My cat, Veronica Mars, passed away Monday night. She was my special little girl for 17 years. My wife and I are devastated. There are no words to express how much we’re going to miss her.

Looking for feedback on a potential game.

2024 was rough for me, and I’m aiming to make 2025 better by getting back into the MU gaming scene as a GM. While reviewing potential themes, I’ve noticed some of my favorites (particularly Star Trek) might have limited player appeal.

I’ve been considering combining modern Gothic horror with the Storypath System. Think World of Darkness/Chronicles of Darkness style gameplay, but without the associated complexities. It would offer a familiar theme with a fresh mechanical approach.

I’m planning to host this on Ares since traditional MU environments don’t fit my schedule anymore - can’t commit to those lengthy single-session RPs these days. The good news is I’ve already implemented character generation through the web portal. The core mechanics are in place; we just need to develop specific Edges and powers.

One of Storypath’s strengths is its flexibility. Converting WoD/CoD abilities should be straightforward, and we could easily create custom powers too. This would give players extensive character creation options.

The setting and some theme elements are still in development. I’m mainly wondering if this concept would interest people? All the Storypath System information would be readily available on the wiki.

Would love to hear your thoughts or suggestions!​​​​​​​​​​​​​​​​

Posting here helps motivate me so here is the Theme file I just finished for the game.

Welcome to Dark City, where reality wears a cracked mirror’s smile.

Beneath the fluorescent glare of modern life lies another world—one where ancient horrors have adapted rather than faded. Here, Gothic spires pierce the sky between glass-and-steel towers, their shadows stretching like grasping fingers across urban sprawl. The sun seems perpetually filtered through a veil of gray, as if something vast and unseen drinks its light.

This is a world where monsters have learned to wear designer suits and send emails. Vampires don’t merely lurk in abandoned mansions—they sit on corporate boards and swipe through dating apps seeking their next meal. Ancient fae bloodlines thread through family trees like poison ivy, their gifts manifesting in board rooms and back alleys alike. In forgotten university basements, forbidden sciences mesh with eldritch sorceries, bringing forth abominations that defy both natural law and modern medicine.

Hell itself has gone digital. Demons no longer need to break through—they slip through the cracks in our technology, turning social media into soul markets and smartphone screens into portals of temptation. The old rituals haven’t died; they’ve evolved, finding power in the patterns of modern life.

Every city has its dark reflection here—a twilight realm where gargoyles peer down from art deco facades, where elevated Metrorail tracks cast serpentine shadows that writhe with whispered curses, where gentrified neighborhoods hide covens in coffee shops. Missing person posters fade on rain-slicked walls while security cameras capture glimpses of impossible things. Blood bonds are sealed with electronic signatures, and ancient prophecies are encrypted in blockchain.

This is a world where the old darkness has learned new tricks, where gothic horror wears modern clothes but its heart beats with ancient malice. In Dark City, every shadow holds secrets, every connection conceals betrayal, and every truth masks a deeper deception.

Welcome to the modern gothic. Welcome to a world where the monsters have adapted, but never truly changed. Welcome to Dark City—where the darkness has always been waiting, and it knows your phone number.

Progress is moving forward, even if it’s not as fast as I’d like. I’ve got two alpha testers helping me refine character generation and develop the powers and abilities system.

I wanted to share the setting file I just completed. I chose Miami as our location - I love the contrast between its sunny, vibrant atmosphere and the dark, Gothic elements we’re weaving in. Plus, having watched Dexter, I already knew the city had potential for the kind of atmosphere I’m going for.

Miami in Shadow

Here, the Magic City takes on a darker kind of sorcery. Neon still bleeds across Ocean Drive, but it illuminates gargoyles perched on Art Deco facades, their wings spread against the subtropical night. Palm trees cast serpentine shadows across streets where colonial-era carriages share lanes with gleaming sports cars, and nineteenth-century Gothic spires rise between modern condominiums like dark teeth against the perpetually storm-threatened sky.

This Miami writhes with impossible architecture. A Romanian castle, transported stone by ancient stone, looms over Brickell’s financial district. Venetian-style canals cut through Coral Gables, their waters black as ink under moonlight, while Little Havana’s streets host processions that blend Santeria with rituals far older and darker. In Coconut Grove, Spanish moss drapes from banyan trees like funeral shrouds, concealing paths to places that shouldn’t exist.

The heat remains oppressive, but now it carries the weight of ancient curses. Hurricanes approach the coast like conscious entities, their eyes holding actual malevolence. The Everglades encroach upon the city’s edges with increasing hunger, its waters concealing more than just alligators. On South Beach, beautiful predators stalk through endless nights of pleasure and horror, while in Wynwood, street art writhes with hidden meanings and graffiti spells.

This Miami’s Cuban coffee is served in cups lined with prophetic grounds, and the cafecito windows sometimes open into other realms. Santeros work true magic in back rooms, while demons negotiate souls in Brickell’s glass towers. Luxury boats in the marina belong to creatures that haven’t been human for centuries, and the cruise ships departing from Government Cut sometimes return with none of their passengers—or worse, with all of them changed.

In this Miami, every neighborhood tells a different horror story. Vizcaya isn’t just a museum but a living monument to dark bargains, its gardens maze-like and hungry after sunset. The Metrorail rattles through the darkness like a ghost train, stopping at stations that appear on no official map. Little Haiti thrums with power that makes colonial vampires tremble, while Overtown’s historical wounds birth new monsters from old injustices.

This is Miami seen through an obsidian mirror—where the subtropical heat bakes ancient cobblestones, where Gothic spires pierce a sky heavy with Caribbean storms, and where the city’s famous diversity encompasses creatures from every dark corner of folklore and nightmare. Welcome to Miami, where the darkness dances salsa and the monsters wear guayaberas, where every sunset might be your last, and every Cuban sandwich might be sealed with a blood oath.

The first round of character generation went well. No hiccups. Got some notes that I’ll work on over the next day or so. Looks good, though. I’m pretty pleased. Thought I’d attach an image of what the character sheet looks like via the web portal.

As an update, I’ve got a few players who will beta test character generation this week. I continue to work on fleshing out the system, focusing on creating the various supernatural paths(Vampires, Demons, Fae, Reanimated, etc.) and their Dark Gifts. I think things are shaping up rather nicely.

I finalized our mission statement today. I thought I’d post it here so others can gauge their interest in it.

Dark City emerges from a deep love of Gothic horror and its timeless narratives. The atmospheric dread of Dracula, the philosophical depths of Frankenstein, the visual poetry of Nosferatu, and the tragic humanity of the Wolf Man have all shaped this game’s soul. These classics don’t merely inspire Dark City—they infuse its very essence.

Our vision builds upon the foundation laid by games like World of Darkness and Chronicles of Darkness. As someone who has played Vampire since its 1991 debut, I deeply respect these games’ legacy. However, Dark City charts its own course. While WoD veterans will find familiar shadows to explore, they’ll discover fresh horrors and new possibilities lurking in these streets.

Accessibility stands as a cornerstone of Dark City’s design. Where other games layer complexity upon complexity, we strip away the unnecessary while preserving the essential. A vampire in Dark City is simply that—a creature of the night, free to be shaped by the player’s imagination rather than confined by predetermined clans or covenants. This philosophy extends throughout the game, offering a low barrier to entry while maintaining rich possibilities for character development.

Dark City embraces its mature nature. Created with adult players in mind, it provides a space where complex themes can be explored without compromise. Love, betrayal, violence, desire, friendship, and loss—all find their place in these shadowed streets. This is a game that acknowledges the sophisticated tastes of its audience while establishing clear boundaries through our Rules section.

At its core, Dark City exists to tell stories that haunt the imagination, challenge the heart, and explore the darkness that lies within us all. Whether you’re a veteran of Gothic horror gaming or taking your first steps into the night, Dark City welcomes you to its shadows.

Things have been a bit rough this last week since my cat passed away. We’re trying to get back to normal routines, though, and part of that for me is working on Dark City. I thought I’d share some screenshots of character generation. CG is mostly done though I’m making minor tweaks based on feedback from my beta testers.

One thing we sometimes forget about MUSHes and text-based RPGs is that they’re ultimately just a hobby—something we all do for fun. These are games where we pretend and tell stories together, and while they can be incredibly engaging, they shouldn’t become a source of stress or drama.

That said, we’ve all probably encountered situations where people took advantage of others’ trust or good nature. This is where the importance of staff integrity comes into play.

I believe it really comes down to having staff members you can trust. If you have a solid staff team with a zero-tolerance policy for any kind of manipulation or favoritism, and everyone stays focused on the main goal—making sure all players are having fun—then most other concerns tend to sort themselves out.

So to address the specific points:

A) Yes, I think staff members should be allowed to have player characters. They’re part of the community too, and restricting them from actually playing the game could lead to burnout or disconnect from the player experience.

B) I don’t think staff should necessarily have to disclose their player alts. I’ve seen cases where players actually felt more uncomfortable knowing they were interacting with a staff member’s character, as it changed the dynamic of their roleplay. However, I wouldn’t object to a game that required this transparency—both approaches can work well with the right implementation.

It really comes down to having clear policies and trustworthy staff who understand the responsibility that comes with their position.

@Ominous When I ponder my Game of Thrones game, I think about this exact challenge. To make politics work, I think it boils down to needing one of two things:

1: Players who are willing to have characters that “lose” in these political games and who’ll accept consequences. It should still lead to engaging and imaginative RP but, in my experience, most people just want to “win” and don’t like being on the other side.

2: Having staff or players willing to temp NPCs to act in those losing spots or to suffer the consequences of actions.

You’d also need staff keeping an eye out for players who might take advantage of a game that allows political maneuvering. There’d need to be a zero tolerance policy for using politics to pressure people into RP they don’t want to participate in.

I don’t think these are reasons not to incorporate politics into the game—they’re just hurdles that would need to be overcome. I actually think it could be very rewarding if done right.

@Faraday I think I get what you’re saying and I agree with that perspective. Rolls should not be a crutch to make up for not being able to play a concept properly. They can help drive RP and perhaps point you in directions you hadn’t considered, but they definitely can’t make fundamentally poor roleplay enjoyable.

And yes, someone shouldn’t be able to play a character poorly but then fall back on “But my +roll says yes” as if that overrides everything else. There’s definitely some murky water where playing poorly because someone doesn’t care (and isn’t even trying) crosses over with someone who is genuinely doing their best to play the concept well but might need some mechanical support.

I think the ideal is when dice mechanics enhance good-faith roleplay efforts rather than replacing them. A player genuinely trying to portray a brilliant tactician might benefit from dice mechanics that help bridge the gap, while someone just going through the motions and expecting the dice to do all the heavy lifting is missing the point of collaborative storytelling.

@Faraday Well, I don’t think I said that dice rolls should be the narrative. I don’t think I ever even implied it. I said “The mechanics should serve the narrative, not strangle it.”

I think it’s similar to saying, “You want to play a strong character? Show proof you’re that strong in real life.” These games are fantasy, not reality. We’re playing characters that are often better than ourselves in many ways.

While I don’t think it’s anyone’s “job” to do anything except have fun, I don’t see an issue with collaborating on plot development when it creates enjoyable stories. If someone wants their character to break into my character’s vault, I’m happy to brainstorm ideas with them if the story sounds fun. I agree the concept should come before the rolls - dice should serve the story, not create it from nothing.

I also don’t disagree about expecting a certain level of competency and knowledge of the theme and setting. If someone is consistently playing against theme, tone, and setting, there are definitely larger issues than whether they succeed at Intelligence or Charisma rolls.

That said, dice mechanics can enhance and drive RP in various ways. Maybe two players aren’t interested in RPing out the entire heist but want to explore the aftermath - they could resolve the execution with a roll or two to determine how smoothly things went. Or they might choose to RP it without any rolls at all. The important thing is having fun and telling good stories together.

Obviously, these are just my thoughts and opinions. There’s no one-size-fits-all answer to questions like these. Personally, I just like using dice mechanics to help bridge the gap between what we’re capable of and what our characters are capable of - not to replace storytelling, but to enhance it.

@Gashlycrumb said in Lords and Ladies Game Design:

I think handling intrigue with dice-mechanics is kind of a problem. Maybe not a big one, depending on your player base. But you know how you always get that one person who keeps going, “My character has a 20 charisma, love me!” while behaving in very uncharismatic ways. There’s also somebody out there who will go, “Make my dumbass scheme work as if I’m the genius my sheet says I am!” It can be a heck of a lot of work to translate dice-throws of this nature into narrative.

This is exactly why I prefer dice mechanics for intrigue when possible. Without them, you risk telling players “Sorry, you can’t play a charismatic character because you’re not charismatic in real life” or “Your character can’t pull off that brilliant scheme because you’re not smart enough to devise it.” Even worse is hitting that wall of “That would never work on my character” with nothing backing it up except “Because I say so.”

I’m all about cooperative storytelling, and ultimately “because I say so” is valid in many contexts. But dice add that perfect element of uncertainty that keeps things interesting and levels the playing field. And when a certain amount of hand waving needs to enter the equation to make things happen—if it creates an overall better story—then I’m absolutely all for it. The mechanics should serve the narrative, not strangle it. When these systems are in place, you definitely need zero tolerance for BS and shenanigans. That said, anyone trying to game these systems at the expense of other players’ fun probably isn’t someone you want on your game anyway. The goal is always a compelling story where everyone feels their character can meaningfully participate, regardless of the player’s real-world skills.

Also, with games like this, it’s easy to forget that the shows we’re basing them on have a writers’ room full of people who spend weeks or months crafting these stories, plots, and dialogue. When we RP them, we’re coming up with stuff off the cuff. I think a certain amount of leeway should be expected and happily given. It’s a lot to expect the average gamer to come up with a professional writers’ room worth of quality material on the fly in the few minutes they have to craft a pose. Dice mechanics can bridge that gap between our improvised efforts and the polished narratives we’re trying to emulate.

For me, I think a L&L game should have some/most of the following:

1. Setting: To me it should be in a historical or fantasy versions of aristocratic societies inspired by European nobility structures from medieval to Victorian eras.

2. Focus on social dynamics: I think the game should emphasize social interaction, political maneuvering, romantic entanglements, and status competition.

3. Hierarchical character structure: Players typically take on roles within a clearly defined social hierarchy, from monarchs and high nobility down to lesser gentry.

4. Intrigue mechanics: Mechanics for reputation, scandal, alliances, marriages, and social influence rather than traditional combat stats.

5. Events and gatherings: Social events like balls, garden parties, hunts, and court sessions serve as central settings for roleplaying interactions.

6. Character development: Character growth typically revolves around gaining titles, wealth, alliances, and social standing rather than combat abilities.

Back to games we want but won’t see…

Street Fighter / Mortal Kombat: I think both actually have themes you could build a MU around. Street Fighter is almost superheroics meets espionage while Mortal Kombat could be modern fantasy.

TMNT: One of my favorite things from my youth. I loved playing the old RPG and would love to play on a MU set in the TMNT universe.

Transformers: I know there are one or two out there but I find their themes confusing. I’d like a simple G1 Transformers game set on Earth and maybe Cybertron. Perhaps with a plot working up to the original 1986 movie(Unicron).

I didn’t want to derail the other thread, but I thought there was a lot of good discussion going on regarding the Lords and Ladies games so I thought I’d create a thread just for that.

The points I found most interesting included:

1. Running a more personal game
2. Having a system in place for political plots and intrigue
3. Ensuring there are interesting consequences for “losing” in intrigues.
4. Creating some sort of a roster or temporary character pool for things like intrigue and other plots.

What might also work is finding out what political plots players want to explore with their characters, then collaborating with them to create some NPC/roster characters specifically for those storylines. You could then advertise for temporary players to take over these characters for the duration of the plot. This way, Player A gets their political intrigue storyline, while Player B gets to drive a character like they stole it—engaging in roleplay they might not otherwise try with a character they were more personally invested in.

@Ominous When I ponder my Game of Thrones game, I think about this exact challenge. To make politics work, I think it boils down to needing one of two things:

1: Players who are willing to have characters that “lose” in these political games and who’ll accept consequences. It should still lead to engaging and imaginative RP but, in my experience, most people just want to “win” and don’t like being on the other side.

2: Having staff or players willing to temp NPCs to act in those losing spots or to suffer the consequences of actions.

You’d also need staff keeping an eye out for players who might take advantage of a game that allows political maneuvering. There’d need to be a zero tolerance policy for using politics to pressure people into RP they don’t want to participate in.

I don’t think these are reasons not to incorporate politics into the game—they’re just hurdles that would need to be overcome. I actually think it could be very rewarding if done right.

@Gashlycrumb If I ever did it, it’d probably follow along the same route. More personal, localized stories.

@Gashlycrumb said in Games we want, but will almost certainly never have:

@Artemis … And L&L is probably among the easiest themes to run.

See, the idea of running a Lords & Ladies game is very intimidating. I think I could open a superhero or modern horror game tomorrow and be fairly confident in running plots, helping players, and all that. But when I think about opening an L&L game? I get all anxious.

And it’s too bad because I’d love to see a Game of Thrones game. The two people I RP with most would also love it. I just find it all very intimidating - probably mostly because I’d be doing all the staffing work by myself, and that’s a lot to handle.