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Archive for October, 2012

Thorn-bush Knights & Exiled Nobility

Thorn-bush Knights & Exiled Nobility

By T.S. Luikart The majority of the Empire’s territories are highly stratified places where members of the Ancestral Nobility, Chartered Houses, and Imperial Bureaucracy hold sway over the common citizenry–though exactly which group has the most power varies from place to place. Citizens that wish to start a business or advance into a career viewed as being “above” their social station almost certainly need a patron of some sort or they will not be able to get the appropriate permits

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Developer Commentary:  Aspect or Edge?

Developer Commentary: Aspect or Edge?

by TS Luikart Looking “under the hood” at the thoughts behind why certain choices are made, or discarded, while designing a roleplaying game is a delight to some and slightly preferable to watching paint dry to others. If you fall into the “want to know everything” camp, read on – we’ll write material that appeals to the rest of you lot another week. Some of the really interesting questions Gareth and I have been asked (many variations of) by our

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Inspirography: Infinite Kung Fu

Inspirography: Infinite Kung Fu

I could easily write this inspirography like so: You want to play Far West? You must read Kagan McLeod’s Infinite Kung Fu. Go buy it. Read it. RIGHT NOW. Not very inspiring though, and most of us bristle at orders, no matter how well intended. So let me try this approach: Immortals. Undead. Masters and students. Monsters and saints. Artifacts. Restless Spirits. Romance. An Unstoppable Emperor. Forbidden Techniques. Blaxploitation. Training Sequences. Dark Magic. Tragedy. Shaolin Mechanica (Drudges). And, of course,

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Inspirography:  The Man With The Iron Fists

Inspirography: The Man With The Iron Fists

RZA (born Robert Fitzgerald Diggs) has a long association with the inspirography of Far West. One of the founding members of the seminal hip-hop group The Wu-Tang Clan, RZA is (as the name of his group attests), a kung-fu movie aficionado of the highest order, mixing soundbites and samples from classic Shaw Brothers films into the tracks he’d compose. Branching outward from Wu-Tang, he composed the score to Ghost Dog: Way of the Samurai (and featured in a cameo), as

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