Wednesday, April 1, 2026

Tabletop Sweet Sixteen - Trophy Gold v Teeth

 

Trophy Gold is a game about doomed adventurers trying to pay off their debts without destroying themselves in the process. The question isn't whether the dungeon will cost you something. It's whether what you find is worth what it takes.

Teeth is a dark comedy horror game set in a terrible corner of eighteenth century England, built on a Forged in the Dark chassis and stuffed with memorable hooks.

Two games that both lean hard into doom and consequence, arriving at completely different tones.


Trophy Gold

Characters are lightweight even by OSR standards. There's almost nothing between the player and the fiction, which means the fiction has to do the work, and it does.

The combat system is quietly beautiful. No hit points, no war of attrition: just a repeated roll that builds pressure without grinding. Every exchange matters because the math never lets you feel safe.

The hunt token economy is the kicker. Tokens move you through the dungeon mechanically or convert to treasure to pay down your debt. That double function means every decision has stakes beyond the immediate scene. You're always choosing between momentum and survival.

Near the end of our Public Access campaign, we played a session of Trophy Gold as a game within the game: the Latchkeys sitting around a table, playing hunters in a dungeon. The mechanics were light enough that it almost disappeared. The fiction drove everything. It felt less like a rules system and more like the Latchkeys actually playing the game.


Teeth

The Forged in the Dark heritage brings real weight to every roll. Player agency is respected, consequences are meaningful, and the dice never feel arbitrary.

But the setting is the reason to play. Eighteenth century rural England rendered as dark comedy horror produces a tone that's genuinely hard to find anywhere else. Grim and funny and horrible, sometimes in the same sentence.

The Night of the Hogmen quickstart alone is worth the price of entry. The hooks are immediate, the premise is ridiculous in the best way, and the whole thing runs with tremendous energy.

From a carriage crash in a thunderstorm to a mad dash across a flooding countryside, the PCs in Night of the Hogmen lurched from one misadventure to the next. The session ended with the party trapped in a burning church, fighting off a herd of marauding hogmen. That's Teeth in one image: catastrophe building on catastrophe, and everyone at the table grinning.


The honest case for the loser

Trophy Gold does something Teeth genuinely can't: it gets completely out of the way. The hunt token economy and the pressure-without-attrition combat system are genuine design achievements, and the game within a game memory is one of the stranger and more satisfying things I've done at a table. If you want mechanics that disappear into the fiction, Trophy Gold is hard to beat.


The pick

Teeth, and I want to be honest that it took some thinking, some remembering, and maybe a little dreaming to get there. Trophy Gold is a more elegant game. But Teeth is a more joyful one, and that counts for something. The hogmen, the burning church, the flooding countryside: it all adds up to a game that generates stories with a specific, ridiculous, horrible energy I keep wanting to return to. That's enough.


A related note

Trophy Gold's & Teeth's (FitD) devil's bargain mechanic is one of the things that made them stick with me long after this matchup. That tension between what you want and what it costs is a skill at the table, not just a design feature. I've been working on a zine that isolates exactly that move and gives you ways to practice it. It's Worse Than That! Devil's Bargains is coming this weekend. Keep an eye out if that sounds useful.




That's my pick, and I won't pretend it was easy. Who would you have chosen? Tell me in the comments.

Monday, March 30, 2026

Tabletop Sweet Sixteen - Toon v FATE Accelerated

Toon is a game about Saturday morning cartoon characters: unconstrained chaos, pratfalls, and plans that absolutely should not work. (A new edition just funded on backerkit, but late pledges are still open.)

FATE Accelerated is a system that can run anything you put on the table. It takes some getting used to, but once it clicks it handles Cthulhu adventures and post-apocalyptic generation ships with equal ease. (A free SRD with all you need to play, or kitbash, is also available.)

One game is pure id. The other is pure flexibility.


Toon

The character sheet was the lightest I had seen at the time. The idea that you could get so much from so little was a genuine revelation.

Your schticks matter more than your stats, which tells you everything about the game's priorities. The fiction comes first, and the mechanics are there to make it funnier.

The low intelligence mechanic is quietly brilliant. If your INT is low enough, you might not realize something is impossible, which means you can do it anyway. That's not just a funny rule. It's a design philosophy about what cartoon logic actually means at the table.

Characters don't die. They fall down, and come back in a little while. That single decision keeps the chaos moving even when things go south faster than anyone planned.

I played a mouse with a giant wooden mallet. His master plan was absolutely unworkable. Anyone who interfered got flattened. The plan never worked. The mallet always did. That's Toon in one image.


FATE Accelerated

Aspects are the engine. Everything at the table can have one: the crumbling edge of the crevasse, the distillery full of flammable spirits, the relationship that's about to break badly. Invoke them, and the fiction moves. One false move and someone is falling. Two false moves and the whole fight is happening inside a conflagration.

That system means the environment is never just backdrop. It's a participant.

The flexibility compounds over time. Once you understand how aspects work, the system genuinely handles anything.

Running the Starship Warden with FATE, I converted on the fly because I didn't need stat blocks. I needed to be able to read and embody the space. The aspects did the rest. The ship came alive as we played through it, and the system never got in the way of that.


The honest case for the loser

FATE Accelerated does something Toon genuinely can't: it runs almost anything. Cthulhu horror, post-apocalyptic generation ships, political intrigue: all of it fits on the same chassis. You could probably build a Saturday morning cartoon game in FATE in an afternoon. That flexibility is real and it compounds across a gaming life. FATE also rewards a certain kind of player who wants to author the fiction as much as play it. That's not a small audience.


The pick

Toon, probably by putting a banana peel in FATE's path on the way to the judging table. FATE can run anything. Toon absolutely nails its specific space, and anyone with a sense of humor can sit down and play it. That accessibility matters. The mallet, the unworkable master plan, the mouse who didn't know when to quit: Toon produces that table energy without asking anything complicated of its players. Some games do one thing perfectly. That's enough to win.

Friday, March 27, 2026

Tabletop Sweet Sixteen - Public Access v Kintsugi

Public Access (currently Kickstarting) is a Carved from Brindlewood mystery game about young adults in rural New Mexico in the early 2000s, encountering horrible things while trying to solve a mystery that keeps getting stranger.

Kintsugi is a d6 game about failing and coming back stronger. It fits on a trifold, runs in any setting you can imagine, and gets out of its own way fast enough to make one-shots feel complete.

These two games are both built around a single powerful idea. For Public Access, that idea is dread accumulating in a specific place and time. For Kintsugi, it's that failure is the point.

Wednesday, March 25, 2026

Tabletop Sweet Sixteen - Crash Pandas v Kingdom

Crash Pandas is a one-page RPG about a gang of raccoons who have to cooperate to drive because none of them can reach the steering wheel, the brakes, the accelerator, the clutch, and the shifter all at once, much less see over the dashboard.

Kingdom is a game where you play members of a community, guiding it through a series of growth and changes at crossroads and crises, without ever rolling a die or using any other randomizer.

One game fits on a page and produces pure mayhem. The other asks you to build something that matters and watch what happens to it.

Monday, March 23, 2026

A free It's Worse Than That! bookmark for your game bag

 If you've been using It's Worse Than That! at the table, this one's for you.

The IWTT! Bookmark is a quick reference for the moments that matter most: what happens when a player backs down, misses, or succeeds at a cost. One card, table-ready, free.

Grab it here

It works with the free sampler, with Winter 2025, or with any game where consequences need to land fast and feel right.

Speaking of which: if you haven't picked up Winter 2025 yet, it's 24 ready-to-run scenarios for $1.

And if you're already using it, look for the next volume, focused entirely on Devil's Bargains. Tempting offers, ugly costs, trouble your players accept with a grin. That one lands in April.

Happy gaming!


Tabletop Sweet Sixteen - Under the Floorboards vs Cairn

 Cairn is a classless OSR-adjacent adventure game descended from Into the Odd and Knave. Characters are defined by what they carry, combat is fast and dangerous, and you can run almost any adventure you already own with this system.

Under the Floorboards is a cozy dungeon-crawl game about small creatures exploring the spaces humans leave behind. It has a scouting phase where players build a mental map of their target, and then the game tests that memory against what they actually find when they go in.

These two games are both working the same territory: light, fast, dangerous-feeling play, and arriving at completely different feelings at the table.

Friday, March 20, 2026

Tabletop Sweet Sixteen - Old School Essentials v Index Card RPG

Old School Essentials is the gold standard of OSR today: the edition everyone writes to, even if they play something else at their table. It's the common language of OSR gaming.

Index Card RPG is the stripped-down street racing version of OSR. Gonzo, fast, and genuinely fun at the table in a way that makes it the obvious pick for a convention one-shot.

One game is the common tongue. The other is a joyride.


OSE

The design aesthetic is the first thing you notice. Readable, clean, and organized so that an entire race or class lives on a single spread. You don't hunt for information. It's just there.

Adventures and locations described in tight bullet points produce a specific quality of clarity that most RPG products don't manage. You can run from the page without translation.

If I were to start a new OSR campaign today, or go back seven years and restart my Hochheim campaign, it would be in OSE. That's not a small thing to say about a game when you've been running AD&D since 1979.

A magic-user, a cleric, and a ranger haggled with a goblin and a troll at the door to the Tower of the Winter's Daughter. They were trying to get inside to deliver a ring, to repair a wrong that had happened so long ago. That negotiation, measured and careful and charged with the weight of an old story, is what OSE produces at its best.


ICRPG

The target number by area mechanic makes running the game smooth in a way that's hard to appreciate until you've used it. One number. Everything in the room rolls against it. The friction disappears.

The practiced imprecision is the other great gift. A finger width apart. A finger length. Near. Far. Sketch the room on index cards and toss them on the table. No minis, no scatter terrain, no setup time. Just the fiction and the roll.

Both of those design decisions add up to the same thing: a game that gets completely out of the way and lets the chaos happen.

Three Erblin warriors and a human sorceress crawled down into the Old God's Hole. There was chaos. There was bloodshed. There was fun. At the end, they weren't entirely sure what they'd done. Then the Old God walked free to wreak havoc upon the earth. The table was okay with that. That's ICRPG working exactly as intended.


The honest case for the loser

ICRPG does something OSE doesn't try to do: it makes the table feel like a joyride from the first session. The target number by area, the practiced imprecision, the index cards tossed down in place of terrain: all of it adds up to a game that generates chaos and fun with almost no overhead. For a convention one-shot with strangers, ICRPG is hard to beat. The Old God walked free and everyone was okay with that. That's a specific kind of magic.


The pick

OSE, and it comes down to longevity. ICRPG is a great game for a session. OSE is a great game for a campaign, a shelf, a community, and a common language. The spreads, the bullet points, the clean design: all of it compounds over time in ways that make it the game you return to. If I'm going back to the dungeon for years rather than an afternoon, OSE is where I want to be.

That's my pick, and I don't think it was close. Prove me wrong in the comments.

If you're interested in seeing some of my OSR (and other) work, check out https://mountainfoot.itch.io/

Wednesday, March 18, 2026

Tabletop Sweet Sixteen - A Tabletop RPG Tournament

 

I've been playing tabletop RPGs since 1979. That's a lot of tables, a lot of systems, and a lot of opinions about what makes a game worth your time. This series is an attempt to put some of those opinions to work.

Here's the premise: sixteen games, four lanes, one winner. The lanes are OSR, NSR, Narrative, and Others. Each lane has four games seeded one through four. First round matchups pit the one seed against the four seed and the two against the three. Lane finals, semifinals, and a final follow from there.

Each post covers one matchup. The format is straightforward: I write honestly about both games, make a case for each, and then pick one. Every post includes an honest case for the loser, because a pick that doesn't acknowledge what it's leaving behind isn't worth much. I've played all sixteen of these games at the table. The picks come from actual sessions, actual memories, actual moments where the system did something I didn't expect.

New posts go up Monday, Wednesday, and Friday.


The Bracket

OSR

NSR

Narrative

Others

Semifinals

  • TBD v TBD
  • TBD v TBD

Final

  • TBD v TBD

I'll update this post with links and results as the series runs. If you think I've seeded this wrong, or that a game has no business being in this bracket, or that the game I picked deserved to lose: tell me in the comments. That's half the fun.

The first matchup goes up Friday. See you then.

Tuesday, March 17, 2026

The Study Is Now on Itch

A while back I was prepping a session of Under the Floorboards and needed a room. I wrote one up, as one does. Atmospheric description, a list of things worth risking your neck for, some obstacles and complications to combine, a table to tell me what had changed since the Scout's last visit. It did its job at the table, then sat in a folder until I put it out on Patreon.

Now it's on itch, where more people can find it. The Study is a one-page location supplement for the Guiding Voice: a Victorian study full of pipe smoke, taxidermied animals with glass eyes, and at least one framed photograph that probably deserves a closer look. Pay what you want, including nothing.

Patreon supporters got this one first, that's the deal over there. If you'd like early access to whatever comes out of the drafts folder next, that's where to be.

If you haven't played Under the Floorboards, Chris Bissette's game of inch-tall expedition and daring is right here and well worth your time.

The Study is over on itch.

Saturday, February 28, 2026

Starting a new campaign!

Some of my players and I are gearing up for a Space Opera campaign. We know the vibe we're looking for and settled on a couple of options for our system.  There were a couple that just missed our short list:

Planet Raygun - a Carved from Brindlewood Space Heist game.  I currently have another CfB campaign running (Public Access) and will be starting another (Beneath Ahknoor playtest) soon. I really want to play/run this one, but it was the wrong fit for this game.

Scum & Villainy - a Forged in the Dark Space Opera game. Again, I want to play more of this, but it didn't feel like the right fit for the group.


The two that we are trying out are Starforged, which is coming up next, and Stars Without Number, which we just wrapped up.


With this short run done, I thought I'd share two game reports covering the four lunch hour sessions I ran. They're both in the form of "news" from HelioDyne, the megacorp the PCs were trying to deal with.

Let me know what you think. Are you interested in specifics about how we felt about SWN?

As always, follow me here for regular updates, and at https://mountainfoot.itch.io/ to see what I’m building.


Report 1

“THE EMBERFALL INCIDENT: FACTS AND FICTIONS”

HelioDyne Public Affairs Division — Authorized Distribution

[Clean corporate ident. Soft blue light. Calm music. HelioDyne logo resolves with the tagline: “Progress. Responsibly Delivered.”]

SPOKESPERSON (measured, reassuring):
Recent reports circulating on fringe networks have raised concerns regarding HelioDyne’s operations on the Emberfall site. We would like to address these claims directly—with facts.


🎥 SCENE 1: CONTROLLED IMAGERY

Footage of orderly evacuations. Smiling technicians. Clean corridors.

Emberfall was a legacy mining site scheduled for closure due to declining yield. HelioDyne initiated a responsible withdrawal, prioritizing worker safety, environmental remediation, and full regulatory compliance.

At no point was the colony “abandoned.”


🎥 SCENE 2: THE “SMUGGLER CREW”

Still images: grainy sensor captures of a small freighter. Faces blurred. Labels appear: “UNLICENSED OPERATORS.”

During final operations, HelioDyne security detected unauthorized actors exploiting the evacuation to conduct illegal extraction of corporate property.

These individuals:

  • Forged departure manifests
  • Interfered with inspection procedures
  • Endangered HelioDyne personnel
  • Engaged in deliberate deception of corporate security

This was not whistleblowing.

This was theft.


🎥 SCENE 3: THE WHISTLEBLOWER CLAIM

The name “Aaron Pallas” appears, stamped with red text: STATUS — TERMINATED (CAUSE: GROSS MISCONDUCT).

A former contractor, dismissed for falsifying reports, has been used as a human shield by criminal elements seeking leverage against HelioDyne.

Claims of environmental damage rely on:

  • Incomplete datasets
  • Manipulated telemetry
  • Testimony from a single disgruntled individual

HelioDyne rejects these allegations entirely.


🎥 SCENE 4: CORPORATE AUTHORITY

Cut to HelioDyne corvette patrols. Officers in pristine uniforms.

HelioDyne security acted professionally and lawfully, intercepting the smugglers and confiscating contraband.

Unfortunately, the criminals exploited inspection protocols to escape. An internal review is underway—not because procedures failed, but because bad actors abused good faith systems.


🎥 SCENE 5: WARNING

Music shifts subtly colder.

Let us be clear:

Harboring stolen HelioDyne assets—or individuals—constitutes corporate interference under interstellar trade law.

Any parties assisting these criminals may be subject to:

  • Contract termination
  • Asset seizure
  • Restricted trade status

HelioDyne prefers cooperation.

But we will protect our people, our partners, and our investments.


HelioDyne logo returns.

SPOKESPERSON (closing):
Progress requires trust. HelioDyne remains committed to transparency, accountability, and stability across the sector.

Do not be misled by pirates posing as heroes.

Signal ends.

 

Report 2 

HELIO DYNE PUBLIC SAFETY HOLOVID

IMMEDIATE DISTRIBUTION

[Holo opens on HelioDyne corporate mark. Somber music. Grainy dockside surveillance footage plays—faces obscured, timestamps partially redacted.]

NARRATOR (calm, authoritative):
HelioDyne confirms that earlier today, HelioDyne Asset Recovery personnel were violently assaulted while conducting a lawful interdiction at a commercial spaceport.

[Cut to still image: laser designation dot frozen on a blurred figure. Audio crackle.]

Our team identified a vessel and crew previously linked to the theft of restricted HelioDyne property. When approached and ordered to stand down, the suspects fled and opened fire, initiating a sustained and dangerous firefight in a civilian docking zone. 

[Footage shows muzzle flashes, impacts on cargo crates, alarms.]

During the attack, a HelioDyne recovery specialist was critically injured by long‑range weapons fire while attempting to prevent the suspects from escaping. Despite multiple commands to disengage, the criminals escalated, employing illegal combat augmentations and anomalous abilities to evade capture. 

[Freeze‑frame on distorted energy displacement; frame glitches.]

HELIO DYNE SPOKESPERSON (on‑screen):
“These individuals showed a reckless disregard for life. They fired into a populated industrial facility and severely wounded one of our people. HelioDyne will not tolerate violence against its employees or the communities we operate in.”

[Cut to medical bay imagery—non‑specific, no identifying details.]

The injured HelioDyne worker remains under intensive care. Our thoughts are with their family and colleagues.

[Music shifts—resolute.]


WANTED: DANGEROUS CRIMINALS

[Composite silhouettes of three figures; details intentionally vague.]

HelioDyne is offering a reward of up to 250,000 credits for verified information leading to the identification and apprehension of the following individuals:

  • Three‑person crew, operating a lightly armed free‑trader
  • Known to use illegal psychic or anomalous capabilities
  • Armed and extremely dangerous
  • Responsible for assault, attempted homicide, and corporate property theft

DO NOT APPROACH.
These suspects are considered high risk. Contact local authorities or HelioDyne Security through authorized channels.

[Encrypted contact glyph animates onto screen.]


CLOSING STATEMENT

HelioDyne remains committed to protecting its employees, partners, and the stability of interstellar commerce. Acts of violence will be met with decisive action.

If you know something, say something.
Justice for our injured colleague depends on it.

[HelioDyne logo fades in. End transmission.] 

 

Monday, February 23, 2026

What I'm Doing Here

I've been building Beneath Ahknoor for a while now—long enough to know what it is, and why it matters to me. This is the post I should have written first. The one that explains what I'm after, and why I'm building it this way.

I don't think there's one true way to play. I don't think you have to give one style up to learn the other. I think the best tools travel. 

OSR gives us teeth: spatial danger, real stakes, the chance to outthink the dice. Narrative play gives us intimacy: collaboration, compression, the dungeon made personal.

Beneath Ahknoor lives where those streams cross.

A megadungeon that does not reset. A place that remembers you. A game where consequences range from Complications, to Conditions, to Scars... and every descent teaches you something dreadful:

Delving makes you monstrous.

Not because the rules say so. Because you helped say how. You stare into the depths. And you see yourself staring back out.

That's what I'm building.

If you want to follow along as Beneath Ahknoor sharpens from playtest into release, the work lives on Patreon. And if you want the PDFs, the delves, and the tools in your hands, you can find them on itch.io.

The stone has been thinking.

Come back when you're ready.

Saturday, February 14, 2026

Beneath Ahknoor - Location Flashbacks

This morning, I'm working on the next piece of my 0.5 -> 0.6 development of Beneath Ahknoor, Location Flashbacks. From the rules:

There are places beneath Ahknoor that do not reset.

You leave. You return. The stone has been thinking.

A Location Flashback is not a memory.

It is not lore.

It is not an answer.

It is the dungeon’s marginalia: a brief, wrong annotation in the margin of the place you thought you knew.

Flashbacks exist to do one thing: Make the location feel continuous, personal, and costly.

The Underworld does not explain itself. It edits.

To give you the shape of it, a Flashback might sound like:

Keeper: “What detail makes you realize the dungeon expected you back?”

Player: “Our old chalk mark is still there… but it’s been neatly underlined. This place isn’t random. It’s been paying attention.” 

Next up is a deep pass on the existing levels (The Plundered Catacombs, The Warrens of the Beastfolk, The Buried Library) and the new ones I’m building (The Sunless Market, The Labyrinth of the Great Beast), adding Flashback prompts and fresh Trappings.

Sketch of a broken down, massive wheel atop the stone doorway to a dungeon



Little steps. Every day.

Saturday, February 7, 2026

When I started writing Beneath Ahknoor I had a bunch of goals in mind. I wanted to recreate the feel of delving through a massive megadungeon, trying to make sense of it. I also wanted to explore human-centric, Swords and Sorcery themes. The more I wrote, the clearer one thing became. I wanted to show how adventuring was a path of corruption and erosion.


Each time I was faced with a design choice, I felt pulled toward ideas of loss and change. It changed the game, made it clearer and more compelling. Now, it stands firmly as a megadungeon that changes adventurers, forcing them to confront not just the dungeon, but what they’re willing to become in pursuit of fame and treasure.

I’ve been hard at work on my rewrite, and 0.6, covering the core systems, is almost ready to share. After that, I’ll turn to 0.7, which really leans into corruption, and 0.8, providing Player and Keeper support. Over the next couple of months, I’ll be sharing more about 0.6 and what it means for adventurers.

Here are some of the ways the game has already changed:

  • Above Ground Phase: No longer a reset button. It now follows the arc of Returning, Reflecting, and Preparing. Moves now strain relationships with the nearby town, reveal the cost of delving, and load the next delve.
  • Retainer system: A Delving Move that provides tactical advantage that brings pressure to the Adventurers, and an Above Ground Move that mirrors the erosion of the PCs. (I've written about this on Patreon.)
  • Saga system: Introduces dungeon levels through the unreliable narrator of legends heard by the Adventurers. (I've posted about this on Patreon too.)

I’ll be writing monthly posts here, highlighting the kinds of changes that I’m making. Follow along, share your thoughts, let me know what resonates, and what surprises you. For even deeper dives, sneak peaks, and more frequent posts, check out my
Patreon.


Wednesday, February 4, 2026

Beneath Ahknoor - Adding Trappings

 Beneath Ahknoor is a Carved from Brindlewood game about old-school megadungeon exploration. Each dungeon level is treated as a mystery. Adventurers move through Locations and confront Threats to gather Clues about who controls the level, what they want, and how they might be confronted, bargained with, or endured.

The listed Locations on a level are meant to be highlights, not an exhaustive map. In play, characters will pass through plenty of unnamed passages, chambers, and transitional spaces. As a result, Keepers will be improvising side locations regularly.

I originally leaned on the CfB concept of Moments to support that improvisation. More recently, Justin Alexander’s discussion of Corridor Themes helped clarify what was missing. I wanted something lighter weight, something that could be recombined on the fly without stopping play.

The result is Trappings.

Trappings on the Level Sheet

I am adding Trappings to each Level Sheet, along with a short explanation in the rules. Here is the current text from the “Reading a Level Sheet” section:

Trappings: A list of six details that can be used to describe passages and other unnamed locations on that level. During each Exploration Move, the Keeper should select one or two Trappings to create a more engaging description of the spaces the Adventurers pass through or investigate.

Trappings are not events. They do not demand action. They exist to ground improvisation in the specific texture of the level.

Example: The Warrens of the Beastfolk

Here are the Trappings and Moments from the Warrens of the Beastfolk.

Trappings

  • Bits of cloth and fur bunched into a makeshift sleeping area

  • A narrow space that must be passed single file, moving sideways

  • Graffiti claiming the space in the name of one faction

  • A foul stench whose source is not immediately apparent

  • A broken weapon

  • Bones cracked open to get at the marrow within

Moments

  • Ankle-deep fetid water covers the floor. The sound of splashing footsteps carries through the narrow, low-ceilinged passage.

  • Rotting beams sag overhead, groaning under the weight of stone.

  • Choking smoke suddenly fills the passageway.

  • A chimeric humanoid body lies on the floor, its mismatched limbs bent at unnatural angles. The severed head is missing.

  • Hand-sized maggots crawl among the discarded remains of several beastfolk.

  • Webs with strands as thick as a finger festoon the walls, making the way forward precarious.

These tools are complementary. Moments are specific and volatile. Trappings are reusable and ambient. A Keeper can easily build new Moments by combining Trappings, or simply pick one or two Trappings to dress an unlisted location as the Adventurers move through it, investigate it, or search it for Clues.

In Play

For example, after Berend and Yasoon fail an Exploration Move, the Keeper might say:

“As you move toward what you think is the Low Gallery, you find yourself at a three-way intersection, unsure how you got turned around. In a small niche, you spot a person-sized nest made from skins and fur, mixed with what looks like a pair of old trousers and a torn adventurer’s cloak.”

No map needed. No prewritten room required. The level still feels coherent, claimed, and alive.

That is the goal here. Trappings help Keepers improvise confidently while reinforcing the identity of the dungeon level and the pressures it puts on those who move through it.

Tuesday, February 3, 2026

Beneath Ahknoor - Early Playtesting

Earlier this spring, I ran a short, limited playtest of Beneath Ahknoor during my lunch hour on weeks when our group wasn’t playing something else.

In our first session, we handled Character Generation, Making Entry, and a short stretch of Delving, two of the game’s four phases. The following session wrapped up Delving and carried us through Getting Out and Above Ground, completing the loop.

A flow chart showing the four phases of play. They start with Making Entry, which leads to Delving, which leads to Getting Out, which leads to Above Ground, which loops back to Making Entry



Character Generation

Character creation follows a familiar Carved from Brindlewood cadence, but with a clear nod toward OSR priorities. Starting position matters. The world is dangerous. The dungeon will change you.

After naming and describing their adventurer, each player allocates 3 points among their attributes. From there, they choose a starting location, the place that set their baseline expectations about safety, community, and scale.

For example:

Harjet’s Ford

Description: A backwoods village on the northern frontier, Harjet’s Ford is a gathering place for trappers, hunters, and peddlers. Blustery winds drive lashing rain across the cabins and sod huts clustered around a muddy trading common.

Character Question: What memory of Harjet’s Ford is the measuring stick by which you judge other communities as bigger and better than your home?

Move - Hedge Magik: Once per Delving phase, you may use a minor magik to gain Advantage on any roll except Unlocking. You must describe the magik you use.

Players read the location aloud and answer the question. This is not backstory for its own sake. The question establishes contrast. When the party later encounters cities, enclaves, or underworld communities, the table already knows what “big,” “safe,” or “civilized” means to this character, and how those assumptions might be wrong.

Next, each player chooses a travel location, a place they passed through on the way to the ruins of Ahknoor. This is not where they are from. It is where they learned something expensive.

For example:

The Necropolis at Okchit

Description: A deserted mesa topped with mausoleums, ossuaries, and crypts from civilizations across the world and across deep time. The honored and the infamous are entombed here together. Riches and secrets lie among the dead, guarded by traps and by things that remember being alive.

Character Question: What tales led you here, and why will you never return?

Move - Whispers of the Dead: Once per Delving phase, a spirit whispers a truth to you. If you make and describe an appropriate sacrifice, treat your next roll, other than Unlocking, as a 12+.

Again, players read the description aloud and answer the question. The reason for this question is risk calibration. Everyone at the table now knows what this character considers too dangerous, too costly, or not worth the price. That line will get tested.

After each player answers, the Keeper and the other players collaboratively name one item in that character’s Pack. Each Pack item can grant Advantage on a single roll.

More importantly, Pack items are an abstraction of the party’s carried resources. We are not tracking individual torches, arrows, or rations. Instead, as Pack items are marked off or exhausted, the Adventurers know that supplies are running low, luck is thinning, and it is time to think seriously about getting back to the surface. The Pack gives the table a shared, fiction-first signal for mounting pressure without turning the game into an accounting exercise.

Why This Structure Works (So Far)

On the surface, this is a light framework. In practice, it does several very OSR-friendly things:

  • It establishes a baseline world before the dungeon distorts it.
  • It teaches players what kinds of risks the game cares about through play.
  • It gives the Keeper concrete material to threaten, twist, and call back to later.

By the time we entered Delving, every adventurer already had something to compare the dungeon against, and something they were quietly hoping not to lose.

I’m pleased with how quickly this produced playable, motivated characters without locking them into fixed arcs or elaborate backstories.

If you are a referee or designer reading this, does this feel like a useful way to front-load tone and stakes? Is it something you would want to steal, adapt, or stress-test at your own table?

Back to the Dungeon - New Stuff To Talk About!

I’m back.

It’s been a little over two years since I last posted here. In that time I tried out a few other platforms, kicked the tires, learned what worked and what didn’t. After all that, I’ve landed back on Blogger. It turns out this is still the best fit for how and why I write.

Over the next little while, I’ll be harvesting some of the strongest pieces from my Substack and reposting them here, alongside new work written specifically for this space.

A lot of what you’ll see right now centers on Beneath Ahknoor, my in-progress, OSR-feeling, Carved from Brindlewood–adjacent megadungeon game. I’ve already posted the game’s “North Star” in my writing space, but it bears repeating here:

Adventuring grants power at the cost of self.

The dungeon is a corrupting force. It offers short-term advantage in exchange for lasting loss. Players are responsible for recognizing, shaping, and telling the tragedy of their characters against the backdrop of a great adventure.


Beneath Ahknoor is a dark fantasy game about exploration, transformation, and the price of going deeper.


I’ll also be writing about other projects in progress, including It’s Worse Than That, along with some other Carved from Brindlewood and old-school work that isn’t quite ready to step into the light yet.

If you’re still here, or if you’re just finding this place for the first time, I’m glad to have you. There’s good stuff in the pipeline.