Monday, October 5, 2026

Bright-Dark 3d6 Role-Playing Game - Optional Rules

Optional Rules
There are the rules and procedures that people like and use frequently, and then there are the rules and procedures people tend to overlook or neglect. To ease your conscience, I have put those rules in the Optional Rules section. Everything here is indented to be useful and compatible with the tone and playstyle of Bright-Dark.

POINT CRAWL
Imagine arranging the world into a flow chart or a diagram. Locations are points, and the routes between them are lines. Some points are key destinations. Some points are intermittent points representing an obstacle, minor location, rest stop, or a decision point. Pick a line and follow it to the next point. Every time you move from one point to another point is counted as one turn. That's a point crawl. It's simple because it's abstract. The choices presented typically represent the important paths in the world with the unimportant spaces between them being omitted. There's no wandering in circles, finding nothing or getting lost. The GM describes your location, and the players choose a path.

Point Crawls are a middle point between abstraction and simulation. They simplify a complex location; allowing structure and organization without unnecessary precision. Players movement can easily be tracked. The points are treated like a stage for a scene where meaningful information is emphasized rather than a literal location that must be treated realistically. This is why they suit Bright-Dark.

When to Use Point-Crawl, When Not to
You may use point crawls when exploration, discovery and or consequences are emphasized, and when time is a stake. Otherwise, in towns for instance, it's perfectly good to just keep the points as a list, reveal these to the players, and ask where they go.

Turn: When you move from one point to another point, that is one turn. A turn costs player characters in-world time, and the amount depends on the scale of the location. Note that we don't typically linger on the lines. Lines usually represent the stuff in between scenes.

Scale
The scale of the point crawl map depends on the location that the point crawl represents. There are three scales. Dungeon scale is small scale (typically, but hypothetically there can be mega dungeons). Settlement scale is medium scale. Wilderness scale is large scale and can describe a county, kingdom, continent, or even the world.

Dungeon: If the map describes a dungeon, then points are rooms and the paths represent connecting hallways. Moving to a new point and any careful activity in a dungeon (searching, picking locks) is typically a turn and is tracked in 10-minute chunks. Short, simple halls can be traversed in a negligible amount of time, but some halls can be as complex or dangerous as dungeon rooms.

Settlement: If the map describes a village, town, or city, the points are shops, landmarks, major establishments, places of importance, and the lines represent streets. Travel time may be 10-minute chunks to 1-hour chunks depending on the size of the city.

Wilderness: If the map describes a kingdom, county, or other large region of the world, then points might be settlements, dungeons, or major landmarks, and the lines between them are roads and trails. Travel time between points of a region take a number of hours or whole days.

Wandering Encounters
NPCs occupy these locations. NPCs don't just sit around and wait for the player characters, they wander. When the player characters encounter the wandering NPCs, this is called a wandering encounter. In a point crawl, it can happen on a point or a line. Wandering encounters are important because they add unpredictability (even danger) which can make the location feel like a real, believable place.

Rates of wandering encounters are based on scale (dungeon, settlement, or wilderness). The GM may roll for wandering encounters every other turn in a dungeon. Daytime or nighttime may also affect the kinds and the frequency of encounters. In the wilderness, the GM may roll twice each turn, where one roll represents day and the other is night.

Rolls are made by the GM. There is a one in six (1d6) chance of an encounter. On a 1, an NPC (or NPC group) appears nearby. The NPC may appear at the point the PCs are moving to, or they may appear on an adjacent line and traveling towards that point. This creates variability in circumstances. One side may appear first or detect the other side in advanced, allowing one side a choice to avoid the encounter. Quietly assign each path one to two numbers on a 1d6. The point gets the remaining numbers. Then roll to determine where the wandering encounter appears.

GM Tips: Wandering encounters add challenge but that's not all. When done well, wandering encounters benefit immersion and verisimilitude. When done poorly, they slow down the game or make the game get stuck. You may handwave wandering encounters for the sake of pacing and immersion, not to go easy on the players.

Rare magic items have 1 tag. Very rare magic items have 2 tags. Cursed items have one cursed tag and one beneficial tag. Relics have 3 to 4 tags.


MAGIC ITEMS
+1 bonuses in Bright-Dark are massive; therefore, magic items in Bright-Dark rarely have numerical bonuses. Instead, magic items have tags that define abilities. The GM can add one tag to an item. Create your own magic items using these tags below or create your own tags. Magic items should change the story, not math. Keep them rare, personal, and meaningful.

Rare magic items have 1 tag. Very rare magic items have 2 tags. Cursed items have one cursed tag and one beneficial tag. Relics have 3 to 4 tags.

Utility Tags
Lights on CommandThis item lights up like a torch on command
Water WalkingThe wearer can walk and stop on the surface of water
FloatsThe wearer ignores hazardous terrain and moves Fast
Storm ConjuringThis item conjures a powerful wind once
IndestructibleThis item cannot break and does not wear
TelepathyCommunicate telepathically with one person
ShapeshiftingThe item shapeshifts to fit the wearer or suit the wielder's needs
AnimatedThe object animates on command and can be controlled remotely
TelekinesisLimited telekinesis within Near range; costs 1 Stamina to lift heavier-than-handheld objects

Combat Tags
Magic WeaponDamages enemies resistant to mundane harm
BaneDeals 1d6 bonus damage to a specific creature type
Flames on CommandIgnites like a torch and deals magical fire damage instead of mundane damage
Life ShieldIf reduced to 0 HP, wearer stays at 1 HP (1× per scene)
KeenCritical hits on a natural 16–18

Protection Tags
Elemental ProtectionProtected from fire and cold
Spirit WardProtects wearer against possession
Charm ProtectionProtects wearer against charm
RegenerationRegenerates +1 Health per day
Magic ShieldHalf damage from magic attacks
RepellingTemporarily repels a specific enemy type on command

Mystic Tags
ConjuringConjures a single, specific creature (genie, guardian spirit, a nearby plant or beast, etc.)
Curse of CompulsionItem cannot be removed; compels the wearer to...
Curse of WeaknessItem cannot be removed; sets Strength to -3
Of SeeingGrants visions; sometimes when wanted, usually when needed
SapientItem can reason and telepathically communicate
SentientItem can feel and empathically communicate
CompassPoints toward a specific object or category of objects


OPTIONAL MAGIC RULES
For optional magic rules such as signature spells, wild magic, and optional magic talents, please see the Magic Section.


SURVIVAL MECHANICS
Bright-Dark 3d6 Role-Playing Game intentionally avoids survival mechanics, but if survival mechanics suits your style, use the following rules:

Food & Water
Quantities of food and water are abstract. Any amount of food or water counts as enough for one day.

Dehydration
  • 1 day without water means you're dehydrated
  • Dehydration kills in 3 days
  • Dehydrated characters suffer:
    • -1 situational penalty
    • NPCs gain a +1 situational bonus against them

Starvation
  • 3 days without food means you're starving
  • Starvation kills is 7 days (one full week)
  • Starving characters suffer:
    • -1 situational penalty
    • NPCs gain a +1 situational bonus against them
These penalties exist within the faction. 

Shelter & Exposure
Shelter protects against environmental hazards such as heat, cold, wind, and rain.

Shelter may be:
  • A sleeping bag
  • A warm blanket
  • A tent
  • A building
  • Any fictionally appropriate cover

Cold
  • Mild cold impairs sleep and leads to exhaustion (within the fiction)
  • Freezing cold can kill in one night
  • Characters without adequate shelter suffer narrative consequences (shivering, numbness, slowed movement)

Heat
  • Extreme heat doubles water requirements
  • Extreme heat reduces dehydration time (death in 2 days)
  • Characters may suffer heat exhaustion, disorientation, or collapse in fiction

Illness & Infection
Illness may arise from:
  • Insect bite
  • Poisonous plants
  • Spoiled food
  • Contaminated water
  • Untreated wounds

Timeline
  • Incubation: 1 day or night
  • Onset: 1–3 days of illness (the duration depends on the illness)

Recovery
If the illness is severe (depending on the illness):
  • Roll Endurance to recover. The Difficulty TN depends on the illness.
  • On failure, repeat the illness duration
  • After each repeated duration, either:
    • Recover automatically, or
    • Roll Endurance again to repeat the duration

Medical Intervention
A trained expert:
  • Ends the illness duration
  • Allows automatic recovery to begin

This keeps illness narrative-driven while giving players meaningful decisions. If you use Survival Mechanics, consider adding as this optional Talent:

Optional Talent: Healer
You are a trained Healer or Doctor. You can diagnose illnesses, identify natural remedies, and prepare simple medicines. When treating an illness, you may end its duration immediately, allowing recovery to begin without requiring an Endurance roll.


HEALTH ALTERNATIVE: INJURY SYSTEM
Instead of rolling for damage and tracking health, we instead track physical wounds or injuries. These are abstract and exist within the fiction as flavor, not numeric or mechanical.
  • Any hit is counted as one injury.
  • A critical hit causes a severe injury which is counted as two injuries for gameplay purposes.
  • At three injuries, a character is unconscious.
  • Characters recover from injuries at a rate of one injury every three days.
With this alternative system, characters take one injury if they fall 20 feet, two injuries at 30 feet, and 3 injuries at 40 feet. If they fall 50 feet or greater, they perish.


ALTERNATIVE COMBAT
Bright-Dark's build-in combat rules are intended for fast, simple combat that focuses on the narrative and deemphasizes tactics and strategy. If you prefer a more traditional TTRPG combat system, use this instead.

Surprise
Characters who are distracted, asleep, unconscious, or otherwise unaware of a hostile adversary or unable to react timely within the fiction are surprised.

Surprised characters lose their first turn.

Turn Order
The GM rolls 1d6 to determine which side acts first. 
  • 1-3: The NPCs act first. 
  • 4-6: The Players act first
Players take their turns clockwise around the table.

Turns
On player turns, players may: 
  • Make one action, and 
  • Move up to their normal movement as part of their action. 
Attacking ends your turn!

The player declares their action, the GM resolves the action, and then the next player takes their turn.

This alternative combat system is more familiar to TTRPGs and may be easier for them to learn and play.


ALTERNATIVE MAGIC
If Bright-Dark 3d6's freeform magic system is too unstructured for you, consider using this list of words that describe the shape or form of the spell. This describes who it can affect, and how. Consider that any ranged spells should require the caster to be able to see the space or the target that they are trying to hit with their spell (which is often called line of sight in games). 

Touch  
Magic delivered through physical contact.
Examples: healing warmth, burning grip, conductive energy.

Bolt  
A narrow, focused projection of magical force.
Examples: a streak of fire, a lance of light, a crackling spark.

Blast  
A sudden, explosive burst of magic. It affects an area with a diameter of one pencil.
Examples: a fireburst, a shockwave, a concussive flare, a cone-shaped breath

Aura  
A field of magic that surrounds the caster or a target.
Examples: a glow of protection, a haze of heat, a shimmering veil.

Mark  
Magic that leaves a lingering effect or symbol.
Examples: a sigil, a brand, a glowing rune.

Field
Magic that effects a specific area and persists for a short duration.
Examples: a concealing fog, a hazardous outcrop of rocks or plant growth, an illusion, 

Remote
Magic that crosses space without affecting anything in between
Examples: Telepathy, a charming gaze

Friday, October 2, 2026

Teenage Mutant Nina Turtles - Character Writing Shorthand

This isn't an unc-slop post. This is a post about managing multiple characters in creative writing.

Everyone should watch Teenage Mutant Ninja Turtles (TMNT). Which comic, movie or TV series should you watch first? At this point, there's so many, and I'm not a super fan. My favorites are the 2003 animated series and the first two live-action movies.

When I was kid, everyone knew about TMNT. Everyone loved TMNT. And there was an interesting question you could ask anyone and learn a lot about them.

"Who is your favorite turtle?"

Your answer revealed something about you whether you realize it or not. 9 times out of 10, your favorite turtle tells people what your personality is.

So, in case you are unfamiliar with TMNT because you're under twenty-five, there are four turtles. They each have one dominant personality type.

Leonardo = Responsible
Michelangelo = Carefree
Donatello = Intellectual
Raphael = Emotional

The first thing you'll notice is that each personality is distinct. With TMNT in particular, the personality types are exaggerated so that you immediately associate the character with the trait. This helps audiences recognize and remember the characters, and if you recall what I said earlier about people having favorites, it helps audiences immediately identify one character they like.

If you look at these personality types, you'll notice that each personality type has one opposite. Responsible and carefree are opposites. Intellectual and emotional are opposites.

This is where character dynamics come in. By pairing the opposing personality types in a scene together, they contrast each other and exaggerate their characteristics. This can also lead to conflict.

The other personality types can make complementary combinations. See, these personality types I've listed are their dominant personality trait, but not the character's only trait. They have some range. For example, the responsible character has capacity for intellectuality and emotionality, but it takes pairing one of the complementary personality types with them to bring it out. If you put the Leonardo in a scene with Raphael, you can Leonardo get heated and frustrated. If you pair Leonardo in a scene with Donatello, you can see Leonardo's appreciation technology and intelligence gathering. 

Pair any two characters to reveal interesting dynamics.

Michaelangel (carefree) brings out Donatello's (intellectual) fun side. Michaelangelo also encourages Raphael (emotional) to be a little wild.

So, any time you're managing multiple characters in a scene, it helps to simplify them to their dominant personality trait and ask yourself, "how do these personality traits mix?"

Don't limit yourself to these personality types I've describe above. Make your own if it suits you. Maybe lawful, neutral, and chaotic. Maybe final happy, angry, and sad. Maybe brave, wise, kind, and cunning. The key words that make sense to you will probably suit you very well.

I recall some classical Greek idea about four humors explaining four personalities. If you're curious about the four humors, look up something called the Four-Temperament Ensemble.

Christianity has a concept of seven sins and seven virtues. Those are some really good words to think about. Each sin describes an aspect about the human condition, and each virtue describes a discipline one needs to manage it.

In the Wizard of Oz, Dorothy wants to go home. Her other companions? Brains, courage, and heart. There's an interesting combination in there somewhere.

In a story I'm writing right now, I am juggling seven characters. Three of them have been pushed to the background, but they could be described as heart, courage, and brains. Of the other four, one is responsible, one is carefree, one is emotional. The last one is a wildcard; to be determined. It's probably pride. Using these key words helps to reduce the cognitive load of seven characters while still keeping their presence distinct and their interactions meaningful.

If you want to know how to make a likable character, which is also important, I wrote a review about an anime where I break down what makes a likeable character here: Anime Recommendation: Kimi Ni Todoke.

Monday, September 28, 2026

Game Design Sins - Character-Skill over Player-Skill

Skill Challenges - A Rant
D&D 4e had this concept called the Skill Challenge. What's a Skill Challenge? OK, so imagine you are playing D&D. You and your fellow players are fleeing from a monster. You're probably thinking "chase scenes are tricky. How is the GM going to handle this?" Then, your GM speaks. *Imitates Kermit the Frog voice* "OK guys. We're doing a Skill Challenge."

He explains that you have to look at the skill list on your character sheet and you have to choose a skill, any skill, and think of a way to use it in the context that's being presented to you.

Player, looking and sounding confident: "OK cool. I use stealth to hide."

GM: "Roll."

Player: "I got a natural 30 or whatever. Yay! We did it!"

Then the GM describes how you use your stealth skill to hide successfully, then says "but you still have to pass two more skill rolls."

Player, looking and sounding confused: "Eh, what? But I passed the skill roll. You narrated that we hid. I don't understand."

GM: "It's called a Skill Challenge, that means you have to get X successes, and you have to avoid getting X failures."

Player: *Makes angry face*. "What?"

So, the first problem is that it's arbitrary. It's a mini game / sub-system with arbitrary point scoring in D&D! How bizarre, right? Here comes the second problem.

Player: "OK, so I just do stealth again."

GM: "Nope. You can only use one skill per skill challenge."

Player: "What! Why?! That makes no sense!"

GM: *Sticks finger in belly button and sniffs it*. "You pleb. You don't understand anything."

Other Player: "OK, I roll stealth then."

GM: "No, sorry, let me clarify: a skill can only be used once per skill challenge."

Other Player: *Makes angry face*. "What sense does that make? What else do we do to run away in a chase scene?"

That's the second problem. Arbitrary limitations. I'm sure there's a design reason for why skills can't be repeated, but I think it conflicts with the logic of a narrative. Why wouldn't I just hide, then run and hide again? Like, I don't know what the skill challenge is trying to describe within the logic of the fiction. You can't hide twice? Have you ever played hide and go seek before? I'm genuinely confused and frustrated.

Player: "OK, so what do we do?"

GM: "Try History."

Player: *Cocks pistol*. "What! How do I use history to escape during a chase!"

GM: "That's for you to come up with. You're the adventurer."

Player thinks: "I use history to remember if there are better hiding places. Then we hide there."

GM: *Shrugs*. "OK, roll."

And so that's the third part about this system that doesn't make any sense to me. You have to make very creative applications of game mechanics. Some of these you probably have to stretch. And uh, I can imagine that if you did your nineteenth skill challenge, all these stretched interpretations of skills would be familiar, and you wouldn't really struggle to work them out. You've justified nonsense enough already that you could just do it again. You would just describe how you use a skill, roll, and count points. It's very, very contrived.

I've never seen the designers who designed this mode of play comment about it. I think they were sitting around one day thinking up a reason to make skills be used more. This is it. This is what they came up with, and it makes me think that maybe skills aren't important anyway.

It turns a narrative scene into a series of pass/fail die rolls. It forces player creativity through a hoop or a strainer instead of letting players work out a solution naturally, which would be describing a plan and then the GM adjudicates. Therefore, this is a contrived mode of play. You've taken the very simple game-play loop and you've turned it into this weird thing.

Finally, that number of successes vs failures is arbitrary. Harder skill challenges mean you have to succeed 9 times and avoid 3 failures. Ugh. That means the possibly of 11 of these at once?

So, in summary: it's character-skill over player-skill, it's contrived, and it's arbitrary. It takes away the normal gameplay loop and imposes this new thing that's very not D&D.

I want the GM to present a problem. Then I want to come up with my solution. I don't want to be forced to come up with an arbitrary number of solutions and then outsource the results to the dice. Rolling the dice means there's a chance to fail. Rolling dice and failing isn't fun. I think if I come up with a good plan that works within the logic of the setting and the fiction, the consequences should be based on the merit of the plan, or whether or not it's just a functional solution.

I could sit here and roll a die ten times, adding a bonus from a random skill ten times, and ask a table to justify each use of the skill for me. I could do that in like 2 minutes. You've taken a game about creativity and roleplaying, and you've gamified it into a random outcome generator that gets loosely justified proactively. That's weird guys. It's not playing. That is not play. That isn't play.

It sucks and I forbid it.

For something opposite of a skill challenge, I wrote a soft-skills system supplement for Open 2d6. It's more player-skill over character-skill.