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.
Today on approachable theory we’re talking about meta accessibility tools, and we’re going to start by breaking down what I mean by that term. Read more!
Today on approachable theory we’re talking about meta accessibility tools, and we’re going to start by breaking down what I mean by that term.
Continue reading “approachable theory: Meta Accessibility Tools”Content warning: alcohol abuse, binge drinking, discussion of risk of violation of consent and assault, underage drinking, social pressure, childhood trauma, anxiety, PTSD, coping, domestic abuse, suicide mention, self harm mention
I have been drinking since I was twelve years old. Alcohol, that is – water and I go way back. I grew up in a drinking heavy culture with easy access to alcohol and the understanding that booze makes you fun, in spite of my own traumatic experiences as a child showing me that drunk adults were not fun. Nonetheless, I jammed to that song and by the time I was legal to drink, I was seasoned, and it tipped over rapidly into a binge drinking habit that nearly ruined my life.
Content warning: alcohol abuse, binge drinking, discussion of risk of violation of consent and assault, underage drinking, social pressure, childhood trauma, anxiety, PTSD, coping, domestic abuse, suicide mention, self harm mention
I have been drinking since I was twelve years old. Alcohol, that is – water and I go way back. I grew up in a drinking heavy culture with easy access to alcohol and the understanding that booze makes you fun, in spite of my own traumatic experiences as a child showing me that drunk adults were not fun. Nonetheless, I jammed to that song and by the time I was legal to drink, I was seasoned, and it tipped over rapidly into a binge drinking habit that nearly ruined my life.
I have not been drunk since December of 2015. Let’s talk about it.
Over five years of moderation – what I chose instead of abstinence sobriety, knowing my own reaction to abstinence and how often I would still be exposed to alcohol living in Pittsburgh, working in games. And games are part of how it got so bad. Corporate had a huge part in it too, but conventions were the tipping point.
To be clear, I still drink alcohol. But I went from, at worst, a full bottle of liquor a binge (binging over 8 drinks a night, multiple nights a week) to now at most, two small glasses of Manischewitz or mixed drink every couple weeks or so. Sometimes, I’ve gone whole months without even tasting alcohol beyond Listerine. But for me, sobriety is about not being drunk, not abstinence. Learning to control my intake, my exposure, and learning to not get drunk.
Surprisingly, with that came the significant limitation of what I drink – mostly it’s for special occasions or to try something special. To me, with a family history of alcoholism, during this pandemic, this has been a massive achievement. I am proud of how far I’ve come.
I got there because of three very specific things:
…all of these things combined made me into a monster of a drinker. One corporate networking event, I was given so many free drinks that I enthusiastically drank to hide my anxiety that I passed out in a Subway bathroom, broke my phone, missed work, and had to call my spouse to rescue me while I couldn’t find my car keys. My first Gen Con, I willingly drank an extreme amount of alcohol the first night, aided by many of my peers and people far older than me purchasing me multiple drinks and encouraging me, even when I was obviously drunk.
The drinking made the people around me include me more, talk to me more, say nice things to me – and it dulled my deep, untreated anxiety and PTSD from being around drunk & drinking people – plus everyone else was drinking, and seemed to be drinking a lot at these events, and so many people were drunk or had behaviors that triggered my PTSD about drunk people that I thought I wasn’t the only one. After that night at Gen Con, I woke up without a hangover after getting mad sick all night, and everyone else was wrecked. I thought it was normal. I thought it was okay, and that most people were like this, just like they were in corporate, where I’d watched coworkers and bosses drag in hungover for years. It was not normal, nor was it okay.
After an abusive relationship where my partner encouraged me to drink because I was “more fun” and “not annoying,” where they abused me less when I was drinking, I got to the point where my last Dreamation, 2015, took me over the edge. I was manic, in the midst of a traumatic episode post-abusive-breakup, and I don’t remember most of it. I am sure there are still people I should apologize to, but it took me two years to apologize to one of the people I hurt the most out of shame and self-isolation. I was destroyed after that weekend.
After that, I stopped drinking at all within a week. I tried to cut it out completely for a while, and then at the end of the year I was at a work event and got so trashed I had to be escorted home, got in a verbal fight with a coworker, and broke some items at home (not to mention the bruising from being sloppy). A coworker had said something triggering during the event and I just cruised down the hole, and after that, I realized abstinence and exposure needed some recalibration. My goal became to moderate, minimize, but also avoid environments where drinking was common, plus I made the goal don’t get drunk not don’t drink, and it helped.
I have had the edges of tipsy a few times, but I have even dumped out drinks to risk going further. I started promoting safer drinking spaces and sober spaces, like with the Soda Pop Social, at cons that I attended. I realized that my abusive relationship would have been shorter, my experience with assault may not have happened, and my childhood trauma may not have existed without drunkenness. I pursued therapy doggedly and I stopped attending a lot of events that bred the environment that triggered my bad behaviors, and stopped hanging out with people who did the same.
I’m talking about this in a gaming space because dear lordy, is it relevant.
Gaming spaces are flooded with alcohol, references to alcohol, and alcohol abuse, plus predators who take advantage of that. We have seen in the past years many people plied with alcohol, harmed, and then shamed for participating in a toxic and drenched culture of legacy game people, people with power and authority and charisma, and people who have been chosen as darlings of the industry using alcohol to do business, take advantage of people, and abuse the power that they have.
Drinking in moderation can be safe and fun, but when you apply power dynamics and people thinking it’s okay to do business (or pleasure) to an environment full of alcohol, surrounded by and surrounding alcohol, it is toxic and dangerous. The fact that the only drinks we really mention in games like D&D are alcohol is no coincidence to our alcohol focused culture. There was even a “get drunk and get interviewed to spill beans about the industry” interview series that was wildly popular on Kickstarter, and I spent months of anxiety disgusted and upset about it. Few people seemed to care, because hey, drinking’s just fun! Right?
And now, we are in the pandemic. We are isolated. We are all broke. When the tide turns, if it does, and we return to events like game days, conventions, private house cons, I feel like the risk will be amplified. Predators will be in full force, and we’ll all want to celebrate, and to celebrate is to drink, according to a lot of cultural baggage we have. We also have a huge influx of people who are designing and gaming who have never been to these events, who may not know how to be safe, or who may be vulnerable to people and structures of power.
I want to see us avoid the pitfalls that will happen. So, the people who may be at risk mostly have been told what to do: be careful, don’t trust strangers, don’t drink at conventions or events, etc. I want to talk to people who don’t think they’re at risk of predation, addiction, or moreso, promoting dangerous behaviors.
For people running conventions, you have some responsibilities.
This all sounds like a lot of work, but welcome to the modern era of conventions: where we try to give a shit.
For those of you who struggle with alcohol or addiction, I am always here to be your dry buddy. In fact, when I attend cons or events in the future, I am hoping to connect with other people attending who will be dry buddies – people who attend events with you and jointly agree to skip the alcoholic drinks and leave if things get rowdy, and escort each other safely away from events.
We can never guarantee someone is safe alone, or fully safe with any other person, but we can make an effort to vet people before events by getting some references before allowing them to have any access to vulnerable people. I will always try to keep you safe, but I am not perfect. We have to work together, be honest, and stick to what we promise together as a community.
I want to see a safer community someday, but I fear the pandemic will increase our risk including when it passes. Be safe and be thoughtful. If you feel you are at risk for alcohol abuse, avoid at-risk spaces if possible, and check in regularly with a buddy regardless of where you are. Find help now, and know that your way of getting help doesn’t have to be the same as everyone else’s, so long as it works for you. We can get through this, all of us who struggle.
Devlog on Itchio: https://briebeau.itch.io/script-change/devlog/209532/script-change-update-2021
Hey all!
I’m excited to announce that Script Change has experienced a significant update with three more tools and a new layout! You can find the new free text version at briebeau.com/scriptchange and the PDF plus the handouts are still free with option to donate at briebeau.itch.io/script-change. I have raised the suggested donation to $5 because of the sheer amount of time and effort I have put into Script Change over the years, and the continued creation of new content. I hope that’s okay!
In 2021, I’ve added Bloopers & Outtakes, a formal wrap meeting structure, the Editor’s Notes with picks, squicks, and icks to help guide content and response, and Two Thumbs Up to help with quiet check-ins and for less verbal players. These changes have been developing for a while, and I’m so excited to release them for you all!
Note: For the time being, please use the previous revision’s handout to put out descriptions on the table for reference, as I need more time to do the layout work and nothing’s changed on it. Also, in the new Bloopers & Outtakes section, I managed to only write “bloopers” on each Reel listing, but I’ll fix this soon if I can. I apologize for missing it!
Thank you so much for your continued support!
I apologize if this is the first some of you may be hearing of my current health status, but the quarantine has made communicating really difficult. Please watch this video and feel free to reach out, but do not feel any obligation to give platitudes. Things have been rough but I’m doing my best! <3
The title sounds angry, but like. Readers, you know it’s time we had this conversation.
I talk to marginalized designers in games all the time, and to like just straight cis white guys like a lot, too. There’s a common theme of not being paid well – paid fairly even – that I’m seeing, I’ve been seeing, but like we don’t really write it down in a place and say it to the point sometimes. With the way social media has become our method of communicating, it’s rare that we put it down in a blog post or something linkable. SO I thought heyyy, why not Thoughty?
Note: A large number of the accounts in this article are anonymous. This is because the industry itself can be so vindictive and brutal that people don’t feel safe talking about pay and bad experiences, even if their complaints are fully justified. All of the quotes within are used with permission, and remained anonymous unless otherwise permitted.
ETA: I did reach out to some artists for their perspective, but wasn’t able to gather sufficient information. I intend to have a followup article by artists to address artist pay.
THANK YOU to all of my contributors for this article, named and anonymous.
Speaking of social media, there have been article-length Twitter threads about how to make your own rates for freelancing, including this one by @XCK3D which includes a lot of things we don’t typically think to calculate. Like having an asshole rate, for when you have to work for that person who is an asshole but you need the money.
One place it has been written down is in a specific call for fair pay for people of color in games, headed up by DungeonCommandr on Twitter and hosted here in a Google Doc. It is a really great document that shows a lot of valuable work! Here are the rates they request.
Consulting: $30.00 USD/hour.
Per-Word Work: $0.10 USD/word.
Player Streaming, 4-hours: $80.00 USD flat rate.
Facilitator Streaming, 4 hours: $160.00 USD flat rate.
Panels, Speaking, Facilitating Events: $200.00 USD flat rate, and the inclusion of room, board, and travel assistance.
We could also use rates for hourly design work that includes playtesting and for project management, something we don’t often address. My base suggestions are below, based on what I’ve been paid for design work with playtesting and prorated upwards for a fair wage and looking at some national salary data for project management.
Design Work: $40.00 USD/hour.
Project Management: $60.00 USD/hour.
The document didn’t mention editing, but as an editor I’ve done some research. The EFA rates are pretty fair, though, and are available here. The rates I suggest are:
Proofreading: $0.01 USD – $0.02 USD/word.
Basic Copyediting: $0.02 USD/word – $0.03 USD.
Heavy Copyediting/Line Editing: $0.04 USD/word – $0.05 USD.
Translated/Non-Native Language Charge: $0.01 USD/word.
When I read the document, my first thought was “hell yes!” My second thought: How do we make this the norm?
That’s a pretty hard question in the industry we have today. Every time I bring up fair pay for everybody, I run into the same brick wall: people not knowing why it matters to pay fairly, or not knowing why it matters to charge fairly. We all fear not being able to make our dream come true, and capitalism is a freaking stale bagel supreme. So where the hell do we even start?
Let’s dig in.
Continue reading “We Say Fuck You, Pay Me”Hi all!
The game industry can be a little rough. Our community just as much! I have wanted for a while to do a little recognition, a little positivity, for myself as well as everyone else. So, I decided to start something new – something you can contribute to!
The new thing is called Friday Hi-Day, and it’s going to be a weekly roundup of recognition from your submissions to the forms I’ll be posting every other month on the Friday Hi-Day page!
This month’s submission form is https://forms.gle/aLD2hAgJ99XTBgXE9. Fill it out! The first stream will be next week, at twitch.tv/BrieBeau on Friday, June 14, 2019 around 12:00pm Eastern. Come see what’s up, and celebrate each other!
This post was originally posted on G+ by P.H. Lee on August 28, 2017. It was a significant influence on updates to the Script Change RPG toolbox, and is an essential read in regards to addressing safety in the game community and at every game table. Lee has authorized me to post the text here in full since G+ is dying, which I greatly appreciate – it’s super valuable!
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Preamble
I have PTSD. About 6-7 years ago, more or less, various pan-RPG techniques to control triggering[1] content — The Veil and the X-Card, to name two of a vast diversity — became commonplace in the RPG circles that I played in. Around the same time, I stopped participating in role-playing games at meet-ups and conventions, or anywhere else that these techniques were promulgated. These three things (PTSD, X-Card, and my withdrawal from play) are related. I’m writing this essay to discuss the ways that these techniques cut off my access to role-playing games, and introduce know techniques that, I hope, will point to a way forward in terms of accessibility.
Conflicting Access Needs
Before I go further, I’d like to reference a term from the disability rights movement: conflicting access needs. Disabled people are extremely diverse and our disabilities are also extremely diverse. While an ideal world would have everyone’s access needs met at all times and in all circumstances, in many circumstances, with many disabilities, that is practically or fundamentally impossible.
An example, which I’m paraphrasing from Autistic blogger Mel Baggs: A group home for Autistic people have some occupants who constantly verbalize, and others who are hypersensitive to noise. The verbalizers have a reasonable access need to be allowed to verbalize. The hypersensitive have a reasonable access need for quiet. Both of these access needs are reasonable, but it is impossible to meet both of them in the same space.
For this essay, the point is that, while I’m describing ways that my (and others) access to role-playing games has been cut off, I want to acknowledge that the techniques in question were developed and promulgated — often by people with similar disabilities to mine — to meet a legitimate access need. That they cut off my (and others) access to role-playing games does not mean that they are inherently wrong, bad, or ableist.
I do not want this to turn into “X-Card (or The Veil, etc, etc) is bad” and, even more so, I do not want it to turn into “the people who propagate these techniques are bad.” That’s not my opinion and, also, it’s wrong. I am hoping that by writing this essay I can move the discussion of accessibility of RPGs for PTSD sufferers from “use this technique” to a conversation which can account for different players, different goals, different communities, and different access needs.
A Note on Personal Narrative
I’m going to use a personal narrative throughout this essay, because it is based on my own experiences of both role-playing games and PTSD. But I want to be clear: I am not speaking solely for myself in this. Simply from personal circumstances, I can attest that the problems I have are problems that are shared by a number of other people with triggered mental illnesses.
Likewise, there are people with triggered mental illnesses who have a very different experience — most importantly, there are people with triggered mental illnesses who find the X-Card, The Veil, etc. to be vital techniques for their access to role-playing games. I do not want to erase these people — they exist, and their experiences also matter.
Please do not take my use of personal narrative as evidence that I speak only for myself. I don’t. Likewise, please don’t take my speaking on this topic as someone with PTSD to assume that I speak for all people with triggered mental illness. I don’t.
The X-Card, the Veil, and all that
The X-Card, the Veil, and similar techniques have their roots in a section of Sex and Sorcery, a supplement for Sorcerer by Ron Edwards, where he (roughly paraphrasing) suggests a technique dealing with difficult sexual content in the game by “drawing a veil over it,” basically, describing it in loose terms and then moving on with play, rather than playing it out. This is included together with several other techniques, including actually playing it out and fading to black. From there, like many things from the Sorcerer supplements, it developed on the Forge forums as a more generalized technique that could be applicable to all games.
I first encountered The Veil as a universally applicable technique in the context of public play in the Pacific Northwest — I believe it comes out of the Go Play NW convention, but I could be mistaken. By the time it reached this form, it had mutated considerably — it was something that was invoked by a particular player, rather than a general technique for play, and it generally had the effect of erasing the content of play [2], rather than playing it out in a vague sense and then moving on. It became a widespread meta-technique[3], adopted at a lot of public play events.
Simultaneously [4], in the New York City play scene, John Stavropoulos developed the X-Card as a meta-technique. With the X-Card, the system is formalized. By “throwing the X-Card” (either a physical card marked with an X or just an invocation), a player stops play, and the offending material is erased, and play continues as if it had never happened.
The X-Card grew in popularity and was adopted throughout the indie-games public play culture. By the time that I had largely retreated from public play (~2013), it was fairly universal. Although I have not been in touch with public play culture since, it does not seem (from my outsider perspective) to have become any less widespread.
My Experience
My first reaction to The Veil as a meta-technique was simply “well, I don’t want to do that.” At the time, it was not generally regarded as a universal meta-rule, so that was the end of my encounter with it. However, as it grew in popularity, I began to be increasingly averse to it. I remember a particular event — I think it was at Indie Hurricane, although I could not guess at the year — where it was introduced as a generic rule for all pick-up games. I got a horrified, sinking feeling, my eyes started to flutter and my stomach twisted — familiar signs of a triggering [1] event. I cannot remember whether I then said to my players “I’d like not to use that for our game” or not — I cannot even remember if I ran my planned game or left the scene immediately. Poor memory often accompanies being exposed to triggers.
I tried playing a few games with the rule in place, thinking I could maybe get used to it. Even though, to my recollection, it was never invoked, those games left me an anxious wreck afterward.
I stopped going to convention events as often. I started going to local public play groups, but shortly thereafter the meta-rule spread there as well, and I stopped attending those as well.
I did not at the time understand why this was triggering to me. I’m not entirely sure I was conscious that I was being triggered — it seems obvious in retrospect but I think that at the time I was not able to recognize exactly what was going on.
I made several attempts to communicate my distress — I remember talking on separate occasions with John Stavropoulos and Avery Alder about it — but because I didn’t understand what was going on, I could not clearly explain my problems, let alone propose solutions. Obviously, my attempts at communication were unsuccessful [5].
The Veil was replaced by the X-Card, and the technique continued to spread. I continued to retreat from Indie RPG circles, although I continued to play with personal groups and in non Indie RPG spaces such as AmberCon NW.
As an aside, I should say that this inaccessibility was far from the sole reason I retreated from Indie RPG circles and that, also, I do not regret having done so. My retreat has allowed me to spend more time on fiction writing, on personal friends, and on campaign play of RPGs. All of these have benefitted me both personally and professionally.
The problem
Both the X-Card and The Veil (as practiced in the PNW at that time) have as their core concept that the correct default way to handle triggering material in a role-playing game is to excise the material from the fictional timeline and thereafter to continue play. This is a commonplace understanding of how triggers work — remove the trigger, problem now solved.
This is, for me, a disaster, because it replicates the environment of denial and powerlessness that caused my PTSD in the first place.
Fundamentally, any approach to triggering material that contains any element of “pretend it never happened” is emotionally disastrous for me, because it recapitulates the environment of denial and dismissal around my traumatic experiences. This is not limited to excising the material from play — it also includes attempts to dismiss, deny, or minimize it.
No technique that centers this approach can possibly be functional as an accommodation; furthermore, any game or community that uses a technique that centers this approach is necessarily inaccessible to me, because an environment that centers denial as a coping strategy for triggering material, is in and of itself, a traumatic trigger.
Centering status quo vs centering healing
Fundamentally, these meta-techniques center the status quo — the goal is to “deal with” the triggering event, or the triggered person, and then return to regular play as if the interruption had never happened. I submit that, due the nature of PTSD, this approach is fundamentally flawed.
Once I have been triggered, I am in a traumatic experience. No amount of care or concern or comfort or accommodation can untrigger me. The question is not “how do we return Lee to the status quo?” or “how can we stop Lee from having a traumatic experience?” because those goals are impossible. The question is “what kind of traumatic experience is Lee going to have?” It can either be a damaging experience — one that reinforces the trigger and my PTSD — or it can be a healing experience — one that lets me recontextualize the trigger and its part of the trauma into my normal psyche.
Denial and social pressure to “return to normal” are damaging experiences.
Acknowledgement, empowerment, and story-building are healing experiences.
I believe that, in principle, good techniques for dealing with PTSD in role-playing games will avoid damaging experiences and center healing experiences.
The Luxton Technique
I didn’t post about my problems with X-Card, The Veil, etc for a long time because, among other factors, I did not have a proposed solution or alternative technique. All I could do was say “I’d rather have nothing than this,” but “no technique” is not particularly good rallying cry and it was not really a meaningful solution, just an attempt to get back to the somewhat-more-accessible-but-not-great status quo.
Until last year, I truly believed that there was no technique that would improve access to RPGs for some PTSD sufferers without also excluding PTSD sufferers like myself. But, last year, I played in a role-playing game at AmberCon NW that was specifically focused on traumatic experience and, particularly, centering the trauma of the players in the story we made. In that game, we used a particular technique — which I’d like to call the Luxton Technique after the GM of the game — which I found to be empowering, healing, and accessible to me.
It’s difficult for me to summarize all the parts of this that worked, but, roughly, the Luxton Technique includes:
* An honest discussion of potential traumatic triggers prior to play, in a supportive environment, with the understanding that there is no possible way to identify or discuss every conceivable trigger or trauma, and with no social pressure to disclose particulars of individual trauma.
* When, in play, a player encounters triggering material, they can, if they choose, talk about that to the other players. When they do this, the other players listen.
* As part of talking about it — and possibly the only thing that they need say — the player is given absolute fiat power over that material, expressed as a want or a need. For instance “I’d like to play [character name] for this scene” or “I need this to have a happy ending” or “I want this character to not be hurt right now” or “I need this character to not get away with this” or “By the end of play, this should not be a secret” or “I need to stop play and get a drink of water” or “I don’t have a specific request, I just wanted you to know.”
* A player does not need to use their traumatic experience to justify any requests or demands. We just do it.
* A player does not need to be the one to speak first. We keep an eye on each other and we are watchful for people who seem withdrawn or unfocused or upset. If we are worried about someone, we ask.
* We play towards accommodating that player’s requests.
It’s hard to overstate how much the Luxton Technique (or, really, set of techniques) helped us approach extremely difficult, extremely person material, both for the trauma survivors at the table and for the non-survivors. Rather than having our traumatic experiences — already a disjoint with reality — cause a disjoint in play, we were able to integrate them into play and tell a story about or, at least, at an angle to, our traumatic experiences, real and pretend.
Healing and RPGs
I am well aware that it sounds both pretentious and terrifying to talk about RPG play as a process by which one might legitimately heal from trauma. But I’d like to elaborate on that a little, because I think it’s important.
Fundamentally, a traumatic experience is an experience that is at a disjoint with the narrative of one’s life. Having PTSD means that your trauma exists out of time, out of place, and always in the present tense. A big part of recovering from PTSD, inasmuch as it is possible, is not about excising the trauma or your continued experience of it. Rather, it’s about integrating the trauma into normal memory and a normal narrative of your life.
A big part of that is story-telling, because a story is about incorporating disparate elements into a coherent narrative. And, for me, a big part of that story-telling has been role-playing games. In this essay, I present the choice as a binary — either a game can harm, or it can heal. That’s a lot of pressure to put on something as casual as a role-playing game! But, also, story-telling helps, and the story itself doesn’t need to be traumatic. Any story-telling experience can contribute, constructively, to healing, because PTSD sufferers need to be able to tell our own stories to the world and, more importantly, to ourselves. As an accessible storytelling medium, RPGs can’t be beat. They have been, and continue to be, a great help to me. In introducing these techniques, I am hoping that they can continue to be a help to others as well.
This is not limited to “heavy intense” sorts of stories that directly reference trauma. Ordinary RPGs can be stories about friends sticking together, or triumphing over evil, or just being clever and solving traps and puzzles, all of which have the potential to be healing narratives. Don’t think that I’m limiting the healing potential of RPGs to “serious” games or “serious” stories. I’m not.
It’s a reasonable reaction to say “I don’t want to do anything that heavy in my RPG!” or “I can’t be responsible for this!” And, obviously, don’t play in circumstances that you’re uncomfortable. But RPGs, and the people I’ve played them with, have given me so much healing. It’s wrong for me to dismiss, deny, or belittle that simply because games are a recreational activity. I hope that, in looking at problems of accessibility of RPGs, we can look to their potential to heal as much, if not more, than their potential to harm.
My hope (edited addition)
My hope is that this essay will start / continue a conversation where we look critically at our tools and techniques for RPG play. I hope that we can get to a place, as a community, where we understand that they are not one-size-fits-all and that we are able to take a look at what that means in terms of accessibility. I’d like for us to be able to make better-informed choices about accessibility and our RPG play, and the trade-offs that entails.
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[1] Because I have no alternative vocabulary, I’m going to use “triggering” in this essay to describe images, words, or ideas that trigger traumatic flashbacks, panic attacks, or other PTSD symptoms. I’m aware of the popular usage of “triggering” as a derisive term for an emotional reaction. I am not using it in that respect. Please, also, refrain from doing so in responses. Thanks.
[2] I’m not sure exactly when the pivot from “veil as not playing out blow-by-blow” to “veil as erasing the content from play” occurred. It might have been after this.
[3] I use the term “meta-technique” to mean “a role-playing game rule intended to be used with any game.” In some cases, it is “a role-playing game rule intended to be used with every game.”
[4] I am not sure about the historical relationship between the X-Card and the Veil. It’s possible that there was some inspiration. It’s also possible it was a parallel development.
[5] I do not want to cast any aspersions on John or Avery for our failure to communicate. Both of them listened as well as they could have to my concerns, even though I was unable to communicate them clearly. The failure was definitely on my end, and I want to thank both of them for their patience in waiting this long to hear my thoughts more clearly expressed.
