Weave a Web of Magic

Posted on March 10, 2017 By

In the Empire of Venom & Silk fantasy storyworld, the world has been been invaded by giant, sentient spiders. Today, thanks to the generosity of my patrons, we’re taking a look at the magic-using spiders known as “spell-spinners” and the spells they spin.

Spell-spinners use their webs to create magical effects. Specifically, they arrange their webs into intricate, arcane patterns charged with magical energy. These patterns, called “weaves,” affect the objects and creatures onto which they are cast, enchanting them or cursing them according to the spinner’s will. Spell-spinners can also spin weaves into the forms of magical objects, such as weapons or armor, for themselves or others to use.

In order to perform these feats of magic, spell-spinners must ingest Milk of the Earth. A little Milk goes a long way, but without it, spinners must draw on their own spiritual reserves in in order to create weaves. This is exhausting. And spinners who spend too much of their energy casting spells can weaken, sicken, and even die.

Under ideal conditions, spider magic is powerful, but slow. Weaves require time and concentration to cast properly. If a spell-spinner is interrupted mid-weave, it may not be able to pick up where it left off, but need to start over again from the beginning. Most weaves take at least 30 minutes to form, but if the spinner takes longer, the spell is more effective.

Spell-spinners can cast magic quickly (such as in the middle of a battle), but their weaves are not nearly so effective. They can get their casting time down to a minute or less, but the spells they cast are mere shadows of their more time-consuming counterparts. This is why human rebels prefer to ambush spinners far from their nests; an entrenched spinner is nearly unbeatable, but one that’s firing webs without time to think or prepare is little better than any other weaver.

Weaves don’t last forever. A weave’s duration depends on many factors, the most important of which are how long the spinner took to craft it, and how much Milk of the Earth went into its creation. Spinners can reinforce existing weaves at a fraction of the time and Milk the original cost to make.

Weaves are divided into two broad groups: enchantments and creations. Enchantments are those that affect the person or object onto which they are woven. Creations are objects created from the spinners’ magical webbing and infused with mystic energy. Below are examples of the weaves of both types.


Animate: By casting this weave on an object, the spinner can give it a crude semblance of life. While such objects have no true intelligence, spinners can, with enough effort, give them a bit of autonomy.

Change Size: Depending on the how the weave is implemented, it can cause its target to grow or shrink many times over.

Degrade: This weave causes its target to weaken or even crumble away. Spell-spinners have used this to create holes through walls, ending their sieges on human cities.

Enshroud: This weave makes its target invisible.

Enlighten: Often used to illuminate the gloomy corridors of the spiders’ castles, this weave makes its target give off a light of a color and intensity chosen by its caster.

Ensnare: This weave forms a pattern that entraps those who look at it. All but the strongest-willed humans, upon seen the weave, want nothing more than to stop what they’re doing and look at the weave.

Harden: This weave strengthens its subject, making it sturdier and more resistant to damage. It’s used on structures to help build up walls, and on creatures to give them a form of magical “armor” in combat.

Manipulate: Objects with this weave on them can be lifted, rotated, and generally manipulated with the mind of the caster or his designated proxy. Spinners use this weave to compensate for their lack of hands or fine motor control.

Mindspeak: When a spinner casts this weave onto a human, that human can telepathically communicate with any spider in line of sight.

Sense: A spinner can turn the target of this weave into a remote sensor, allowing it to telepathically see and hear activity near the enchanted object.


Cloth: Weave cloth is imbued with a long-lasting enchantment of the spinner’s choice: armor, protection from the elements, the ability to fly… the list is endless, but the more elaborate the charm, the longer the cloth takes to make, and the more Milk it requires to produce.

Weapons: Spell-spinner web can harden, creating a substance that’s unbreakable as iron but light as balsa wood. Weapons made of such web are effective on their own, but are often imbued with a weave as well, such that they inflict extra damage, set the target on fire, or have some other battlefield ability.

Knowledge Scrolls: Spinners can imprint their knowledge on woven silk scrolls. When other spiders (or specially-skilled and/or gifted humans) see the scrolls, the weaves on them impart the spinners’ knowledge. It is a form of writing, but so condensed and specific, it goes beyond the normal into the supernatural.

Barriers: While any web-weaving spider can create a wall of web, spell-spinners create walls imbued with magical powers. A common version of this weave has the ability to drain the life-force of any living creatures who get stuck to its strands.

This post was made possible through the support of the heroic patrons of my Patreon page. If you’re not a patron yet, I’d encourage you to swing by the page and see what we’re up to.

Empire of Venom & SilkWorld Building     , , ,

The World of Steel Dragons – Part 1

Posted on March 8, 2017 By

As a guy who specializes in creating storyworlds, I’ve found Steel Dragons to be a blast to work on. It’s been a fun challenge to take all the cool stuff that everyone already knows and loves (Samurai! Airships!) and integrate it with new, unique features (Lotus Pearls! Smart-Steel!) to create a world that’s exciting and original, but still accessible.

If you’ve been following my world-building exploits for a while, you know that there are four aspects to a storyworld: setting, characters, conflict, and tone. Today, I’d like to talk a little bit about the Steel Dragons setting.

Steel Setting

Central to the Steel Dragons setting are the Broken Lands. This vast, dangerous wilderness was once the domain of the Steel Lotus Empire, but the Empire fell centuries ago in a great cataclysm, and the land is now a realm of monsters, barbarians, and isolated settlements.

While a few heroes in Steel Dragons are born and raised in the Broken Lands, most come from the Outer Provinces. When the cataclysm struck, these provinces were the regions that were spared. In the centuries since then, these backwater fiefdoms have grown into powers in their own right. And now the Daiymo who rule these lands have turned their ambitious eyes to the Broken Lands once more.

Since the Empire fell, the Broken Lands have been a place for treasure-hunters and thrill-seekers. Brave adventurers could find riches in ruined palaces or the lairs of great beasts. Explorers willing to risk their lives could return to civilization with fortunes in exotic lotus pearls or scavenged steam machinery. Monster-slayers could collect countless bounties stalking deadly mutant creatures.

But now the Broken Lands offer even a greater source of wealth: smart-steel! This substance, necessary to build the best steam-powered machines, has recently been discovered in large supplies where the Empire once stood. The steady drip of adventurers making their way into Broken Lands has turned into a stream of settlers, pilgrims, steel-mad prospectors, and more. They dream of riches, but the wilderness is treacherous, and does not give up its treasure easily.

Here on the frontier between civilization and the unknown, between safety and untold danger, is where the players enter the game. They are explorers, protectors, and agents of order in a land of chaos. They are heroes in the world of Steel Dragons.

Want to stay up to speed with the project and feast your eyes on a steady drip of awesome artwork? Just join the mailing list, follow QuickCharge on Twitter, or like QuickCharge on Facebook—or all three, just to make sure you don’t miss anything.

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Balancing the Game – Part 1

Posted on March 6, 2017 By

Image courtesy of TaxRebate.org.uk

I hate game balance. I mean, I like when games are balanced—who doesn’t? But I hate doing the balancing. You know the creative rush, the wide-eyed glee of the initial burst game design inspiration? Game balancing is sort of the opposite of that.

And so, for those of you who, like me, groan when we get to this part of the game design process, I present:

Darrell’s Guide to Game Balance That Mostly Works When I Remember to Use it

The first step is laying the groundwork, which is done in three steps:

Step One: Define your resources.

Think of everything in your game that has a number attached to it, and write it down. In a tabletop game, this is pretty easy: think victory points, action points, whatever you’re using for money, and anything that requires different colors of wooden cubes. Video games can be a bit trickier, especially if the players never see discrete units of your economy, but you probably still have elements that can be measured, like damage, speed, or even happiness levels.

Step Two: Find the common currency.

Now that you’ve got your master list of resources, you can start balancing. Only, it’s hard to weigh apples against oranges (or damage points against grain production) without a resource that they all have in common. To that end, pick a resource to be your common currency. This is usually your “money” resource—which allows you to say things like “apples are worth 2 gold apiece” or “a point of damage is worth 10 gold”—but really, it could be anything.

Step Three: Balance for preferred play.

Imagine how you want people to play your game. Is it primarily about trading with opponents, with little direct conflict? Is it a war game that discourages defensive play? Is a game of exploration, with many paths to victory and little penalty for failed experiments? With this mental model in mind, set the prices for your resources accordingly. (“This is a racing game, so speed and handling enhancements should be cheap, and weapons expensive but worthwhile.”)

Don’t worry about getting the numbers right the first time, because you won’t. I’m serious. Unless you’ve only got one or two resources to balance, or you’re a mathematician whose name rhymes with Steiner McSneezia, your first pass at game balance is going to be way off. And that’s fine! That’s what iteration is for, and that’s what we’ll talk about in part 2.

Game Design     , ,

Just Add Surprise

Posted on February 24, 2017 By

I don’t remember why my daughter and I decided to check out the Amazon original series Just Add Magic, but I remember that I didn’t expect much. It was, after all, a live-action kids’ show (strike one!) with a cast of unknowns (strike two!) and a premise that promised the saccharine “every episode ends with an obvious life lesson” kiss of death (strike three!).

I didn’t expect much. But I was surprised by how much the show delivered.

The premise is that a trio of tween-age girls finds a magical cook book that lets them cast spells by cooking food. Their cooking creates as many problems as it solves, and they often learn lessons about family and friendship along the way.

Okay, that sounds pretty… um… yeah. Not great. You can see why I had such low expectations.

But the show delivers. The friendship at its heart is real; I can believe that these girls are life-long friends. They squabble and get jealous of each other, but at the end of the day, their love and loyalty win out–and not just because we need a “valuable lesson” at the end of 22 minutes. The family relationships are likewise real. We don’t have wacky idiot sitcom parents, but actual loving, competent parents who might be flawed but are clearly doing their best.

If the relationships are the heart of Just Add Magic, the titular magic is its soul. Over the course of the two seasons, the girls (and through them, the audience) discover the deeper mysteries of the cook book, its history, and how it ties into the secrets of their small town. While the episodes all stand on their own, each one peels away a layer of the greater mystery, and my daughter and I often found ourselves agreeing to “just one more” when the end credits rolled.

That said, it is a kids’ show starring kids. For some people, that’s enough to take it out of the streaming queue right there. And that’s fine. But if you’re willing to engage with it on that level, I totally recommend checking it out on Amazon.

Recommendations     , ,

Putting the “Story” in “Storyworld” – Part 3

Posted on February 22, 2017 By

Welcome to the third part of my series on how stories and storyworlds relate to each other. We’ve already discussed how storyworlds only exist to serve as backdrops for their stories, and how creating stories can develop new details for their storyworlds.

Today I’d like to take a brief look at revealing the storyworld through the story. There are three main things to keep in mind:

Keep it Minimal: Only reveal the parts of the storyworld that are relevant to the story. You may know the complete ecology of the two-headed bird-ape, but unless that trivia’s essential to the plot, you don’t really need to share that knowledge with the audience. Just mention the bird-ape in passing (“Jane tossed the bird-ape an apple. It caught the fruit in one mouth while continuing to sing with its other.”) and move on. Avoid the dreaded info-dump.

Think Organically: Reveal the world organically through character actions, words, and attitudes. Characters don’t spout well-known backstory, but act as though everyone knows it. For example, instead of having Jane explain to someone, “Bird-apes are vicious when they’re hungry, so we need to keep them fed,” have Jane stay a healthy distance from the beast and ask its keeper, “You just fed this thing, right?” You can get a lot of mileage out of inferring background by how the characters act.

Learn With the Characters: As your characters learn more about the world, so does your audience. Over the course of the story, more worldbuilding elements may become relevant; as they do, reveal them to both the characters and the audience. The Harry Potter books were great at this. While the author had a whole wizarding world fleshed out, she only gave us bits of its history, economy, and weird relationship with house elves as Harry ran into those elements, so it wasn’t overwhelming.

Thanks for joining me on this jaunt through the realm of mashing stories into storyworlds. As always, if you have any questions, suggestions, or great meatloaf recipes, please share them in the comments or hit me up on the various social media. And if you’d like more of my world-building thoughts, please come visit behind the scenes at my Patreon page, and consider helping support this website.

World Building     , , ,

Putting the “Story” in “Storyworld” – Part 2

Posted on February 20, 2017 By

Welcome to the second part of my series on how stories and storyworlds relate to each other. As I previously noted, storyworlds only exist to serve as the backgrounds to the stories set within them. It doesn’t matter how cool your world of dinosaur-riding psychic elves may be if we never get to experience the stories of those awesome elves.

Today I’d like to discuss how creating stories can help you develop your storyworld.

That might seem a little backward. If the storyworld is there to support the story, why is the story supporting the storyworld?

Because stories are all about specifics.

Specific Characters

As I’ve mentioned before, storyworld characters should be archetypes, not individuals. But when creating a story, it needs to be about individual characters.

For example, your storyworld might call for a priestly caste of psychic dino-elves who commune with the sun goddess, but your story revolves around a young sun-priest name Dovos who never learned to control his telepathy, so the tribe makes him wear a psi-dampening headband.

Specific Conflicts

Again, storyworld conflicts are broad things, wide enough to encompass lots of different stories. But the conflict in your story is narrow, personal, and specific.

Picking up the story of poor Dovos, maybe the conflict of the storyworld is a cold war between two major elf tribes. In the story, this conflict is specifically between Dovos and a high-ranking elf lord who he discovers is a spy for the other tribe.

Specifc Details

And then there are the details of the storyworld that are too tiny to be seen from the storyworld’s thousand-foot view. When you’re dealing with the big picture of the storyworld, you don’t necessarily zoom down to what type of tea that people drink, or what their favorite sports are. While these are the types of details that can truly make the world feel real, they’re also irrelevant until you need them—that is, in a story.

Maybe we need a scene with Dovos following the spy and watching him meet a contact in a public space. A park or sidewalk cafe seems right, but what do those look like in this world? Hmmm… (sounds of smells of a brief, intense brainstorm) Ah! A public grazing space for small domestic dinosaurs! It’s one part dog park, one part pasture, with people spread out across maybe an acre of grass, each following their dinos around.

One final note: Once you develop all these specifics for the story, make sure you roll them into whatever documentation you have for the storyworld. You never know when you’ll need to reference them again in some other, future story. Future-you will thank you!

World Building     , , ,

Meet the Creepers

Posted on February 15, 2017 By

As you might expect, the Empire of Venom & Silk storyworld is full of spiders. But while they’re all giant spiders, there are actually several different types of giant spiders stomping around and ruling the place. Thanks to the heroes of the Patreon, here are the most commonly-found types:


The most common of the invaders are called “stalkers” and make up the mass of the spider army. Stalkers are the size of lions, and commonly travel in large groups. While their intelligence is only slightly above that of an animal, stalkers are excellent hunters. They have exceptional eyesight, use pack tactics, and can overpower a man with their sheer strength. Fortunately for their prey, stalkers can’t run as fast as humans can sprint, and have been known to lose interest in prey they can no longer see.


The spiders called “striders” stand about 12 feet tall on long, spindly legs. They are fast-moving and nimble, and tougher than their thin frames would suggest. Striders are intelligent, and often found in charge of military and logistical operations. On the battlefield, they command swarms of stalkers. In the occupied lands, they oversee the slave population and ensure proper production.


A possible sub-species of the striders, “collectors” have a tangle of prehensile tendrils they can uncoil from beneath their abdomens and with which they can pick up people, objects, or even stalker spiders. Some of these tendrils have barbs at their ends that inject a paralyzing venom. Collectors are known to step over people, paralyze them, then haul them away with their tendrils.


Physically similar to the striders, “weavers” have distinct, bright coloration. While the other spiders may be able to spin webs, weavers specialize in doing so. Their webs cover the occupied cities, and provide homes for the invaders. When humans need to be secured for transportation, or a human-occupied dwelling needs to be locked down, weavers are there to help with their webs.


Weavers who are gifted in magic are called “spell-spinners.” They use their webs to form mystic symbols that power their magic, and shape enchanted webs to create arcane artifacts. Spell-spinners seek out Milk of the Earth, and are rumored to use it to perform perverse experiments in the occupied lands. There are far fewer spell-spinners than any other type of spider, but they appear to be the leaders of the invasion.


These enormous, hair-covered spiders stand at least 30 feet tall and serve the invaders by transporting prisoners, raw materials, and arachnid troops to where they’re most needed. Their cargo is packed into webbed baskets that hang from the spiders’ sides, and passengers cling to the beast’s underside or ride on top. Titans are slow-moving and slow-witted. Most need either a weaver to sit on its shoulder and drive it, or a specially-marked guide spider on the ground for it to follow; without either, a titan is likely to get lost or simply stop moving. Nevertheless, the creature’s size make up for its disadvantages. Once this behemoth starts moving, it’s virtually unstoppable.


The riders of Ahbiz were once human. Now they are battle-thralls: soulless creatures swaddled in silks and armor, wielding swords and spears against those who should be their allies. These thralls ride pony-sized spiders called “war-mounts,” which control their actions. War-mounts are biologically joined to their riders by thin cables of webbing inserted into the thralls’ spines. War-mounts are fast, with thick abdominal carapaces, which make them brutally effective cavalry.


The “mind-riders” are about the size of a human head, with stunted legs and oversized fangs. They use their legs to attach themselves to a human’s back, then use their fangs to penetrate their victim’s brain. Through this connection, they create a mental link between themselves and their host. Some mind-riders totally dominate their hosts, turning them into slaves with no will of their own. Others communicate and negotiate with their hosts, allowing the humans to exchange their life for their freedom.

This post was made possible through the support of the heroic patrons of my Patreon page. If you’re not a patron yet, I’d encourage you to swing by the page and see what we’re up to.

Empire of Venom & SilkWorld Building     , , ,

Putting the “Story” in “Storyworld” – Part 1

Posted on February 13, 2017 By

As you might guess from my endless blog posts, RPG projects, and various freelance projects, I’m a little obsessed with storyworlds. But obsession isn’t always a good thing. While I get caught up in the characters, setting, and conflicts of the storyworld, it’s sometimes easy to forget that they aren’t the point.

The point of a storyworld is help tell stories. The only reason it exists is support the stories you want to tell. If you have an amazing storyworld, but no stories, it’s a fun thought exercise, but ultimately useless.*

Similarly, stories aren’t about their worlds. Stories are about characters. Now, those characters may be shaped by the world around them, and their conflicts may arise from that world, but without characters… well, you don’t really have a story.

Over the course of the next week or so, I’ll be looking at how stories and storyworlds relate to each other. Specifically, I’ll examine how stories themselves help develop storyworlds, and how much worldbuilding should actually be exposed in the story. Should be a good time!

* One sort-of exception to this rule is the ever-popular tabletop RPG sourcebook. A guide to the Greyhawk fantasy setting for Dungeons and Dragons, for example, is a full-blown storyworld, but contains no stories. As such, I’d call it futile except for the infinite player stories it supports at the table. While the product doesn’t have stories, it inspires the audience to create their own stories, and that’s just as good.

World BuildingWriting     , , ,

A Thrilling Return

Posted on February 10, 2017 By

Long-time readers know the drill, but here’s a quick refresher for the uninitiated: while I don’t do reviews per se here on the blog, I do occasionally write recommendations–which (okay, I’ll admit) are like reviews, but always positive.

Today I’d like to recommend the movie Split, the new thriller from M. Night Shyamalan. Yes, it’s been out for a few weeks already, but it wasn’t until I’d heard glowing reviews from multiple sources that the movie jumped from “check it out if shows up on Netflix” to “see it while it’s still in theaters or regret it FOREVERRRRRR.” I caught it last weekend, and I’m glad I did.

The less you know about the plot, the better, but just so you know what you’re getting into, here’s the premise: A guy with multiple personalities kidnaps some teenage girls. Wackiness–horrific, shocking wackiness–ensues.

That’s it.

It’s a small, tight movie. (I mean really tight. It’s claustrophobic at some points.) There are only a handful of actors, and their performances are all impressive. James McAvoy, as the kidnapper, is brilliant as he flips from one personality to another. (I’m not surprised. It’s the sort of role actors love to do.) Anna Taylor-Joy, as one of the kidnapees, brings a lot of depth to what could have been a very two-dimensional character. And Betty Buckley is great as… a character who doesn’t show up in the trailer, so I’ll just keep my mouth shut.

Like many people, I was a big M. Night fan until The Village… then completely gave up on him after The Happening. But after hearing good things about The Visit, and now watching Split, for the first time in years, I’m looking forward to what he does next.

(And yes, there’s a fun bit at the end. I wouldn’t call it a twist, but it’s… a fun bit.)

Recommendations     , ,

Return of the Steel Dragons

Posted on February 8, 2017 By

For the past few weeks, I’ve been up to my metaphorical elbows doing game design on Steel Dragons, an upcoming new game from QuickCharge Games.

Steel Dragons is a co-op adventure board game in which each player takes on the role of a hero who fights monsters, uncovers ancient secrets, and works with the others to complete their quest before the world falls into chaos. Broadly speaking, the gameplay feels like Runebound meets Arkham Horror… in a steampunk version of medieval Japan.

The Steel Dragons setting has all your favorite feudal Japanese elements (Samurai! Ninja! Warrior monks!), but in a steam-driven world quite different from our own. For one thing, there are steam-powered vehicles and automatons. For another, the setting is infused with a mysterious substance called “smart steel” which gifted people can use to create weapons, armor, and even living creatures—such as the eponymous steel dragons.

The most unique element of the Steel Dragons project is that it’s a digital board game. That is, while it’s totally a board game, with card decks and dice rolls, there’s no set-up, clean-up, or endless card shuffling. You just install it once onto a laptop or tablet, which serves as the game’s board, then log into the game using your phone, which serves as your hand of cards and your personal play area. It’s pretty cool.

If this all sounds a little bit familiar, it might be deja vu. Or it might be that you remember me talking about this game a couple years ago. The game slid to the back burner when our lead programmer got recruited to fight off robots from the future in a shadow war that devastated much of Nebraska, but now we’re back, and the future is safe from robots. You’re welcome, America!

Want to stay up to speed with the project and feast your eyes on a steady drip of awesome artwork? Just join the mailing list, follow QuickCharge on Twitter, or like QuickCharge on Facebook—or all three, just to make sure you don’t miss anything.

Game DesignSteel Dragons     , , ,