Hi y’all! Today I’ve got an interview with Liam and Ren from Sandy Pug Games about Disposable Heroes, which is currently on Kickstarter! It sounds like an interesting take on superheroics. Check out their responses below!
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Mockup/Work-in-Progress prototypes of the cards for Disposable Heroes.
Tell me a little about Disposable Heroes. What excites you about it?
Liam: So the basic pitch is a PbTA/Dungeon World based game where the playbooks are replaced by cards that are rapidly cycled in and out of play. We got rid of HP for the heroes, and made it so every hit they take is deadly – when they die, they discard their card and draw a new one – with a new class, weapon and set of stats. Obviously this changes the dynamic of the game a lot, and pushes players to get really creative with their class powers. One thing that I tell people is; you know how every pbta playbook has That One Move. The one that makes you go “oooh snap, yes, this is it right here”? What we tried to do with Disposable Heroes is capture that feeling the whole game. We want players to be hyped and excited and have their minds race when they draw a new character.
I’m
also really pumped about the art design. We’ve tapped into the
electro-neon-funk of Jet Set Radio and Lethal League where possible, lots of
vibrant and loud colors, high energy, thick line art. Stuff rarely, if ever,
seen in TTRPGs. It’s mostly being done by my partner Ren, who also came up with
the core concept and who I’m assisting with the game, but if funding goes well
we’ll also be bringing a bunch of guest artists on board to do a set of the
cards – and they have a wide wide variety of styles that we’re really excited
to showcase. Like so many Sandy Pug projects, I guess what I’m most thrilled
about is getting to show off the amazing talents of other folx.
This sounds very cool! How have you altered the PbtA type system to suit this, beyond HP, to make the disposability snappy but still really grabby?
Liam: Honestly, not a whole lot had to be done to adapt the system itself – We encourage GMs to run things so that whenever they can inflict damage as a move, they do so, and we made armor ablative rather than subtractive (That is, it acts as a HP pool for characters that have it). The rest of the changes really come from applying the PBTA system to a card game. Making moves around the deck and drawing and such. Dungeon World already feels, at least in my opinion and experience, snappy and exciting. Making it so you’re constantly getting new tools to solve problems just amplifies what’s already there in a big way.
Mockup/Work-in-Progress prototypes of the cards for Disposable Heroes.
That art sounds amazing. What are some of the benefits of a variety of artists and how it presents the characters in your game?
Liam: For a start, it means your game looks amazing. I’m a big believer in the idea that having lots of perspectives and ideas makes a project grow and pop more than anything. All the artists have their own really cool takes on the characters who are, remember, just a class and a name and an animal for the most part. To see them take those ideas and make this logo that screams a ton of personality is worth it all by itself for me.
On a more mercenary level, having a big team has always helped Sandy Pug Games punch above our weight. One person yelling about the game they made is one thing, having 10 people doing the same yelling amplifies things a whole bunch, and I’d be lying if I said that wasn’t a consideration when we were kicking around ideas. As for how it changes how characters are presented – you know how people tend toward the same kind of themes for their characters in TTRPGs sometimes? I know I’m a big fan of Fighters With Cool Weapons and playing Tieflings all the time, I find artists tend to have a “vibe”, and while Ren’s vibe is really freaking awesome, it’s rad to get a bunch more “vibes” on the project.
Mockup/Work-in-Progress prototypes of the cards for Disposable Heroes.
What are the heroes like? Who these
one-punch people?
Ren:They are Delivery beings just trying to get the job done and go home in one piece! I say beings because we like to allow players imagination run wild on this one. The heroes are anything from literal animals, animal humanoids, or humans dressed up with ears and tails and process said animal characteristics. As the artist, I particularly found it amusing to imagine a literal whale using a hovercraft pool as a means to get around on land. The art in particular allows for creative leeway and a more versatile cast.
What are the activities like in
Disposable Heroes? What do players encounter?
Liam: Although the Heroes’ main goal is delivering a package, their missions take them through treacherous, neo-future dungeons. The game is essentially a classic dungeon crawler; our heroes solve puzzles, dodge traps, fight monsters, and the usual. The only real twist is the package has to remain intact and undamaged, then instead of facing off against the Big Bad Guy at the end, they simply deliver it. Gotta get that 5 Star Rating!
When I found out Chuck Tingle released The Tingleverse, an RPG set in the world of his Tinglers books, I was immediately on board – and super excited when Chuck granted me an interview! Check out Chuck’s responses below.
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Tell me a little about The Tingleverse. What excites you about it?
first question is good but it has many answers because WHERE WE ARE RIGHT NOW IS THE TINGLEVERSE this is just layer of reality we are on (these are in stacks that go from top to bottom) and outside of this is THE VOID. so each layer of this stack is a potential timeline they are infinite and together they make up the tingleverse. but i can say that GAME of the tingleverse is an important way to explore other layers or timelines that buckaroos might not have been to mostly the timelines that i write about in my books. so i think if you are fan of tinglers by worlds greatest author chuck tingle then you will definitely like this important game because it will give you a chance to trot as a unicorn or a bigfoot or a raptor and maybe even a human to. i think that games in this way help with empathy and understanding that we all have our own unique trot and that is a WONDERFUL THING i think this is proof of love thats for dang sure
What was it like collaborating with others on making The Tingleverse into a roleplaying game?
thank you not really sure if this
is reference to something but i did not really collaborate much in this
way it was normal edited by son jon and there were playtests way but i do not
really see this as collaboration just helpful buds along the way. this
does not mean they were not important in fact they were VERY IMPORTANT mostly
to say to man name of chuck ‘wow this is good and this works you should keep
going’ so i appreciated that way for buds. sometimes you need an extra
voice to say ‘ you can do it bud’ this bit of encouragement is nice even fore
worlds greatest author. but mostly i think i was able to make game because of
unique and important way my brain works with is very methodical way and says
that if you take things piece by piece they might not make sense but
eventually they will make BIG TIME SENSE just gotta but head down and work a
little every day thats how you prove love at the end of the road buddy
What were some of your favorite elements of your Tinglers and books to bring into the Tingleverse RPG project?
i think i enjoyed being able to talk on the lonesome train as this is very important to me and i have a lot of anxiety on its way and its call. so anytime i get to prove love is real by speaking about it and making it into a force that I CAN HANDLE by putting it into a game is very good. DEEP DANG DOWN i think this makes me feel better but in broader sense i think this is a way of the artistic bud to take issues that we have and to turn them into something that you can process through a game or a story or a song and then reflect on these issues in way that MAKES SENSE TO YOU. so i would say talkin on the lonesome train felt very nice in this context and other times it can be a difficult way.
The Tingleverse book is pretty big! It had to have taken a lot of time and love to put it together. Did you have a particular process for developing the game and organizing the book?
thank you for saying book is very big i think so to it took LONG DANG TIME to make and was sometimes very daunting process made me shake and drool on a number of days thinking ‘dang this is a lot of work’ but now that it is done i can look back and think even though it was a work time it was a fun time, and now i am working on monster book so whenever this makes me shake and drool i feel same way and that helps. but i would say most of all process was to ask self ‘what would YOU be wondering right now?’ normally in books you ask this to think about journey of reader feelings but in instructional book like this it is journey of readers thinkings but it is basically same at the end of the dang day
I’m a game designer who has mental health struggles but fights through them to try to create projects with messages of love, so this project appeals to me! When you look at The Tingleverse RPG project, why did you feel it was a good suit to put forward the stories you tell and the messages you like to send?
i am glad you have put up a first in your struggling way to
say GUESS WHAT BUDDY TODAY IS MY DAY NOT THE DAY OF SOME SCOUNDREL INSIDE MY
WAY THAT IS NOT REALLY MY WAY so i think that is so important and i think that
you have proved love very much. and also when you make an artistic way with
love at the core it will only bring people towards it and that is very special
but also powerful. so i will say that with TINGLEVERSE GAME i think it is a
good way to tell stories and prove love because it is community game and it
makes me think of good times trotting with buds, and i think that it is nice to
make something that others can used together and maybe laugh and maybe cry but
most of all love. it is okay to have this journey on your own with a dang good
but and i have written many of those so with this i just thought ‘what the heck
lets try something new’
—
Thanks so much to Chuck for the awesome interview! I hope you all enjoyed it and that you’ll check out The Tingleverse today!
It’s been a big week for me – yesterday, the Turn books arrived to ship out to backers after a bundle of effort, and today, I’ve launched Homunculus Assembly Line on Kickstarter, led by John W. Sheldon! John is my business partner at Daedalum AP and also did the art direction and some of the art on Turn, as well as the layout. We’re excited to get this project live and moving!
Homunculus Assembly Line is a really fun experimental zine project focused on RPG art that will include some RPG material written by yours truly and some written by John, and focus on several illustrations by skilled and fantastic artists in the RPG scene including Juan Ochoa, Evlyn Moreau, Sandy Jacobs-Tolle, Thomas Novosel, Alex Mayo, and John himself!
Tell
me a little about Eldritch Care Unit. What excites you about it?
The basic idea of Eldritch Care Unit is that you’re playing
a doctor, nurse, or something more occult like a ritualist or alchemist, who’s
working in the “Eldritch Care Unit” of a hospital. The ECU is a hidden wing in
most modern hospitals, where mostly mundane folks like the player characters do
their best to treat supernatural illnesses and ailments, whether the disease
itself is magical or it’s just infecting a magical creature; maybe Fae react
strangely to a certain strain of the flu, for instance. But, these hidden
sections still rely on typical hospital funding and bureaucracy, so you need to
try and maneuver the already insufficient and bureaucratic American medical
system to try and account for creatures that most of the world won’t
acknowledge even exist.
Eldritch Care Unit is my first “full” independently published game, which is itself exciting, and it’s an idea I came up with kind of at a weird whim while listening to other people talking about something entirely different (if I recall, they were talking about clerics healing people on a battlefield after a fight). What excites me most is the unique concept combined with the unique but fairly simple system I came up with for it, called the Adversarial System, which relies more on rolling to withstand external pressures than to see if you’re skilled enough.
This sounds fascinating! How do players mechanically interact with the game? What is gameplay like?
It’s
a fairly simple system. Essentially, characters have “training” in various
fields, which has a simple numerical rating, and said numerical rating is
almost always higher than the difficulty of the task that’s being done; for
example, your highest rating starts at 25 and the highest difficulty usually
used is 15. You then roll dice not to see how well you use that rating, but to
see how well you withstand any external pressures; instead of flat penalties,
they provide dice to an “Adversarial Dice Pool,” which is rolled to see how
much your rating gets penalized. For example, if you’re pitting your rating of
25 against a difficulty of 15, but are on a tight schedule and your patient’s
noncooperative, that might provide 2-3 (d6) dice to roll, so you need to roll a
10 or less on them to succeed. There’s ways to negate or lower those penalties
too, though, and other little permutations and optional rules, but for the most
part it comes down to that core mechanic.
As
for the core gameplay, it revolves around difficult patients. While your day to
day might involve some checks to continue long term care or check up on normal
patients, the interesting part that the game’s meant to focus on are those that
have some difficulty; either the ailment is unique and difficult to deal with,
the patient’s insurance is bad and you need to work around that, there’s a time
crunch before the disease really sets in, the hospital lacks the right
ingredients for a curative, or anything similar. It’s left largely to player
creativity at that point, to come up with ways to get around the problems, and
usually involves a series of different things they’ll need to get done, whether
working together or in parallel, depending on their time vs difficulty needs.
To
note, there’s no combat in the game. The system doesn’t even work particularly
well for it, as we don’t track health as anything more than maybe lingering
dice penalties (3d6 on manual tasks while your hand’s injured, etc). You COULD
make it work, but I don’t see many doctors and ritualists being thrown into
fights in a hospital.
What are the bounds of the fiction here? How weird does it get?
The fiction is pretty open. There’s some basic guidance on
how magic works, and how the supernatural exists within the world, but the
basic idea is that if there’s some folk tale, movie, or other story about a
given type of creature, it probably exists in some forms. Most of the time,
they integrate well into the modern world; think of how it happens in Men in
Black, but with supernatural creatures instead of aliens. They’re everywhere,
and most people don’t realize it. It’s less your typical “they stalk you in the
shadows” and more “they’re trying to figure out how to do their thing in a
modern world.”
The ECU itself isn’t the only “human” organization that knows about magic and the paranormal, of course; the book mentions that there’s government agencies, supernatural lawyers (never sign a demonic pact without one), and similar groups out there, but the ECU is the main focus of the game. Though, the nature of the Adversarial System would make it pretty easy to play some of those other sorts of groups too, with a bit of tweaking, if someone wanted.
How do you handle being respectful to potential human, real life people who might identify with the supernatural entities – allowing for safety tools, special guidance, or otherwise?
The
book makes it clear to avoid getting into too much detail unless you’re sure
your players will appreciate it, and despite the general motif of “Life isn’t
fair,” the general goal is that when the Player Characters are involved, things
will usually get fixed up. It inherently gives a bit of hope for even a broken
medical system, and focuses on the good people in that system. It’s something
I’ve found cathartic, as someone who’s been given the runaround by insurance
companies and hospitals
With
it being a small book, I didn’t include a lot of full writeups for tools beyond
that vague advice to make it a cooperative, positive experience, but I’m
personally a strong supporter of systems like X cards and other safety tools,
and definitely recommend them.
It’s awesome to have a game with no combat! What are a few exciting or compelling examples of experiences players have had with ECU?
In the one shot I’m running right now, the characters were
going about their day to day when a Dragon more or less barged its way into the
hospital, demanding treatment. Dragons are rare beings even in the open ended
sort of world involved in this game, so there’s a bit of excitement and stress
involved in making such a large, none-too-cooperative creature comfortable so
they can diagnose its diseased wing, especially since experts on dragon anatomy
aren’t really available.
And pity whomever ultimately has to ask them to pay the bill…
Hi all! I’ve got a quick interview today with Martin Lloyd about The Quest for the Dragon Crown, a campaign for Amazing Tales! Check it out below.
Illustrations by Iris Maertens.
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What is The Quest for the Dragon Crown, both as a
product and as your vision?
The Quest for the Dragon Crown is a campaign for Amazing
Tales, the RPG I wrote for kids aged four and up. Since Amazing Tales is a zero
prep game I wasn’t initially sure it needed adventures, but a lot of people
were asking so I thought I’d better write one.
I set out to write an adventure that would take people’s
games to the next level. So The Quest for the Dragon Crown tries to put in
place some of the things that you might not get in an improvised game. There’s
a plot that carries on through five separate adventures, there are riddles and
puzzles to solve – these are some of the hardest things to improvise.
I also wanted to give small players a big story. There’s a tendency
in games for kids to make the player characters children and give them ‘child
size’ challenges. That’s fine, but my experience of gaming with kids is that
they want to be mighty heroes and do big stuff. So the Quest for the Dragon
Crown plays into that – the heroes get to save a kingdom (two actually), fight
dragons and consort with kings and queens.
Finally, I wanted to bring some of the game into the real
world. Amazing Tales is very much a ‘theatre of the mind’ experience, but I
know lots of kids like to bring their toys into the game. Indeed there are even
people who create games simply by going on a journey from one side of their toy
strewn living room to the other, improvising encounters as they go. Anyway – I
loved the idea of the game becoming physical at various stages. I couldn’t
quite get my idea for a magic mirror to work (another time), but there is a cut
out and color in dragon crown, a color in map of the kingdom, and a multi-part
riddle that parents can cut out and prepare ahead of the game for their kids to
solve.
Now I’ve done one I’m pretty sure there are going to be more – and I’ll try and stick to these principles as I write them.
What are some of the unique challenges for designing for younger players that you have addressed with these new elements of the supplement like coloring and cut outs – how do those keep kids interested? It seems like an interesting design piece!
In
fairness I think there are plenty of adult gamers who would like things to cut
out and colour in too. There’s a DCC supplement that includes a maze for the
players to solve and that always goes down well.
The
challenge in designing for kids comes from two directions. The first is in the
need to keep things simple – kids want to know that they’re doing the right
thing. They’re not going to keep track of some extended sandbox environment
with a developing plot. So it’s important that every session has a clear start
point, a clear end point and a sense of achievement in between.
The
next is the challenge of designing for kids of different ages. There’s a huge
difference between a four year old and a ten year old in terms of how much
complexity they can handle. For a four year old you’re likely to run a game
that feels like Dora the Explorer. You’re given a mission. The mission is
repeated at regular intervals. When you accomplish something it’s repeated back
to you with a reminder of what’s coming next. That’s just how four year olds need
things structured if they’re goint to stick with something.
Ten
year olds will have much more agency, they’ll make plans and try to carry them
out, and make efforts to anticipate the consequences of their actions.
Give them too much guidance and they’ll start to feel contrained.
A
lot of how this gets dealt with is down to the GM. But it’s also important to
make sure that there are NPCs around who can lead the characters to the right
answer at each stage if needed. For players who want a bit more room Amazing
Tales has a strong improvisatory element and the Quest for the Dragon Crown has
plenty of moments where the heroes can go off and have a side adventure if they
want to. The plot will still be there when they get back.
I love the idea of riddles and puzzles, but they seem kinda…dicey. How do you design exciting and fun but still not too challenging riddles and puzzles?
I’m
hoping I’ve got this right. The main puzzle was finalised after playtesting so
we’ll see. Again the insurance policy is having NPCs around who can
guide the players through the puzzles if they need help. In this sense it’s not
too different for a parent than helping their child think their way through
other puzzles they might come across outside the game. The big puzzle is also
designed to take place inbetween sessions. One session wraps up with the heroes
acquiring everything they need to solve it, with the next starting once they’ve
cracked it, so there’s no risk of the game grinding to a halt if they get stuck.
I’ve got loads of ideas for future games though. There are loads of parenting websites packed with activities kids can do that can easily be incorporated into games. Lots of craft activities or basic science experiments that could be turned into magic. My daughter was learning about ciphers and codes at school , something that will definitely feature in future supplements. You can also just think about things kids might not have encountered before. One of the first puzzles I set my kids in a game just required them to be able to read grid coordinates. But since they’d never come across them before it seemed to make no sense. So they enlisted the help of an outside expert (Grandad) and five minutes later they had the answer and were feeling very proud of themselves.
Hi all! Today I have an interview with Brendan “Beej” Dery from Loading Ready Run about all of the amazing stuff Loading Ready Run does as a comedy troupe that touches on gaming and various geek media. Their community really impresses me, and I wanted to talk to someone in the leadership about the work they do and how they created the space. Check it out!
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An illustration of Beej.
For the uninitiated, what is Loading Ready Run (LRR) to you and what is your role within the organization? What makes you excited about LRR?
I’m Brendan “Beej” Dery and I work as the Business Manager for LoadingReadyRun. LoadingReadyRun is a comedy troupe that does all of their work on the Internet, focussing on sketches, streaming, podcasts, and playing video games and tabletop games, including a lot of time playing Magic: the Gathering. Working for LRR is still work, but it’s a lot of fun too.
As Business Manager, I spend my time working on managing our merchandise and taking care of office admin whatnot, but I also get to spend time acting in sketches or streaming games, so there’s more variety to my job than just sitting at a desk. What gets me excited about LRR is meeting people who enjoy what we do and seeing them in Twitch chat or in our Discord (http://discord.gg/lrr/), talking about the stuff we make, but also just interacting with each other in general. The fact that we’ve built – and are still building – such a great, supportive community of people makes me really proud to be a part of something so positive to so many people.
You seem to have a caring focus, ethically. As a group that’s run their shows for so long, how do you work towards maintaining high quality and variety while not burning yourselves to dust?
I think we keep ourselves honest by listening to each other and to our fans. Integrity is one of those things that you can cultivate for a long time, but lose it immediately. So we try to train ourselves to be better people. It’s not about “acting” a certain way, either. It’s easier to write comedy that doesn’t punch down when you have the kind of mindset that doesn’t punch down. That’s not to say we haven’t messed up before, or that we won’t mess up in the future. But I do think we do our best to acknowledge mistakes, listen to each other, and try to learn to be better.
We’ve also been making a ton of content for over fifteen years, so it’s not as if some of us haven’t felt burned out every so often. As the group has gotten bigger and taken on more projects, we’ve also been having regular meetings to plan our production and streaming schedules, to plan editing, and to write upcoming sketches and pre-recorded bits. That’s helped a lot, but we’ve also adopted a new rule – “Get to 80%” – at our last annual “take-stock” meeting. “Getting to 80%” means to limit the amount of projects we do, so that we’re operating at 80% of our maximum capacity. That way, when special projects pop up throughout the year, we’ll be able to do them (as opposed to missing great opportunities to do something fun or lucrative).
Like, Road Quest was a lot of fun, but it was also a lot of work, a lot of time spent, and a lot of money. And with all of the other projects we’re still working on, it’s taken longer to finish Road Quest than I think we’d like, and that’s meant having to do things like temporarily putting me on CheckPoint+ or putting Watch + Play on hiatus. Getting to 80% has helped inform some of our production scheduling and I think it’s going to get better and better for us as time goes on.
Experience and specialization has also helped a lot. Graham and Paul have been doing this for a long time, and over the years, they’ve trained new people to do some of their tasks. And that’s let everyone learn new things in their specialties to improve how we make stuff and entertain people. And as we get more experience, I think we’re getting better – and faster – at our jobs.
For those that make such decisions at LRR, how do you determine who to have on which shows, and how do you handle any problems that you encounter with personality conflicts, ethical concerns, and so on?
A lot of content is driven by the people that are interested in making it in the first place. We don’t assign people to do shows – people volunteer. We’re trying to change up the ensemble shows more and more (like AFK, The Long Game, or Friday Night Paper Fight), because we think the variety helps keep things more entertaining. When it comes to pre-recorded content like Friday Nights or commodoreHustle, that’s driven by the needs of the script or by how simple we need to make the filming process.
Like, we don’t have time to film more than a six-minute commodoreHustle during a LoadingReadyLIVE filming day, so it’s usually solved during the writing meeting that happened weeks before. Who hasn’t had an episode focus on their character yet, how are they getting into trouble, who else should be involved, etc. As far as streaming or other pre-record content goes, it’s like I’ve said previously – if someone wants to do a thing, we see if we can support it. Not all stream ideas will ever make it to air, and not all pre-record ideas are going to get filmed. But if an idea has a champion, it’s going to get a lot further.
We all like working with each other, but that also doesn’t mean there’s no conflict. It’s hard for me to address a question about personality conflicts, because I just straight-up don’t like having them. And I want to keep the focus of LRR on what we produce for people to enjoy. When it comes to solving conflicts between people, it’s down to Graham and Paul, largely, as they’re the co-presidents of the company. Same goes for ethical concerns – most of us in the office will become aware of a problem pretty fast and then we’ll end up talking about how we’re going to address it. We don’t always agree on how to handle things, but again, it’s a business and an organization and everyone wants our decision and our message to be unified, so that no one is confused about our position. We owe that to our audience.
What kind of content do you most enjoy bringing to streaming, whether it’s games or sketches or larger things like Road Quest, and how do you make the decision for what’s “good for TV,” so to speak?
I like making stuff that focuses on our strengths as entertainers – we’re funny, we’re positive, we’re doing our best. Road Quest was amazing but it’s not the kind of thing we can make all the time. Logistically, it requires a ton of planning and effort and funding just to get to Day 0, and then we have to start making the thing. And after that, there’s a lot of post-production, and that involves even more people. And the impact that a large project like Road Quest has on the rest of the production team is easy to see – reorganizing streams, allocating editing resources, etc. But I think it’s exactly the kind of content we want to bring to our fans. Road trip shows have been done before, but I think us doing the road trip show brings that kind of “surprise and delight” that we hope keeps everyone entertained.
Overall, I’m happy that we’ve been able to split our production into a wider variety of things. In the early days – when I was just an actor coming in on weekends – I wasn’t sure how all-year streaming was going to benefit us, but looking at it now, it’s clear that providing the variety has allowed us to attract more people to work with LRR and let us have a lot more immediate fun with our audience. And I think that’s what helps us decide what’s good for TV: is this going to be interesting or fun for us to make, and do we think that the majority of our fans are going to respond positively to it. And then after that, can we afford the money to make this, and can we afford the man-hours to make it. We’re still a business and we still want our employees to be able to make rent every month.
You may be best known for your charity event, Desert Bus for Hope, which is an annual playthrough of the Desert Bus video game for the Child’s Play charity. It seems like a real logistical challenge! What has kept you coming back to this event every year, and what does the planning entail for each of you? How do you keep safety in mind?
In order to answer this question properly, I’d have to go into a ton of detail about different departments and the number of planning meetings we have and managing a project that’s grown to involve fifty people on-site, as well as multiple people from around the world making contributions in other less visible ways.
So instead, forgive me for answering it purely from my perspective and involvement. I started doing Desert Bus for Hope during DBfH 5, and I showed up because I knew LRR and I wanted to be up there, performing for people and having fun. The charity aspect didn’t enter my mind. These days, I’m the de facto Zeta Shift producer, meaning that I take my job of getting Desert Bus from midnight to 06:00 very seriously – and I do that by trying to not to care too deeply about it. There’s a “screw-it-let’s-do-it-live” aspect to DBfH that I’ve always loved and if we ever lost that, I’d probably be done. So I try to bring that sense to the Zeta Shift by prepping only a few things, but mostly just seeing where it goes. It’s fun to come in at the start of the week and see “$0.00” and then see “$700,000” at the end of the week and just marvel that so many people came together to raise that money in exchange for a week of sleepless broadcasting. That’s pretty amazing.
Everyone else has different feelings about DBfH and I’m glad they do. It means that everyone found a piece of the show that they love and want to preserve, and I think it means that the bus is always going to keep running.
As for safety? There’s enough people on-site that safety is critical. We tape our cables to the floor, we leave as much room as we can to move around the equipment, we have food volunteers that do their best to adhere to FoodSafe guidelines. We also try to look for volunteers who have first aid training or better – we’ve even had off-duty paramedics on-staff before. While we mess around on camera, the audience doesn’t want to see any of us choke or break a bone. So it’s very important for us to be as safe as possible.
What are the tools and decision-making you consider essential as a streamer and a performing professional in games that you would recommend others ensure they have before starting streaming on their own?
The most important tools are also good life advice:
Grow a thicker skin.
Get a good emotional support system.
Breathe.
Your time may not be worth that e-mail in your inbox.
We lucked out when we started because we had already built a good community from our sketch comedy videos and from Desert Bus for Hope. So don’t tie your hopes and dreams of streaming fame to what we did – we had to make videos for over ten years and also engage with our audience in our forum and try to build things that would keep that relationship growing. Unless you have done some amazing stuff already, you are not going to step into an instant audience.
But when you are getting started, you will have to hustle. You’ll probably need a day job, or a partner with a day job. You’ll need to project integrity and confidence – and that doesn’t mean you’re not allowed to change your mind about things, but you’ll need to show your audience that you’re trying to do the right thing and that you’ll willing to admit when you’re wrong. And that might also mean not taking every opportunity that comes into your inbox because it’s a quick $200. Or maybe it’ll mean that you need to take it to make rent, and you let your audience know what’s up about that.
Being a streamer or influencer or social media whatever is a rough gig these days. Not everyone can do it. And it’s not an easy ride. But whatever you do, be honest to yourself about what you want to do and why you want to do it. Play the games you want, host the streams you want, talk about the subjects you want. Don’t pander to your audience, but don’t ignore them either. Be willing to put in the work to push your career forward, but also – and this is really hard – be ready to recognize if it’s not working out. Maybe you can pivot to a different kind of stream. Maybe you’ll need to find partners to stream with. Maybe you’ll need to stop altogether.
I believe firmly in leading in place and skills transfer, and it seems like LRR does too! How do you each act as leaders in your own roles at LRR, and how do you handle skills transfer with the team?
This is kind of a difficult question, actually. With hiring so many people, we’ve been trying to provide training and also write documentation so that we can have processes and procedures to refer back to, if employees have questions about e.g. running tech on a podcast, or what style guidelines we use for our videos.
This is new territory for us, because LoadingReadyRun hasn’t had to do this before. With the amount of work we’re already doing, finding time to document what we do is really hard. BUT! We have recognized that it’s important and we’re trying to find ways to do it.
We’ve also established more people in specific roles. Graham and Paul are both co-Presidents of Bionic Trousers Media Inc – our operating company. James acts as our scheduler and producer for the bulk of our shows. Kathleen is our Managing Editor and also performs the vast majority of our writing. And I’m the business manager, meaning my eye is on the bottom line (and also on merchandise development).
Everyone is trying to involve team members with more projects and teach them more skills, but given the nature of our office and how we do business, we don’t do things like seminars or group teaching. The most instruction you would get was by working on-the-job – here’s how you hold a boom correctly, here’s how you operate the camera, here’s how we use J-cuts when editing, etc. I’m hoping that developing some documentation will help make training easier for both the trainers and the employees.
We absolutely have a long way to go, but I’m optimistic that we’ll get there – especially if we can get to 80% first.
Tell me a little about Hit the Streets: Defend the Block. What excites you about it?
Hit the Streets: Defend the Block (HtS:DtB) is a tabletop RPG about street-level supers. A game series of Hts:DtB will have the entire group working together to make up their team of Super-Powered Beings, drawing out a simple map of the neighborhood where they live and work, and dreaming up their rivals and threats to their neighborhood.
What excites me about HtS:DtB is how well it plays at the table, allowing players to exist in the space of shows like Luke Cage and Daredevil, or to tell stories like you might read in Spiderman or Spider Gwen comics. I also love how the game pushes characters to expend or lose their Spark, a resource similar to Hit Points that represents their will to struggle and fight the good fight. That loss of Spark then sets up scenes where those characters have to regain that resource by doing positive things for the community or forging tighter bonds with their team. It has such a nice flow of emotional scenes to action and conflict and back again.
Nice! How did you find the right vibe for the game, considering how widely superheroes are interpreted in different mediums and styles? What is the right style for Hit the Streets?
Hit the Streets: Defend the Block came from a need for something that would fit in a new living campaign that I began with Lowell Francis and Jim Crocker this year called Gauntlet Comics, which is for the Gauntlet community (https://www.gauntlet-rpg.com/ ) as you’d suspect. See, I pitched them the concept of a shared GM setting called New Gauntlet City where each of us, and other GMs who wanted to join in, would run games set in this comic book universe. We have a city map with only a few neighborhoods defined, and we’ve been adding neighborhoods and characters to the map and wiki as we play. New GMs have jumped in, like Alexi Sargeant and Chris Newton, it’s been a real blast to see the world evolve, to create new characters and see different players’ spin on them.
Of
course, there’s lots of Masks: A New Generation happening in Gauntlet
Comics and I’ve loved those games, but I like to run a different RPG system
each month for this series. Last October as I prepared for Gauntlet Comics, I
sat down and pored over the hundreds of Supers RPGs that I have on PDF and
created a list of “Want to GM” games. When I looked over the games on
my list, I didn’t see anything that would work in a single neighborhood, that
would deal with smaller scope problems that I saw on shows like Luke Cage‘s
Harlem or Daredevil’s Hell’s Kitchen on Netflix, or Black Lightning‘s
Freeland on the CW. I’d tried out the RPG Icons, which had most of
what I wanted, but it was a bit heavy of a system for my tastes.
I’d been running an RPG: 1%er – The Outlaw Biker Game, from Creepy Doll Studios (a.k.a. Robert Nolan) for a couple of years for the Gauntlet and loved the sessions we’d had. I even hacked it for Star Wars and called it 1%er Swoop Gang (Kark yeah!) and it was so thrilling and fun to run and play. There was this yummy mix of thrilling action and connection between the characters and their community that I enjoyed. I started wondering if this simple but clever d6-based system would be the right chassis for a street-level supers game.
I started calling it 1%er Supers and put it on the Gauntlet calendar. Playtested an early version in November and December of last year, and it was solid. It needed some more bits, like a neighborhood-creation system as well as a few rules tweaks, but the vibe was spot on. Eventually, I renamed 1%er Supers to Hit the Streets: Defend the Block (hat tips to Patrick Knowles and Alex Prinz for that name) That vibe, to finally answer your question, is a bare knuckles game where the Super-Powered Beings (I don’t call them superheroes) have day jobs, they have connections to people in their neighborhood, and they have to fight to keep the people they love safe.
They can’t just topple an alien invasion and walk away from the wreckage. They’d have to LIVE in the wreckage. Hit the Streets: Defend the Block characters have to make choices about how to deal with threats to their neighborhood, and punching it isn’t always the best answer. Of course, it’s comics, so punching is the best answer sometimes. Usually once per game session. But the fights in HtS:DtB are super quick, often one or two die rolls, then it’s dealing with the aftermath.
Tell me more about Spark and how it interacts with other mechanical bits. What are the core mechanics of the game like? Do different players use it differently?
Spark is the “killer app” of Hit the Streets: Defend the Block. It’s a reskin of a mechanic in 1%er – The Outlaw Biker Game. Your Spark represents your character’s will to fight. It’s the strength of their body as well as their mental resolve. You can spend Spark to add dice to an important roll. You can throw a Spark to another player to help them on a roll of their own. But you have to keep a close eye on that Spark because in big conflicts, the hits that your character takes reduce your Spark.
When you run out, your character is “out of the crime-fighting game”. Maybe they’re in the hospital. They might be locked up in jail. Perhaps, they’re dead (that’s up to the player). They aren’t out of the game if the player wants to bring them back in, but you have to regain their Spark somehow.
How do you do it? Help to rebuild your community with works of charity or help to fight crime as a regular everyday citizen. Or you can call upon your team, the other player characters, and bond with them, share what’s important, ask for their help, or tell them how they’re important and how they make the world better, worth fighting for. Once you regain some Spark, you can don the mask and get out there again!
How do you support players in engaging with things that could be difficult to address like threats to home and family and trauma?
When
I started writing Hit the Streets: Defend the Block, I made a decision to have
it reflect the ways I most enjoy gaming, which is with an engaged and safe
group of friends. To that end, the book starts with an excellent discussion of
the X Card safety tool written by my late friend Paul Edson who was also my
developmental editor. The game stresses that the safety tool is only part of
the process, that each participant needs to look out for their fellow players,
check in, and proceed with best intentions while remaining aware that we are
here to have fun.
The
GM section covers Roses and Thorns, my feedback tool of choice. This is another
powerful tool to ensure safety, giving voice to players after a session on
areas of the game that may have been sketchy. Of course, my preference is the
use of the X Card up front, but a Thorn that mentions the content is a nice
fail-safe.
One
important factor to Hts:DtB is that it isn’t supposed to be a grind of a game.
There are lighter moments in the game with Refresh scenes where the player
characters take the opportunity to perform charity work to improve their
neighborhood and help out their neighbors. Also, there are bonding scenes where
player characters strengthen their connection to one another to lift themselves
up to continue the fight.
What are some of the threats these superpowered characters encounter in their experiences, and how does it go down mechanically with some different threats?
During the first session, the
playgroup works together to not only draw out their neighborhood, but they talk
about the threats to their home, whether it’s financial, corruption, or
otherwise. Then, they create a group of Rivals, these are GM-played characters
(GMCs) who are opposed to the player characters. They aren’t black and white
villains, they are rivals. Sometimes they seem villainous to the
players, but the GM should ensure they have a motivation. Also, the rivalry is
messy. At least one player character has a personal relationship of some kind
with a member of the rival team, the rivals have something the PCs lack, and
the PCs have some way to thwart their rivals when they need it. That sets up a
nice opposition between the team and the world.
Mechanically, your characters will
face down threats and conflicts by declaring their intention, then they look
through their character’s details to pull from different areas, like the mode
of their approach, the stat they’re leaning on, if they’re fulfilling their
team role, what powers, if any, are in play, then adding in Spark from their
own pool or from anyone who’s trying to help. That builds their die pool of
six-sided dice that they roll against a GM declared difficulty. In most
conflicts, it’s a single roll to bring things to a resolution. The system is
quick and has a nice bite when things are on the line.
Along with the regular approach to
a challenge, the GM has some neat little tools to play with that difficulty to
amp up conflicts. They can set two difficulties for a challenge. The first is a
lower, “get it done” target number. The second is a higher difficulty
with an even more comprehensive victory or with adding benefits (something
as simple as “you’ll look awesome doing it” or something more tangible like
“and they won’t be able to fix their security system any time soon”). That gives the player a bit of a
tactical risk-reward decision to make as they build their die pool. It’s really
fun to see folks consider how much to push towards the big win.
Last, but not least, is the Big
Threat or Big Bad. This how HtS:DtB models a conflict with a major foe or an
extended stressful conflict (like a large fire burning down the block, a
torrential rainstorm, open warfare between gangs on the streets, whatever is
most interesting to the group). The GM sets a Total Threat Difficulty, a very
high target number. Any player who decides to have their character tackle the
threat can slowly winnow it down, but as long as that threat still has muscle
(the total number of successes needed hasn’t been met or exceeded), each attempt
is at best a mixed success and things will continue to escalate. The Total
Threat Difficulty often ends up with player characters in dire straights, hurt,
and paying the price for their victories, which then leads to Refresh scenes
where they work back up their Spark. It’s a lovely cycle of play.
Tell me about Magical Kitties Saves the Day. What excites you about it?
What has me truly excited about Magical KittiesSave the Day is how much fun everyone has during our playtests. People are enthusiastic
about trying the game. People are even more enthusiastic to try it again. As a
game master, that kind of enthusiasm is infectious. And the world of Magical
Kitties, based around just a few core principles, so endlessly varied and
effortlessly rewarding to create in: Your magical kitties can be in your
hometown. Or in the Old West. Or fighting aliens. Or living in a Martian
colony. Or, really, anywhere.
Let me back up. In Magical Kitties everybody plays a kitty with a unique supernatural power. Every kitty has human. (Some humans believe that they own the kitties, but that’s clearly ridiculous.) Every human has a Problem. The kitties need to use their powers to solve their humans’ problems and save the day! On top of that, every hometown has Troubles. Troubles can be almost anything: Witches. Aliens. Hyper-intelligent raccoons. To run an adventure, all the GM has to do is take a Trouble and point it at a Problem. As the Trouble makes the Problem worse, the kitties have to fly into action! (Often literally.)
How do players create their human
characters and kitties?
You can either very deliberately craft your
kitty or you can use the random character generators to discover your kitty.
Either way, character creation is very fast, so it’s more about whether you
have a specific vision or if you want to be surprised and challenged. You can
also mix-and-match the approaches: Maybe you care a lot about what your kitty’s
Magical Power is, but want to randomly generate your kitty’s Talent and Flaw
and then figure out what your kitty’s personality is from that. You can do
that!
Kitty’s attributes: They are Cute, Cunning, and Fierce. They also have
Talents and Flaws, describing what they are particularly good at (being a
talented actor or a keen sense of hearing) and also what gets them into trouble
(like having a big mouth or being a scaredy cat). And, of course, they also
each have a cool Magical Power — invisibility, telekinesis, technopathy, frost
breath.
When it comes to humans, the most important thing is their Problem. Again,
players are empowered to customize their own Problems. But we also include a generator
that combines an emotion — like sad, angry, scared — with a source, things
like money, illness, family, friends, work/school, and so forth. This is
ultimately a creative seed, and so you need to make it specific to your human
(and your kitty).
So if a human is scared about money, for example, that might mean they’ve
fallen behind on their mortgage payments and they don’t know what to do. Or
maybe they owe money to dangerous monsters. If they’re angry about money, on
the other hand, then maybe someone has stolen something from them and they’re
furious about it.
What’s the mechanical structure of Magical Kitties Save the
Day, especially in regards to dealing with Troubles and Problems?
The core mechanic of Magical Kitties is a streamlined dice pool system that effortlessly creates degrees of success:
Failure
Success, but…
Success
Success, and…
Super success!
Each degree has some generic structure to outcomes. For example, on a Success,
but… the kitty will succeed, but also:
A foe uses its reaction.
You suffer an Owie.
You get into a sticky situation.
You are unable to act for some time.
You have one fewer die in your next pool.
The GM forces your flaw.
Something else that’s creative.
By moving beyond a simply binary of success and failure, the game inherently
encourages both game masters and players to engage deeply with the outcome of
any action resolution. Young players, in particular, get really engaged by the
results.
Problems have a Severity and Troubles have an Intensity. Both measure how difficulty it is to solve or overcome them. As Problems and Troubles are resolved, the story of your magical kitties will slowly come to an end… or you can have new Trouble come to town.
This sounds like a really lighthearted
game, but I admit some of the Problems you mentioned hit nerves for me as a
player. How are you supporting players in encountering topics that might be a
little bit, uh, Problematic?
One of the reasons we’ve embraced the Source
+ Emotion method of generating problems is that it isn’t providing
specific problems. That specific problem is still coming from the player. If
you ask a six-year-old what “money + sad” or “friends +
angry” means, you won’t get the same kinds of problems you will if you ask
a twelve-year-old or twenty-four-year old that question.And since we’re
not pushing a specific problem into the playing space, the players generally
self-control for what they’re comfortable exploring through play without even
really thinking about it.
Magical Kitties is framed as an all-ages
game. What have you done to make the game approachable for people of different
ages, backgrounds, and abilities?
In working on Magical Kitties I’ve
personally done a lot of research into age-appropriate cognition. The results
are frequently surprising! For example, character creation uses
d6-as-percentile tables. I initially thought that might be a difficult concept
for our target age range and was looking at alternatives, but it turns out that
specific exercise if used in Grade 2 curriculums.
Our creative team for Magical Kitties is already diverse, and making it even more diverse as we bring more creators
onboard is a priority for me. Bringing all of these different viewpoints into
the Magical Kitties universe is making that universe bigger and more
exciting in every way possible. If there’s one thing we’ve discovered, it’s
that the love of kitties is about as universal as you can get! Kitties and the
people who love them can be found everywhere.
I also believe that Magical Kitties can be an opportunity for people who have never played a roleplaying game
before to discover a whole new hobby. We think reaching out to all-new
audiences is really important in terms of making sure that all voices get to be
part of our conversation. To that end, Magical Kitties includes a lot of
tools for new players: There’ll be a solo play scenario, for example, so that
within literally moments of cracking open the box you can start playing the
game for the first time. And there’ll be a My First Adventure book for
first-time GMs, taking them step-by-step through running their first scenario.
Tell me a little about Red Carnations on a Black Grave. What excites you about it?
Red Carnations on a Black Grave is a freeform rpg about the Paris Commune, a brief but intense socialist revolution in 1871. For ten weeks radicals, socialists, and the working class controlled the greatest capital in Europe–until the French army arrived and brutally put down the “rebellion.”
The game explores the lives of 12 characters caught up in this intense moment in history, exploring their personal lives and relationships against a backdrop of a doomed resistance.
I came accidentally to this moment in history and then became fascinated by it. The Paris Commune is not well known, and I’m delighted to bring this crucial moment in the history of revolutionary struggle to more prominence. As a designer, it succeeds pretty well in capturing the kind of drama-infused and emotional play that I love to bring to the table.
The creator, Catherine Ramen.
What kind of research did you have to do to write the game and capture this experience?
It started when I picked up, more or less by chance, a copy
of Mary and Bryan Talbot’s graphic novel The Red Virgin and the Vision of
Utopia which is about the socialist and anarchist activist Louise
Michel (who is a playable character in the game). I’d never learned much about
the Paris Commune before this time, but I had been looking at maybe doing some
kind of French Revolutionary-themed game. The Commune is much later than the
original revolution, but it quickly became a source of deep interest to me.
I read several works in English (John Merriman’s Massacre:
The Life and Death of the Paris Commune is an excellent overview and
introduction), mostly on the academic side of things, with a focus on the experience
of women in the Commune, but also some primary sources written by the
participants in the Commune. My French isn’t terrible, so I was also able to
read some of the primary accounts of the Commune in French–this was the only
place I could find anything in depth about Joséphine Marchais, for example,
even though I mostly left that information off of her card in the game.
The one thing I think that really helped was to look at some
of the many, many posters the Commune government issued during its brief life.
I used those as a source for the Inspiration cards in the game–these are cards
that contain a historical event or situation and some sense impressions; it’s a
good way to get some historical information into the game without overwhelming
the players. About 90% of those cards are based on actual posters I
found.
Who are the people in this story? How do you think modern players can relate to them?
Right now there are twelve base characters in the game, plus
a thirteenth optional character we were able to add thanks to hitting a stretch
goal; we’re also going to have some more optional characters become available
if we hit other funding goals.
The characters are a mix of historical people and plausibly
historical characters. There’s Louise Michel, who was a badass (and a
pain in the ass) all her long public life; Joséphine Marchais, one of
three women to be sentenced to death for arson after the fall of the
Commune (the sentence was commuted). There are two families, the Marchandons with
a former political prisoner and a young widow among them, and the family of Amanda
Mercier a single mother and sex worker. She is in an explicitly queer
relationship with Lodoïska Caweska, another historical figure who
was often described as an “Amazon” and wore a uniform and carried
pistols; in the game she’s a veteran of the failed Polish revolution of 1864. I
wanted to make sure that the community of Montmartre (where the game is set)
was vibrant and diverse–as it was in reality; plus I wanted to make sure there
was representation from France’s imperialist ventures: so we have Dominique
Rousseau, a physician from Martinique who got her MD in the United
States, and Tariq Tannoudji, an Algerian light cavalryman who stayed in
France after the war against the Prussians. (Algeria went into revolt during
the period of the Commune, and was repressed pretty brutally as well.)
These are characters mostly living on the edge of society and of poverty, with a political system that is unresponsive to their needs and wants and voices that are not heard over the shouts of the rich. This is unfortunately probably relatable to a lot of people right now! Certainly as a queer designer I often find my anxieties about my future and my place in society are a pathway into these characters’ lives.
But also: one of the things I do when facilitating the game is to remind the players that while the game is often intensely political, those politics will emerge from the situation and the various historical inputs into the game. The best games of Red Carnations on a Black Grave in my experience have been the games when people focus first on their relationships, rivalries, hopes, and fears, and let those flow into the situation formed by the historical events. I mean, I don’t know how to play a revolutionary socialist in 19th century France, and I actually did the research! But I do have some thoughts on how to play a queer person caught up in a tangled love triangle, or an artist afraid of never having her voice heard, or someone trying to figure out how to keep food on the table. In that way I think most players can find a way to understand and relate to their characters.
What decisions did you have to make in design to encourage the complicated relationships and drama you want to see?
I have a story about that! When
I first started designing the game, I knew the characters were going to be the
most important part of the game so all my early work was concentrated on trying
to come up with plausible candidates and thinking about how they related. I
knew I wanted Louise Michel; I found references to Lodoiska Caweska in several
sources and she seemed too interesting to pass up, as was Josephine Marchais.
Beyond them I had plans for a physician, a priest, etc. Around October of 2017
I thought I had my final cut ready.
Then I went and saw Peter Watkins’ film La Commune (1871). It’s an
amazing and powerful movie, five and half hours long and in French, filmed on a
soundstage with over 200 actors, most of whom weren’t professionals; I highly
recommend it even with its eccentricities (for example, there’s ahistorical
television stations broadcasting from both Versailles and the Commune) and
after I got home at 2 AM I realized I had to tear up a lot of what i had
started and ground all the characters in the working class.
The other main change came after the early playtests. I
originally had several questions for each character printed on their cards; but
I quickly realized this was too limiting. One of the earliest rules changes was
to create a small deck of questions that the players would randomly draw. These
are pretty provocative and leading questions, and answering them fills out the
deliberately skeletal relationships between the characters. It also really
increases replayability as the setup will change every time the game is
run–and there are a lot of ways to answer the questions and use them. At one
recent game at Dexcon, one of the players leaned so hard into Marie having been
a police informant that she remained a spy for the Versailles government,
challenging her father’s beliefs and causing havoc to everyone around her. I’d
never seen that in a game before!
How do you support players emotionally and safely in such an intense emotional environment that also deals with difficult political issues?
There are safety tools mandated in the game; right now these
are the XCard, Open Door, and Lines and Veils, but I’m exploring the
incorporation of other tools. I’ve also asked Jonaya Kemper to help create some
exercises to deal with traumas that emerge from the game and do de-roleing
after it ends.
This goes back to asking players not to concentrate on the politics of the game
when framing scenes–the game is suffused with political content and doesn’t
paint the Commune with utopian colors (although the game is of course very
sympathetic to its cause). This helps I think ground players and distance them
a little bit from the grinding, mechanistic tragedy that will overwhelm their
characters.
This is an area that is going to continue to be worked on as we finish
development on the game; I’ve had games of Red Carnations that were extremely
cathartic and games that were extremely emotionally draining. I’m very invested
in making sure that this experience is emotionally deep but also safe for
everyone to enjoy as much as possible.
