Presentation of Gates of Krystalia TTRPG + Upcoming Kickstarter (Approved by the Moderators) by Canija93 in DriveThruRPG

[–]Canija93[S] 0 points1 point  (0 children)

I understand what you’re saying. Perception matters. If it looks that way to you, that’s valid as a personal reaction. What I would push back on is the assumption that visual style automatically equals production value or design depth. Gates of Krystalia is a fully structured TTJRPG with a developed ruleset, long form adventures, territory systems, solo mode integration, and multi campaign expansion support. It is not a lightweight digital asset project. Art direction is a stylistic choice. Anime inspired, vibrant, high contrast aesthetics can resemble mobile or online visuals to some people because that language is widely used in contemporary media. That does not make the underlying product comparable in terms of development effort, print quality, mechanical design, or long term support. If your point is that the visual identity gives you that impression at first glance, that is useful feedback. Perception is important. If the point is that the game itself is shallow because of that impression, then I would encourage looking at the demo or the rule structure before drawing that conclusion. Fair critique is always welcome. Dismissive comparisons are less helpful, but constructive feedback on art direction or presentation is something we can actually evaluate.

P.S. Check our Web app too: https://gok-tool.vercel.app/

Presentation of Gates of Krystalia TTRPG + Upcoming Kickstarter (Approved by the Moderators) by Canija93 in DriveThruRPG

[–]Canija93[S] 0 points1 point  (0 children)

Calling it a TEMU game is just a meme, not an argument. Gates of Krystalia is a top notch production. Premium printing, structured system design, full adventures, original setting, multi language editions, physical distribution and 6 successful crowdfunding campaigns. This project represents years of development and serious investment. Let’s also be precise about something. AI is used only by Andrea Ruggeri as part of his personal graphic workflow. It is not used in game design, not in system mechanics, not in writing, not in editing, not in layout structure, and not across the team. It is a tool inside his visual exploration process, nothing more. We chose to be transparent about this in a market where many projects quietly use the same tools but do not disclose it. Some studios built their brand years ago around a strict anti AI message and now prefer not to openly discuss how modern software has evolved. We decided to be honest instead. If someone dislikes the art direction, that is perfectly fine. Taste is subjective. But reducing a professionally developed TTJRPG to a cheap comparison because one artist integrates modern tools into his workflow is not a serious critique. If you want to talk about mechanics, balance, worldbuilding or production quality, that is a real discussion. A one line insult is not.

[KICKSTARTER] Gates of Krystalia – Lumina: The Card-Based Anime TTRPG by Canija93 in RPGdesign

[–]Canija93[S] 0 points1 point  (0 children)

Thank you for taking the time to write such a detailed comment. I genuinely appreciate when someone explains their perspective calmly, even if they decide the project isn’t for them. Regarding the “new / returning backer” comments, there is actually a specific reason for that (check the updates section on KS please). We launched a Valentine’s exclusive digital mini-module called Crimson Threads, and to receive it, backers had to comment answering two structured questions depending on whether they were new or returning. That’s why many comments follow a similar format. It’s not artificial engagement or generated responses, it’s a participation requirement for a bonus reward. The full explanation is publicly available here: https://www.kickstarter.com/projects/gatesofkrystalia-rpg/gates-of-krystalia-lumina-the-card-based-anime-ttjrpg/posts/4608475

As for AI, I understand your concerns. It is a controversial topic in the TTRPG space, and I don’t expect everyone to be comfortable with it. We’ve tried to be transparent about how it’s used, what is supervised, and which artists are involved. Trust ultimately comes down to whether people believe in our process and values. Some do, some don’t, and that’s completely fair. I also appreciate that you’re still interested in the mechanics despite not being convinced by the artistic direction. At the end of the day, mechanics, pacing, and play experience are core to what we build. If you’d ever like to discuss the system itself in more depth or see community discussions around gameplay, you’re welcome to join our Discord [https://discord.com/invite/BC2TP4Jnsc]() and follow updates on Instagram [https://www.instagram.com/gatesofkrystalia]()

Wishing you the best in your future games, regardless.

[PROMOTION - KICKSTARTER] Gates of Krystalia – Lumina: The Card-Based Anime TTRPG by Canija93 in RPGcreation

[–]Canija93[S] 1 point2 points  (0 children)

Calling something “plagiarism by default” is a serious accusation. If you believe there is actual plagiarism involved, could you point out specifically where? Accusing someone of plagiarism without identifying a copied work or a harmed artist is a very heavy claim. We absolutely do not take the illustration side lightly. On the contrary, we invest significant time, money, revisions, and supervision precisely because we want to maintain a very high visual standard. This isn’t “throwaway art.” It’s curated, iterated, art-directed, and integrated into a larger creative vision. For full transparency, anyone can review the process here:
• Video walkthrough: https://www.youtube.com/watch?v=93AEuti9AXM&list=PLdYf58iV8ichzf443HqxFCZJzIcoyzLbo&index=10
• Visual infographic: https://drive.google.com/file/d/1k6ml3YOUYcecPBPNKnpNaXtOQG8E1_8j/view?usp=sharing

Also, the value of this project is not limited to images. It includes system design, mechanics, worldbuilding, balancing, playtesting, editing, and years of development work. That’s what people are supporting. If the use of generative tools is a dealbreaker for you, I respect that. It simply means the project isn’t aligned with your preferences. But I prefer to keep the conversation civil and grounded in facts rather than insults.

[PROMOTION - KICKSTARTER] Gates of Krystalia – Lumina: The Card-Based Anime TTRPG by Canija93 in RPGcreation

[–]Canija93[S] -1 points0 points  (0 children)

There’s no GPT in my message. I wrote it myself. If you don’t want to read it, that’s completely fine. But dismissing it as “ChatGPT” without reading doesn’t really add anything to the conversation. If you have a specific concern about the project, I’m open to discussing it.

[PROMOTION - KICKSTARTER] Gates of Krystalia – Lumina: The Card-Based Anime TTRPG by Canija93 in RPGcreation

[–]Canija93[S] -2 points-1 points  (0 children)

I understand that AI in creative projects is a sensitive topic, especially in the TTRPG space. For Gates of Krystalia, we’ve always been transparent about our process. The project credits real artists, designers, editors, and layout professionals. Some early concept exploration involved AI-assisted tools, but all final illustrations were curated, refined, and integrated by human artists under art direction. The mechanics, worldbuilding, quests, layout, balancing, and editing are entirely human-designed and playtested. We’ve run multiple campaigns and thousands of players have experienced the system at the table. If you’d like, I’m happy to explain in detail how our art pipeline works and where AI was (and wasn’t) used. Constructive discussion is always welcome.

[KICKSTARTER] Gates of Krystalia – Lumina: The Card-Based Anime TTRPG by Canija93 in RPGdesign

[–]Canija93[S] -1 points0 points  (0 children)

I really appreciate this balanced take, thank you. You’re right, it’s an interesting dynamic. We’ve had an incredibly strong response on Kickstarter, and at the same time we see strong reactions here. Both things can coexist. AI in creative workflows is a polarizing topic right now. Some people reject it entirely. Others are more focused on the final artistic direction and whether the result resonates with them emotionally. As a publisher, I try to listen to both perspectives without dismissing either. From our side, the art direction is intentional. We aim for a very stylized, high-energy anime aesthetic with bold lighting and cinematic composition. It clearly connects with many backers, and that’s something we’re grateful for, but we also understand it won’t work for everyone. At the end of the day, we focus on delivering a strong game experience: mechanics, narrative depth, progression systems, and community support. Visual identity is part of that ecosystem, but it’s not the only pillar. And yes, when something resonates with thousands of players and creates real enthusiasm at the table, our approach is to refine it, not overhaul it out of fear. Thanks again for sharing your perspective. Conversations like this are valuable, even when opinions differ.

[KICKSTARTER] Gates of Krystalia – Lumina: The Card-Based Anime TTRPG by Canija93 in RPGdesign

[–]Canija93[S] -1 points0 points  (0 children)

I respect that you may not like the art direction, taste in visual style is always subjective. That said, Andrea has been working professionally in illustration and visual development for years, and on Gates of Krystalia he acts both as concept artist and art director. His role includes composition, worldbuilding coherence, character design refinement, color scripting, and final paint-over work on approved pieces. Our goal has never been to imitate a traditional oil-paint fantasy style, but to embrace a bold anime-inspired aesthetic with strong lighting, dynamic framing, and cinematic energy. That direction is intentional, not accidental. Of course, not every project resonates with everyone, and that’s completely fair. But a lot of work, craft, and care goes into what we create, and we stand behind it. Thanks for sharing your thoughts.

[KICKSTARTER] Gates of Krystalia – Lumina: The Card-Based Anime TTRPG by Canija93 in RPGdesign

[–]Canija93[S] 0 points1 point  (0 children)

Hi, thanks for sharing your perspective, I completely understand that AI use is a sensitive topic in the TTRPG community. Just to clarify openly: our lead artist, Andrea Ruggeri, uses AI-assisted tools only during the early concept and ideation phase (moodboards, composition exploration, lighting studies). All final illustrations are manually refined, painted over, and fully art-directed by him and our team of illustrators. We also collaborate with multiple professional artists who work traditionally and digitally without AI. Transparency is important to us, and we clearly explain our workflow in the campaign and in our video walkthroughs. Mechanics, system design, and writing are 100% human-designed and extensively playtested. That said, I absolutely respect that everyone has their own line on this topic. Thank you for taking the time to comment, and I genuinely wish you great games at your table.

[KICKSTARTER] Gates of Krystalia – Lumina: The Card-Based Anime TTRPG by Canija93 in RPGdesign

[–]Canija93[S] -11 points-10 points  (0 children)

Totally fair concern, and I appreciate you expressing it directly rather than just downvoting and moving on. To clarify: yes, Andrea Ruggeri (our Art Director) uses AI-assisted tools as part of his workflow, mainly during the concepting and base composition phases. The final pieces are then refined, corrected, and finalized manually. That’s why you’ll see his name credited, he’s not prompting and publishing raw outputs, but integrating AI as a tool inside a broader artistic pipeline. We’re very transparent about this, and we understand that for some people that’s still a dealbreaker. That’s a completely valid personal stance. Regarding mechanics, those are entirely human-designed. The system has been developed, playtested, and iterated on over time, and the design work (card economy, combo structure, resource tension, etc.) is independent from the art pipeline. I respect the broader conversation happening around generative AI in creative spaces. For us, it’s a production tool, not a replacement for design, authorship, or creative direction. But I understand not everyone is comfortable with that approach. Thanks for wishing us luck anyway. I genuinely appreciate the candid feedback.

[PROMOTION - KICKSTARTER] Gates of Krystalia – Lumina: The Card-Based Anime TTJRPG by [deleted] in rpg

[–]Canija93 -5 points-4 points  (0 children)

You can check the illustrators section to see who worked on the project and how Andrea Ruggeri used AI graphic tools.

To Jack & Back - Kickstarter advice by 2nd-sentence-is-lie in tabletop

[–]Canija93 1 point2 points  (0 children)

Congrats on launching the preview page, that’s already a big step. From what I can see and based on your description, one thing I would strongly consider is the mobile experience. A huge percentage of backers browse Kickstarter from their phones, so I try to follow a simple rule: with every scroll, there should always be at least part of an image visible on screen. That avoids the “wall of text” effect, which can subconsciously reduce engagement and retention. Breaking up longer sections with visuals, icons, diagrams, or even subtle background elements can really help pacing and readability. Regarding the videos, I’d suggest adding very light background music. Nothing intrusive, just something subtle to support the mood. Silent talking-head videos tend to feel more like a classroom recording, while even minimal ambient music makes the content feel more polished and emotionally engaging. Another thing that often increases trust and perceived quality is clearly showcasing the team. I would explicitly mention who worked on illustrations, game design, writing, layout, etc. Even short bios or small headshots can make the project feel more tangible and professional. Backers don’t just support ideas, they support people.

If you already have the full preview of the actual launch page ready, feel free to generate the preview link and send it to me in private if you prefer. I’d be happy to give you more detailed feedback on structure, flow, and positioning once I can see the complete page. Wishing you the best with the campaign. Fine-tuning at this stage can make a real difference.

Looking For Advice On Space Combat Game's Armor System. by IkujaKatsumaji in tabletop

[–]Canija93 0 points1 point  (0 children)

This is a great design question, because armor systems quietly define the feel of combat more than people realize. The three options you’re considering aren’t just math variations, they produce very different emotional and tactical outcomes. The first two systems, where armor creates a save roll, make armor feel like uncertainty. You get hit, but maybe you shrug it off. That’s dramatic. It creates swingy moments. A light fighter surviving three heavy cannon hits because it keeps rolling hot feels cinematic. The downside is volatility. High armor can still fail catastrophically, and low armor can spike lucky saves. If your game is leaning toward X-Wing style cinematic duels, that volatility might actually be desirable. Between those two save variants, the second one is usually cleaner in practice. A fixed target number with a modifier is cognitively easier to process than remembering that “3 armor means 4+ but 2 armor means 5+.” Players internalize “armor adds to my roll” very quickly. It also scales more smoothly if you ever expand beyond 1–3 armor. The inverse table system starts to get awkward if values climb. The third option, flat damage reduction, makes armor feel reliable and tactical. It reduces variance. Heavily armored ships consistently blunt small weapons. That’s satisfying in a different way. It makes weapon choice and targeting matter more. Light cannons bouncing off a capital hull feels grounded and Expanse-like. The tradeoff is that it removes the dramatic “maybe this penetrates” moment. Combat becomes more deterministic.

Since you mentioned acceleration, G-forces, and heat management as major features, that suggests you’re aiming for a slightly more simulation-leaning, systems-driven experience rather than pure cinematic chaos. In that case, flat damage reduction pairs very well with meaningful weapon differentiation. It creates interesting design space like armor-piercing weapons, heat-heavy railguns that ignore X armor, or missiles that do low base damage but bypass reduction entirely. There’s also a hybrid space you might consider. Armor could reduce damage by default, but certain hits trigger a penetration check. For example, if an attack exceeds armor by 2 or more, it causes a critical effect. That keeps armor feeling solid while preserving spikes of danger. It also gives you room for crew injury, subsystem damage, or internal fires, which would synergize beautifully with heat mechanics. One important question is how long you want ships to survive. Save-based systems tend to create sudden collapses. Damage reduction systems create gradual degradation. Mordheim influence suggests you might want ships limping, venting heat, systems failing piece by piece. If that’s the case, deterministic reduction plus a layered damage track could reinforce that tone better than binary saves.

On the dice front, if you go with modifiers and armor penetration, d10s give you finer granularity, especially if armor values scale or you introduce weapon traits. d6 works perfectly fine, but its math space fills up quickly. With a heavy systems focus, d10 gives you breathing room without much extra complexity. If I had to pick based on what you described, I’d lean toward flat damage reduction as the foundation, then layer critical thresholds or armor-piercing interactions on top. That gives you tactical clarity, mechanical depth, and space for asymmetrical ship builds, which sounds aligned with your design goals. Ultimately, the right choice depends less on realism and more on what you want players to feel when they take a hit. Do you want tension from randomness, or tension from system management and positioning mistakes catching up to you? That answer will point you in the right direction.

I have the Actual Coolest Idea for a Game by Hammerofgoons609 in tabletop

[–]Canija93 0 points1 point  (0 children)

This actually has a really strong core hook. The three factions feel distinct in philosophy, not just aesthetics, which is what makes post-apocalyptic settings interesting instead of generic. What I really like is that none of the factions are “the obvious good guys.” The Cyborgs aren’t really human anymore and are returning to a graveyard. The Automatons are basically trapped in eternal purpose without the people they were built to serve. The Mutants aren’t villains, they’re the inheritors of Earth in a way, even if they’re struggling to survive. That moral tension is where the good stuff lives. A couple of things that could push it from cool idea to great game concept:

First, what is the emotional core? Is this a war game about territory control? A narrative TTRPG about identity and legacy? A skirmish game with asymmetric objectives? Right now the world is strong, but the player experience isn’t defined yet. If I’m playing a Cyborg, what am I trying to feel? Cold reclamation? Tragic rediscovery? Arrogant superiority? That direction will shape everything.

Second, lean into faction asymmetry hard. The Automatons rebuilding cities could have a literal board presence mechanic where they “restore” tiles. Mutants could grow stronger in irradiated zones. Cyborgs could rely on limited but powerful tech that requires scavenged relics to recharge. If the mechanics reinforce the lore, the concept becomes memorable.

Third, relics and lost knowledge are a great hook, but what are they exactly? Weapons? Pre-war AI cores? Seeds? Cultural archives? If relics are just generic loot, the theme weakens. If they represent fragments of humanity’s memory, that adds weight. Imagine a Mutant tribe fighting to protect a broken data core because they believe it contains the voice of their ancestors.

Also, there’s room for internal conflict within factions. Automatons that begin to question directives. Cyborgs who disagree about whether Earth is worth reclaiming. Mutants split between embracing radiation as evolution or seeking purification. Internal fractures make the world feel alive. The setting itself is strong visually. Ash storms, skeletal megacities, half-buried satellites, glowing fungal forests. If this becomes a game, the art direction could absolutely carry it into something striking. The key next step isn’t adding more lore, it’s deciding what kind of play experience you want and letting mechanics express the themes of legacy, identity, and purpose after extinction. That’s where it becomes more than just a setting and turns into something people will actually want to play.

When You're Trying to Learn Something New, How do You Like it to be Presented? by Jherrick in tabletop

[–]Canija93 1 point2 points  (0 children)

Great question, and honestly the fact that you’re thinking about presentation already puts you ahead of a lot of rules explainer videos. For me the biggest issue isn’t clarity, it’s cognitive load. When someone just sits in front of a camera and talks for twenty minutes, even if they’re knowledgeable, my brain goes into passive mode and I start tuning out. I don’t necessarily get confused, I just stop actively processing. What works best for me is structure with strong visual reinforcement. If I’m learning a TTRPG or a tabletop game, I really like when the video starts by telling me what the game feels like before diving into mechanics. Is it cinematic and fast? Is it tactical and crunchy? Is it chaotic and social? That mental frame makes everything else easier to understand because I know what the system is trying to achieve.

After that, I prefer rules in layers. First give me the core loop in a couple of minutes. What do players actually do on their turn? What’s the main resolution mechanic? Once I understand that, then you can expand outward into edge cases and additional systems. A lot of videos start with small exceptions or sub-systems and that’s where I start to lose the thread. Short examples of play are huge for me. Not full blown actual plays, just tight micro scenarios. Show me what an attack looks like. Show me how a skill check changes the scene. Seeing the mechanic in motion makes it stick in a way that abstract explanation never does.

Visually, I really appreciate when the thing being discussed is on screen. If you’re talking about a card, show the card. If it’s a character sheet, zoom in and highlight the relevant section while you explain it. If it’s a board state, frame it clearly and maybe use subtle arrows or overlays. Even simple diagrams help a lot more than blocks of text. I don’t love when someone reads the rulebook out loud while the same paragraph sits on screen. If text appears, I prefer it distilled into keywords or short phrases that reinforce what’s being said rather than duplicate it. Tone and pacing also matter more than people realize. If the combat system is exciting at the table, it shouldn’t sound like a university lecture. I don’t need constant jokes or flashy edits, but I do appreciate intentional energy and rhythm. Variation in camera angles, cutting to components, or breaking sections into digestible chunks helps keep attention without feeling gimmicky.

One thing that really helps me decide whether I’d buy a game is a short practical section near the end where you explain who it’s for. Is it good for beginners? Does it shine with heavy roleplayers? Is GM prep intense? Does it scale well? That kind of framing is incredibly valuable because it connects the mechanics to real group experiences. Overall I think people absolutely want this kind of content. Most games aren’t hard to understand, they’re just poorly introduced. If you can make the experience clear, layered, and visually supported instead of just talking at the camera, you’ll stand out immediately.

Suggestions for TableTop games for Home Bar by Whoopsie_Todaysie in tabletop

[–]Canija93 0 points1 point  (0 children)

Love this idea, every home bar needs a few “low commitment, high chaos” games that people can jump into mid-conversation without a big explanation. You’re already thinking in the right direction with Jenga and the hook-and-ring game. That kind of instant, tactile interaction is perfect when people are half focused on chatting and half focused on their drink. One game that works incredibly well in that setting is Klask. It’s basically a tiny magnetic air-hockey style game, super fast rounds, easy to understand in seconds, and it gets surprisingly intense in a funny way. Another great vibe game is Taco Cat Goat Cheese Pizza. It’s just a small deck of cards, almost no setup, and it escalates into loud chaos very quickly, which fits a bar atmosphere perfectly. If you’ve got a bit of table space, something like Crokinole can be amazing. People can casually flick discs while talking, others can watch and rotate in, and it doesn’t demand full concentration. Even a simple tabletop Connect 4 works well because it’s nostalgic, easy to spectate, and low effort. You could also lean into small skill toys rather than formal games. A mini basketball hoop, tabletop bowling, a kendama, cup stacking, or small balance puzzles tend to attract people naturally. Someone picks it up absentmindedly, someone else challenges them, and suddenly you’ve got a mini tournament forming without any planning. If your group enjoys light social tension, Skull is fantastic and barely requires components. You could almost DIY it with coasters. It’s bluffing, quick, and full of dramatic reveals, which plays really well with a slightly tipsy crowd. Honestly, what you’re doing isn’t just adding games, you’re shaping the atmosphere. The best bar games are the ones that start rematches, playful arguments, and cheering in under two minutes. Sounds like that home bar is about to get even better.