An Updated Compilation Of Costume Transformations From The Popular Douyin Account 朱铁雄.

Writing Angry Scenes: Tips to Avoid Melodrama and Make It Real

Anger can be one of the most intense, relatable emotions to read—and one of the trickiest to write. When handled well, an angry scene can pull readers deep into the emotional world of a character, building tension and driving the story forward. But when handled poorly, anger can easily slip into melodrama, making the character’s feelings seem overblown, forced, or even cringe-worthy.

So how can you avoid these pitfalls and write anger that feels real and compelling? Here are some tips to make angry scenes powerful without overdoing it.

1. Understand What Fuels Your Character’s Anger

To write anger authentically, you need to understand its roots. People get angry for complex reasons—fear, frustration, betrayal, grief, and even love. Ask yourself what’s truly driving your character’s anger. Are they afraid of losing control? Do they feel abandoned or misunderstood? Are they hurt by someone they trusted? Anger rarely exists in isolation, so dig into the deeper emotions fueling it.

When you understand the core reasons behind a character’s anger, you can weave those nuances into the scene, making the anger more relatable and layered. Readers will feel the depth of the character's rage, not just the surface heat of it.

2. Show, Don’t Tell—But Don’t Overdo It

“Show, don’t tell” is classic writing advice, but it’s especially crucial in angry scenes. Don’t rely on generic phrases like “She was furious” or “He clenched his fists in anger.” Instead, look for unique ways to convey how this specific character experiences anger. Maybe their voice drops to a deadly calm, or their eyes narrow in a way that makes everyone around them uncomfortable.

That said, showing too much can backfire, especially with exaggerated descriptions. Over-the-top body language, excessive shouting, or too many “flaring nostrils” can tip the scene into melodrama. Use body language and physical cues sparingly and mix them with subtler reactions for a more realistic portrayal.

3. Use Dialogue to Reveal Hidden Layers

People rarely say exactly what they feel, especially when they’re angry. Angry dialogue isn’t just about yelling or throwing out insults; it’s an opportunity to show the character’s deeper thoughts and vulnerabilities.

Consider using controlled, icy responses or unexpected silences. Maybe your character says something hurtful in a low voice rather than screaming. They might express sarcasm, avoidance, or even laugh at the wrong moment. Anger often carries hidden layers, and using these nuances can help your character’s dialogue feel genuine, even haunting, without falling into dramatic clichés.

4. Control the Pacing of the Scene

The pacing of an angry scene can be the difference between a powerful moment and a melodramatic one. In real life, anger doesn’t always erupt instantly; it can simmer, spike, or deflate depending on the situation and the character’s personality. Experiment with different pacing techniques to create tension.

You might build the anger slowly, with small signs that something’s brewing. Or maybe the character explodes suddenly, only to calm down just as quickly, leaving a chill in the air. Controlling the pace helps you control the reader’s emotional engagement, drawing them in without overwhelming them.

5. Avoid Clichéd Expressions and Overused Reactions

When writing anger, avoid falling back on clichés like “seeing red,” “boiling with rage,” or “blood boiling.” These phrases have been overused to the point that they lose their impact. Instead, get creative and think about how your character’s anger might feel specifically to them.

Maybe their skin feels prickly, or their jaw aches from clenching it. Think about details that are unique to the character and to the moment. By focusing on small, unique sensory details, you’ll help readers feel the anger rather than just reading about it.

6. Let the Setting Reflect the Emotion

The setting can be an effective tool to amplify a character’s anger without overstating it. Small details in the environment—such as the hum of a refrigerator, the slow ticking of a clock, or the distant sounds of laughter—can create a sense of contrast or isolation that heightens the character’s rage.

For example, imagine a character seething in a peaceful park or a quiet library. The calm of the surroundings can make their anger feel more potent. Or maybe they’re in a crowded, noisy room where they feel unseen and unheard, which fuels their frustration further. This use of setting can add depth to the scene without the need for dramatic gestures.

7. Let Consequences Speak for Themselves

An effective way to avoid melodrama is to let the consequences of the anger show its intensity. Characters don’t always have to yell or physically react; sometimes, a single choice can convey more than any outburst.

Perhaps your character cuts off a close friend or says something they can’t take back. Maybe they throw away a meaningful object or walk out in silence. By focusing on the consequences of their anger, you can reveal the impact without over-explaining it.

8. Let the Emotion Simmer After the Scene Ends

Anger is rarely resolved in a single moment, and its effects often linger. When writing an angry scene, think about how it will affect your character moving forward. Are they holding onto grudges? Do they feel guilty or exhausted afterward? Does their anger transform into something else, like sadness or regret?

Allowing the anger to simmer in your character’s mind even after the scene ends creates a more authentic and layered portrayal. It shows that anger is complex and doesn’t just disappear the moment the scene is over, adding emotional weight to both the character and the story.

Adventure: The Star gone Astray

The road has led your party to Etelva, a backwater barony who’s small capital hugs the banks of an icy lake and trade river. Happy to have the town’s walls as shelter against the early winter chill, you find the citizens of Etelva in a state of confusion and disorder: Strange signs have been seen in the sky weeks past, followed by tales of monsters and disappearances in outlaying settlements. Best take tonight to warm yourselves by the hearth, because tomorrow there’s hero’s work to be done.

Adventure Hooks:

Looking around for work, the party are eventually pointed towards a dwarven monster hunter by the name of Red Jess. Well seasoned in tracking and trapping all sorts of beast, Jess will (after some convincing) invite the party along on a scouting expedition to the snowy hillsides. Rumours have been circulating that folk have seen a dragon, but Jess is experienced enough to know that rumours don’t pay for lodging and the next resupply. Better to head out, get the lay of the land, and determine is there’s truth to any of this hearsay. Worst case there’s no quarry to be had and the hunters come back with a few beast pelts to sell for their troubles, best case scenario they can come back with proof of something and get the baroness or the crown itself to lay a bounty on the creature. A Few days travelling on with Jess and the party do indeed spy a dragon swooping low over hinterlands, not marauding as the rumours said, but obviously searching for something. Taking care not to be seen, the party realize that someone is riding the dragon, both mount and rider surveying the landscape, though for what they cannot be sure. 

Having lost important cargo to bandits and up to his ears in debt because of it, an over the hill merchant by the name of Ravell has been pushed over the edge by the paranoid air in Etelva and has begun a series of arson attacks focused first on the property of those he owes money to, and now starting on his own. Confused at first for accidents, these fires are spurred on by a demon that’s latched onto Ravell’s shoulder, feeding his latent desire to “Burn it all and walk away” , a demon that will be quite hostile should the party try and cut its fun short.

After some time in town the party are approached by Ryldyr, a diviner and minor soothsayer who seeks the party’s protection as he beleives someone or something is after him. Ryldyr is only so so when it comes to predicting the future, mainly offering his agrarian neighbours insight on upcoming weather events that might affect their crops. His runes never lie though, and speak of some looming danger that will affect him in particular if he doesn’t keep moving.   Just as he’s given the party a few cryptic hints about their future in order to get them to beleive him, the door is kicked in, and several of the Baroness’s guards pour in to take the addled scryer into custody.

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CUTE Pathfinder 2e Character Sheets just dropped!! 🎉🎉🎉

Find them here!

If your plot feels flat, STUDY it! Your story might be lacking...

Stakes - What would happen if the protagonist failed? Would it really be such a bad thing if it happened?

Thematic relevance - Do the events of the story speak to a greater emotional or moral message? Is the conflict resolved in a way that befits the theme?

Urgency - How much time does the protagonist have to complete their goal? Are there multiple factors complicating the situation?

Drive - What motivates the protagonist? Are they an active player in the story, or are they repeatedly getting pushed around by external forces? Could you swap them out for a different character with no impact on the plot? On the flip side, do the other characters have sensible motivations of their own?

Yield - Is there foreshadowing? Do the protagonist's choices have unforeseen consequences down the road? Do they use knowledge or clues from the beginning, to help them in the end? Do they learn things about the other characters that weren't immediately obvious?

Monster hunt: Goudslok the Gorger 

“ Fellers, yer not going to ‘alieve this, but I was siftin through all this pickrel and I think I found me ol’ keys, how’d ya think they ended up ‘ere?”

Setup: The gnomish village on the shore of a great lake is seasonally plagued by the appearance of a tremendous golden carp. Nicknamed “the gorger” by the locals, this golden monstrosity emerges from the depths to devour all the fish at the height of the catching season before returning to the muddy deep for another year. 

Furious after years of plundered nets, a fishergnome by the name of Lennart Trawley has found the biggest boat he could, gathered a crew full of cousins, and stockpiled an arsenal of harpoons and cable. He’s still looking for a few strong backs to aid in his Ahabic vengeance quest and the party look like viable candidates for a pressganging.  

Adventure Hooks

While the Gorger is an easy enough quarry to find, catching it is another matter. The massive fish is capable of splintering hulls with a slap of its tail and causing weaker vessels to tip over with its trashing. What’s more, no mundane line or net is capable of holding the creature, as it seems preternaturally able to break any bond forced upon it. If the party manages to pick themselves up out of their first sodden defeat, they may wish to seek out artisans capable of crafting unbreakable or otherwise enchanted fishing gear, perhaps a blacksmith that works in adamantine or a fey tinker who can spin a promise into a rope? 

Not one to waste a good catch, Trawley and his crew will pull Goudslok’s body to shore for the butchering, revealing a belly full of still-wriggling fish as well as a trove of strange objects The gorger has seemingly scavenged off the lakebed. loose coins and gemstones, bewitched items, even a still-locked treasure chest, a portion of wish the party will be allotted a share based on their participation, along with as much fish as they can carry. Some of these items include: the ring of a rivergod who’d very much like it back, oddly familiar keys that open doors to places they shouldn’t go, and a weighty, invulnerable breastplate that compels its wearer to go swimming against their better judgement.  

Goudslok is not a normal fish, as anyone can tell, but few could guess that its true origin lays somewhere in the feywild. To be swallowed by this great, glimmering beast is to be spat up on those shores of primal wonder, as the party may discover should their hunt go very, very badly. Likewise, slaying the beast in the mortal realm is not enough, as it will continue to return each year unless slain in its home domain. Doing so is easier said than done, and may require bargaining with whatever fey lord keeps the now miniaturized gorger as a pet. 

Terms You Might Want To Know For Your Wuxia/Xianxia Fic

MXTX's danmei are getting increasingly popular, and the fandoms are getting more fic-happy. I've noticed that some writers seem interested in writing their own fics but are concerned of making mistakes with niche honorifics and titles. I've noticed some that have jumped right in, but have made innocent errors that I'd like to correct but fear coming off as rude or presumptuous. And so I've made this list of terms that covers the basics and also some that are a little more niche since they're usually directly translated in cnovels.

DISCLAIMER: This is by no means a comprehensive list of everything one needs to know or would want to know concerning ancient Chinese honorifics and titles, merely what I myself consider useful to keep in mind.

Titles

Shifu: 'Martial father'; gender-neutral

Shizun: 'Martial father'; more formal than 'shifu'; gender-neutral

Shimu: ‘Martial mother’; wife of your martial teacher

Shiniang: ‘Martial mother’; wife of your martial teacher who is also a martial teacher

Shibo: elder apprentice-brother of your shifu; gender-neutral

Shishu: younger apprentice-brother of your shifu; gender-neutral

Shigu: apprentice-sister of your shifu

Shizhi: your martial nephew/niece

Shimei: younger female apprentice of the same generation as you

Shijie: elder female apprentice of the same generation as you

Shidi: younger male apprentice of the same generation as you

Shixiong: elder male apprentice of the same generation as you

Shige: elder male apprentice of the same generation as you, specifically one who has the same shifu as you or is the son of your shifu

Zhanglao: an elder of your sect

Zhangbei: a senior of your sect

Qianbei: a senior not of your sect

Wanbei: a junior not of your sect

Zongzhu: Address for a clan leader

Zhangmen: address for a sect leader

Daozhang: Daoist priests or simply a cultivator in general; gender-neutral

Daogu: Daoist priestess or a female cultivator; not as commonly used as 'daozhang'

Xiangu: Daoist priestess or a female cultivator; not as commonly used as 'daogu'

Sanren: a wandering cultivator

Xianren: 'Immortal Official'; a title of respect and power like 'General'

Xiuzhe: 'Cultivator', can be shortened to 'Xiu'

Xianjun: 'Immortal Master/Lord'

Xianshi: 'Immortal Master/Teacher'

Dashi: 'Great Teacher', address for monks

Xiansheng: Teacher/Sir; in ancient China, the connotation is very scholastic

Houye: address for a duke

Jueye: address for a noble lord, ei. a duke, marquess, earl, etc.

Wangye: address for king/imperial prince

Daren: address for imperial officials

Furen: Madam; the wife of an imperial official/nobleman OR a married woman granted a rank by the royal family

Nushi: Madam; the counterpart of 'xiansheng', connotation is scholastic

Taitai: Madam; address for an old married woman of the gentry, either wife or mother to head of household

Laoye: Old Lord; Address for an adult man with adult children of the gentry; possibly head of household

Nainai: Madam; Address for a married woman of the gentry, possibly wife of head of household

Ye: Lord; address for an adult man of the gentry, possibly head of household

Shaonainai: Young Madam; address for a woman married to a young man of the gentry

Shaoye: Young Lord; address for a young man or boy of the gentry, generation lower than head of household

Xiaoye: Little Lord; can be a synonym for ‘shaoye’ OR the son of a shaoye if ‘shaoye’ is already being used within the family

Xiaojie: Young Mistress; address for an unmarried woman or young girl of . . . the gentry and only the gentry, I believe. Correct me if you know for certain this is incorrect. (WARNING - It's an archaic term that should really only be used in an archaic setting if being used as a title instead of a suffix, because the modern vernacular has it as a term for a prostitute in mainland China. [Surname]-xiaojie is fine; Xiaojie by itself should be avoided.)

Gongzi: ‘Young Master/Lord/Sir'; ‘Childe’; young man from a household of the noble or gentry class

Guniang: 'Young Master/Lady/Miss'; ‘Maiden’; an unmarried woman or young girl from a household of the noble or gentry class

Laozhang: 'Old battle'; polite address for an unrelated old man of lower status than you

Laobo: polite address for an unrelated old man of a higher status that you

Laotou: 'Old man'; informal but not derogatory, implies fondness/closeness

Laopopo: 'Old woman'; informal but not derogatory, implies fondness/closeness

Please note that all of these listed above can be used as stand-alone titles or as suffixed honorifics.

Strictly Prefix/Suffix

-shi: 'Clan'; the suffix for a married woman, essentially means 'née'. (ex. Say Wei Wuxian was a woman and married into the Lan clan through a standard marriage. She would be called 'Wei-shi' by her husband's contemporaries and elders when not in a formal setting. It implies lack of closeness; used by acquaintances.)

a-: A prefix that shows affection or intimacy.

-er: A suffix that shows affection or intimacy; typically for children or those younger than you

-jun: 'Nobleman'; a suffix for a greatly respected man

-zun: 'Revered One'; a suffix for a greatly respected man

-ji: A suffix for a female friend

-bo: A suffix for an older man of your grandparents' generation

-po: A suffix for an older woman of your grandparents' generation

Art by Tiffany "arty" Boother This month, truth compels me to write four subclasses. Every single one of them are completely new, and I'm polishing up the final one as we speak. This first subclass, the Spelleater (gmbinder doc here) takes a theme that is notoriously hard to execute (good at beating up wizards) and does as much as it can to actualise that idea: its benefits still completely deck most spellcasters, but they also work reasonably well against pretty much any foe there is. Antimagic Vigor is essentially the opposite of a barbarian rage (or rune knight's hill rune), and gives you a combat's worth of survival and ultra high saving throws vs magic. Spell Drain is my favorite part of it. You cause a bunch of creatures to succeed on a save against a spell being cast - but the spell can be from either friend or foe! Now you can work in tandem with other spellcasters to shape your allies' spells safely round the party, Or, you can just completely screw a lich over. Either way, you get to absorb the magic into your sword, and then unleash it the next time you attack. It's a really nice feature that makes them fantastic against spellcasters while still being handy elsewhere!

My latest Terrible* DnD Campaign idea:

Scaling Hard "Nuzlocke" Mode.

We're gonna take the entire XP mechanic and through it out the fucking window.

Everyone starts at level one, but they make a backup character at the next level. They play that first character at level one until shit gets too hard and they die. No rezzes. Next available opportunity, bring in the backup level two character. Player makes a new backup, at level three.

So on, so forth.

The only way to level up is to die. The core goals/challenges are:

be the lowest level character to make it to the end of the campaign

get to explore a whole lot more classes and characters than you would normally

conversely, deal with the gritty reality of how dangerous this life of adventure is as so many of your party keeps falling

meta-wise, built in scaling system for less skilled players: die a lot? wind up stronger and stronger more quickly to balance it out

something something Ship Of Theseus adventurers guild?

Second, do you have any good fantasy RPGs set in a non-european focused or at least not medieval-European world? It can be based off of a real-world culture or something brand new

THEME: Non-Western Fantasy

Hello friend! For this recommendation, I wanted to highlight games made about non-western fantasy by authors who hail from the cultures that inspire the games. For that purpose I really want to shout-out to rpgsea and rpglatam, two community/movements that have made it much easier for creators from Southeast Asian and Latin American cultures to advertise and publish their games. Not all of my recommendations come from these communities, but they’re a great jumping-off point to find more games with unique settings, fresh ideas, and beautiful, beautiful art.

Nahual, by Miguel Angel Espinoza.

Nahual is a tabletop roleplaying game about brjos nahuales, humans of mestizo and indigenous ancestry that have the power to shapeshifter into an animal form. These nahuales hunt angels to make a living, running a changarro - a business - together to sell the products they make from the bodies of the angels they have killed. These are stories about underdogs, struggling to find their place in a Mexican world of fantastical and overwhelming forces.

Miguel Ángel Espinoza is a Mexican layout artist and game designer, and the head of Smoking Mirror Games. His ttrpg Nahual really picked up steam on Kickstarter, unlocking stretch goal after stretch goal. At its core, this game is PbtA game about underdogs going up against celestial parasites. Angel Dust is a potent drug, and angels are used by corporations, politicians, and the Church to lure in worshipers and make money. You play the labourers at the bottom of this pyramid, aching for freedom but trapped inside a concrete jungle. Your biggest asset? The special gifts you’ve inherited from your ancestors, watered down as you’ve lost your cultural memories. 

This game is more urban fantasy than anything else on this list, but if you want to explore a game about reclaiming something that you’ve almost lost, you should definitely check out Nahual.

ARC, by momatoes.

Ready Yourself. For Tonight, we save the world.

The RPG to slay the apocalypse. Capture your imagination with near-inescapable dooms that threaten infinite worlds. Be a hero or be the guide to facilitate a heart-racing story to remember.

ARC enables people wishing to run a game with limited experience. The Doom and its Omens help create tension and manage the story’s pacing. The rules are approachable so you can focus on helping make the best story for the table. Additionally, the last chapter of the full book is filled with tips for building a good experience for you and your friends. 

The creator, Momatoes (aka Bianca Canoza), is from the Philippines, and is the custodian of RPGSEA, as well as a Winner of the Diana Jones Emerging Designer Award. Her game, ARC doesn’t have a lot of setting decided for you - instead, you decide elements of the setting yourself. There's even a license for creators who want to publish their own content! The biggest selling point of ARC is the Doom, a terrible event that the Heroes want to prevent at any cost. The GM will set up Omens, which are pieces of the story that advance the Doom - pieces the characters will need to investigate and interact with in order to resolve. Finally, the Doomsday clock is a tool that can be used to keep the sessions tight and focused: every moment on the Doomsday clock has the GM roll 1d6 per unresolved moment - the higher the roll, the closer you tick towards catastrophe! If you want a beginner-friendly game that allows maximum creativity, you should definitely check out ARC.

Arunika, by Anonymocha.

Darkness and gloom threaten to shroud the entirety of this world you call home. Or perhaps, it already had. However, there's hope.

You are a Light Bearer. This beacon of light you hold is the key to reviving the world's gleam and hope, through your own. You are bestowed with the pursuit of rekindling the world, forging bonds with its inhabitants along the path, and freeing it from the murk with what you can offer.

Arunika is a TTRPG of maintaining hope, sharing it with the world, and most importantly, caring for yourself while you're at it.

The rulebook reflects a world's journey towards revival from the characters who escalate it. It is made with the vision of a game that has a non-violent, narrative-first, and feelings-focused system which can be interpreted in many optimistic, creative, whimsical, melancholic, or introspective ways.

Mocha, the creator, is an Indonesian artist with a beautiful and unique art style, visible in the projects they create and contribute to. One person plays the Light Bearer, a character who holds the Light, a beacon that needs to be used to rekindle the world. Other players can play the Companions, friends and old foes that accompany the Light Bearer on their journey. This game can be run with just a GM and one player, with all of the Companions as NPCs. The stats of your character will fill or deplete depending on the events of the game, so Heart will increase when the party has a positive interaction, while Hurt will increase from suffering harm, or decrease when your character is comforted. If you want a game that is easy on the eyes, gives you the basic premise and lets you build your own world, you should check out Arunika. 

Hearts of Wulin, by Lowell Francis and Agatha Cheng.

Hearts of Wulin is a game of wuxia melodrama, Powered by the Apocalypse. Players take the role of skilled martial artists in a world of rival clans, conspiracies, and obligations. The game emulates films like Crouching Tiger, Hidden Dragon, Chinese wuxia TV series like The Smiling Proud Wanderer and Fox Volant of the Snowy Mountain, and Chinese martial arts novels from the second half of the twentieth century. In these tales, romance is as dangerous as a blade. Everyone has ties to factions, loves they can’t quite express, and secrets which will shake them to their core. As in the source material, stories in Hearts of Wulin are driven by the characters’ duties, romantic desires, and entanglements with other characters.

You get everything you need to play the game in three different styles: Core, Courtly, and Fantastic. The core game is as described above: a game of wuxia melodrama featuring wandering wulin warriors. The courtly style of play sets the game in a world of politics and factional scheming. The fantastic game adds strong elements of the superrnatural to the story. Each style of play has its own playbooks and moves—it's like having three games in one! 

Agatha Cheng is a cultural consultant and a podcast host, on top of being a co-author of this wuxia-inspired game, in a genre she’s loved since childhood. Hearts of Wulin is an homage to melodramatic stories about protagonists, torn between equally treasured relationships. You may be in love with your teacher’s greatest rival, or perhaps your master and your father despise each-other. The PbtA system that Hearts is built on prioritizes emotional conflict and failure that moves the story forward, while slimming down the mechanics to simple 2d6 dice rolls. If what you’re looking for is story beats that rip your heart up and make you feel all of the feelings, you should check out this game.

Gubat Banwa, by makapatag.

Gubat Banwa is a game of rapid kinetic martial arts, violent sorcery, heartrending convictions and bouts of will. Warriors that channel gods face sorcerers that master black arts, martial artists who have unlocked a new form of cultivation clash swords with those that perfect the night alchemies.

Gubat Banwa is a  Southeast Asian fantasy martial arts Role-Playing Game, inspired by the refulgent cultures of Southeast Asia. Raise your spears, KADUNGGANAN, you elite warrior-braves and asura-knights who travel The Sword Isles to prove their conviction and dictate the fate of the world. Revel in larger-than-life war drama like in Asian Dramas, ballistic tactical martial arts grid gameplay in the vein of Lancer or Final Fantasy Tactics, and find glory beyond heaven. Wield the Thunderbolt of Liberation! Rejoice! In the Glory of Combat!

Makapatag, or Waks, is a Filipino creature who loves creating tactical ttrpgs. All of their games have strong Southeast Asian inspiration, but Gubat Banwa is what you’re looking for if you want good old fantasy. Rules-wise, the author credits Lancer, Pathfinder 2e, ICON, Ryuutama, Apocalypse World, and so many more iconic, well-loved games for their inspiration. This game is made to specifically centre Southeast Asian cultures, and the setting is not solely based in a specific historical setting, but is rather inspired by many cultures and stories of these cultures. I strongly recommend you read the Note On Intended Audience on page 4 if you get this book.

And what a book it is. 400 pages, with maps, roll-tables, an extensive dive into the lore and terms created for this book, and pages and pages of gorgeous gorgeous art. Character creation is heavily involved, incorporating the culture you hail from, the ideal you’re fighting for, major life events and debts, as well as different Disciplines, combat arts that each have their own styles, weapons, and techniques. Fighting in this game is not just a matter of survival - it is a science. If you want a game that gives you in-depth characters and hours and hours of material in a world in which every piece of lore has been carefully thought out, I heavily recommend Gubat Banwa.

Mangayaw, by goobernuts.

Mangayaw is an RPG for one facilitator (the Mangaawit) and at least one other player. Players act as Binmanwa, adventurers and survivors in an archipelago of bloodshed and goldlust. This game is inspired by Philippine legend, folklore, culture and history. The game and its setting is still a work-in-progress. Based on and inspired by Cairn, Into the Odd, Mausritter and numerous other games. 

Benj, the creator, is a member of RPGsea, and draws heavily from Philippine folklore and history for this game. This is absolutely for OSR fans, with delay fast combat, class-less and level-less characters, and a ton of equipment and magic items inspired by Philippines folklore.

Whereas many OSR games present the rules with the assumption that the GM knows what they’re doing, Mangayaw contains a page of principles for the Mangaawit, outlining narrative focus, the purpose of danger and treasure, and advice on how to present the characters with choices, NPC motivations, and the benefits of random generation. It also contains principles for the players, and principles of the World, providing guidance for folks who may be unfamiliar with the culture that inspires this setting. There’s suggestions for names, descriptions of unique items, and tables for magic and sorcery. If you love roll tables, you’ll love Mangayaw.

Brave Zenith, by Roll 4 Tarrasque.

Brave Zenith is a post-fantasy tabletop RPG, set in a world inspired by Brazilian culture and long summer nights playing JRPGs on a pirated PS1. With a set of simple interpretative rules, that focus on player creativity and imagination, explore the ruined world of pastpresent, meet colourful (and deadly) creatures, see the sights of the Second City, partake in delicious Monkey Oil and become an adventurer.

Roll 4 Tarrasque is a team of Latinx creators whose efforts won Game of the Year for 2022 at the Indie Groundbreaker Awards with this game. Brave Zenith is a game about fantasy odd-jobs, rather than epic quests - your characters are cleaning up houses, hunting ghosts, stealing from the rich, etc. The people and creatures of the world are unique and enchanting, from the friendly Jelly shopkeeper to the slippery butter construct, to little porcini goblins. 

Characters have 3 stats, gain abilities based off of their occupations. There are three suggested origins to help you determine what your character looks like, but you’re also welcome to create your own! There are typical hallmarks of dungeon delving here, such as loot tables, monsters to fight, and spells to cast. For the GMs, there’s a chapter full of advice on how to prepare for a session, quick NPC generation, and tables to help you write an adventure on the fly. Finally, the rulebook itself is bright, colourful, and fun - perfect for communicating the kinds of games it’s designed to run!

Lutong Banwa by Sinta Posadas (Diwata ng Manila).

We, the Tamawo, we have no concept of hunger, food, or of a nuclear family. We wandered aimlessly for a long time. Then, we met a Giant Grab. She took us in like her own children. Clothed and sheltered us like we were her kind. We call her Mama Kasag. She showed us more about the people that came before us. The ones she calls “Humans”. 

Lutong Banwa is a cooking game, where you set out to adventure and find ingredients from Spirits and recipes from old civilizations. Embark on this anti-canon storygame adventure with its own custom system and play to find out just what sort of zany adventures you can get up to in this weird, wild world. Do whatever you want.

Sin is a Filipino game designer who loves designing games that incorporate magic realism. Lutong Banwa is no different. You play Tamawo, who have bodies that appear similar to humans, but live in an age in which humans are long gone. Humans are strange beings of a past age, with unfamiliar customs, such as cooking. You’ve picked up cooking as something to explore, and thus go out on errands to find new ingredients for Mama Kasag. This game is charming and small, quick to learn and easy to play. It even includes recipes to get you in the cooking mood! If you like cozy games with low stakes and a charming setting, you should absolutely check out this game.

A Thousand Thousand Islands.

This is not a game, but rather, a collection of system-agnostic zines for use in fantasy tabletop games. This collection is designed by a trio of Malaysian designers, and contains places such as Mr-Kr-Gr, a river kingdom ruled by crocodiles, Korvu, a maritime nation of tenant mercenaries, and Ngelalangka, a market inspired by Southeast Asian bazaars. If you have a game system that you’re already comfortable with and you want to explore fantastical places within that system, I heavily encourage you to check out these zines.

Dungeon: The Shattered Garden

“ Careful not to cut yourself on all this Pretty” 

Adventure Hooks: 

Seeking a precious artifact, the party is force to make a harrowing climb up freezing, alpine mountains to gain access to a castle that was said to have fallen from the sky. Finding the ruins of this structure deep within a mountain rift, they must explore a labyrinth of jagged shards and broken halls, hoping that the whole beautiful calamity doesn’t cave in. 

What a miserable place for a heist. What treasure is so grand that it could make a self-respecting thief leave the poorly guarded vaults and easily duped nobles of the city, trudge halfway up a mountain, and risk freezing their precious lock-picking fingers off in the process? How about the Hyborian Stylus, a weapon of such power that any warmage worth their salt would pay out the nose for the chance at wielding it.  To get their hands on this treasure, the party will need to outwit an ostentatious but heinously bloodthirsty oni by the name of Banehail, who treats the dungeon as her own personal gallery/art instillation.

Sometimes things in the life of an adventurer are simple. You hear rumors that someone saw a castle made out of clouds crash-landing on a mountainside, you grab some friends, go on a hike, and investigate. Maybe you get eaten by wolves, maybe you grow as a person by confronting the unkown, it’s not that complicated. 

Challenges & Complications: 

Situated at the bottom of fissure high up in an alpine mountain range, the party will have to battle through harsh conditions to even get to the dungeon site, and then figure out a reliable way of getting down into the dungeon, ascending up with their prize, and finding their way back down the mountain. This may not prove too challenging to a party only interested in stealing one or two items from the dungeon, but the Garden is filled with numerous, weighty treasures, all of which can slow the party’s escape. 

While some rooms and pockets of surrounding architecture survived the impact unscathed, most were either reduced to reduced to piles of jagged detritus or so structurally compromised that they might as well be uninhabitable. The party must test their caving skills, managing tight squeezes through once beatific galleries or prepare descents into wings that now slope at treacherous angles. Delicate floors crack like glass under the party’s treasure-laden footstep, and ceilings may at any time collapse into razors if too much damage is done to the surrounding rooms. 

Entering the Shattered garden is no protection from the chill outside, as harsh boreal winds surge through particular hallways and seek to rip the life-giving heat from a potential explorer’s bones. THe greatest of these dangers is gallery which contains the Hyborian Stylus itself, which may freeze characters solid if they linger in it too long. If the alarm is sounded, the elemental denizens of this dungeon may paradoxically open the doors to this most valuable of treasures, transforming the Shattered Garden into an indoor blizzard in the hopes of flushing out the warm-blooded intruders. 

This dungeon is part of a larger adventure path “A Kingdom Washed Away”, which you can find the rest of @dailyadventureprompts​