I'd been feeling like playing The Clay That Woke for a while, so I took it to Spelens Hus. It's also Nate's fault. I hadn't planned to attend that week, but as it happened, several people showed up hoping I'd be there, so I got a message. I answered back with "traditional or weird?" and Nate said "weird," so this is what I grabbed.
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Given the ambitious purpose of Tales of Round Table, it's useless merely to read and opine about it - one has to do it. But then again, given that the purpose concerns first-time and, preferably, entirely naive users, perhaps any of us "trying it out" is compromised past the point of utility. I'm not that far down the road, but clearly, as distinctly not the target audience as I am, it's risky to present a personal conclusion as genuinely informed.
I got over a mental block and managed to say "this game's done!" in design terms at least, so it was time to introduce Cosmic Zap to some intrigued people at Spelens Hus.
I've played a whole lot of Trollbabe at Spelens Hus, so far with three sessions and five players, although not all of the latter at once. There isn't too much to say! Everything has been berserk and fun and gory and funny and heroic, the whole time.
I've moved into playtesting for Levied Souls, with the help of friends at Spelens Hus. It's a long-term project with plans for multiple sessions, and so this first session was for character creation. By player request, it's also audio only, athough I have set it up as a video for helpful captioning and occasional textual comments.
There's an enthusiastic bunch at Spelens Hus here! They were even up for a late-night Zombie Cinema game, sight unseen, "Ron has it in his bag? Sure, let's try it." The game is maxed at six players and I was turning people away.
The result was an extremely energetic session, occasionally shouty, with vivid characters and plenty of confrontational or reconciliatory moments.
The Whispering Vault is a special game for me, as, along with Over the Edge, it significantly influenced me to shift into role-playing design at all and, more so than OtE, provided crucial play-experience during the creation of Sorcerer. I like to describe it as the 1990s' best unknown horror game, and better than most picks for the known ones.