Geek Native is based in Edinburgh, which means August is usually a quiet month for the blog. We are typically buried under a mountain of notebooks, rushing between venues to write for our sister site, Edinburgh Reviews, and covering the city’s massive festival explosion.

Sometimes, though, there is a perfect overlap between our local festival chaos and the world of tabletop and speculative fiction. That is exactly what happens when an alien lands in town. This August, we are tracking the arrival of Blip Blarp: An Alien Love Story, a bold solo show premiering at the Edinburgh Festival Fringe. The comedy-spectacle follows a galactic overachiever who lands on Earth to conquer the planet and produce 1,000 offspring, only to find herself completely thwarted by the horrors of modern human dating.

We sat down with creator and performer Alicia to talk about physical comedy, navigating the late-night Fringe crowd, and hot-button industry topics like using generative AI in live performance.

The Interview

Blip Blarp takes a classic science fiction trope, the alien invader aiming to conquer the planet through repopulation, and drops it directly into the unpredictable landscape of modern dating. What was the original creative spark that made you realise science fiction and physical clowning were the ideal lenses through which to examine human intimacy?

It’s a mix of personal motivation and “theatrical academia” that led me to choose this lens. Personal, in that I am going through the process of divorce and dating for the first time in over a decade. No idea what I’m doing or how to attract a mate. (For example in my twenties my standard was: has job, now that I’m an American living in France my standard is: speaks English, doesn’t sneeze too loud) So, I definitely feel like I’m entering an alien world. I also personally love sci-fi and physical theatre is my thing. I love dance, mime, etc. So that was a natural choice.

Academic, in that there is a type of clown in the physical theatre world called ‘bouffon’. You may already be familiar, but the origin story of the bouffon told to us at clown school goes that a group of people in the middle ages were relegated to the outskirts outside the city’s walls because they were weird or deformed, and that once a year they would return from the marshes – hunchbacked, legless, strange, alien – and enter the walls of the city, and with their deformity ridicule the inhabitants of the town, including the king or mayor, etc. They ridiculed the king so vehemently that he died in the street.

In practice, the use of an alien or stranger is key for bouffon if you want to cast light or poke fun at your audience without losing them. A popular modern example is Sacha Baron Cohen’s “Borat” whose strange foreignness allows him to ridicule and provoke modern society, including its leaders, without losing his audience.

Though Blip Blarp is not as provocatively bouffon as Borat or other bouffons, her alien-ness allows her to make fun of modern dating and human intimacy without seeming bitter or haggard.

Premiering a solo show at the Edinburgh Festival Fringe is a demanding logistical and physical undertaking, particularly when occupying a late-night slot at Just The Tonic’s Mash House. How does the specific energy of a 23:15 audience influence how you pace the physical comedy and control the room?

In France, the drink you take after dinner is called “Le Digestif”. That’s how I would define this piece. It’s not a morning breakfast for children, or a contemplative lunch, it’s something you want after a heady depth dinner. Something amusing, fun, sexy to send you to sleep. So the 11:15 crowd is perfect in that they want to laugh, relax, they want to think about sex and love etc. They want a digestif, and this is what I aim to offer. Something silly, sexy, and a bit touching.

There is of course a fear of rowdiness from the late night crowd, but I’m hoping they’ll be absorbed in the strangeness of the alien elements, the design, mime, and dances. The play also moves along at a fast clip, which I think will be helpful at this hour.

You have been admirably transparent about utilising generative AI to assist in creating and editing the multimedia video elements for this production. Given how intensely contested the use of AI is within the broader artistic and design communities right now, what was your personal philosophical boundary when deciding what to automate and what to hand-craft?

The boundary was easy because it was set for me. AI is not perfect. Asking advice from chatgpt is one thing. Asking it to make videos that are in my speific comedic style so that I can perform with them in my weird one woman show is another. It takes double the effort to get Ai to do what you want it to do in terms of editing etc. than it would be to do it myself, so that part was easy to decide. I had it generate images, and then I edited and added music.

But perhaps one day AI will be good enough to do those things. And at that moment, I don’t know what I would do exactly, but I know I love to create art, write, perform because I actually love it. So I will continue to do the things I love because I love doing them and in my own voice with my vision, and outsource the tasks that I’m terrible at doing until I can hire a real flesh and blood person to take on that role.

Finally, in terms of the contentious reception of AI within the theatre realm, I think my audiences have so far accepted my use of Ai either because it works well within the sci-fi framework or because the Ai is so obviously Ai that the Ai almost makes fun of itself. This not only adds a layer of comedy but allows people to see the silly weirdness of Ai generated content in its current state.

From a practical, technical standpoint, how did these machine-learning tools integrate into your solo workflow? Did the technology allow you to achieve an expansive, cinematic visual scale for your alien universe that would otherwise be financially out of reach for an independent Fringe production?

Yes, exactly. That’s it.

Live theatre relies heavily on spontaneity, particularly within the traditions of clowning and audience interaction, whereas video projections are traditionally fixed and rigid. How do you prevent the multimedia elements from locking your performance into too strict a digital grid?

Overall the answer is a very good relationship with the stage tech. They are absolutely vital to the success of this show.

But generally, I work with the projection, not against it. For example – potenital spoiler alert – a character in the show, Jeff, does not believe Blip Blarp is from planet Zoron. Eventually we touch so that Blip Blarp can make an ‘exchange transmission of identity markers’ whereby she ‘touches’ his hand – he is not physically there, one assumes he is present through mime – and she makes an elaborate physical movement and then the screen flashes with all these images of planet Zoron, and then Jeff beleives Blip Blarp. So the projection is really integrated into the performance.

Both science fiction and burlesque rely heavily on distinct visual world-building and the subversion of audience expectations. In what way does the extraterrestrial persona of Blip Blarp allow you to push the boundaries of traditional burlesque choreography, and how do those physical transitions mirror her internal emotional state?

I don’t want to give away too much about the story, but basically I use burlesque – the sexiness, the silliness, the surprise – as a form of mating ritual which Blip Blarp employs to attract a mate. I created ‘alienesque’ movement to the burlesque form and the form gives itself well to sultry comedy. Essentialy burlesque is used as an earnest way for Blip Blarp to attract a male – first her alien mating ritual dance, then her attempt at what she believes a human male would enjoy – with varying results (you have to see the show :) )

Your artistic background beautifully bridges the gap between Chicago comedy training and European physical theatre, whilst living and working in France. How do these distinct regional traditions manifest in the show? Does the narrative rely more heavily on the spoken script, or on a universal physical vocabulary?

It’s completely and fully integrated as both. There is – I believe, I hope – a happy integrated mix of movement and dialogue – both in the comedic monologue sense and the sketch sense – while also blending dance, mime, and physical comedy to world build and move from place to place fluidly.

There is an ongoing, vital conversation regarding the financial accessibility of the Edinburgh Fringe for international artists. As an American creator navigating the logistics of bringing a multimedia-heavy show to Scotland, what unique hurdles did you face, and how can the festival infrastructure better support independent makers?

Oh boy, it’s difficult to say which hurdles were unique to me as everyone is extremely guarded in disclosing how they were able to afford perfmoring at Edinburgh. But I’ll put it out there – I used a portion of my divorce settlement to get to Edinburgh. (I wish I knew what you were thinking).

In general though, I think the problem with affording Edinburgh is manifold. There are so many issues with the financial infrastructure and support from the festival for international (and UK) performers trying to perform there. Everyone knows this, but the festival has become such a money making behemoth, what impetus would they have to adjust? Therefore, I think the rest of the world and the funding coming from artistic grants within specific countries should aknowledge the importance of Edinburgh and allow funding for artists to get to that specific festival (where currently funding bodies are so insular they seldom fund artists going to festivals outside their country, city, etc regardless of how vital it is for the survival, oppurtunity, and exposure for the artist).

At its core, the production uses an outsider’s perspective to look at very grounded human vulnerabilities – rejection, mixed signals, and the desire to be understood. What has creating a character who completely misjudges human intimacy taught you about our current cultural landscape of digital detachment?

So much is dictated and assumed about what or how people think based on the most extreme voices in our society. We make assumptions about a person because they agree with a detail of some outspoken extremist figurehead (left or right). But it’s not all or nothing, and I think that’s the biggest takeaway. We’re forgetting that people are complex, strange, living with their own experiences and moral compasses.

This applies to intimacy as well. Women are told men only want these things. Men are told women only want those things. But no one really knows, so what happens when you go all the way with the assumption of what you think someone wants based on what you’ve discovered online? What happens when someone genuinely likes you but they’re hesitant for reasons that are ‘offline’ or personal? I explore this in the show.

When the festival wraps up on August 30th, and the spaceship departs, what is the core realisation or feeling you hope the audience takes away with them after spending an hour in Blip Blarp’s company?

That they are not alone. That no matter who you are or where you sit, love is hard and makes you feel deeply vulnerable. I make myself completly vulnerable in this piece, and I’m hoping the audience feels first immersed in the nuance of the world and then cathartic. Because it’s hard for everyone. We’re here in the theatre together, laughing about our mutual vulnerabilities. I want them to have had a nice digestif.

Beyond your own production, the independent creative scene thrives on mutual support. Are there any fellow Fringe creators, local companies, or specific science fiction books and authors you would recommend our readers explore, and where is the best place for people to follow your ongoing journey?

Defintely Voloz Collective which will be doing two shows at Edinburgh this year. They’re very talented, and hugely supportive of other artists.

Regarding inspiration, I’m so inspired by the bold artistic visions and storytelling of Ursula K LeGuinn, Jodorowsky, David Lynch, and Tim Burton as well as the comedic stylings of Jennifer Saunders, Joanna Lumley, and Key and Peele. Would definitely recommend Jodorowsky’s graphic novels if you’re not already familiar. I also really loved Saga.

For bouffon, the Red Bastard has really set the highest standard for theatrical bouffon in the past decade. Though he’s performing less now as he’s gotten older.

Best place to continue to follow me is on instagram @aliciadqueen. In addition to creating this show, I have also been making little videos where I wonder about Paris as Blip Blarp and do street improv. Check it out!

Catch the Show

“Blip Blarp: An Alien Love Story” runs during the Edinburgh Festival Fringe at Just the Tonic at The Mash House (Venue 288) in the Just the Bottle Room. The show takes place at 23:15 from August 6th through August 30th (excluding Monday, August 17th). Tickets and venue information can be found directly on the Edinburgh Fringe Box Office.

The annual Free RPG Day global event returned on Saturday 27 June 2026 across more than 700 physical retail stores, but this year’s lineup reveals a major evolution in how the tabletop industry connects with its audience. Rather than treating the event as a strict choice between physical local game stores and digital platforms, prominent publishers are blending the two. Major tabletop names are using digital drops and international convention presence to expand the event’s reach, transforming it from a traditional local shop day into a multi-channel launchpad.

For independent retailers (still) finding their footing in a post-pandemic landscape, tariff, post-invasion, post-Hormuz world, Free RPG Day remains a vital tool for building local foot traffic. However, creators are finding that digital accessibility can support, rather than undermine, the physical hobby space. By offering a mix of physical zines, direct digital downloads, and interactive in-store QR codes, this year’s event highlights how the tabletop roleplaying games industry is adapting to a hybrid world where community exists both at the store counter and online.

Expanding footprints from local shops to global conventions

Independent creators used the event to test new ways of reaching players internationally. Mythworks, an independent studio based in Arcadia, California, used the weekend to promote Kaguya Protocol, a two-part scenario written by Luigi Calistrato and Emanoel Melo. Instead of limiting their focus to domestic storefronts, the publisher aligned its Free RPG Day presence with major international gatherings, including the UK Games Expo in Birmingham and the Pyrkon convention in Poznań, Poland.

The booklet itself shows how publishers are evolving their games to capture broader interest. Kaguya Protocol offers a standalone adventure for the rules-light cyberpunk system CBR+PNK, but injects specific rules from Onigami, the studio’s upcoming tactical game set in fantastical Sengoku-period Japan. By introducing these mechanics at physical tables globally while running a concurrent digital campaign for Glow #8 on Kickstarter, Mythworks demonstrated how local store events can feed directly into an independent creator’s global digital community.

Digital distribution as an extension of the store counter

The inclusion of purely digital items marks another step in the event’s evolution. EverOn Games distributed its contribution, Adventure Kit: Purple Trail, as a free direct download on DriveThruRPG rather than shipping paper booklets. By limiting the free download to the end of the week, the studio used digital scarcity to generate immediate online interest, demonstrating that digital distribution can serve as an accessible entry point for players living far from a participating physical shop.

At the same time, publishers who stuck to physical printing are changing how they structure their books. Exalted Funeral and Necrotic Gnome supplied physical copies of The Weaver & The Redcaps, a 16-page quickstart zine for the fantasy game Dolmenwood. Rather than serving as a simple standalone sample, the printed zine acts as a bridge to a wider online ecosystem, explicitly directing players back to the publisher’s hub where pre-orders are open for The Castle Automatic and His Majesty the Worm divination boards.

Iconic brands tie new settings to classic events

Larger corporate operations focused their efforts on traditional convention hubs to anchor their new releases. Catalyst Game Labs used the event to introduce Wizard Riders, an upcoming game that features arcane motorcycle riders on a post-apocalyptic Earth. Jason Hardy, the Catalyst RPG Director, oversaw the launch of the quickstart rules to establish the new setting alongside the company’s long-running lines.

The Tacoma, Washington-based studio centred its physical outreach on domestic landmarks, using the Origins Game Fair in Columbus, Ohio, to debut its summer portfolios. Instead of using the event to launch immediate crowdfunding campaigns, the company focused on long-term retail health, using its Free RPG Day presence to cross-promote its traditional physical-store stock, including new BattleTech map packs and Shadowrun city editions.

The tabletop roleplaying publisher Pelgrane Press has officially launched the crowdfunding preview phase for Merryshire Detective Club, an upcoming standalone game designed by Gareth Ryder-Hanrahan and developed by Robin D. Laws. Described as a playful blend of Agatha Christie and J.R.R. Tolkien, the project relocates traditional investigative crime drama into a bucolic, halfling-dominated fantasy setting known as the Riding.

A free 18-page sampler document has been released simultaneously on DriveThruRPG to showcase the modified ruleset, giving players an immediate look at character generation and core setting lore. The publication is spearheaded by Pelgrane Press co-owners Simon Rogers and Cathriona Tobin, with visual design contributions from cover artist Amy Nagi and cartographer Jog Brogzin.

The mechanics are built entirely upon the established GUMSHOE system, utilising a single six-sided die. True to the system’s design philosophy, characters possess automatic Investigative abilities such as Common Sense and Eavesdropping, ensuring that players who look for evidence in the correct location will always secure the necessary clues without risking a failed dice roll. The game introduces high-fantasy options for investigators, letting players build characters as stalwart dwarves, eccentric subterranean boggarts, or mischievous, talking animal pooka alongside the native halfling populace.

To support the launch, the publishers announced their first digital community milestone focused on world-building. Backers and community members are being asked to submit names for the local village pub, the central social hub for the amateur investigators. Following the conclusion of the crowdfunding campaign, eight selected community suggestions will be permanently integrated into the final core book as a randomised table for game masters.

Quick Links

• Free to Download: Merryshire Detective Club preview
• BackerKit: Merryshire Detective Club

Podcast veteran and ENNIE Award winner Chris Lackey is stepping away from traditional cosmic horror TTRPGs to launch a standalone tabletop system. Strange Stories: The Roleplaying Game, produced by Witch House Media, is scheduled to launch its crowdfunding campaign on BackerKit on 21 July 2026.

The project aims to alter how game masters approach session preparation. Rather than relying on heavy reading, the game leverages Chris Lackey and Chad Fifer’s 17 years of experience from The H.P. Lovecraft Literary Podcast (now Strange Studies of Strange Stories) to introduce passive, audio-based scenario preparation. The TTRPG focuses specifically on fast, rules-light, one-shot horror and speculative fiction designed to be completed in a single evening.

Shifting Prep From Text to Audio

The defining feature of the upcoming release is a series of dedicated audio guides designed to replace the traditional pre-game reading loop. Instead of scanning pages of descriptive text, game masters, referred to as “Story Guides” within the system, can passively digest structural plot details.

Chris Lackey, Co-host at Strange Studies of Strange Stories, said in a statement:

The audio guides are intended for the Story Guide (GM) to use when prepping for the game. They go over the plot points, scenes, and possible options, as well as what happened during the playtest. Hopefully, this preps you for your game, with the book serving only as a reference. We’re basing these on our podcast, where we cover a story and talk about its plot and themes. We thought it would be great if you could prep for a game while doing the dishes or commuting home from work.”

Early layout previews indicate that the physical book looks great, leaning towards the high art and contrast that we’ve seen in recent rules-light games. The game is engineered for one to six players, with self-contained narrative arcs that can be resolved within a single two- to three-hour session.

The Core Game Engine

The rules pages reveal the inner workings of The Strange Story System. Rather than using shifting mechanics or modular rulesets to differentiate between different speculative fiction genres, such as high-action sword-and-sorcery or slow-burn horror, the system relies on a unified dice pool engine.

Characters possess ten core skills: Cool, Drive, Fight, Machines, Move, Notice, Smarts, Sneak, Strength, and Talk. To resolve challenges, players roll a pool of six-sided dice determined by their skill rank, searching for matching sets rather than total numerical values:

• Pairs yield 1 Success
• Triples yield 2 Successes
• Quadruples yield 3 Successes
• Quintuples yield 4 Successes

Difficulty is handled by adding or subtracting dice from the active pool based on circumstantial narrative factors. A previewed sample character sheet for “Professor Paul Crabshaw” shows that character limitations are regulated by a track of four “Setbacks,” alongside narrative “Specialities” that grant situational mechanical advantages. One-shot horror scenarios are strictly paced out via five explicit structural phases: The Prologue (20 mins), The Plunge (30 mins), The Quest (30 mins), The Clash (30 mins), and The Epilogue (10 mins).

Chris Lackey said:

The rules don’t really change. There might be slight shifts, but the fundamentals are always the same. It’s very narrative-focused, so what’s happening in the story changes your odds. The game uses a pool of D6s, and you’re looking for any matching values. The more matches you get, the greater the success. Difficulty is adjusted by adding or subtracting dice. Each story is different, and characters have different capabilities; we’ve found that the system works for everything we’ve thrown at it.”

Independent Fulfilment Strategy

A challenge for modern crowdfunding projects rests on physical distribution. How on earth does the publisher get the books to people? While many first-time independent publishers secure external global logistics networks ahead of their campaigns, Witch House Media is currently planning an internal approach to distribution.

Chris Lackey told us:

We are planning on doing our own fulfillment. If the project is very successful, we may have to scale up. We’re chatting with a few fulfillment companies, so if it grows beyond what we expect, we can adjust accordingly.”

Opting for self-fulfilment gives small teams total oversight of packaging quality, but it introduces operational risks if a crowdfunding campaign surpasses its initial target tier and experiences high domestic or international shipping volumes. That’s why those scouting chats with other companies are a good idea.

Quick Links

• Strange Stories: The Roleplaying Game

Tacitus Publishing, an independent tabletop developer operating out of New Port Richey, Florida, has launched a public playtest call for its forthcoming high-fantasy standalone tabletop system, The Red Wyvern RPG. The project marks a significant scaling up for the studio, moving away from system-agnostic setting materials and expanding directly into a proprietary, mechanics-heavy ruleset designed to compete with industry giants.

Lead designer James S. Austin has positioned the system as a mechanically deep, “crunchy” experience openly inspired by the tactical complexity of Pathfinder. The game is built around a high-fantasy campaign framework that features explicit elements of horror and political intrigue, tasking adventuring characters with high-stakes survival scenarios in which survival is tied to tactical resource management.

The system features an atypical mechanical engine, eschewing traditional single-die progression systems in favour of a hybrid setup that uses a percentile dice set alongside a d10 dice pool for primary resolution mechanics. While the core resolution relies heavily on these two systems, the game still requires a standard seven-die polyhedral set to determine auxiliary tactical effects and damage variations.

Character progression is deeply layered, anchored around eight primary ability scores: Agility, Brawn, Stamina, Instinct, Intellect, Presence, Willpower, and Fate. Rather than simple skill lists, players modify these attributes through highly specialised “Talents” that define extraordinary expertise. True to its mechanically heavy design, character backgrounds are split into three separate structural elements, Lineage, Culture, and Heritage, all of which feed directly into starting attributes and available talent trees.

The class framework relies on a three-tier specialisation hierarchy. Characters begin by selecting a core “Calling,” which subsequently branches into a distinct tactical “Path,” and ultimately refines into a highly specialised “Pursuit.” Current archetypes detailed in the playtest documentation include the Adept (which can branch into a Channeler or Weaver), the mechanical Architector (Artificer, Alchemist, or Infusor), and the combat-oriented Champion (Outlander or Warrior).

Survival in The Red Wyvern RPG imposes a heavier tracking burden than modern, narrative-focused rulesets. The system features a triple-axiom defensive and tracking framework:

• Defensive Categories: Armor Defense, Mind Defense, and Spirit Defense.
• Health Pools: Body Health, Mind Health, and Spirit Health.

To complement this multi-layered health system, James S. Austin has integrated a “Strain & Burden” resource engine. This dynamic allows players to take on temporary structural penalties or fatigue to attempt extraordinary tactical actions in high-stress moments, intentionally pushing characters toward structural breakdown for short-term narrative and combat advantages.

Interested groups are invited to join the playtest by reviewing the initial documentation on the official preview page and contacting the studio to share their availability for either online virtual tabletop sessions or in-person campaigns.

Quick Links

• Red Wyvern

Welcome home. This is Audio EXP, the weekly podcast from Geek Native. I am your host, Girdy, and today is the 27th of June, 2026. This week, we are evaluating a major regulatory decision in the UK that signals a warning to virtual tabletops, examining a tactical retreat by fan creators from traditional digital storefronts, and looking at the ongoing fallout in the 5e marketplace for independent creators.

[The following is a transcript of Audio EXP: #339]

[Also on Stitcher | Spotify | Apple | YouTube]

We kick off this week with our premier community feature. Our June spotlight conversation is officially live, and you can read the full chat with Dice Average RPG on the site right now. Jack from the studio didn’t pull any punches when discussing the current state of the independent market, noting that the third-party ecosystem for 5e has been struggling since the OGL dispute in late 2022 and early 2023. He highlighted that many long-term creators on platforms like the DMsGuild experienced profit drops of up to 90% that never recovered, while the storefront itself has become incredibly difficult to navigate due to an influx of low-effort AI material. He also pointed out how prohibitively expensive and time-consuming it has become to produce physical print options under current layout-artist restrictions.

I want to extend a huge thank you to all our patrons who make these deep dives possible. Voting for the July spotlight is currently underway, and you can cast your ballot over on the Patreon voting page. The five independent candidates looking for your support next month are:

• ND Hobbies
• Menagerie Press
• World Zero
• Dungeon Mister
• Scaldcrow Games

Our top story this week focuses on consumer protection and a significant ruling by the UK Advertising Standards Authority. The regulator has penalised high-street retailer Argos and technology giant Microsoft for failing to explicitly disclose in-app purchases and loot boxes in their promotional material. This enforcement follows the end of a formal grace period on the 26th of May, and it provides significant food for thought for companies like Hasbro.

By targeting subscription models, such as promoting base access to games without clearly warning consumers about additional costs for extra content, the ruling clarifies that hidden costs must be stated prominently up front. This has clear implications for the virtual tabletop market, where platforms frequently use subscription access or base apps while selling necessary rulebooks and adventures separately.

In digital spaces, we are tracking a distinct clash between legal teams and community creators. The digital Warhammer community has bypassed the Steam storefront following an intellectual property sweep by Games Workshop. Following the global launch of Warhammer 40k 11th edition, high-profile Tabletop Simulator mods were cleared from the Steam Workshop. Rather than shutting down, however, the fan community has simply split from Steam, moving their files to decentralised independent hosting to keep the games running. It underscores a growing trend of enthusiasts actively building external workarounds when corporate legal actions push them out of mainstream spaces.

This landscape shift directly ties into the ongoing battle for the digital tabletop ecosystem. BackerKit and DriveThruRPG have linked their systems using a unified API for instant digital reward delivery. This technical integration allows crowdfunding backers to receive their digital files directly into their DriveThruRPG accounts, removing the hassle of spreadsheet tracking or manual download codes. Roll20, which owns DriveThruRPG, has been incredibly savvy here; by streamlining this fulfilment pipeline, they are tightening their grip on the indie ecosystem and making it much harder for alternative marketplaces to compete. In the past, Roll20 has bought to control the ecosystem; here, they’re doing it with friends.

Turning to our international showcase, independent game recognition is finding incredible momentum overseas. The fifth annual KiwiRPG online convention has officially locked in its return dates, establishing a week-long digital showcase for New Zealand’s tabletop community. Scheduled to run from the 4th to the 11th of July, the virtual gathering is intentionally timed to align with Matariki, the Māori New Year. This anchoring is reflected in the official programming, which opens and closes with a traditional streaming ceremony and karakia prayer. The convention features an expansive array of livestreamed actual plays and industry panel debates. High-profile figures like Cortex Prime creator Cam Banks and Chaosium artist Paul Tobin will join local independent voices. A major core focus this year is a dedicated Māori creators panel highlighting indigenous design perspectives, alongside diverse system demonstrations that range from supernatural investigative comedies to tense alpine survival horror. To complement the broadcasts, creators across the KiwiRPG network are launching collaborative discount bundles across itch, DriveThruRPG, and RPG Trader.

At the same time, we saw an independent milestone at the 49th annual Origins Game Fair in Columbus, Ohio. The lighthearted, whimsical fantasy sandbox Land of Eem secured a prestigious Origins Award win for Roleplaying Game of the Year. Created by Ben Costa and James Parks and published by Exalted Funeral, the title topped a highly competitive field of major corporate releases, including Critical Role’s Daggerheart and the Cosmere roleplaying game. Built on a custom d12 mechanics system, the game translates the hand-drawn aesthetic of the creators’ original graphic novels into a cooperative, hopeful world that players describe as a tonal blend of The Lord of the Rings and The Muppets. Character progression completely bypasses traditional combat-driven experience points, instead rewarding map exploration, narrative development, and character roleplaying. The system features an extensive crafting index with over 200 components, giving independent tabletop groups a highly tactile sandbox experience.

In comic distribution news, alternative graphic fiction is expanding its direct-market reach through a key corporate realignment. Hero Tomorrow Comics has officially partnered with Asylum Press in a brand-new imprint and distribution deal. Under this new operational umbrella, writer Ted Sikora’s independent superhero universe returns directly to retail solicitations this August. The premier launch under the new arrangement is a double-sized issue titled Punchline and the Vaude-Villains vs Violante #1. The narrative follows a super-powered clown and a fallen heavyweight boxer as they navigate a theatrical villain syndicate in Cleveland, blending a 1990s musical aesthetic with monster-clown action. The partnership allows Hero Tomorrow to bypass traditional small-press printing hurdles by piggybacking on Asylum’s established distribution networks, providing a robust entry point for retail comic shops.

Finally, we close out the week with three excellent options to expand your game library through the Bundle of Holding and Humble platforms. Classic fantasy players can explore brave new frontiers with the Chivalry & Sorcery New Lands bundle, which delivers sweeping historical supplements for campaign building. If you prefer dark, old-school sword and sorcery, you can grab over 960 dollars worth of grim material in the Professor DM’s Dungeon Crawl Classics Essentials bundle, which packs foundational sourcebooks and modules into a substantial discount tier. Alternatively, fans of dark urban investigations and old-world grit can explore Altdorf and beyond with the comprehensive Warhammer Fantasy Roleplay digital bundle, securing an extensive collection of core resources for the iconic setting.

That is it for this week. Thanks for listening to Audio EXP. For all the links, voting blocks, and full stories, head over to Geek Native. Until next week, stay geeky.

Rumours circulating through international retail channels suggest that the first official Lego set dedicated to Dragon Ball will arrive in November 2026, anchoring a major milestone for the long-running anime franchise. Industry trackers report that set 11390 Shenlong, frequently referred to as Shenron or the Eternal Dragon, will launch under the Lego Icons banner, carrying an estimated retail price of roughly $200 (~£160) and a piece count of 1,760 bricks.

The timing of the rumoured release coincides directly with the 40th anniversary of the debut of Akira Toriyama’s original anime adaptation. Speculation published by internet curators via BrickTap indicates this premium display piece serves as a vanguard model. The Danish toy giant is reportedly using the large-scale mythical beast to test the waters before deploying a fully fledged, dedicated Lego Dragon Ball licensing theme across 2027.

According to leaked schematics shared by digital archivist @ac_bricks_03, the set is structured as a dedicated diorama featuring the seven mystical dragon balls and a single, exclusive minifigure of young Goku. The physical footprint of the build is expected to mirror recent large-scale creatures in the Lego Ninjago line, specifically 71822 Source Dragon of Motion, though the Icons variant boasts a higher piece count to accommodate the serpentine curves of the legendary dragon.

The structural nature of the set has ignited debate within the building community due to parallel tracks on the Lego Ideas platform. A fan-submitted project titled Dragon Ball, the Beginning: Shenron, hosted on the official fan-submission portal, has recently surged past thousands of community votes. This has led to considerable confusion about whether the upcoming product is a fully corporate-driven license from Toei Animation or a community-driven idea submission caught up in retail scheduling.

The price-per-part ratio has also drawn critical observation. At $200 for 1,760 pieces, the set commands a significant price premium compared to non-licensed sets of similar complexity. This suggests a heavy licensing tax driven by the dual stewardship of Toei Animation and Bird Studio/Shueisha, or the inclusion of bespoke large-mould metallic and translucent plastics required to accurately render the dragon’s distinct celestial horns and claws.

The decision to pair a giant, cosmic dragon with a standard minifigure of young Goku rather than his mature Super Saiyan variants reinforces the set’s focus on historical preservation and older collectors. By focusing on the opening stories of the series, the set shifts away from modern action figures and leans heavily into nostalgic desktop display architecture.

Quick Links

• Many LEGO dragons.

The Old World is a grim and perilous place. From the smog-choked alleys of Altdorf to the darkest, twisting depths of the Reikwald Forest, Chaos cults lurk in the shadows and Skaven plot beneath the cobblestones. To survive here, you will need more than a sharp sword and a stolen pint of Bugman’s Ale. You will need your wits, a healthy dose of paranoia, and perhaps a rat-catching pole.

Cubicle 7’s acclaimed Warhammer Fantasy Roleplay characterises this desperate, mud-and-blood struggle perfectly. If you have been waiting for a sign from Sigmar to finally dive into the game, Fanatical has just launched a massive promotional campaign. Their new eBook bundle is packed with 19 digital items, giving you absolutely everything you need to venture into the dark.

4 Products – $1.00

Total retail value: £22.17

• Warhammer Fantasy Roleplay Starter Set
• Old World Adventures: Something Knocking
• Old World Adventures: The Spirit of Mondstille
• 15% OFF Cubicle 7 Store Voucher

8 Products – $8.99

Total retail value: £73.73

• Warhammer Fantasy Roleplay Core Rulebook
• Warhammer Fantasy Roleplay Gamemaster’s Screen
• Buildings of the Reikland
• One Shots of the Reikland

19 Products – $18.99

Total retail value: £190.71

• Altdorf: Crown of the Empire
• Middenheim: City of the White Wolf
• Salzenmund: City of Salt and Silver
• Up in Arms
• Old World Adventures: Forest of Hate
• Taverns of the Old World
• Blood and Bramble
• Sullasara’s Spells of Unrivalled Utility
• Shrines of Sigmar
• It’s Your Funeral
• Old World Adventures: Hell Rides to Hallt

If you are unfamiliar with the mechanics, Warhammer Fantasy Roleplay (currently in its phenomenal 4th Edition) utilises a punishing but deeply rewarding d100 roll-under system. You are not rolling up demigods or superheroic paladins here. You are playing as Agitators, Bailiffs, Grave Robbers, and Rat Catchers; sometimes, ordinary citizens thrust into extraordinary, terrifying circumstances. Combat is notoriously gritty; a stray arrow or a badly timed sword parry can permanently maim your character or end their career entirely, meaning diplomacy, stealth, and running away are often your best tactics.

The setting itself is the true star of the show, and this bundle leans heavily into providing Gamemasters with incredible sandbox locations. The inclusion of the massive Altdorf, Middenheim, and Salzenmund sourcebooks gives you unparalleled detail to run urban campaigns steeped in superstition, zealous faith, and political corruption. Combined with Up in Arms, which modernises and expands combat and mercenary options, and a selection of pre-written adventures, this bundle offers years of gaming material.

Sharpen your blades and keep one eye on the shadows. This Fanatical bundle closes at midnight Pacific time on Tuesday, 11 August. As always, these digital files are completely DRM-free and are fulfilled via DriveThruRPG, meaning they are yours to keep and read on any device you choose.

Quick Links

• Warhammer Fantasy RPG Bundle

We’ve weathered a dramatic lightning storm here in Edinburgh. It’s pub tomorrow, but today we have the TTRPG news!

The latest RPG news summaries of the summaries from Edinburgh are;

• The UK’s regulators crack down on some game marketplace practices.
• Land of Eem wins Origins Award for best Indie RPG.
• There’s a big indie charity bundle for Accessibility in TTRPGS!
• Saturday is Free RPG Day – go support your friendly local game store.

As it’s Free RPG Day, I’m going to visit two local stores on Saturday. First, coffee and games at Ancient Robot Games in Leith and then up to the West End for the opening of Thistle Tavern. The latter now has Scotland’s biggest gaming space.

We’ve interviewed Jack at Dice Average, our RPG Spotlight honouree for this month.

Patron? Thank you. You are awesome. There’s still time to vote. Candidates for July’s Spotlight;

• ND Hobbies
• Menagerie Press
• World Zero
• Dungeon Mister
• Scaldcrow Games

On with the TTRPG news!

Spotlight: Dice Average.

RPG news from Geek Native

• Recent legal rulings against computer platforms which cost money and then sell you things for more money here in the UK made me speculate that VTT and marketplaces might take notice.
• The Forgotten Realms evolves as R. A. Salvatore (signed copies available) publishes the daughter of Drizzt.
• The Land of Eem, which is puppets and Lord of the Rings plus some indie jazz, won the Origins Award for best indie RPG.
• BackerKit and DriveThruRPG are working together, and it means faster games for backers.
• We wrote up Ravaged by Storms, the first long-term sandbox for Pirate Borg.
• I took a look at the grim Candlelight Inquisition.
• On the TTRPG calendar, it’s nearly KiwiRPG Week.
• There’s a 5e adventure in the Bundle of Holding’s Top Cow comics deal.
• The Bundle of Holding also has a deal on Chivalry and Sorcery.
• On Humble, there’s a huge DCC Essentials deal.

Support: Patreon.

RPG news from around the web

• For Vice, Denny Connolly delivers a breakdown of All UpComing D&D Reference Card Sets and Prices.
• Polygon recently posted D&D confirms cast and release date for official show’s second season.
• Over at Bleeding Cool, Gavin Sheehan provides an update with Beadle & Grimm’s Drops Special Edition D&D’s New Ravenloft Title.
• Gizmodo’s Jen Lennon notes ‘Vampire: The Masquerade’ ‘Dungeons & Dragons’ Kindred Class Includes 6 Clans.
• TTRPG Insider recently posted A Preview of Free RPG Day’s Upcoming Releases.
• Dungeons and Dragons Fanatics gives us New D&D Encyclopedia Coming from Penguin Random House.
• Over at EN World, Christian Hoffer provides an update with 2026 Origins Award winners announced.

Support: Fight the Algorithm.

RPG reviews and interviews from around the web

• Mythlands offers a lazy review of Operation Unfathomable.
• Reviews from R’lyeh gets into Idylls of the Rat King and the cyberpunk The Gaia Complex.
• False Machine reviews Forgotten Realms’ Underdark.
• Shadomain has a preview of the Rise of the Lazy Gamemaster.
• The Kind DM drops a review of The Game Master’s Deck of Fantastic Familiars & Animal Companions.
• Stargazer interviews Axel6748 a Shadowdark content designer.
• Polygon shares the latest on D&D designer explains why they went back to Ravenloft yet again.

RPG new releases

• Dead Doornail Games published Dickensia: The Charles Dickens Roleplaying Game – Quickstart Guide.
• Chaosium has hit publish on Pendragon: Noble’s Handbook.
• 9th Level Games published Return to Dark Tower RPG: Plague of the Green Lady.
• Available now is Earl of Fife Games’ Scalemail RPG Core Rulebook.
• ND Hobbies has hit publish on Black Jam, A Post-Apocalyptic Old-school Adventure.
• Will Power Games published Synthicide 2E: Early Edition.
• RPG Soundboard has published the Medieval Fantasy Soundboard – Starter Pack for free.
• Mike TaylorLyfe Chaotic Chronicles has published the Tales From The Winter Veil.
• Hex Ferrum published Hex Ferrum Quickstart – The Black Wedding.
• We now have Wandering Monster’s Tales of the Blade.
• Cubicle 7 Entertainment Ltd. brings us Warhammer: the Old World Roleplaying Game, Talagaad Adventures.
• In physical releases and pre-orders what about Wizards of the Coast’s alternative cover to D&D: Ravenloft – The Horrors Within.

RPG bundle deals

• Save $111 (%100) with Indie charity bundle for Accessibility in TTRPGS! (DOTS RPG). (Don’t though. Offer some money, please!)
• Save $4.50 (15%) $3.75 (15%) in Plant Witch Press’ The Cozy Origins and The Complete Curious Creatures bundles.

RPG ideas, tips and discoveries

• Charles Dunwoody looked at worldbuilding Coriolis: The Great Dark.
• Monte Cook explores Rules as Written.
• The team at Ill Met by Morrslieb writes about Hopes for WFRP 5th Edition.
• Kickstarter reflects on success with Community Is Everything: The Story Behind the Most Funded Tabletop Role Playing Game in Crowdfunding History.
• Mollie Russell, writing for Wargamer, covers How to play evil D&D characters without destroying friendships.

RPG Crowdfunding

There’s more! You can catch up with the Kickstarter campaign we’ve written up in more detail at Kickstarter watch. Here are some noteworthy industry projects to mention:

• Daring & Dread Tabletop Roleplaying Game by Darrin Drader is touted as “A new 5E Based fantasy Tabletop Roleplaying Game”
• Fairy Tale Hexcrawl & One Shot Quests by Ty Hulse is touted as “An authentic folklore driven sandbox & one shot quests drawn from real folklore, history, & the lives of the folk who told these tales.”
• 500+ Tabletop Fantasy RPG Walls & Doors — 3D Printable STLs by Black Hills Studios is offering “Modular fantasy walls, doors & pillars across 3 epic themes; Dungeon Stone, Ruined and Egyptian with OpenLock and Magnetic Lock system.”
• Spellcaster is a project by Cedric Ennis that features “An Arcane Roleplaying Game”
• The Forbidden Summoning Circle from ToyBoy Creative is working on “Modular Eldritch Cult Ruins STL Terrain for RPGs, Wargames & Miniature Painting”
• OSR: Expert Adventures vol.1 / Avventure Expert vol.1 from DiegoZap is nominating “A 60 A4 pages adventures collection module for all the Old School systems (D&D, AD&D, OSE etc), for expert level groups (3-5)”
• Native Legends: Subclasses & Monsters for DnD 5e / 5.5e by Fool’s Hand Studio is a new roleplaying games project for “Two spirit-guided subclasses and five creatures inspired by Native American legends, ancestral spirits and the vast untamed wilderness.”
• tome of pagan rites DnD 5e is a project by nannan zhang that features “”400+ pages of sacrificial rites, monstrous summons, forbidden pacts, cursed magic items, and blood-soaked subclasses. Unleash the dark”
• Licenced RuneQuest Miniatures from Rune Marked Miniatures is developing “Official RuneQuest miniatures to bring Glorantha to life on your tabletop!”
• Power Ring | The RPG D20 Ring by Runemark is offering “A wearable D20 ring designed for tabletop adventurers, collectors, and game nights.”
• How’s My Driving RPG by Marco Serrano is touted as “A road trip gone wrong for 2-6 players, and acclaimed Daggerheart horror hack.”
• Nightmare Unleashed: Ultimate Horror Investigation Sandbox by Aenarion’s Coven is an upcoming supplement for “Survive an open-ended horror investigation sandbox filled with occult mysteries, forgotten rituals, and living nightmares.”
• FORGOTTEN ODYSSEYS from BadEye is working on “A sword and sandals, rules light, art heavy RPG based on Mörk Borg about surviving the trip home from the Trojan War in mythic Greece.”
• Dice and Dies: Solo Card Game / J-RPG campaign is a project by Rija that is described as “A complete card-based RPG experience. Level up, get new skills and build decks as you delve into this J-RPG inspired story.”
• Sickest Wretch for Sickest Witch – New Non-Witch Class Book is a project by Severed Books that invites players to explore “The first supplement for Sickest Witch RPG includes six new non-Witch classes + one shots and adventure hooks”
• D&D EN5ider Annual–adventures and rules for D&D 5.5E! by Morrus is a new roleplaying games project for “A massive 360-page hardcover with 20 adventures, a whole new class, and a ton of new options!”
• MazeTales: Destiny’s Threshold is a project by Kliben Games that is described as “A solo dungeon-crawling gamebook where the book becomes the dungeon.”
• Treatise of the Nature Fey – For DnD 5.5, 5e, & Black Flag is a project by Foul Fox that features “The new Shaman Class & Fey-inspired player options for D&D 5.5, 5e & Tales of the Valiant. Join our discord for a sneak peek!”
• Malediction: Curses, Omens & Dark Fate for 5E is a project by Yellowbyte Workshop that is “A complete dark fantasy 5e toolkit for curses, hexes, omens, wards, exorcism, afflicted relics and doomed adventures.”
• Luciens Unrest- D&D 5e Dark Fantasy adventure +optional STLs by Secrets of Alexandria Retrogrind is a new roleplaying games project for “A Dungeons and Dragons (DnD) 5e compatible RPG adventure incl. VTT tokens, maps & images and 3d printable OpenLOCK terrain & miniatures”
• Epic Props: Forbidden Apothecary is a project by Mojibake that is “Mystical 3D-printable potion storage props for tabletop RPGs, display and Cosplay. High fantasy themes. Endless magic at your table.”
• The Summoner’s Codex for 5E & 5.5E by DreaMers and Players is an upcoming supplement for “The true, full Summoning class has arrived for 5E: Command a permanent soul-linked companion, summon monsters, and master planar magic.”
• Star Marshal: The Paper Trails is a project by The Grinning Frog that features “Card based solo-play game. The arbiter of Justice or the disciple of Chaos, which will you decide to be?”
• Complete Town 9: Village Chronicles, 25 D&D Villages & Tribe is a project by James Kay that invites players to explore “Zero-prep DnD settlements with NPCs, lore, and maps. Drop these 25 villages and tribes into any tabletop RPG campaign instantly.”
• Pirate Borg: Something Buried, Something Due is a project by Christian Hyde Smith that promises “Don Pedro must die. But getting to him might be difficult with the Spanish on the lookout. Act One of a bigger campaign.”
• PsiRun Second Edition by Meguey Baker is a new roleplaying games project for “Whoever was holding you captive, you’re free, for now. You have superpowers & amnesia. You know they’re after you. What could go wrong?”
• Il Fantasma del Giallo: The Phantom of the Yellow is a project by Hardy Roach Games that invites players to explore “Become disgraced actors trapped in a sequence of brutal Neo-Noir murder-mysteries in this cinematic, reality-bending TTRPG.”
• Bree-YARC Core Rules from Todd brings us “A careful blend of new and old tabletop role-playing, mashing together B/X and 3.x editions.”
• SagaBorn Dice: a 20 Sided D100 in Red from Michael Bielaczyc is pitching “Making a d100 roll as well as a d20, now in red!”
• The Owlbear Cave | TTRPG from Arland Games is crowdfunding “The Owlbear Cave is a sword-and-sorcery D&D 5e adventure for 4 to 6 players of 3rd to 5th-level characters.”
• Teddylonglegs: Professor Stevenmug Menagerie – D&D Monster from TGrejczik seeks funding for “Monster of the Month: Teddybear spider to terrify (or cuddle) for your D&D/RPG – Tier 1 & 2 creature version + bonus item”
• IronHeart Hold Dwarven Codex and 300 Maps for TTRPG and D&D by Loot Map is currently raising funds for “300 high-res dwarven DnD maps and Codex with 50 NPCs/33 Bestiary, and tokens for TTRPGs. 5e compatible. Ready to use at your table.”
• Trouble at the Ambassadors Bridge! is a project by Exile’s Crossing that invites players to explore “A rumrunning, investigative adventure for 5E and Pathfinder 1E”
• MODERN Rpg Maps: 440+ Cinematic Action Battlemaps from Agnieszka Polanowska is working on “A Tactical Map Vault for Any Modern RPG Setting, Ready for VTT”
• Storm Hunter’s Guild — TTRPG by Ravensong Games is touted as “A BRAND NEW TTRPG Brought to you by a family of avid gamers and game masters!”

[What’s this chart? We use Kickstarter Heat to measure how busy the crowdfunding season is.]

Do you know of any RPG news sources we might not know? If so, please let us know or leave a comment below.

Popular Tabletop Simulator modifications that digitally recreate the physical tabletop experience of Warhammer 40,000 have been removed from the Steam Workshop following Digital Millennium Copyright Act (DMCA) takedown notices from Games Workshop. The targeted enforcement hit two of the most heavily utilised tools in the competitive digital space just as the Nottingham-based publisher officially launched the Warhammer 40,000: 11th Edition rulesets globally.

A prominent community map architect known as hutber, who released a virtual 11th Edition competitive tournament map template only a week prior, confirmed the sudden removal on public forums. The enforcement action also dismantled ForceOrg, a massively popular, scripted asset repository curated by digital developers Raikoh and Seaborne that provided players with immediate access to thousands of highly detailed virtual miniature models.

The timing of the legal sweep points directly to a recurrent commercial defence strategy. Games Workshop regularly conducts intellectual property enforcement cycles at the outset of major edition rollouts, having previously initiated similar digital asset sweeps during the launches of both the ninth and tenth editions of the game. By establishing these hard borders on commercial storefronts like Valve’s Steam Workshop, the publisher aims to ensure that player attention is directed squarely at official physical releases and licensed digital software utilities.

Community reaction reveals that players are increasingly analytical regarding the legal mechanics deployed by the commercial publisher. Rather than panicking, digital veterans have quickly identified the structural limitations of storefront-level automated notices. While newer players face initial barriers because they can no longer easily find mainstream search results, experienced hobbyists are already shifting the digital wargaming landscape away from central spaces.

The technical architecture underpinning the community is evolving rapidly beyond standard modifications. Author Jamie Hutber continues to run an advanced game telemetry database stats.hutber.com to analyse dice-rolling variance and competitive win rates, while the development team behind ForceOrg has bypassed the Steam Workshop framework entirely by introducing an independent, standalone installation tool on external code repositories. These steps demonstrate that while legal notices can easily strip assets from commercial frontends, they are fundamentally driving the highly organised digital wargaming community into decentralised channels.

There was also that time Games Workshop went head-to-head with a bat.