Shotguns & Sorcery RPG: Robert Schwalb’s Journey

Shotguns & Sorcery RPG: Robert Schwalb’s Journey

Matt Forbeck already enlightened us on his latest interview, but we also wanted to hear directly from the other man of the RPG game: Robert Schwalb.

Forbeck & Schwalb have worked closely to finish the first of the S&S RPG manuscript. With around 180,000 words and a little over 300 pages long it seems it’ll be one of the biggest game books of the year.

Let’s find out what they’ve exactly been up to while working for the upcoming Roleplaying Game based on Forbeck’s IP Shotguns & Sorcery.

 

How was it to integrate the Cypher System™ seamlessly with the S&S setting?

It was a whole lot of fun to be honest! As my fourth RPG adaptation of fiction to game material, the process was really comfortable and made easier having Matt just an email a way to answer all my finicky questions. Plus, Cypher is a flexible game engine and can handle a wide range of stories, so that was a benefit.

 

Was it an organic process?

To some extent, yes. The novels have a some strong world-building elements, but they are short, so we inferred a lot about the world from the books and Matt filled in a lot of the blanks. As far as adapting the game system, we didn’t have to make many significant changes. Cypher uses a universal mechanic for dealing with narrative complications, regardless of what those complications are.

 

Was it more difficult to adapt an already existing IP into the rules of the RPG universe or is it the same as when you start a game from scratch?

I wouldn’t say it’s more difficult. Rather, it’s a different kind of difficult. Building a game from the ground up presents its own challenges—you have to nail down the kinds of stories you want to tell, the stakes involved, and build the system to meet the story’s needs or build the story to match the game system as in the case of original creations bolted on to an existing game system. With fiction adaptation, the author creates a world without thought given to game balance or telling stories outside the story involving the protagonists. So the challenge really is to look at the world around the protagonists and find stories and characters that could exist within the same story and then building the game for them.

System work is also tricky since the objective is to match the mechanics to the narrative. For example, the novels show a wide range of magical effects, from enchanted bullets to nets of blue magical energy that catch falling people to astral projection. The characters in the book don’t “grow” into these things. Rather, they just have them. While Cypher does not place an emphasis on growing one’s individual power, it does feature a system of Tier advancement and from those tiers, characters gain additional benefits and options. It was a bit difficult pinning certain effects found in the story to particular tiers and/or character building blocks such as focus and descriptor, but it wasn’t an insurmountable difficulty.

 

What exactly was your job on this specific part of this big venture?

It was my job to put the Cypher System through its paces, bending and adapting the core rules to fit the needs of the game and to create new mechanical content to help players and GMs express the story in play. Sometimes, I took existing mechanical content from the Cypher System rulebook and embedded them in new story wrappers. Others, I rebuilt certain rules to make them more suitable for Shotguns & Sorcery. And I also spent a great deal of time creating new content for the game, such as new horrible creature, descriptors, cyphers, and more.

 

What was the biggest challenge or even obstacle you found?

Shotguns & Sorcery places a considerable amount of importance on race and the tensions of disparate peoples forced to live together under the tyrannical reign of the Dragon Emperor. As the Cypher System doesn’t sweat race/ancestry/people/whatever too much—though there are guidelines in the Cypher System Rulebook—I had to find a way to make the race choice important within the system’s framework. After four or five attempts, I finally settled on extracting a few game elements granted by type and presenting them in a second adjectival choice point called race. This approach allows race a greater impact on how characters take shape and helps differentiate characters who share the same type.

 

Did the results so far assume the form you wanted?

Oh yes! I’m quite happy with how the game turned out and I’m eagerly looking forward to seeing it in its final form.

 

What is it that you’re most looking forward to show the audience as soon as the RPG is available?

Fans of the novels are going to find out so much more information in this game and Matt added a lot of detail to Dragon City, which really brings the place to life. I’m just excited to get this game in the hands of the customers so they can start playing!

 

Can you give us any scoop on a favorite character, magic, cypher…?

So many things! But let’s talk about magic. Spells operate as benefits gained from your Type choice. You can access spells from one of two types, the Wizard or, if you want to be a dabbler, the Freelance. Now, anyone can pick up additional spells too by selecting a magical focus such as Conjures Monsters or Commands the Dead. And then there are cyphers. We introduce a subcategory of cyphers called Words, which are spells in written form. They can be written on pages in books, on scrolls, etched onto tablets, or painted on the walls of an ancient, ruined building. Magic is fully integrated into the game, so it’s pretty easy for most characters to have a bit of mojo.

 

People are already wondering about GM advice you could give them. What’s the one recommendation you would share?

Make Dragon City your own. While we go into detail about the city, there’s plenty of room to add your own creations and characters. Don’t feel locked into the story told in the novels. This is your city now and you can do with it whatever you like!

 

Thank you, Robert! We are very excited to be part of the 1st third party game licensed with newCypher System™ from Monte Cook Games.

S.G.

Shotguns & Sorcery RPG: Matt Forbeck’s Journey

Shotguns & Sorcery RPG: Matt Forbeck’s Journey

A lot has changed since the last time we spoke. Matt Forbeck has worked closely with Robert Schwalb to finish the first draft of the S&S RPG manuscript. With around 180,000 words and a little over 300 pages long it seems it’ll be one of the biggest game books of the year.

Let’s find out what they’ve exactly been up to while working for the upcoming Roleplaying Game based on Forbeck’s IP Shotguns & Sorcery.

 

Matt, could you explain to us how it is to transform a universe you made famous in novel format into an RPG?

It’s fantastic fun. The world of Shotguns & Sorcery actually started out as an RPG setting in my head, although the world first got to see it in fiction, so it’s a real thrill to watch it develop into a full-blown RPG.

 

Was it an organic process?

As organic as anything can be that comes from people typing at each other. For me, it felt very natural. I started out as an RPG developer over two decades ago, so working on another RPG again felt like coming home.

 

What exactly was your job on this specific part of this big venture?

I wrote the background for the book and supplied all of the details about the world. My pal Rob Schwalb did all the heavy lifting with the rules, while Outland’s CEO Jeremy Mohler is creating all the art.

 

What was the biggest challenge or even obstacle you found?

It’s been a while since I wrote the Shotguns & Sorcery stories, so I actually had to back through and read them, taking notes as I went. This gave me all sorts of ideas for new material for the setting, but it’s kind of odd to study something you once wrote.

 

Did you have to compromise a lot? Did you feel like the S&S characters and universe had to change a lot to fit the RPG model?

Not much at all. As I mentioned, I originally developed Shotguns & Sorcery as an RPG setting, so bringing it back to its roots left it fairly well intact.

 

Did the results so far assume the form you wanted?

So far, I’ve been thrilled with every part of it. I can’t wait to see the finished book. There’s nothing quite like holding a book like that in your hands.

 

What is it that you’re most looking forward to show the audience as soon as the RPG is available?

Jeremy’s artwork. It’s really going to breathe new dimensions of life into the world and draw players right into it.

 

Can you give us any scoop on a favorite character, magic, cypher…?

I really like what Rob did with the cyphers overall. That’s something new to Shotguns & Sorcery, and he made it fit well.

 

Any future plans regarding this I.P.?

After re-reading all the books, I have ideas for lots more Shotguns & Sorcery stories. I don’t know when I’m going to get to writing them, but hopefully soon.

 

Thank you, Matt! We can’t wait to delve even further into the Shotguns & Sorcery‘s Universe!

Stay tuned for Robert Schwalb’s interview comming to you on April 27th!

S.G.

Game Developer – Robert J. Schwalb

Game Developer – Robert J. Schwalb

You probably know his name from games such Dungeons & Dragons, A Song of Ice and Fire Roleplaying, Warhammer Fantasy Roleplay. Or maybe, if you are a Cypher System fan, you recognize him as a contributor to the Numenera Character Options and Technology Compendium: Sir Arthour’s Guide to the Numenera.

The fact is he has years of experience working on the roleplaying game industry. So let’s try to get a brief insight into his work.

Robert , you have worked as a writer, game designer and developer in the RPG industry. Do you have a favorite role?

I have indeed worn many hats over the last ten years or so. When I started in this business, I had thought I would pursue a writing career, but I found that my love for roleplaying games offered opportunities for me to create worlds in a way that helped others tell stories through the settings, characters, locations, and mechanics I produced. Not long after I got started, I landed a job as a developer for Green Ronin Publishing. As a developer, my job was to work with design to make the rules and story even better and to ensure that the mechanics worked within the larger game system and setting. I started with d20 system products and eventually took on Warhammer Fantasy Roleplay. Since then, I’ve written a novel, designed a few game systems, and created and developed story and mechanical content for a slew of games including three editions of D&D, one edition WFRP, A Song of Ice and Fire Roleplay, Witch Hunter: The Invisible World, and more. A favorite role? I don’t have one. Not really. If I do a lot of story design, my appetite for numbers grows and vice versa.

Do they complement each other?

They do, but it’s hard to be good at all three. Many people have just one strong area. A person might be a genius with story but workmanlike when it comes to producing the nuts and bolts of the mechanics. Another might have an eye for broken tech and know how to fix it, but be hard pressed to produce new tech from scratch. I’ve been fortunate in that I have had many opportunities to learn the various aspects of game design, development, and story creation. Each opportunity gives me a chance to test my limits and push past them. And, what I learn as a story creator inspires my mechanical design, which in turn makes me a better developer.

You have written a series of magazine articles on the D&D universe. Were you always a fan of this particular I.P?

I’ve loved Dungeons & Dragons for as long as I have been playing RPGs. I started with D&D and it has been my primary game for most of my gaming experience. Producing content for 3rd Edition and 4th Edition was a great, but being part of the various design teams of the 5th Edition rules was really the high point in my career.

Where you a gamer growing up?

Oh yes and at times to my detriment. Minutes into my first game session, I was hooked. Keep on the Borderlands will remain one of my all time favorite adventures. Playing D&D was just the start, though. It opened the doors onto a whole universe of roleplaying games.

What were you favorite roleplaying games?

When I was young, I had a huge appetite for roleplaying games. We played a lot of D&D, but it was the 80s and my family was not immune to the fear that some dark and sinister force was going to drag me to hell as a result of me using my imagination and sharpening my math skills. Once it was decided that D&D was bad for my eternal soul, I turned to other roleplaying games to scratch my gamer itch. My favorite was Marvel Super Heroes (the FASERIP system), Twilight: 2000, Top Secret, Rolemaster & MERP, and, of course, Warhammer Fantasy Roleplay (which was a far darker game than D&D ever was).

When did you first decide to work in the gaming universe?

Honestly, it was about five years after I started working in the business. I stumbled into game design. I had finished college after a second go and discovered there was no long list of employers hot to grab an English-Philosophy major in his mid to late-20s. So I worked two jobs. I sold flooring—carpet, hardwood, tile, vinyl, but I was not very good at it as I knew nothing about flooring and had to learn as I went. I also sold liquor, which I did, in fact, know something about. A few months later, I responded to an open call for d20 system sourcebooks and sent in a stack of proposals. The company bought one and then bought another. I began scouring websites for submission information, pestered everyone in the industry for work, and finally built up enough of a resume that I could get steady work, as a freelancer, as a staff developer and designer, and then as a contract designer.

What about references? Do you have any favorite artists that inspire you?

You bet. When I was much younger and much more deluded about my talents, I thought I would pursue art as a career. Though I never did chase that fantasy down, I remain interested in it and am always excited to see how people interpret the game worlds, stories, and characters in paintings and illustrations. Some of my favorites include Russ Nicholson (his illustrations set the tone for so many of my D&D games), John Blanche (his work is quintessential Warhammer), and Ralph Horsley for the astonishing detail he put into the covers of Tome of Corruption and Tome of Salvation. Two artists I have recently worked with have also impressed the hell out of me. Ivan Dixon did a few interiors for Shadow of the Demon Lord. I’ll be sharing these pieces soon. Also, Svetoslav Petrov knocked the cover out of the park. I knew I wanted to use him when I saw the cover for Green Ronin’s new Advanced Bestiary.

How does it feel to create gaming experiences for such well-known brands such as Dungeons & Dragons and A Song of Ice and Fire RPG? Is there a different pressure?

Working on established brands is tricky and, yes, there’s tons of pressure. But the stress you feel working on D&D is a lot different from the stress experienced working with a literary source such as Game of Thrones, Thieves’ World or The Black Company. Hell, there are huge differences in adding content to an existing game and re-interpreting a game for a new edition.
Adaptations are a lot like coloring books. You can make the pictures whatever color you want but you have to stay inside the lines. A Song of Ice and Fire Roleplaying could have used any engine and could have focused on any part of the world of Westeros. That’s coloring in the lines. The game could not, however, invent new lands, alter the history by injecting characters of our own creation into the timeline, feature space ships, mutants, or lightsabers. All those things are well outside the lines.
The pressure from building a new edition of D&D was infinitely worse. When you buy a copy of a Game of Thrones, you may own the physical copy of the book and own your experience reading it, but that’s it. You don’t own the world. You don’t decide what the characters do. And you don’t determine what happens next. When it comes to RPGs, the audience takes ownership of the game, much like a person owns a hammer or a blender or a set of paints. They use the game as a creative tool. When you monkey with the game’s tools, whether those tools are established bits of story or how the mechanics work, people get upset. For this reason, it’s wise to be conservative in your design and yet the audience also expects something new. After all, they’ve bought D&D already. Probably several times. They want something new but not something radically different. You can introduce something sexy, but it has to fit. On seeing it, a readers should feel like the thing has always been there or, if hasn’t, that it should have been. We know what happens when a design team forgets this: we get an edition war.

From all the projects you’ve been a part of is there one that stood out for some reason?

D&D for sure. It was such a huge undertaking, so massive in scope, and so fraught with perils that I’m still recovering. This isn’t to say that the experience was bad. It was hard. It was the hardest thing I’ve done. Until my new game, that is.

You have won several awards over the last 10 years. What was the most gratifying one?

Gosh. I am gratified by any and all recognition. I was especially proud when Grimm, a supplement for the d20 system, won an ENnie. It was my first big award and it validated my work in a big way.

Earlier this year, you founded Schwalb Entertainment, LLC. What led you to take that step?

For me, it was the next logical step in my career. By the end of 2013, it was clear D&D work for me was winding down. I could dive back into freelancing or carve out a place for myself. Since I’ve already paid my dues in the freelancing trenches, I figured it was time to strike out on my own. It’s a terrifying place to be in, but if it isn’t scary, it’s not worth doing it.

You are now preparing to launch your own RPG: Shadow of the Demon Lord, an all-new horror fantasy roleplaying game, that will be launching its Kickstarter campaign in the spring of 2015.
When did you first come up with the idea for this game?

I’ve had elements of the design in my head for years and years, some going all the way back to when I was much, much younger. The older I get, the less time I have to prepare or play. I love RPGs, but I just can’t commit to a 2-year campaign let alone a 5-year campaign. If my gaming group meets once a month, I want this to be ok. If I miss a week, I don’t want to ruin the story because my character wasn’t there. I suspect lots of people are in the same situation. These desires that drove the design and I decided to go for it, for real, to scrape the ideas out of my head and put them in a book, early this year.

What do you think gamers will love most about it?

Two things. The game’s tone is distinctly mine—disturbing, a little offensive, and a little funny (just a little). The other is the low barrier to entry. I wanted to create a game anyone could play without having to do much in the way of hard work. This game delivers that experience. You could play Demon Lord with your grandma, if you want to play a game that’s chock full of demons, dark magic, and madness.

How about you? What are most looking forward to?

Three things. Pushing the button to send the final files to the printer, cracking open the first box and pulling out a final book, and running an actual game rather than running a play test. Four years of play testing, between Demon Lord and D&D, I’m overdue for a regular game.

You will be collaborating with us here at Outland Entertainment, to help integrate the Cypher System seamlessly with The Shotguns and Sorcery RPG setting.
What attracted you most about the project?

Matt Forbeck and I have been friends for years and I’ve always wanted to collaborate with him on a project. This was my chance. Plus, I know the Cypher System. It’s flexible enough to accommodate just about any kind of story.

What are you most looking forward to delving into?

I really enjoy the process of realizing story through the game mechanics. I want to help fans of the Shotguns & Sorcery novels and stories create their own compelling characters and expand the world Matt created around their tables. I can’t wait to dive into the guts of the world and pull out the glistening bits of awesome that will come to life in the book’s pages. Monsters, cyphers and artifacts, cool stories and neat locations, and so much more.

Thank you Robert for shedding some light on your work.

You’re very welcome!

 

S.G.

Game Developer – William Ward

Game Developer – William Ward

William Ward has a passion for storytelling, be it short story or comic strips. He is also an award-winning photographer and RGP developer. Let’s find out a little bit more!

William, it’s no secret you started out as an avid (and talented!) Dungeon Master. Would you say that D&D played a big part in your passion for storytelling?

The similarities between modern tabletop role-playing games and traditional oral narratives are, in my view, an exceedingly fascinating topic. Before the rise of the novel telling stories was a community driven process. It was interactive. The reason that a single folktale has dozens of variations is because of storytellers that altered their tales based in there audience. I think that tabletop role-playing games fall into this tradition of interactive storytelling. Seeing my audience at the game table was certainly rewarding – an experience that made me want to tell more stories.

What do you enjoy most in roleplaying games?

I’ve always enjoyed the creativity involved in the planning and running of the game sessions. As a player you have the opportunity to creatively solve problems within the game. As a game master you have the challenge of creating scenarios that will be well received.

How often do you GM nowadays?

I’m not able to play as often as I would like. I typically run Pathfinder once every other month. Our schedules make it difficult to get together more often, but in addition to those sessions in person they also roleplay on message boards between games.

How about working in RPG? What is the most rewarding part?

The things that I find most enjoyable about creation process overlap a lot with what I enjoy about playing. The process of creating a RPG is interactive. While you can create a role-playing game solo, it’s most often a group process. Game designers, writers, artists, designers – it’s a process that can create a lot of back-and-forth. I think it’s the same reason that I enjoy the collaborative process of comic books.

Speaking of writing comic scripts. When did comics enter your life?

When I was in elementary school and junior high school I’ve read a lot of superhero comics. I enjoy them, but at a certain point they no longer held my interest and stopped reading. I was fortunate enough to have my interest rekindled during my freshman year at college. A professor included Maus in one of my classes and it made me give comics a second look.

With a little research I discovered that the reason I lost interest in comics was that I was not reading the right comics. I began to read through all of the comics my childhood grosser didn’t carry: Sandman, Hellraiser, The Dark Knight Returns, The Killing Joke, The Incal, and dozens of others.

Photography is another one of your passions. Is this something you consider a hobby, or more of a parallel professional activity?

Photography has somewhat come full circle for me – hobby, parallel profession, and back to hobby. While I’ve always enjoyed photography it became a serious hobby for me after taking a class in college. Taking what I learned from the class I entered the Main State Fair photography contest. Since (like most artist) I am critical of my own work, it was a surprise when I won best in show (B&W) and ribbons in half the categories where I submitted photos.

That gave me the confidence to pursue photography as a parallel career. Since then I’ve worked on-an-off as a portrait photographer for outside companies and independently. My real passion is for landscape photography though, and that is where I concentrate my time currently (as a hobby).

Who do you consider to be the most influential writers?

Ursula K. Le Guin as a writer that has had the most influence on me. A Wizard of Earthsea was my first favorite novel. I still keep a extra “giveaway” copy at all times that I gift to others who show interest in the fantasy genre.

Any novel or comic book recommendations?

There are so many lists out there that I always find it difficult to make recommendations. I’ll try to keep my suggestions somewhat obscure rather than repeating the same books that are on every other list. I’d recommend In the Night Garden by Catherynne Valente and Little, Big by John Crowley for novels. For graphic novels I would recommend Three Shadows by Cyril Pedrosa.

How about the future? What projects can we expect?

Currently I’m working on a graphic novel retelling of a Shakespeare play based on an academic exercise that I was introduced to in college. I’m also working on several tabletop roleplaying supplements that use the Pathfinder Roleplaying Game rules.

Thanks William for telling us a little bit of your own story.

S.G.