In 2017 I met Brandish Gilhelm/Hankerin Ferninale/Ingrid Burnall of the now Runehammer Games at Gen Con for an interview about Index Card RPG. All these years later, we’re both still writing and Runehammer has a stunning and innovative new RPG out called Crown and Skull. A free Player's Guide includes the entire player section of the rules for free.
Charles Dunwoody (CD): Great to talk with you again. For those who just stepped off the boat into the North Holds what is the tone and style of the setting? What kind of enemies and what kind of adventures will they face?
Hankerin Ferninale (HF): The North Holds is the Setting in my new book, Crown and Skull. The tone is more about execution than concept. Fantasy fans will find many familiar themes and ideas there, but, to me, the real key is the exact HOW of writing these worlds. I use a blend of fiction and 'rule book' writing to draw the reader into the setting, rather than just listing or describing, like an almanac. This method is the heart of the heart of the tone... an emotive, touchable version of fantasy.
CD: Crown and Skull is chock full of interesting ideas from gear and skills as hit points to three starting town options in the setting of North Hold. Which idea is your favorite, why, and did this part of the game evolve over time or show up mostly finished the first time it popped into your head?
HF: Mechanically? Hard to pick a favorite, but the removal of the 'classic six' attributes is probably the most fun. For far too long has that pillar of rpg design been used as an excuse for do-whatever roll building. Stats muddy the differences between characters, so I'm very happy to toss 'em in the bilge.
CD: You played a campaign in the North Holds that became the recent history of the setting. How did your original campaign end and does the setting reflect that ending or did you alter it for this RPG?
HF: Campaigns don't end, they just change shape! Once my players defeated their nemeses Bloodwing and Ordigex, their heroes became legends and the decades marched forward. I didn’t really change anything, I just let time pass and asked “what would happen next?”
CD: Frog-kin are awesome. Did the current version leap (heh) into your mind fully formed or have they changed through the process of writing Crown and Skull like a tadpole growing legs and learning to breath?
HF: Our frog-kin were given their deep evil status and style mostly by player reactions. My concept of the frog empire was a bit more gentle at first, but my players developed such a deep hatred and fear of them, the world naturally grew their ranks into a far more terrifying foe. Once that evolution ocurred, it was natural to imagine defectors, war fronts, an emperor, and the like.
CD: You have all the GM tips. What’s one of your favorites from Crown and Skull and why?
HF: Wow, big topic. Crown pushes GMs into a lot of new skill sets. The biggest is probably the full embrace of TACTICS rolls to build and run enemies. Trusting TACTICS dice is a trend I'm happy to see in other games like Dragonbane and Forbidden Lands, but for some GMs it may feel a bit scary. Also, Crown's player-heavy dice systems will expand GM brains a bit giving you more time to focus on narrative and scene building, but exploring some new ground as far as roll habits. "Roll defense!" is a mantra of the game for the GM.
CD: The production values of the book itself are outstanding. What was your goal in how the book would look and feel when finished and did you hit your goal?
HF: I did! Thanks to the patience of Tiffany and Michael at REGENT, we went through lots of iterations to get the feel of history in the paper and cover materials and designs. I also wanted to use ethical production practices and eco-friendly materials. We got all this done. For those who haven't bought the book yet, I can say with no hesitation that the paper feel is simply supreme.
CD: Please tell us something about the game design process. How do you get your ideas down and turn them into such a magnificent RPG by the end of the process?
HF: Oh geez. A bonkers question to try and answer. I can at least say that the key to good game design is hard work. Sure, patience, lots of player input, thick skin, a keen eye for innovation, a deep pedigree of comparable work and game history, a massive mental library... all these help. Hard work, though, keeps you refining, making hard choices, believing when others doubt, being bold, ignoring nay sayers and bean counters... hard work is simply the ultimate path to quality. This may seem obvious, but it deserves repeating, because I see so many designers wanting reward before work.
CD: Any final comments you’d like to share with the readers of EN World?
HF: EN World is simply legendary in the long-term view of our great hobby. It's an honor to appear among the foundations of the 'small internet' many of us love and curate with care. Thanks for the holler, and may your dice be kind!
Charles Dunwoody (CD): Great to talk with you again. For those who just stepped off the boat into the North Holds what is the tone and style of the setting? What kind of enemies and what kind of adventures will they face?
Hankerin Ferninale (HF): The North Holds is the Setting in my new book, Crown and Skull. The tone is more about execution than concept. Fantasy fans will find many familiar themes and ideas there, but, to me, the real key is the exact HOW of writing these worlds. I use a blend of fiction and 'rule book' writing to draw the reader into the setting, rather than just listing or describing, like an almanac. This method is the heart of the heart of the tone... an emotive, touchable version of fantasy.
CD: Crown and Skull is chock full of interesting ideas from gear and skills as hit points to three starting town options in the setting of North Hold. Which idea is your favorite, why, and did this part of the game evolve over time or show up mostly finished the first time it popped into your head?
HF: Mechanically? Hard to pick a favorite, but the removal of the 'classic six' attributes is probably the most fun. For far too long has that pillar of rpg design been used as an excuse for do-whatever roll building. Stats muddy the differences between characters, so I'm very happy to toss 'em in the bilge.
CD: You played a campaign in the North Holds that became the recent history of the setting. How did your original campaign end and does the setting reflect that ending or did you alter it for this RPG?
HF: Campaigns don't end, they just change shape! Once my players defeated their nemeses Bloodwing and Ordigex, their heroes became legends and the decades marched forward. I didn’t really change anything, I just let time pass and asked “what would happen next?”
CD: Frog-kin are awesome. Did the current version leap (heh) into your mind fully formed or have they changed through the process of writing Crown and Skull like a tadpole growing legs and learning to breath?
HF: Our frog-kin were given their deep evil status and style mostly by player reactions. My concept of the frog empire was a bit more gentle at first, but my players developed such a deep hatred and fear of them, the world naturally grew their ranks into a far more terrifying foe. Once that evolution ocurred, it was natural to imagine defectors, war fronts, an emperor, and the like.
CD: You have all the GM tips. What’s one of your favorites from Crown and Skull and why?
HF: Wow, big topic. Crown pushes GMs into a lot of new skill sets. The biggest is probably the full embrace of TACTICS rolls to build and run enemies. Trusting TACTICS dice is a trend I'm happy to see in other games like Dragonbane and Forbidden Lands, but for some GMs it may feel a bit scary. Also, Crown's player-heavy dice systems will expand GM brains a bit giving you more time to focus on narrative and scene building, but exploring some new ground as far as roll habits. "Roll defense!" is a mantra of the game for the GM.
CD: The production values of the book itself are outstanding. What was your goal in how the book would look and feel when finished and did you hit your goal?
HF: I did! Thanks to the patience of Tiffany and Michael at REGENT, we went through lots of iterations to get the feel of history in the paper and cover materials and designs. I also wanted to use ethical production practices and eco-friendly materials. We got all this done. For those who haven't bought the book yet, I can say with no hesitation that the paper feel is simply supreme.
CD: Please tell us something about the game design process. How do you get your ideas down and turn them into such a magnificent RPG by the end of the process?
HF: Oh geez. A bonkers question to try and answer. I can at least say that the key to good game design is hard work. Sure, patience, lots of player input, thick skin, a keen eye for innovation, a deep pedigree of comparable work and game history, a massive mental library... all these help. Hard work, though, keeps you refining, making hard choices, believing when others doubt, being bold, ignoring nay sayers and bean counters... hard work is simply the ultimate path to quality. This may seem obvious, but it deserves repeating, because I see so many designers wanting reward before work.
CD: Any final comments you’d like to share with the readers of EN World?
HF: EN World is simply legendary in the long-term view of our great hobby. It's an honor to appear among the foundations of the 'small internet' many of us love and curate with care. Thanks for the holler, and may your dice be kind!
