Containment and Categorization of Emotions & Memories
by Beau Jágr Sheldon, 2023
In the green and overgrown hills and valleys, there are a series of caverns beneath the ground. Many years ago, these caverns were carved out and made into a secure storage location. Inside, there are full size locations with marble stairwells and arches, document archives, even some legendary vaults with highly desired media within. In this ritual, you are now the owner of this colloquially-called Arn Mountain and within it, you can store all of your memories, emotions, and experiences in whatever form you deem appropriate.
You can traverse it in your golf cart, stopping at each location as you need, and take things out or put things inside the various safes, secure locations, or display shelves. When you’re done inside, you can exit the facility, locking the door behind you physically and electronically. The facility is huge, and even if you recorded every moment of your life, you would never run out of space for each record, and it is almost as if the space expands as you need it to hold what you must.
This location is one of the most seismically and natural-disaster secure locations in the entirety of North America. No outside force will interfere with what you put inside the mountain. It will not be shaken, broken, burned, or invaded, and is truly a safe place. No one else can enter it without your permission, and you can revoke access to it for anyone, at any time. Because of this, you have complete power over the mountain, and can go into it whenever you wish, or keep it locked and protected when you prefer.
For this ritual, you will either describe or conceptualize Arn Mountain, identify how you will store some of your memories and emotions within the mountain, and you will also identify some key items you keep in the Glass Globes protected inside the mountain.
The lines after each prompt can be used as pacing, with a breath in or out for each line, when read aloud. The headers are guidance for completing this as a written, nonverbal prompt, and do not need to be read aloud.
This is bleak, to a degree, and will discuss: the COVID-19 pandemic, mental & physical illness & disability, politics, nihilism, financial details and sales, and community-related trauma (perpetrators of harm, business ethics). However, I want to be transparent about my motivations for leaving the capitalistic, financially relevant industry of games and my step back from the community around it.
This is bleak, to a degree, and will discuss: the COVID-19 pandemic, mental & physical illness & disability, politics, nihilism, financial details and sales, and community-related trauma (perpetrators of harm, business ethics). However, I want to be transparent about my motivations for leaving the capitalistic, financially relevant industry of games and my step back from the community around it.
by Beau Jágr Sheldon, 2021
The State of It All
The world, contrary to some song lyrics, is not a vampire. It is a wasteland we have made ourselves. The world is not sucking blood from us, we have instead reaped as much as we like and never sown anything not dripping with toxic waste or colonial intention. The “we” here is obviously largely white, largely capitalist, and disturbingly fascist even if we struggle to fight against it.
The past US presidential term, this US presidential term, & the pandemic have shown me, a disabled, queer, trans, nonbinary, neurodivergent, mentally ill person, that most people do not care if I live or die. They do not care if I struggle or stress. They don’t care if I have healthcare, a safe home, a functioning set of lungs, or food to eat. Not just me, but anyone who is marginalized, and especially Black people, people of color, and indigenous people.
As someone who grew up conservative, I had grown to know that people who were different were treated badly and weren’t respected. What really shocked me in the past several years is that even protecting the whole of humanity doesn’t matter to so many people, even protecting themselves doesn’t matter, so long as the status quo is maintained, money is made for those with the most of it, and white supremacy maintains its stranglehold. Conspiracies, lies, and harm that I had seen in many small ways was clearly on a much larger scale – alongside the rising anti-trans sentiment, constant violence against Black people by police & civilians, anti-Indigenous action including violence and neglect, the handling of immigration & refugees, anti-vaccination movements, pushes against fair labor practices within organizations, and rampant sexual harassment and assault are just the endless nightmare of the world we live in. Oh, also our oceans have literally been on fire, along with endless acres of land.
I’ve talked before about my personal state – mental health struggles, physical disability, having to basically give up my career plans after spending tens of thousands of dollars on school, being repeatedly affected by the actions of perpetrators of harm, & unfair pay. I have fucked up myself – between my health making it hard to fulfill project promises at times, my struggles to communicate & my loss of function during illness resulting in offense or misunderstanding, plus inability to cope with technological issues & cognitive struggles resulting in miscommunication or missed opportunities. No matter how much I want to be doing well, even with therapy, attempts to apologize or account for my errors, medication & treatment, I can’t exist in the world like I want to, because of who and how I am, and because of how the world really is.
by Beau Jágr Sheldon, 2021.
You might ask, what the fuck does this have to do with games?
Let me be clear, it has fucking everything to do with games.
Game design is a creative space for me, and when I am feeling like shit, and constantly living in fear, exhaustion, pain, and shame, I can’t do creative stuff like I want to. It’s so hard to survive in this world, especially when I know that to be successful, not only do I have to navigate all of the predatory behavior & bad business ethics that are just painfully rampant in games, but I also have to put on a façade that hides everything I’m struggling with, try to avoid offending or annoying any of the people with actual power and influence in the industry, AND figure out how to magic up energy to be constantly promoting, constantly looking for more work, while constantly trying to improve all of my skills (and develop new ones, which is super challenging for me now).
And like, yes, every fucking game designer or artist or freelancer lives this shit. The challenges for some of them are far greater than me, for others it’s not as much. It’s very exhausting and stressful and the financial & success disparity between the larger companies (many of which engage in practices or business decisions I disagree with & do harm to the industry and gamers in general) and small creators is a slap in the face, especially when I see a lot of smaller creators who end up either needing to or feeling like they need to just suck it up and suck up to try to get a single fucking scrap of that success. It’s not fair to them and it’s unnecessarily beneficial to those up top.
Everyone in this industry also gets the constant threat of harassment, constant battles of social media & internet debate and discourse, and that ever so exciting commentary about how indie games are so overpriced while people drool over luxury sets of hardcover books filled with shoddy photomanips or prejudice laced narratives, sometimes both, maybe with some extra “this can’t be shipped until after the cardboard shortage” components. When so many designers I know are literally just trying to afford a fucking meal, it is vile to watch, and I have lost the capacity to fight it actively and to watch my colleagues suffer deeply while I’m also struggling.
I have had some boons in the past year – my spouse has a slightly better job, I found a way to exchange some work to help afford massively helpful medical treatment, & I have avoided direct COVID impact (I lost my grandmother, and my dad got COVID, but we’ve been lucky). We’ve still had a lot of health & wellbeing issues (for all three in my polycule), repeated issues with our ancient house, and everything feels constantly delicate – like even the slightest thing that goes wrong will destroy everything, because there is no support, there is no infrastructure, and I can’t even keep up with design work or work a regular job to help contribute. It’s exhausting and terrifying.
by Beau Jágr Sheldon, 2021.
The Plan
Next year, my goal is to not work towards capitalism. While I will continue my work at the resin shop I help at, & I have some small admin type tasks I do, any creative work I do will not be targeted towards sales or income.
I am extremely aware that this is a privileged choice, but I also am aware that even with all of my disabilities & mental illnesses, I can’t get on disability, and I also can’t fucking work reliably. I’d still like to try to build skills, continue my recovery (recoveries, really), and do creative work, even if I can’t contribute to society or my household in any meaningful way. I’d like to find even a scrap of joy in daily life, or in my activities. Trying to market my work, which is necessary to make sales, or market myself, which is necessary to get hired, feels hopeless, exhausting, and hasn’t succeeded much so far.
The things I hope I get to work on?
I still want to do game design, I have some projects that I’ve been slowly working on but too exhausted to engage with deeply. Carheart Nosferatu, some Script Change stuff, I dunno. We’ll see, but it’s on the list.
I am doing some more hands-on work, like drawing, painting, and making miniature diorama type stuff, as well as working in the shop. I’m hoping to get better at them! I built a fairy house that I’m planning to gift to friends, but want to make more! Plus I miss sculpting a lot.
I want to work more actively on my photography, doing more boudoir shoots for the kind of people who don’t normally get that kind of opportunity but absolutely deserve it, plus more nature photography, and maybe trying some video work. I even have some ideas for some Leading with Class video work, which would be amazing to get back to.
All of this with hopefully less time being absorbed in stressful online conversations, less paranoia & anxiety about who to trust or whether I’m fully understanding complex conversations or whether I’m failing to communicate effectively (and my career depending on it), and hopefully a lot more time to spend with my partners.
A Reflection on Financials
I wanted to just have a bit here to give context to what I’ve actually been earning in games, because that is very relevant to the weighing of scales I’ve done leading to the decision to step back. I’m going to share some data in text, plus some in screenshots in slideshows that I hope will actually work.
The first thing is my sales on DriveThruRPG. I didn’t download this year’s data in part because it’s, uh, kind of painful to look at, but from our tax downloads last year, I calculated that all of my games resulted in me receiving a $40.09 payout for 2020 (around $300 in sales went to The Trevor Project directly for sales of Of the Woods, over 30 copies), with 3 sales of Turn/Towns Like Ours and one of Let Me Take a Selfie. I will likely be putting up my upcoming Turn supplement on DTRPG (with work from Fabby Garza and Jan Martin, among all the results of the Kickstarter rewards like new towns & archetypes), intended to be a charitable project donating to an Indigenous charity, and DTRPG is so far the only place I know that can donate directly instead of me having to juggle it. That’s the biggest value for me.
For all of my sales at Indie Press Revolution to date, I have had a total of $1173 in sales (that’s gross, I think). That was around 60 copies of Turn, and one copy of Behind the Masc. I am very grateful to be able to distribute through them, and for all of the promotion IPR has done on my behalf, so I’ll still be keeping my print copies & bigger project PDFs there.
Finally, my itch.io sales, which are… a mixed bag. Script Change does pretty well, but that’s most of it, and I’ll let the screenshots here do some of the work. I’ve included screenshots of my payouts, each game or product I’ve released with its dashboard showing the graphs for the longest period of time I could of views/downloads/etc., and all the bundles I participated in (all but the BBC Bundle, the Queer Games Bundle, the Epimas bundles, the One-Shot Megabundle, and the Disabled Designers bundles are charity bundles I did not receive funds from), plus sales, payments, etc. over the past year..
All of Beau’s payouts for itch.io.
Totals for all products on Beau’s itch.io.
2021 Monthly gross revenue.
2021 payments.
Downloads and views for Beau’s itch.io.
All of the bundles Beau has been in.
Dashboard stats for Beep.
Dashboard stats for Behind the Masc.
Dashboard stats for Behrend Bernhard, Esq.
Dashboard stats for Your being dumped by your catgirl girlfriend
Dashboard graphs for Dice4Dad.
Dashboard graphs for Ears are Burning.
Dashboard graphs for Gonna Make You Nut.
Dashboard stats for The Handshake.
Dashboard stats for In Other Lives.
The Let Me Take a Selfie dashboard stats.
The I love you and I adore you dashboard stats.
The Man and The Stag dashboard stats.
The Millennial Tragedy is Basically a Comedy dashboard stats.
The I Have No Mouth and I Must Scream dashboard stats.
The Script Change RPG Toolbox dashboard stats.
The Secret Lover dashboard stats.
The thatlittleitch dashboard stats.
The Towns Like Ours dashboard stats.
The Tribute dashboard stats.
The Turn dashboard stats.
The Vore Your Dungeon dashboard stats.
The What’s In A Ring? dashboard stats.
Could it have been better? Yes, if I’d worked harder and marketed better and made better products. Could I have worked harder? Actually, no. Could I have marketed better? Also a no. Could I have made better products? I dunno by whose fucking standards to measure that, but I don’t think so. I poured tons of hours and lots of my own money, plus hiring other people, into many of these products and I was proud of a lot of them until I got the dead air and lack of sales and lack of engagement that people give. Script Change has absolutely done well, but I definitely struggled to maintain my rights to my work & recognition for it in the process. It is immensely valuable to me, but it is the only thing people will ever remember I did, if people don’t wipe my name from it when I stop constantly monitoring and engaging.
The reality is that the games industry takes more work than is reasonable for most people to do, even with the support of partners or fellow creators. You’re supposed to be a designer, a writer, an editor, a graphic designer, a layout artist, a marketing specialist, an accountant, a hiring manager, an illustrator, a social media expert, a public speaker, and also have an impeccable reputation with no mistakes and the blessing of every white asshole who calls themself a legacy, and my whiteness was enough to prop me up for a while, and I know it still benefits me. But it’s not enough to override my other marginalizations when it comes to who is the favorite, who gets the job, when there’s oodles of other white people without those marginalizations (or with ones people think are prettier or who can mask better), and I’m tired of it. I’m tired of competition. I barely even play competitive board games, like fuck do I want to run the rat race IRL.
by Beau Jágr Sheldon, 2021
What Happens Now?
I am always grateful for every sale, for every five star, for every compliment, for every share, for every single bit of praise and positivity that’s been sent my way. Truly! But I take the bad stuff far harder than I internalize the good, and that’s just trauma and reality kicking my ass. I hope to release more creative work of many kinds, and I will try my hardest to still support other creators & speak up for what I believe is right. I just need to not tie a dollar sign to that as a necessity.
I will happily accept donations (ko-fi.com/thoughty is the main space for that, plus members get access to my Discord, which I would like to see grow) & I always love gifts (my birthday is in February and I celebrate both all holidays and none), plus I will be keeping my stuff up on DTRPG, IPR, and itchio. I don’t expect support, but I appreciate and value it. I am also hoping that eventually I can be healthy enough mentally and physically to start doing business again, but I don’t know what form that will be in.
The Turn supplement will be up when I can get everything compiled and edited and maybe figure out how to make some art happen. Script Change will hopefully be getting an audio version and some minor updates next year! I want to work on Carheart Nosferatu, and maybe some cool setting stuff with some art from the Assembludo (teamed with Thomas) projects, AND I want to especially support John in his release of Roar of Alliance and help it succeed, because it’s utterly amazing. (Seriously, go get it now! It’s in beta but as it grows, so will the value.)
I will still be available for Script Change consultations to help with integrating Script Change into people’s games, for online conventions (no face to face until COVID is done, & only as a paid guest for f2f when that happens) to do panels & workshops on safety & leadership, and so on. I want to work more with The Bodhana Group as well, as they’re doing awesome stuff! I’m also working on a book chapter about calibration/safety tools for a German publication, which I am hoping will go over well.
I’ll try to post here when I make stuff (photoshoots, art, and probably Leading with Class stuff if I can get it going) and release any games content I make online (I’ll put it on IPR or DriveThruRPG if I can, but I mainly upload to thoughty.itch.io because it’s easier – though the Turn supplement will go to DTRPG only for now). I also plan to put up collections of photos on itch that can be used for game covers, interiors, etc. with credit! I have thousands so I might as well!
I know this post is HUGE but I wanted to cover a lot and give a full explanation for what’s happening with Thoughty, with my work, with my reasons for disengaging, and so on. I also wanted to give some transparency on the financial side of things to give context to what happens with the impact of mental & physical health issues, trauma, and stress on the ability to keep up in an industry like games. I don’t want to be done with games, but if I don’t step back, I genuinely don’t know if I can make it through the next few years, and goddamn it, I would really like to make it to 40.
If you choose to stick around, follow what I do next, I will be so happy to have you here. I hope you’ll be happy to have me as I am now, and hopefully as I continue to heal and grow and find my place. In the meantime, I hope that the world is kinder, more caring, and more willing to do the work to help you flourish, even if you are struggling just as much as me or more.
I’m excited to formally announce the Script Change RPG Toolbox rebrand/redesign courtesy of Clayton Notestine! I have dreamed of a pleasing, more functional presentation of Script Change for a really long time, & it’s here & it’s amazing! Download the new version at briebeau.itch.io/script-change today!
I’m excited to formally announce the Script Change RPG Toolbox rebrand/redesign courtesy of Clayton Notestine! I have dreamed of a pleasing, more functional presentation of Script Change for a really long time, & it’s here & it’s amazing!
I first want to extend my thanks to Clayton for the incredible work done on this. He was communicative, thoughtful about my design ethos, & invested a lot of effort in showcasing Script Change. His expertise is noteworthy and undeniable!
Clayton took my very rudimentary layout & organization and turned it into a functional design!
Script Change was originally written as part of [Tabletop] Blockbuster, an early design project by John & me focusing on action movie style play. I love cinematic gaming, & had been introduced to the X-card.
I wanted more for my safety experience in play, and I wanted it to be portable to other systems. I chose language I knew commonly for the tools, starting with pause, which is my favorite safe word & suited the theme.
The Pause card is vital for play & is an approachable way to introduce taking breaks in game to discuss how you want to engage with content, mechanics, or story elements.
I built on it inspired by various concepts – the cinematic fade to black (fast forward), a vibe like Archipelago’s “try a different way” (rewind), and it kept building from there. I’ve updated it often since then, & it’s a full box of tools!
There are many tools in Script Change, including some without unique cards, that help players from the start of planning their gaming experiences to post-play when debriefing and follow-up can be valuable.
Clayton took the simple text layout I had and made easy to recognize cards for the table, as well as reorganizing and at times clarifying my text to ensure it was approachable and fit the conversational intent.
The cinematic language is similar to the kind of words we use for watching videos, listening to music, and is also pretty easy to conceptualize. It carries on into instant replay, wrap meetings, & the further tools that facilitate play.
The new layout is really more usable, functional, and recognizable, plus it’s just way prettier to look at!
I love the feeling of the graphic presentation of the new design, & I am so glad to have this new look & organization to help people play games safer, with better control of content & consent! Thanks Clay!
I think about the concept of peril in adventures quite a lot, especially as someone who generally isn’t big on character death, extreme physical or mental trauma, & failing. What on earth is an adventure without those types of peril? Does a game even require an adventure, 0r peril, to be fun? (I won’t be discussing the nature of fun, that’s your own thing.)
by John W. Sheldon, 2021.
I think about the concept of peril in adventures quite a lot, especially as someone who generally isn’t big on character death, extreme physical or mental trauma, & failing. What on earth is an adventure without those types of peril? Does a game even require an adventure, 0r peril, to be fun? (I won’t be discussing the nature of fun, that’s your own thing.)
With many of my games, peril like violence or death or trauma can absolutely occur, but a lot of the time it’s only when the players choose that experience for their characters, with the consent of others at the table. This is part of why I require Script Change at my tables when I play, but it’s also part of why a lot of the time I warn people in my games about the potential for this kind of content. Many people think that a game isn’t a game if you’re not in danger, if your experience is not perilous.
Content warning for violation of consent (vague), discussion of consent, discussion of the need for consent in games and community, accountability in all spaces
This article discusses the nature of soft no’s, hard no’s, using these in meta accessibility tools, and the use of accountability meta accessibility tools.
“I have often felt like I’m screaming into nothingness when I have tried to talk about the constant abuses in the community, the toxic business practices, the cultural flaws. Worst of all has been when I know someone has done harm, but I’m not the one who can give light to it.”
I posted this to my private Twitter tonight, but I feel like it does deserve a space here for those of you who support Thoughty and want to understand why there’s been some lapse in posts. The good part is, now that I’ve written this out, I feel reinvigorated with my desire to continue writing here and doing the work Thoughty is intended to do. The complicated part is, I need space from the way the hobby and industry become your life if you’re not careful, and from the troublesome aspects of the community and industry. I’m still going to write for Thoughty, design games, and do safety/content work. I just want to do it on my own terms from now on, and I hope that you will continue to support that.
As always, you can find me on Twitter @ThoughtyGames and use the contact form on the site if there’s something specific you’re interested in me featuring. If you want to support my continued journey as a creator and here at Thoughty, I am now only on ko-fi.com/thoughty for funding and you can find my games on IndiePressRevolution, DriveThruRPG, and especially briebeau.itch.io. By the by, my name is officially changed to Beau Jágr Sheldon!
If this post resonates with you, know that you have my support in seeking your own path and finding joy, and that I hope your fire never burns out.
Content warning for discussion of perpetrators of harm.
by Beau Jágr Sheldon, 2021.
So, late night thoughts. I think I want to quit the Games Industry. I still like making games, & I do want to do something with Thoughty (but I’m not sure what that is since I’m struggling to write for it & can’t seem to acquire writers). I want to do safety/content work. But.
While I have no other means of making income, and this is the biggest issue with wanting to leave, the industry itself and the communities that surround it are filled with missing stairs for me. They are filled with memories of trauma, failure, and rejection. Unendingly.
I want to make games with my partners, and support them. I want to make games & would like to make money on them, but even now that’s not super successful for me. I want to continue reviewing games & talking about game theory on Thoughty. I don’t want to keep feeling like this.
I have been accused of a lot of things that I can’t find the truth in over my time in the community. I’ve also made plenty of mistakes which I’ve tried to own up to. However, I’ve also watched a lot of people do harmful things and just…walk it off. Become more successful.
I have often felt like I’m screaming into nothingness when I have tried to talk about the constant abuses in the community, the toxic business practices, the cultural flaws. Worst of all has been when I know someone has done harm, but I’m not the one who can give light to it.
by Beau Jágr Sheldon, 2021.
I have seen harm, I have experienced harm, and I have supported people who were harmed, & the problem is, I don’t have piles of screenshots or emails or witnesses to back up the wrongs I’m aware of, & I also struggle because I don’t want the response the community gives, either.
I don’t want “well, there’s no receipts” or “the victim(s) aren’t ‘credible'” or “this harm isn’t bad enough” or “there’s no way a marginalized person could cause harm like that.” I ALSO don’t want “we should ostracize this person” or “this person deserves to starve/suffer.”
What I want is “hey, person who is accused of perpetrating harm, acknowledge that you have taken actions that harmed people, apologize for those actions, & make efforts to change without erasing all evidence of your wrongdoing so that people can engage with you with awareness.”
I want that alongside “there is no such thing as a bad victim, a victim is not responsible for substantiating their harm to the point that the substantiation causes trauma, and all harm is valid to be addressed and respected, & we will not erase this harm.” Can you imagine?
by Beau Jágr Sheldon, 2021.
But what we have is hidden abuse from people of all backgrounds that is regularly excused, dismissed, or forgiven by the people who weren’t the victims. We have people rising to success on the work of others, then turning on those who did that work. Perpetrators of harm thrive.
It literally doesn’t matter what prompted my feelings about this today because I think about this EVERY DAY with all of the people who have continued to get away with harmful acts who I don’t hate, but I do want to take accountability & I do want to change & I do want witnessed.
People in hobby & professional games are so willing to turn their eyes from genuine harm for the sake of their fictional experience & for the sake of promoting the people they have convinced themselves cannot do harm. We have seen this again & again and it burns us to the core.
But I am not a phoenix. I cannot rise again and again. I have a limit. I struggle to care for myself because every waking day in the community is riddled with news of more people perpetrating harm in so many different ways that I feel sick imagining a convention again.
by Beau Jágr Sheldon, 2021.
Who will welcome me? Who will shun me? Who will go silent when I join a table, or antagonize me if I speak my mind on a panel? Who will ask questions about people who hurt me? Who will undermine my experience? Who will hurt my friends & colleagues? Who will get away with it?
On top of all of that, who that I thought I could trust will I see spending their energy to justify those acts against me or against others? Who will validate harmful, alienating, unjust acts in the community, and break my heart? So many have done these things, I lost track.
What happens is I internalize it, I see it as just to validate harm against me. I see it as right to say that I must be the problem. I see it as valid to claim that things I do not do with ill intent are meant as cruel and harmful things. And worse!
I end up feeling like maybe the way things work is just. That it’s better to let talented, toxic people succeed rather than acknowledge their flaws and give them impetus to change. That we should let people who are accused of harmful acts continue because they’re creative & fun.
It wounds me. It is like a skipping record player, repeating the same keening clip of agony: this is how it has always been, this is how it will always be; the players may change, but the game never will. And I have lost the game, more than once over, for my trust & mistakes.
by Beau Jágr Sheldon, 2021.
I don’t want to keep knowing all the things I know and not being able to do anything about it when someone gets away with harmful acts. I don’t want to keep starting to form bonds with people only to have them ripped or withering away. It is too cruel. It is wrong to me.
I know you can’t market products or content without being a part of the community & aligning yourself somehow. I know you can’t succeed as any kind of creator without either privilege, networking, or both. I still want to create. I just can’t sacrifice myself or others to do it.
I guess the tl;dr is that you will see creative work from me going forward in my spaces and my control, but that I am making a choice to put myself first, & that means the community and industry will have to change before it gets any more of me than that. I doubt I’ll be missed.
If you have read this far, thank you. I hope that you are still with me. In any case, please take forward this simple message: there is no limit to how much good you can do in the world, but that doesn’t mean you shouldn’t strive every goddamn day to reach it– and that includes the good you do for yourself.
I know this has been slow to arrive, but life is life and death is death, and there’s been a lot of both of those for me to cope with, among other things. This is the third installment of my A New Masculinity series, focusing on gender and identity in video games, specifically through the lens of Wolfenstein: The New Order. In this series, I focus on The New Order, and in this post, I’ll talk specifically about the women in that game.
I know this has been slow to arrive, but life is life and death is death, and there’s been a lot of both of those for me to cope with, among other things. This is the third installment of my A New Masculinity series, focusing on gender and identity in video games, specifically through the lens of Wolfenstein: The New Order. In this series, I focus on The New Order, and in this post, I’ll talk specifically about the women in that game. This will be a slightly shorter post due to there only being three characters in The New Order who are truly highlighted.
This post will contain SPOILERS for Wolfenstein: The New Order and potentially SPOILERS for Wolfenstein: A New Colossus or Youngblood. Read with this in mind.
Content Warnings: Nazis, white supremacy, trauma, physical violence, disability trauma, ableism, sex, sexual content, fascism, homophobia.
The women of Wolfenstein are really amazing, even though they are less represented than men in the game. There is a lot to be said for how the game presents women as leaders, decision-makers, and powerful individuals even if they aren’t formally recognized by any organization or power. The further installments of Wolfenstein continue to develop this, but I want to focus just on The New Order because I think that some of what is explored in The New Colossus and onward is far beyond my ability to address – and I hope that someday I can invite other creators to talk about those topics.
While I will talk about Anya Oliwa and Caroline Becker alongside Irene Engel, I want to be clear that I do not, and this blog does not, support Nazism, white supremacy, racism, ableism, or any bigoted ideology or cruelty perpetuated by Irene Engel or the types of real life individuals she represents. Engel is not an aspirational character, and while I will discuss her traits honestly, that does not mean I endorse her or her beliefs or any like them in real life.
A game for two players where they tell stories and play out scenes about the unusual The Man who stays in their cabin in the woods and alone… except for The Stag from the copse who wants to influence the world of man with magic. Whether this connection leads to a revelation or condemnation does truly depend on the cards. Crowdfund ends March 15, 2021!
My goal is $1000 by March 15, 2021 and with the following goals, I’ll provide more content! There’s also a number of rewards on the itch page to help me reach my goal!
$250 – Art by Thomas A. Novosel, fleshing out the interior sketches!
I released a new game today on itch.io and I hope you’ll check it out! My Patreon patrons at patreon.com/thoughty get a free copy of the game for download!
Turn has been released in PDF to backers, and has been officially released to the public at briebeau.itch.io. We hope to have it up on IPR when the print is finished, and further to DriveThruRPG soon! Keep an eye out there.
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Turn is a slice-of-life, rural supernatural tabletop roleplaying game for three to six people. Players are shapeshifters in a small, rural town–able to turn into animals like raccoons, cougars, and bears. They must balance their human lives and habits with their beast lives and instincts, while pursuing acceptance and community with other shifters – and with the mundane humans and beasts that populate the town.
Players and the Town Manager build their town together using a unique town building system, and create the characters who populate it and the wilderness around it. Turn uses the Script Change toolbox to support player comfort and consent, and explores themes of identity, community, self care, and otherness.
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Thank you so, so very much to all of you for the continued and seemingly endless support for the success of this project.
As a reminder, you can submit for a community copy if you’re in need as a marginalized member of the community. We’ll provide PDFs with no issue, and print until we run out.
The horses on the farm where I grew up in a small, small town. <3
