Studio Showcase: The Young Jerks.****** I'm going to start sharing the occasional design agency and their work, because what's more inspiring than seeing graphic designers do what they do best? This studio is funky. * **Artist Showcase: Jake Foreman.****** The vibes are giving**** 60s/70s psychedelia fed through a printer. The day my money tree bears fruit, I'm comissioning King Gizzard and the Lizard Wizard's artist to make an Eco Mofos!! cover. ### Design Archive Sometimes I miss something or want to bring it back from the dead. * **Form and Structure: The DNA of Adventure Modules******_by Loot the Room._ This article is one I wish I wrote. It looks at how different systems, businesses, and play cultures structure, build, and unravel adventures. * **Enough Dweeb Adventures******_by Knight at the Opera._ This review and exploration of different adventures never ceases to make me laugh and smile at how it perfectly defines why some adventures just don't grab me. * * * ### Missed the last issue? Read it here. The Explorateur: Issue #6Monthly design discoveries for tabletop rpg designers including jams, critique, theory, and tools. Vetted. Looted. Curated.Explorers DesignClayton Notestine * * * _This newsletter uses rare affiliate links to support Explorers Design. If you notice any broken links, mistakes, or bad actors in this newsletter, please let me know._ * * * _Explorers Design_ _is a production of Clayton Notestine. If you liked this issue, please consider liking, sharing, and subscribing._
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May 1, 2025 at 10:01 AM
Haus Rules for Mausritter
It's a defining trait of mine, that if you tell me what's happening in your campaign—I struggle to pay attention, but if you tell me the _house rules_ you made for that campaign, suddenly I'm all ears. Feeling inspired by Sly Flourish's article in the same vein, Shadowdark House Rules, I've decided to share mine for Mausritter. House rules, or "homebrews" (I don't distinguish between the two), are the humblest of hacks. They're the proverbial mods on a car for joyriding with friends. Often honest, practical, and approachable, house rules usually reflect whatever's going on at that particular homebrewer's table. Sly's rules are mostly tweaks to give his players more time in the sun before Shadowdark plunges them into darkness. He also—in good taste—keeps the torch rules and supercharges them with tiny tweaks that ensure they always go out when the players least expect. My house rules for Mausritter are incredibly niche. Whatever itch I've got, the game's core rules and 3rd party modules can't seem to scratch it. So I've been in the garage, fine-tuning a Mausritter de-make that's perfect for me. It even has a working title called _Whisker Kings_ , which I teased in my end of the year article. ## The cheese behind the rulings. In my opinion, dramatic irony is what makes Mausritter special—their world is our world, but the mice don’t know that. To them, a pocket knife can be an ancient sword, a rusted car can be an alien temple, and mundane animals like catfish, crows, and cats are just as fearsome and formidable as any shark, sphynx, or dragon. Like the game says in its principles, it's all about scale. Mausritter's world is mysterious and magical through its change in perspective. I like to think my house rules double down on that core conceit while stripping out anything that gets in the way. For example, as fun as traditional fantasy elements are, I don't think skeletons, spells, or castles belong anywhere near a Mausritter adventure. The core rules even have a magic system similar to something in Knave or Cairn. Now there's nothing wrong with any of that, but for me that's a trap that keeps us from getting the cheese. Fairies, magic, and monsters don't make Mausritter a fantasy world—the mice do. Mausritter is more than a reskin. It's high-concept, perspective-bending fantasy. If I can replace mice with regular humans and the adventure looks almost exactly like an Into the Odd adventures, to me, that's a sign the best parts of Mausritter have gone un-nibbled. ## Mausritter Setting Changes My on-again off-again campaign of Mausritter has some changes I think heighten the innate magic of the setting. For the sake of this article, I'll call them the laws of the Whisker Kings (the name of that campaign). 1. **The new world is salvaged from the old.** The critters of Mausritter don't build or make anything that can be salvaged or repurposed from something else. They might carve spears or knit clothes, but they don't build castles and thatched houses in a world surrounded by trees, rocks, and abandoned wrecks. 2. **There is no magic except the unknown.** The world cannot be explained. The trash humans left behind are relics to the mice. Even something as mundane as a brass button is impossible to recreate with their technology. Instead of magic tablets, our critters collect human artifacts: zippo lighters, fishing line, batteries, and more. 3. **The humans are gone.** And they've been gone for awhile. There are no cars speeding down highways or cats lapping at bowls of milk—the world belongs to the animals now. For whatever reason, "the creators" picked up their things, lit fires in the bellies of their machines, and left the world behind. My players have no idea they're playing in an evacuation zone. Or that the year is 1936. ## Mouse-sized rule changes. **_Obsidian tablets have been replaced by artifacts._ **They still do "magic" things, have usage rules, and require rituals to "charge" them, but they're not magic. They're human objects. Clumsier and more grounded than spells, but with purposes and methods so unfathomable they might as well be magic. Most know this trope best from science-fantasy. A battery that heats metal. A tuning fork that deafens all who hear it. Pomade that makes whiskers hydrophobic (creating a bubble of air around their heads). You get the idea. _**The attributes are now body, heart, and mind.**_ The original attributes are very Into the Odd (which I love), but for my table, _strength_ and _dexterity_ were narrative mismatches for the world's themes. After all, how big and believable are the differences between the strongest and weakest mouse anyway? To a cat, a mouse trap, or a rock—its nothing. I'd rather the dice be tied to other narrative themes, which is why strength and dexterity become body, will becomes mind, and heart reflects empathy, intuition, and charisma. (My game has a lot of social encounters that need something to risk). **_More items take up more space._** I love the logistical challenges of Mausritter. I like it so much I give mice another row of inventory slots, just so I can fill them with weird shaped objects and tools. Half of the fun is imagining mice trying to roll a wheel of cheese out of a downcellar or schlep a dead chicken across a field. ## Cat-sized rule changes. **Time is now reflected in three watches.** I'm not a "strict time records should be kept" kind of GM. The sun and moon moves at the pace of narrative tension. When the players roll poorly, time's arrow flies at them. This is a fairly large change because it has cascading consequences for items, rations, and adventure locations. I hand wave most of it, but it requires high-trust. **We don't just play mice.** This is a big change I've slowly introduced over multiple games. As the mice explore, they make friends, form alliances, and "unlock" new playable critters. The options when we last played were mouse, mole, rat, frog, toad, and—as a joke—hamster (they get one extra inventory slot in their cheeks). **The game is played in seasons.** Spring, Summer, and Fall are the adventuring season. The mice usually fit one adventure into every season before Winter has them dashing back to their warren for shelter. I've not had enough time playtesting this newest rule—but the impact is huge. Locations change with the seasons. Players feel the time crunch. And the mice grow old. **Critters grow old and retire or die.** The average lifespan of a field mouse is about two years. In Whisker Kings, they probably live a little longer because they know how to wield a sewing needle, but once the 3rd winter comes, the players have to start rolling. Does the mouse live to adventure another year? They might not. One of their friends might take their place, or one of their offspring, either way, someone has to go out there and find more food and loot—that damn cat Balthazar has tribute owed to them. **Critters are tied to their warren.** They go on adventures for food, supplies, and treasure. Every winter, the food stores dwindle, factions demand tribute, and the world gets more dangerous. Players have to pick and choose their adventures from the rumors—some promise food like acorns and dried fish, others weapons and powerful artifacts, and some allies and improvements for the settlement. # Final thoughts As you can tell, I'm already in the "Are you even playing Mausritter?" territory. The answer is yes, but in the same way a lot of us play the big tentpole games. This campaign is also the first where I really started to explore the 1 HP Dragon framework for combat—which is an experiment so complicated, I excised it from today's article. That house rule quickly spiraled out of control, which I'll get to expand on in later installments. Until then, I'll keep exploring. * * * _Explorers Design_ _is a production of Clayton Notestine. If you liked this article, please consider liking, sharing, and subscribing. Members who pay $5/month also get access to additional tools, templates, and inspiration._
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April 29, 2025 at 10:04 AM