Experimental Map Handout – Printing and Aging

One of the projects I’m working on right now is making props and handouts for my recently purchased copy of Chaosium’s Horror on the Orient Express campaign for Call of Cthulhu.

I started with a simple print out of the route map.  Decided to experiment a bit to try and produce some different effects I can use for other handouts and props.  The end result – or close to it anyway – is a nicely aged map that has a heavier/coated feel to it.  Nicer maps designed to hold up the elements have a coated/leathery feel to them, and I wanted to try and replicate that.

A couple of important things to note:

  • The original file includes some faint halos around most text that looks a little like a bleed.
  • I intentionally tried to screw this up at a few stages.  That way I know how much wiggle room I have to play around with the process – plus I wanted to test how well the ink in my new printer holds up to the process.
  • I seriously doubt this will work with just any inkjet printer and ink.  There is a LOT of variety in inkjet inks.  So if you try this, your results could vary quite a bit.
  • Be sure to click each image to see the higher-res photo.

Printing

I printed the map on my new Epson Workforce WF-7820 printer.  This uses a pigment-based ink.  A big goal of this was to see how well this ink resists bleeding when exposed to water, as a common way of artificially aging paper involves water.  It did not disappoint.

I printed the map on a single 11×17 sheet of 67-lb cardstock that has a vellum finish.

HotOE Route Map Printed

Aging

Ideally, you would let the print sit overnight to ensure it’s completely dry and minimize any possible bleeding.  I intentionally took the printed page directly from the printer to soak and age it.

I placed the printed map on a baking sheet and soaked it in coffee.  I looked carefully for any signs of bleeding ink.  At worst, there was a very, VERY SLIGHT bleeding around black text.  Since the original file includes some faint coloring around a lot of the text, it’s hard to tell if there was actual bleed.  If so, it was just a faint bleed of black into the surrounding tissue, but it in no way impacted the crisp edges of the text.  Again, I wouldn’t expect this result with any inkjet printer, but it seems this pigment-based ink holds up very well to water.

Then the map goes in the oven for 4-5 minutes at 225°.  Flipped the map over for another 4-5 minutes.  I placed it directly on the sheet, which evidently had some residual cooking spray on it.  This discolored a couple of areas on the back.  Simple fix is to always place the paper on a piece of parchment paper.

HotOE map soaking in coffee
HotOE map wet

Waxing

This is where I was going completely experimental to try and get the coated/leathery feel.  Basically, I’m using a wax designed to wax and waterproof fabric.  In this case, it’s a product called Otter Wax, and it comes in a bar.

Straight out of the oven, I placed the still warm map on the counter and rubbed the bar back and forth over the surface.  Again, this didn’t affect the printed details at all.  As it’s applied, it adds a subtle, waxy sheen to the surface that slightly brings out the color.  Flipped the map and applied wax to the back.

Supposed to let waxed fabric cure in a warm environment for 24 hours, so I initially left the map out overnight.  The next day it still had a tacky, wax-like feel to it.  Decided to put it in the oven (after I aged some paper for another project) for another 3 minutes.  This finished the wax curing / absorbing into the paper.  No more wax feel to the surface, and slightly heavier than the base cardstock.  I applied a second coat of wax the same way, and put it in the oven again.  You definitely feel the wax when you apply it, but coming out of the oven that slight stickiness is gone.

Route map waxing
Route map waxing closeup

End Result

The aging process always makes the paper wavy and wrinkled, so after waxing the first time (and again after waxing the next day) I pressed the map under weight to flatten it out a bit.  Then I folded the map and pressed it again.

The final map is definitely heavier than the regular cardstock, and it has a texture and feel very close to what I was going for.  I might try another application of wax or two, just to see if it makes a difference.  The waxing also enhances the aged look of the coffee-died paper.  It adds a subtly mottled appearance to the paper that is very reminiscent of natural parchment.

HotOE Map aged and waxed
Closeup of aged and waxed HotOE map

Clues in Play – Part 1

I’ve already written how part of what I’m working on with this game is integrating some board game elements into the actual gameplay. Probably the most obvious example of how the table will look different from many games is the inclusion of a lot of cards. Some of these cards are used for characters, locations, ancient tomes, or strange artifacts – but the majority of the cards in the game represent one of the most central gameplay elements of any investigative game: clues.

Clues – From the Players’ Perspective

As a player, the the primary goal in play is to discover clues. Eventually, these clues will point to the truth behind whatever mysterious events the investigators are looking into – and maybe even reveal a way for the investigators to make a difference in the world (temporary though such success might be). These clues are integral to investigative gameplay, but it’s not always as simple as just finding the clues.

Play enough mystery games, and you’ll probably see at least one of the following issues come up:

  • Players forget about some of the clues they already found.
  • Players find a clue, but don’t realize it’s a clue.
  • Players become convinced that some mundane detail is actually a vital clue.

I think I’ve briefly touched on these elsewhere, and I’ll probably go into them more in depth in the future. But for now, if you recognize any of these, you realize how they can create problems and potentially stall a mystery game.

The way I’m using cards with clues is fairly simple. Whenever an investigator discovers a clue during play, the Keeper gives them a card that shows a brief summary of that clue. Nothing complicated – just a short phrase that describes whatever the players know now that they didn’t before. The investigators find a bloody, mummified body in the basement, with bloody footprints leading away from it. The Keeper gives the players a couple of cards, one with the description of the body and one with a description of the footprints.

This effectively helps mitigate all three of the issues above. The players have a stack of all the clues they’ve found that they can review whenever they want. The players a clear about what information is actually a clue – after all they got a card if it was a clue – and this covers two out of the three.

So from the players’ point of view, clues are pretty simple: When they find clues, they get cards to keep track of them.

(For those familiar with Fate, clues are also Aspects – they describe the world as it is – and they can be used to have a mechanical effect within the system.)

Clues – From the Keeper’s (GM’s) Perspective

As usual for investigative games, things can be a little more complicated from the Keeper’s side of the table. If players can have a hard time keeping track of the clues they’ve found, the Keeper has to keep track of all the clues in the game – which clues have been found, which clues haven’t, where the remaining clues are, and how they might be found. If you’ve been a Keeper in these kinds of games, you also know that some clues are more important than others, more critical to the investigation. And since things don’t always go the way you expect, you may even have to alter some clues on the fly. (Okay, let’s be honest, if you’re the GM, the players will make certain things never go the way you expect.)

So the Keeper needs some tools to help manage all these clues (while they’re also keeping track of everything else going on). Recognizing that different clues play different roles in the game, sorting clues into different types can really help. There are two basic types of clues: core and supporting.

Core clues are those that are critical to the scenario. They are the clues that are necessary to the players figuring out how to bring the scenario to a successful resolution. Discovering all of the core clues will still leave a lot of unanswered questions, so the players may not understand what’s really going on, but they will have the bare minimum information necessary to figure out what they have to do to stop the cult, seal the gateway, defeat the creature… whatever has to be done to resolve whatever mystery or end whatever threat is at the heart of the investigation. Core clues also include information necessary for you to find other clues – such as a new location or character which possesses other clues.

Supporting clues are the other clues in the scenario which provide background and explanation. They help answer a lot of the other questions players may have about what’s going on, but they’re not indispensable the way core clues are. If the players don’t find a single supporting clue, they should still be able to “win” as long as they find all the core clues. It’s important to understand that supporting clues still won’t answer everything – after all, a cosmic horror game should always leave a little mystery.

Understanding which clues are core clues and which are supporting helps the Keeper run the game and keep it running smoothly. When the investigators go to a new location, you’ll know which clues there you need to make sure they find and which ones they can miss without bringing the game to a halt. When I write up a scene for a scenario, I include a quick list of all the clues up front so the Keeper can quickly identify which clues are available in the scene.

Due to whatever events lead up to the scenario, many clues will naturally be found at specific locations. The body and blood trail are found at the crime scene. The clues pointing to how the ancient artifact was stolen are found in and around the auction house vault. However, some clues could plausibly be found at different locations, and the Keeper can make adjustments to those clues based on the needs of the game. These kinds of clues are referred to as floating clues. They are core or supporting clues just like any other, but their location can vary.

So how do these different kinds of clues help the Keeper?

Finding Clues

Look around the web, and you can find a number of different ways to make sure play doesn’t stall because players can’t find clues. Examples includes never requiring rolls to find clues, spending points to find clues, and tripling the number of clues to increase the odds at least some of them are found. All of these have their merits, but they also rest on the assumption that all clues must be handled the same way. But that’s not true.

The point of distinguishing between different types of clues is to let the Keeper know what options are available for finding those clues. Since core clues are critical, you don’t want players to miss them because of a bad roll of the dice. Supporting clues, on the other hand, aren’t necessary to keeping the game moving forward, so you’ve got a few more options with them.

Finding Core Clues

Part of your job as Keeper is to make sure that, by the time a scene has drawn to a close, the players have found all the core clues available in the scene. Some clues are more or less just given to the investigators – a helpful NPC is sharing information or an obvious clue is out in the open. As long as the investigators are in a position to receive the clue or take some basic action to obtain it – like looking at the journal on the desk – they are given the clue. But which investigator gets the clue can vary, and the Keeper can use this to spread attention around between the PCs.

If it makes sense in the situation for a particular investigator to receive an obvious clue – one player describes their PC as leafing through the journal – then give that player the clue. If multiple investigators could notice the clue, then consider their skills. Figure out which skill would be most relevant to finding the clue and describe the investigator with the higher rank in that skill as finding the clue.

Other clues might require some effort or otherwise seem like their discovery is not a foregone conclusion. These are the ones that scream out for some kind of roll, and that’s okay. The roll provides dramatic tension, and let’s face it, finding important clues should be a tense moment in an investigative horror game. On the other hand, we’ve already established that the Keeper needs to ensure the players get the core clue. So the roll isn’t to determine if the investigators find the clue – it’s if they find it without complication.

Finding Supporting Clues

Supporting clues are easy. You have all the same options on the table as with core clues, but the investigators can also just fail a roll – or fail to even look – and just not find the clue.

The Dark Texts – What You Need to Know

I’ve reached a point where I feel comfortable posting some of the actual game text I’ve written in the hopes of getting some useful feedback. I’ve got a fair bit written, so there should be enough to get some first impressions and thoughts on presentation. I’ve updated the draft content posted to this point to using a knowledge base system, which should make it easier to read through.

For the time being I am calling this work-in-progress game of mine Our Terrible Fate. That may change down the road, but for now it will do.

There’s a lot of background and detailed explanation elsewhere on the site, but here is where I am going to post some of the actual draft text.

I’m always appreciative of feedback – be it criticism, comment, or questions. You can post feedback on the base113 Games subreddit.

Update: A PDF of the first chapter is now available as well. While there’s not much art, the layout should be much easier for many to read. Just click the link through to the draft text, and you should see a link to the PDF version along with an example image of the layout.

Available excerpts of this dark text currently include what is essentially the first chapter of the book, which will serve two purposes:

  • Giving a new player this chapter should tell them everything they need to know to begin play.
  • This chapter should introduce new Keepers to the game, give them an idea of how the game is run, and how running it may be somewhat different from other games.

Links to the current draft content and our subreddit (to post feedback) are provided below:

Delve into the Dark Texts

base113 Games subreddit

Yog-Sothoth and Site Updates

Yog-Sothoth November 2019

I continue to be amazed at the reception my Investigator Passports have received, and now they have been included in Yog-Sothoth’s November newsletter!

If you haven’t ever checked out Yog-Sothoth, you should definitely give it a look. You’ll find a large and active community dedicated to exploring Lovecraftian worlds of all types. The site does require you to register to access most of the site, but doing so is free.

Site Updates

I’ve spent some time over the last day or so making some small updates to the website. Most of this is just maintenance and backend updates to the theme or plugins. However, I’ve also added a couple of things. A separate project page is now dedicated to gaming tools and props – including the Investigator Handouts – and I’ve added a section on the Community page that links to projects that others in the Mythos community are working on or have already published.

Investigator Board Mockup

When I played the Peru Prologue with my family, we used some character sheets I had already developed for OTF. They worked great, but I’ve had a few ideas since then – some purely thematic and some more practical.

One idea was to make a fake passport for each PC – themed based on their nationality – and that when unfolded that passport would be the character sheet. That turned out to be fairly easy to accomplish, and I was pleased with the results.

My kids and I recently played Betrayal Legacy, and I noticed a couple of things. We have no problem writing stuff down at the end of scenarios or sessions, but we don’t like to spend time writing stuff down in the middle of a session – preferring to use cards or counters to quickly note changes to characters. In vanilla Fate, the main stuff that gets written on the character sheet during play are Stress and Consequences. In my implementation, other lasting aspects like Drives might also change frequently. That’s not a lot, but since some of those can get added, erased, or changed quite a bit during play, I figure it would be a good idea to at least look at alternatives.

Recently I came across the Kickstarter for Tainted Grail and found their character boards really cool. Then I started thinking about how I might be able to use something similar to reduce the written record keeping on the character sheet. What I’ve come up with is a board that the character sheet gets inserted into (or under).

Mockup of the Investigator Board with the Character Sheet beneath.

The character’s skills, aspects, ties to other characters, sanity, refresh, and stress boxes all show through the board. This allows the player to see everything they need to during play and even make changes to things that might only change once or twice per session, like sanity or ties. The player can place cubes into slots over stress boxes to mark them, and place cards displaying current consequences in different slots based on the value of the consequence. There’s a place for fate points, and the board indicates where to place cards for stunts and drives to the side of the board.