RPG Design: Super, Sexy Swingin' Spies

 

If you recall my goals for 2026, you will have seen that I had been working on a game called Super, Sexy Swingin' Spies.  This is an RPG that came about after a lazy day watching Matt Helm movies on TUBI.  Who and what is Matt Helm?  Well, he is a photographer/super-spy played by Dean Martin in a series of not very serious Bond knock-offs.  I watched The Silencers, The Ambushers, The Wrecking Crew, and Murder's Row over the course of a few days.  About half-way through the third one I thought, "Self, this could make some fun and light-hearted rules-lite RPG action!"   

As an added bonus, most of these movies are now old enough to be in the Public Domain!  That meant movie posters, screen caps, and similar media would be accessible to populate my game rules!  Photos and images are always a problem, so this made it much easier and helped this game jump the queue to actually get worked on and done!  

So, before I get ahead of myself let's start by laying out the design goals, and then we can take a closer look at how I went about making the game.  The Design Goals were: 

1. Simple opposed dice rolling mechanic built into the design

2. Ease of Character Creation that intuitively creates role-play opportunities

3. Make Gadgets relevant but avoid equipment lists

4. Lean harder into the narrative than the crunch

5. Create space for various levels of "Groovy", play it straight or as wacky as you want with space to tell 1960-esque spy stories

Those were my design goals going into this project.  You can find these rules on my Drive-Thru RPG page.  Also, a special shout-out to my Patrons who got early access to these rules!  Let's take a closer look at how I did it! 

Simple, Opposed Dice Rolling Mechanic

Typically, when I create a rules-lite RPG I do not like the GM rolling any dice.  I prefer the players to do all the dice-rolling and the GM simply interpreting the results.  The GM all ready has enough on his plate with everything else going on, so no need to burden him with dice rolls too.  

For this game, I slightly diverge from my normal method.  However, I still want any dice-rolling to be simple with the Players doing most of the heavy-lifting mechanically.  In this game, the Players use their Attributes and other aspects of their characters to create a pool of dice called Agency Dice when they are asked to resolve a challenge.  

The Handler (or GM) determines how hard the Challenge is and that difficulty is between a 1 and 7.  This number is the number of dice in their pool called a Danger Dice.  Both groups roll their Agency Dice and Danger Dice at the same time.  Any Danger Dice and Agency Dice that match are removed.  If any Agency Dice remain with a 4+ the Challenge is passed, if more than one  Agency Dice with a 4+ remains it is Critical Success.  All other options are a Failure.  If all Agency Dice are removed and a Danger Dice remains with a 4+ it is a Critical Failure.

Therefore, the higher the Difficulty the more Agency Dice you will want to make that roll.  The Handler (GM) tells players the Difficulty before rolling.  That way, the Player can choose a different course of action if they wish.  

This mechanic is harder to put in writing than to actually use.  Therefore, it is a very simple opposed dice pool mechanic.  This mechanic is very simple and intuitive during game play.   

Easy Character Creation

All of my games focus on easy Character Creation.  The reason is so that players can get into the action quickly and start playing.  In addition, if your character is knocked out of the game it is easy to get a new one worked up and back in!

This one is not an exception, with character creation taking about 10 minutes.  There is a minimal amount of record keeping and very little math.  However, it still encourages players to round-out what makes a character a character beyond the basic profile.  It includes guidelines for new role-players about personality traits, quirks, and other things that make it easier to bring a character to life in game.  A character fits completely on 1 page with no long lists of equipment, gear, or other mundanity.  

Make Gadgets Relevant

This is a rules-lite game.  Therefore, I did not want a detailed list of 1960's specific surveillance gear, technology, weaponry, and other details.  That is too cumbersome and ties the Players down.  Super Spies always seem to have the right gadget for the job when they need it.  Therefore, in this game the Characters will always have the right gadget for the job too!  

A Character can trigger the use of a Gadget at anytime!  However, there is a cost to do so.  Doing so reduces your overall ability to manipulate scenes by expending a resource called Plot Armor.  Plot Armor can be used to use a Gadget, add Agency Dice, re-roll Agency Dice, or Reduce Danger Dice.  Instead of managing a long list of complicated and variable 1960's gear, you only need to manage your Plot Armor.   

However, Plot Armor is also your "health" meter.  Once it is expended, your Agent is out of the Scene.  Get knocked out of too many Scenes, and you fail the Mission.  

Therefore, you can use a Gadget to get a Character past a sticky situation BUT to do so reduces your ability to interact with scenes later.  It is up to players to decided when a Gadget will benefit them versus hinder their overall mission.  

If you need access to a cool car for a car chase?  No problem, spend a Plot Armor and it is there.  Do you need a grappling watch?  You got it.  A parachute with the Union Jack on it?  It is yours...... if you have the Plot Armor that is.  

Yes, THAT Tina Lousie was in it!

Lean Harder into Narrative Than Crunch

As a Rules-Lite game, the focus of the game is helping the Handler set-up a scene so Players can take actions during those scenes.  The core of the game is about how to create the Core Gameplay Loop of Inciting Incident--> Player Action ---> New Situation.  In addition, the rules discuss the most common types of scenes in the game and what Challenge Checks fit into these scene types.  Therefore, the players and Handler have a great structure for what a game of Super, Sexy Swingin' Spies looks like.  

To help all players understand, the game also comes with an introductory Mission called; The Jet-Set.  There is also one pre-made character, a blank character sheet, quick reference sheets for both players and Handlers, and an Index to give you everything you need to have a great game.  

Creating 1960's Spy Stories

Spy stories in the 1960's ran a wide range of themes and tones.  They ranged from the very serious espionage thrillers like Tinker, Tailor, Soldier, Spy to the adventure and action oriented From Russia With Love to the tongue-firmly in cheek stories of Get Smart.  Therefore, no two Spy-Fi films or shows were the same.  Each had their own mix of serious spying, action adventure, and comedy.  The rules written in Super, Sexy Swingin' Spies is designed to give you what you need to go from James Bond to Maxwell Smart and everything in between.  If you want to center a story around a defector from East Berlin no problem, if you want a madman with a Bikini Bomb, you got it.  You are encouraged to decide how much "Groovy" you want in any given Mission or Season.  

Final Thoughts

If you have liked my other Rules-Lite RPGs than you will enjoy what I am presenting here as well.  The focus is on working as a table to tell the story and find out what happens.  The rules are enough to help you build and overcome compelling challenges.  These rules are great for experienced RPGers looking for something quick and light for a short campaign, people new to RPGs who know the Spy-fi film/TV genre, or folks who want to have a low-intensity story-telling experience. 

You can find these rules on my Drive-Thru RPG page.  Also, a special shout-out to my Patrons who got early access to these rules!    

I look forward to hearing about how you saved the world in the 1960's!  

Until next time! 

 

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RPG Design - Writing One-Shot Scenarios from Other Media Sources

 

I think we have all been there.  You are the GameMaster for an upcoming RPG session and you want to deliver a fun experience for your friends and fellow players.  The clock is ticking as you only have a week to put it all together and help make the magic happen.   There is only one problem.  You have no idea on what to do!  

In order to avoid this problem, I often try to keep a short list of pre-made scenarios handy for the 2-5 times I get to GameMaster in a year.  When it is my time to shine, I will trot out the list and let the Players pick what they want me to GM.  Once I use a scenario, I start looking and working on a replacement.    

One of my biggest inspirations is other media such as televisions episodes, books, movies, artwork, or actual "real-life" events.  However, translating these into a multi-play, open-ended game can be a challenge! As discovered, they do not always translate well to the tabletop.  It can be as difficult as writing a historical scenario for a wargame, because the rules for the game can not match the sources.  As the writer, you have to make decisions and adapt your media to fit the RPG space.  It is not usually a simple 1-for-1 adaption.    

What Makes Adaptions Fail?

The number one reason that an adaption fails is because the source materials was design with one particular character and their character arc in mind.  It can not be expanded to include more than one character or characters with different arcs or motivations.  Most stories, television shows, or movies have a Point-of-View character that the audience follows.  The way this character develops is the entire point of the show.  RPGs are often an ensemble cast with a variety of characters with differing needs, wants, and arcs to accomplish.  

Secondly, most movies, TV shows, and even books follow a three act structure.  There is a beginning, a middle, and a finale.  The plot or focus on the film has certain beats that happen during each part of these three acts.  For example, the beginning will have an inciting incident to kick-off the plot where the character decides to participate in the story.  The Middle has rising action and often ends on a down/happy note depending on the ending of the story.  The Finale often is the climax of the plot and action with the main character completing their character arc and moving to an epilogue.  These nice segmentations often do not work the same in an RPG session as players are free to make their own actions and decisions.  

Thirdly, stories, movies, and books often rely on key actions or scenes to happen when they need to happen.  They run on a single rail and the character is propelled along this plot and action trajectory.  In RPGs the players themselves have the freewill to move away from the rail and do something completely different and instead of facing the challenge of a Big Bad Evil Guy, they might decide to start their own casino, or raise cabbages; therefore taking the game in an entirely different direction.  It happens.  Therefore, expecting them to "follow the storyline" doesn't make a lot of sense.  

Fourth, a story, movie, book, etc. may be really good.  However, if the players are familiar with the source it can derail the experience for them.  There is no need to "play to find out" because they think they all ready know where this is all going.  That makes it even more likely for the players to go and try to make their own fun in a scenario.      

What Makes Adaptions Work?

Despite those challenges, I still find media to be a great source of inspiration for creating great modules, short campaigns, and one-shots.  The hardest part of creating is looking at a blank page. By starting with an adaption, you bypass this problem right away.  You can start by simply recreating the Inciting Incident and build around it.  Now, you have begun and nothing makes finishing easier than starting! 

The whole point of an adaption is for the Gamemaster to see how different characters and players would react in the same situation as what you saw or read.  Sure, in the book the character did X but what will my friends do when faced with a similar dilemma?  Will they make the same decisions?  What will they say, do or feel compared to what happened on screen?  

There is very little reason that an RPG can not also use a literary structure.  It is a tried-and-true method of storytelling and a great fit for a storytelling game like RPGs. The languages and structures of storytelling also work very well for One-shots as the Gamemaster needs to keep the players moving along the continuum of opening scene, through the middle, and to the end of the session.  Many of the same tricks used in other media work well in the RPG space as well; especially for One-shots.  One-shots needs to be able to have a condensed structure for resolution in the time allotted for play.    

How Do You Bridge the Gap?

Here are some key points that I have learned in order to make a successful One-shot adapted from a book, story, TV show, or movie.  This is not an exhaustive list but enough to get your going and thinking about adapting your own favorite media into successful RPG One-shots.  

1. Deconstruct the Genre 

In this case, spend time understanding what makes the genre or type of story you are trying to tell work.  What works in one genre, does not necessarily work in another.  For example, a Western or Frontier story often focuses on choosing to do the right thing, when no one else will.  Horror stories often focus on the natural and ordinary world become twisted into something unnatural.  You have to understand what makes the genre work, so you can lean into those same factors during your One-shot.  

2. Set the Expectations for the Players

By that I mean, let them know what you have learned about the genre, tell them the setting, and give them the theme of the game before you begin.  If they still agree and have a good character they are more likely to play through from the beginning through to the finale.  

3. Make Good Characters

It is vital that the Gamemaster work closely with the players to make strong characters for the one-shot.  At this stage, the Gamemaster must ensure that the Characters have an ironclad reason or motivation to keep moving through the adventure.  This will help the Players also want to keep moving forward, even when things get hard.  Make sure the Players are crystal clear on what these motivations are before your even begin to play.  

4.  Start the Characters "In the Action"  

I typically structure my games to have a strong Inciting Incident.  This Inciting Incident assumes that the Characters are all ready engaged in the story such as they are beginning on the journey.  There is no Meet-in-a-Tavern as the Characters are swept up in the story waking from a Cryo-pod, riding in a carriage towards the abandoned castle, boarding the cruise ship to start their Love Boat cruise, etc.  Why they are there can be narrated to them later but throw the Characters into the action immediately.  There is no time for any other way to start.  

5. Use a Networked Approach

The Middle should be a series of interlocking encounters where players can decide what they want to do during any encounter, and where to go next.  However, no matter which path they take they will hit all the key scenes from the source material.  Therefore, the players are not on a railroad, but more like in a funhouse that inevitably leads them to the exit.  You can go anyway you want in the mirror maze, but eventually the scenes lead you to an exit.  This will keep the Players moving forward but not on a railroad as their choices are leading them between scenes.  

This also allows the GameMaster to control the timing of the game.  If players are running out of time to complete the One-shot, you can always cut out scenes and go straight to the Big Finish!  As a rule of thumb, most 3-4 hour games should have 1 Inciting Incident to kick-off the game, 3-5 interlocking encounters or events; and then a Big Finish.  The module may need to contain more than 3-5 interlocking scenes but only 3-5 should be playable in any One-shot.   

6. Not all Encounters are Combat

The 3-5 interlocking encounters or events should not all be combat.  Indeed, most of them should be interacting with NPCs, uncovering clues, or other set-pieces or scenes from the source material to help set-up the threat and the stakes.  These encounters or events act as the "rising action or tension" in your One-shot and will mirror the rising action or tension from your source material.  No single encounter or event in this interlocking set of scenes should reveal the bigger picture but instead should hint at the Final Scene to come.    

7. All One-shots have to end on a Bang!

The Big Finish has to be memorable and follow logically from scenes that have come before.  Thankfully, when you are adapting an existing source material, the hard work of making it all make sense has often all ready been done for you.  If you present the clues and rising tension of the source material to the players, they will probably be able to see how it all foreshadowed the "big finish" 

The most important aspect of the Big Finish is that it should be the Ah-ha moment where the Players see how what came before works together.... for the most part.  They may not have the full "For the GM" section of the module figured out, but they should be able to see enough of it.  

Typically, this climax and Big Finish involve a confrontation that is resolved by violence.  However, depending on the genre, that may not be the case.  It could be resolved by revealing the plot, a courtroom scene, or something similar.  However, it is always the catharsis or resolution of the main plot of the storyline.  I.e. the Muppets have the big show to earn money to save the theatre, the five lions can finally unite to form Voltron, or the legal team has enough evidence to confront the main antagonist and get him to reveal why he ordered the Code: Red.  It should always be a memorable scene or moment.  Thankfully, most other Media has that covered.  

8. Pacing is Everything

As the Gamemaster, it will ultimately be up to you to move Players through the One-shot from scene-to-scene.  You will decide when to trigger the Finale.  You will manage the transitions.  Keeping up a rapid pace will avoid lag time and help keep the Players in your encounter path.  Each scene should end on a cliff-hanger and decision point. 

The players should be asking, "What could this all mean?" and want to move to the next scene to find out what it all means.  Therefore, they are keeping themselves on the path of the One-shot.  If you let the pacing drop, they will stop thinking about "What could this all mean?" and start thinking about "What is happening in Social Media?"  That is death for any One-shot no matter the source material! 

Not all Media naturally lends itself to such questions at the end of a scene.  Therefore, when making an adaption, cut-out any scenes that do not end on a cliff-hanger, reveal new information, or propel the story towards the big finish.  Thankfully, most other Media will have done the hard work for you but when adapting, look for scenes that slow or drag the pace and remove them.  You can also remove most sub-plots as well, because you will not have time for them in a One-shot or the Characters will create their own anyway. 

Final Thoughts

That's it.  Pretty easy!  

Okay, it isn't but adapting something is much easier than coming up with something from nothing!  Plus, you can crib the successful elements of other works and lean into what made them successful in your own One-shot.  At the end, it is always a good idea to tell the players what the original source of your idea came from.  Then, they can investigate it and see who did it better; them or the original characters!  

You can see if I am any good at it with Sleepers in the City, Insanity at Snowden Manor, or The End of the World in the Flashlight: Tales of Terror rules.  

Well, hopefully that helps you.  Good luck Gamemastering out there.  The only way to get better at it is to do it over, and over, and over again!  Until next time! 

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RPG Design: Badlands - Wild West Adventures

 

Badlands came about because I was thinking a lot about Westerns.  I was thinking about what made them work, what tropes did they lean on, and why they were so popular as a genre.  I had been thinking about trying to get my local group, The True Crit Gaming Guild; into some Cowboy gaming.  However, all this thought led me not to a designing a new wargame, but into another Role- playing Game instead!   

There are a couple of things that I wanted to accomplish with Badlands: 

1. Mechanics based on Poker, a staple of the Wild West
2. Ease of character creation that intuitively creates Role-play
3. Use a Meta-currency for the GM and Players to influence game play
4. Lean harder into narrative than crunch
5. Create space to tell Wild West based stories, natural and super-natural  

Poker as the Unifying Mechanic

I am not much of a Poker player, but I have a basic understanding of the various hands and how they interact.  I wanted to make these rules a core mechanic for the game because Poker is an iconic tradition of the Wild West, and is tied to the American Mythology of the period.  The Gamemaster is called the Dealer and they hand cards out to the Players.  When there is a Challenge Check, it is resolved by the impacted Characters building a hand of cards and trying to beat the Dealers' hand.  

Attributes, Values, and Skills have numeric values that indicate the number of cards to be used to Build a Hand.  No one can ever have more than 5 cards in their hand.  If the Player has a better hand, their character succeeds in the Challenge. If the Dealer wins, the Character fails the Challenge.  

Poker Hand Chart from Wikimedia Commons

Intuitive Role-Play

Characters are built using 4 Attributes and 4 Values.  Attributes are physical components, while Values are more about the characters outlook on life.  These are built on with Skills, Traits, Assets, and Backgrounds that help flesh out what a Character is good at, and allows different abilities while Building a Hand.  Characters also have Drives to manipulate Meta-Currency and Weaknesses that can be used to manipulate Meta-currency and Asset availability.  All of these mechanical features allow clear and distinct levers for role-play as well as mechanical benefits too.   

Meta-Currency

The Dealer and the Players all start with a pool of Poker Chips they can draw on.  The Players have Luck Chips while the Dealer has Danger Chips.  As Players cash-in Luck they are converted to Danger Chips for the Dealer, and as the Dealer uses Danger Chips they convert to Luck Chips for the Players. As the game progresses, these Chips get passed back and forth for various effects on the game.    

From Canva

Lean into Narrative

This is a rulings over rules type of game, and it is designed for the Players and the Dealer to lean into the story.  It is not "crunchy" but there are a lot of decisions to be made thanks to how the different Character details help "Build a Hand" and the use of Luck/Danger within the game.  At the end of the day, the Scene will React no matter the outcome of any Challenge Checks.  

The game also encourages Dealers to structure Badlands adventures like TV shows and movies.  It recommends a three act structure with a Beginning, Middle, End.  It also uses the language of cinema such as Inciting Incident to trigger Challenge Checks, Final Scene for the dramatic finish, and Epilogues to help wrap up loose ends.  This is a Narrative first game. 

Tell Wild West Stories

Badlands spends time dissecting what makes a Western work on-screen.  There is discussion of Themes, Stakes, and Genre Tropes so that the Dealer and the Players can engage in authentic feeling Wild West stories.  However, the game is loose enough that your adventures can be any of the many types of Western stories, singing cowboys, wagon trains, cattle drives, outlaws, sheriffs, lone rangers, and more.  There is also space for "straight" Westerns with white hats and black hats, or something a bit more supernatural like werewolves, shamans, cannibals, or even aliens!  You can make your Wild West as wild as you want. 

Some Details

The rules are 71 pages long.  It includes almost everything you need to play.  This includes a blank character sheet, a Quick Refence Sheet of rules, a Poker Hand chart, and an Index.  The rulebook also has an initial adventure set in 1849 on the Oregon Trail to kick-off your Badlands experience.  All you need to do is provide a deck of standard Poker cards with Jokers, and a handful of Poker chips.    

Final Thoughts

Of course, if you have been reading this blog you know I have some core ideas and preferences about my RPGs.  I tend to design games that I would want to play.  Therefore, my preferences are on full display.  Badlands is no exception.  

Therefore, if you like narrative and character driven based RPGs that use a traditional story-telling format, this might be a good game for you.  This is not a game to challenge the Players with survival like an OSR, it is focused on telling stories and looking for characters to grow and change.  It is rulings over rules and forces the players to ask the question, "What is the right thing to do?".  This question is about morals, ethics, and values more often than it is about survival in the Badlands.  

Check it out and let me know what you think! 

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RPG Design: G.I. Joe Module "Into the Snake Pit"

Role-playing is really my roots in Wargaming. I was a role-player before I was a wargamer.  I often find it easier to get into Role-playing groups than it is to find fellow miniature Wargamers.  Therefore, RPGs have always been close to my heart.  As a designer, I am still pretty fascinated by the overlap between the two genres.

I all ready have a Drive Thru RPG account that I publish on.  Therefore, it made sense that I should finally give RPG Design its own space and header on the blog.  If you search the interwebs you will find a lot of people with a lot of opinions on RPG design.  You will find way more than you will ever find on Wargame Design.  I am just a dabbler in this space, and if you want serious thoughts on RPG Design you should really go elsewhere.  

Today, I am talking a bit about something I put together because I wanted to play a game of Renegade Studios G.I. Joe: Role-Playing Game.  If you want to play a game, you first have to be willing to Gamemaster the game, and to do that you really need an adventure to run!  Therefore, I set about creating a simple, introductory campaign so I could play the game with my group.  Hence, Into the Snake Pit was born.  

Of course, the campaign made a few assumptions.  Despite the cover, you don't actually play as named characters like Scarlet or Snake-eyes.  Instead, it is intended to be a campaign that runs from level 1-4 for original, starting characters.  The campaign is designed for 3-6 players and 1 GM.  Each scenario will last between 2-5 hours for about 20 total hours of gameplay; give or take.  Scarlet does plays a part by acting as the "Quest Giver" in this campaign.  

The focus of this campaign is simple.  The players are sent into a dangerous neighborhood that is being destabilized by COBRA weapons.  Their job is to infiltrate the neighborhood, eliminate the weapons, and cut off the source.  This plays out over the course of 4 scenarios as the new recruits infiltrate the area, find leads, and track them down.  There is also a time element to the adventure.    

There is also a semi-sandbox nature to the campaign as it lays out the details of the Snake Pit neighborhood to explore, while having a clear linear path laid-out.  However, players being players you can't always expect them to follow the path and there is enough meat there to go alternate routes with some improv to fill in.  In addition, these details could easily act as springboards to further adventures in the Snake Pit neighborhood.   

The campaign includes up to 7 pre-generated Level 1 characters with just enough backstory and hooks to get them into the game as recruits to the Joe team for this mission.  With these, new players can quickly jump into the game and get into some Role-playing.  They cover a variety of skills and archetypes that are valuable in the campaign, but nothing is stopping gamers from creating and using their own unique characters.  They include: 

• A front-line officer
• A commando infiltrator
• An urban combat specialist
• A stunt driver
• A computer hacker
• A former wrestler and soldier
• A former mercenary turned Joe 

Concept art for Lady Jaye from G.I. Joe : Renegades
by Jeff Johnson

The module is designed to lean into a few aspects of the G.I. Joe RPG.  

1. Role-play
2. Infiltration
3. "Street" Level threats - limited firepower and weaponry
4. Vehicle combat 
5. Small unit combat
6. Urban setting

This campaign does not feature globe-trotting adventures, exotic gear, bizarre doomsday weapons, absurd plots, and comic-book level villains.  This is a more grounded, low-level, down-and-dirty espionage/crime campaign with sci-fantasy elements and a mix of close quarters combat.  Do not look for Weather Dominators or Pyramids of Darkness-style shenanigan's here.  The most exotic vehicles are a beat-up van and motorcycles.  The most common weapons are pistols, batons, knives and fists.  This is a low-level, low-fantasy campaign where social, exploration, and combat all play a role in defeating COBRA's plans.   

 

Crimson Guard from the Core Rulebook

Final Thoughts

This is a free module I put together for the best reason possible; because I wanted to!  You can find it free on the Blood and Spectacles Drive-Thru RPG page.  My patrons have had early access to this work and got to see some of it coming together behind the scenes.  That is a great way to get access to content early from Blood and Spectacles Publishing for either RPGs or Wargames.  If you like what I did with this module, you may want to look at a few of the games I have built as well. 

Overall, this took about a year to get from concept to reality.  I hope you enjoy playing it as much as I enjoyed putting it all together.  

Until next time! 

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