Hi all, today I have an interview with Craig Campbell on Die Laughing, which is on Kickstarter right now! I hope you all enjoy reading what Craig has to say about this cinematic horror-comedy game in the responses below!
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Tell me a little about Die Laughing. What excites you about it?
Die Laughing is a short-play, GM-less RPG. Players portray characters in a horror-comedy movie and everyone’s going to die. It’s just a matter of when it happens and how funny you can make it. After your character is gone, you become a producer on the movie and continue to influence the story and the characters right up until the end.
I’m really stoked that Die Laughing finally came together. One of the problems with horror games where characters actually die, as opposed to “thriller/mood” type games, is, “what do I do after my character dies?” You can make a new character, play an NPC. What else? I’ve been working on this game off and on for over a decade. Every couple years I’d come back to the idea and try something different. Hitting on the “making a movie” angle finally made it gel for me. It came together pretty quickly over the past year or so, kind of in the background while working on other games. It’s a game that embodies horror and embraces that type of game experience, but with comedic elements and the “making a movie” idea to keep it from getting too heavy.
What were the inspirations for Die Laughing and how is the game the most similar and dissimilar to familiar materials?
I’m a big horror movie buff. This most recent iteration of the game, I hit on the idea of the game being about making a movie specifically, rather than just generally a horror story. That introduced a “director” role into gameplay and also a “producer” role that players could take on after their characters are dead. Making it a horror-comedy opened up the idea that it’s OKAY for your character to die…in fact, it’s kind of the point of the game. Your character is going to die and you’re going to make it funny and then you’re going to do this other cool thing for the rest of the game.
It’s sort of a hybrid of a traditional RPG and a story game like Fiasco. You have a character sheet with four traits and a few cool capabilities that sort of bend the rules. But there’s no GM. Instead, there’s an act/scene structure that generates random scenes that everyone roleplays to move the story forward. But these are just prompts. The “director” of each scene helps set the stage, but the players with characters in that scene propel everything. A dice mechanic resolves general success/failure of your character in the scene, rather than for every action. The game has a little bit of this and that from a lot of horror RPGs and a LOT of horror movies, all kind of bent and twisted with some humor.
How does Die Laughing work mechanically?
During each scene in Die Laughing, one of the characters is the lead character (and that changes from scene to scene). That character’s player decides who will be in the scene with their character. One of the players portrays the director, setting their character aside temporarily to help set up and guide the scene (that also changes from scene to scene). Everyone in the scene plays the scene out. Sometimes the monster attacks during the scene. Sometimes it doesn’t.
At the end of each scene, everyone with a character in the scene makes a trait check by rolling their dice pool to determine whether their character succeeds in the scene or not. Then everyone narrates that success or failure for their character, thus pushing the story forward. As the game goes along, your dice pool decreases based on the results of those trait checks. This decrease is a countdown to your character’s death. When you run out of dice, your character dies and you narrate their death.
In addition to the director and producer stuff, there’s a unique rule for each monster that influences your involvement in the game after your character is gone.
What kind of horrors do the players encounter in Die Laughing? How do you ensure players are having a good time and not encountering subject matter that makes them feel alienated or afraid in a not-fun way?
The narrative, relatively open nature of the game allows the players to basically take it as far as they want. The monster is defined for the game you’re playing, but that’s not to say there couldn’t be multiple monsters or that the monsters could mutate or…well, whatever you want. I’ve played games where the violence was cartoony. I’ve played games where there were gory descriptions of things.
That said, any game — horror games in particular — can go too far. That is addressed in the book, encouraging players to be clear in what they expect from the game. The simple version is presented as a “movie rating system.” Everyone agrees the game will be PG, PG-13, or R-rated and plays appropriately. The book also points out some common sense…if you even remotely THINK that a particular subject would make ANYONE uncomfortable or hurt them, just don’t do it. Finally, the book points out there are a variety of other safety tools, such as the X-card, and information on those can be found easily online. Pick the one that is most fitting to your group.
You mention special rules for monsters post-kicking-it. When you die, what happens?
This is a little “extra” that gives players whose characters are gone something to do. It varies from monster to monster. For example, with the Mad Slasher with Weird Weapons, when your character is dead, you get to describe the moment when your character’s corpse is found at an inopportune time, like you see in so many slasher movies when everything hits the fan at the end. There’s a trait check that happens there that can weaken the character finding the body. With the Sexy Vampire, your character doesn’t die, but rather gets turned into a sexy vampire. And you can insert them as an NPC into scenes throughout the rest of the game.
Tell me a little about Dinosaur Princesses. What excites you about it? Dana: What is there not to be excited about? First, Dinosaur Princesses is also a colouring book—actually colouring and drawing is one of the most important parts of gameplay, in my opinion. One of the first things you do is draw and/or colour your dinosaur princess. As part of that, what I think is really great about the game is that it taps into the limitless and boundless imagination that we had a kids. The colouring and drawing parts are great at breaking down barriers that we often have as adults which tell us to reign in our creativity to make it fit within certain perimeters of consistency and probability; it gives permission to just have fun. It is meant to be able to be played by kids, but I think it really shines when adults play it.
Dinosaur Princesses is also very friendly to folx who are completely new to table-top RPGs. When I have run it, I have often had a high percentage of folx who have never played a ttrpg before. The system is very rules-lite, so players have very little stress worrying about system mastery. It’s also so fun and easy to run that it acted as a gateway to get me to finally get over my extreme social anxiety and be able to run the game myself!
Finally, I think of it as a queer game. Princesses are explicitly stated to be of any gender. “Dinosaur” is also a pretty open descriptor; you can be a t-rex or velociraptor, but your dinosaur can also be a cat or train. It’s subtly stating that what we see as rigid boxes, descriptors, or roles are actually malleable and able to be questioned. One can take those boxes and, if they want, subvert them to express other identities—and that is totally an acceptable and good thing to do. It’s a freeing experience.
What were the inspirations for Dinosaur Princesses, and how did you come to the point of making a game plus coloring book from those inspirations?
Hamish: The main inspiration for Dinosaur Princesses are the kids of a couple of my best friends in New Zealand. At the time, their favourite things were Dinosaurs and Princesses, and my friends were joking about finding a game they would both like. I said I’d write it and a few months later they playtested the first version! They were 4 & 6 at the time, so that’ll probably be my youngest playtesters for a long time! Beyond the origin story, I had a lot of discussions with those same friends about the kind of things that the game could do that other games don’t. The idea of the central mechanics being cooperation and problem solving came out of those discussions.
(Following on from Dana’s comment about it being a queer game) One of the fundamental design principles is that the rules should provide enough structure to help children tell stories that feel like an after school cartoon–with all weird and wonderful characters that involves!–and that, within the confines of a game about cooperative problem solving, the rules should never block them from imagining who they wanted to be while they play. I didn’t want an 8 year old telling their younger sibling that they couldn’t play a cat or a dragon or whatever because it’s “against the rules.”
Dana: I can tell the story about how it became a colouring book! Hamish was already working on it, but I didn’t know much about it at the time. We were in a small bar in Wellington, NZ a couple years back and he was telling a friend about the game. He said he wanted the rules book to look like a kids book and that he was also thinking of the character sheets as something for people to draw and colour on. I made the logical leap and (probably) shouted, “THE RULES BOOK SHOULD *BE* A COLOURING BOOK!!!!!!”. I guess that was my first touch on the game. I didn’t really start working on it actively until earlier this year.
What are the mechanics like in the game, and how do players interact with each other and the world?
Hamish: Dinosaur Princesses uses an opposed dice pool mechanic which is set up so that if a Dinosaur Princess tries to do something on their own, the odds are against them. After they assemble their dice pool, they ask their friends, the other Dinosaur Princesses, the most important question in the game, “Will you help me?” Then their friends build dice pools and hopefully overcome the problem together! Dinosaur Princesses has a GM who rolls the opposing dice pool, but it’s a very low-prep role that brings in a lot of the Powered by the Apocalypse ethos of encouraging player participation in worldbuilding and player-driven narratives. The players come up with the story together at the table.
[Brie Note: The collaboration encouragement here is SO GREAT.]
How do players choose their Dinosaur Princess, and what do they use to assemble their dice pool?
Dana: Players have a character sheet, some of which of have colouring-book style line art of typical dinos (t-rex, triceratops, etc) and some of which have the picture space blanks so folx can draw their own. Players decide on what type of dinosaur they will be—there is an example list in case someone has a hard time coming up with one. However, it’s important to note that we use “dinosaur” in a loose sort of way; I have played a cat and platypus “dinosaur”! Similarly, players then choose what type of princess they will be. This can be any sort of profession-like thing, such as doctor, aquanaut, news caster, and so forth.
They assemble their dice pool by describing how they use their strengths as a dinosaur and as a princess to help their friends. The mechanic is set up so that if a Dinosaur Princess tries to do something on their own, the odds are against them. It’s important that the player starting dice pool asks their friends, the other Dinosaur Princesses, the most important question in the game, “Will you help me?”
Hamish: There are sample lists of types of dinosaurs and princesses in the book and on the character sheets, but they’re supposed to be inspirational, not restrictive. Players are encouraged to be as inventive and imaginative as they like in choosing who they will play.
What kind of stories do you tell in Dinosaur Princesses? How do you keep it interesting?
Dana: The sorts of stories being told in the game are as unique as the Dinosaur Princesses that the players create at the table. The world-building and story plot directly grows from that foundation. I have had games where the plot revolved around the Dinosaur Princesses trying to find their Houses & Humans game miniatures, and I have had games where the Dinosaur Princesses rode around town on the monorailasaurus to try to uncover the mystery of the queen’s roving teapot. I have had games that took place in an abandoned mall and ones that took place in space. It really is a game where everyone’s boundless imagination shapes play! Hamish: Dinosaur Princesses is designed to be played as a one shot, it takes about 2 hours to play a game, and it draws on the creativity of everyone at the table; so it spreads the cognitive load of coming up with new stuff and people can usually keep the ideas coming over the short length of play.
Today I have an interview with Elizabeth and Amber Autumn on Scherzando! (skert. ‘san.do), which is currently on Kickstarter. In this fascinating game you play both the characters…and the soundtrack! Check out Elizabeth & Amber’s responses below for more.
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Tell me a little about Scherzando! What excites you about it?
Scherzando! is a diceless, gm-less story game in which you play characters with big dreams and strong feelings, plus the soundtrack of their world. It’s often been described as “Fiasco, but with music,” but we like to think that Scherzando! is less about grand ambitions causing tragedy and more about grand emotions bringing people together.
It’s exciting for all the obvious reasons—creating a game with a soundtrack as you go is really cool! It’s fun and dynamic, and people laugh a lot. But we’re equally excited about the less obvious features of the game. We love that the game lets players have a physical, embodied experience; that it’s an experience built around collaboration and communication; and, most of all, that it creates a space where players can feel comfortable creating music regardless of their previous musical experience. In response to our game concept, we get “but I don’t know anything about music” all the time, so it was a real goal of ours to create something that helped people feel that they didn’t need to know everything in order to make something or communicate something, and to create a safe space in the game for that to happen. Every time a player picks up an instrument and starts feeling out some sounds during the game, it feels like a victory for us, and every time they manage to successfully communicate an emotion with it, it feels like a victory for them. That’s a dynamic we’re exceptionally proud of.
We’re also excited about it because it’s our first game at this scale! It’s mind-blowing to have a book with all this art and all this support and to have this Kickstarter start off so well—it really does feel like being invited to sit at the grown-up table. But it feels good to know that our investments in time, effort, and money are paying off. The game has been in development for over a year and a half (or over two years depending on how you want to talk about it); no blood comes to mind, but there’ve certainly been sweat and tears, so finally getting to print it will be incredible.
What kind of music do people experience in the game? Where did you take inspiration from for the tunes?
Since players make their own music, there’s no specific style or genre that Scherzando! works best with. We encourage players to take inspiration from whatever they like in their own life, up to and including just copying pieces they like if they think it’ll get their point across. So what the music actually sounds like in a game depends on who’s playing, what kinds of music they spend most time with, and what kind of mood they’re in as they sit down to play.
One effect of this is that it turns music into a creative expression unique to the people sitting at your table. People bring in the music, styles, sounds, and methods of experimentation that make sense to them, that they would use outside the game, and that’s a way of bringing a part of their personality into the creative text in a direct, meaningful, and mechanically significant way. Having each player bring their own inspiration and style makes the session’s music a direct creative expression of who the players are.
How did you design the game, considering that it’s diceless and GMless AND uses music as a part of the game?
The game actually began neither diceless nor GMless—both of those got iterated out in the design process! The dice were adding needless complications, causing too much swing in the resolution mechanics, and making it significantly less accessible to anyone who didn’t already own a ton of dice. We dropped them at the recommendation of the incredible Avery Alder, who wrote Monsterhearts and Ribbon Drive (one of the only other music games on the market), and who was kind enough to give us some sage advice early on.
The GM role (which we called the “conductor,” because we thought it was cute) would rotate around the table to maintain the sense of a democratic story where everyone contributed, but we found pretty quickly that the conductor didn’t have much to do. The scene setup generally implied itself, and players turned out to be quite good at arbitrating how the NPCs and the universe would react to their actions in the most interesting way. Plus, the game includes an interjection mechanic which allows players to temporarily gain narration powers for either a bonus (if they’re adding a complication) or a penalty (if they’re adding a boon) at the end of the scene. The ability and incentive to add elements to a scene made the conductor role almost entirely obsolete.
Development began in its very early phases maybe two years ago, with a lot of research on historical music games and current music education techniques. We spent a lot of time working through the logistics of who was on the team for the project and who would be doing what, and trying to lay out a plan. Once we knew who was working on it, how we would do it, and that what we wanted to do hadn’t been done before, the next step was more research. We read books, played games, emailed musicians and educators, and eventually started throwing around ideas for how a system would work. We wrote up a list of core values that we wanted our game to embody, some of which have changed and shifted over the course of development, but some of which are still core to the game today! Then we designed a game around those values.
That game was completely broken and did not work at all.
The bulk of the process at that point was holding playtests, dozens of playtests, at cons and game stores and especially with our friends, with a different group of people every time. We took notes, and at the end of each test we discussed which items functioned and which needed to be changed or dropped, and adjusted the rulebook accordingly. Eventually we ended up with a system we felt good about, give or take minor details, and somewhere approaching that point we started doing the logistical work of commissioning art, reaching out to podcasts, and all the other publishing prep work necessary for a Kickstarter. From there, the actual changes to the game itself have mostly been tweaking numbers, revising stock setting choices, and other minor changes, most of which still require playtests to happen.
This piece of art is mindblowing!
What resources do players need to participate in Sherzando, and what kind of skills are useful?
We like to bring a lot of small, cheap instruments to playtests, but they’re not a requirement—the game works just as well when players hum and tap on the table. The only physical items players need, besides the rules, are a) notecards and something to write with; b) six differently-colored/otherwise distinguishable tokens per player; and c) an opaque container per player that is capable of hiding the tokens within it. As far as skillsets are concerned, we maintain that musical experience really isn’t necessary (although it is fun to play with a group of musicians!); we find that the game runs most smoothly when players aren’t self-conscious about their musical or roleplaying “talent.” Earnestness and willingness to engage with a ridiculous story are probably the most important tools in the game.
How do you hope players experience the game and what do you want people to take forward? What have you already seen taken forward in playtests?
One of the most exciting pieces of feedback we’ve ever received was really recently, when someone who had listened to our actual play on One Shot tweeted at us to say that she could see the players gradually learning to express themselves through music over the course of the game.
In addition to the “yes, you too can make music” lesson we’ve been harping on this whole time, we also hope players experience the game as an exciting way of adding meaning and tone to their stories in a way you can’t find anywhere else. There are all these connections between narrative and emotions and semiotics that we wanted to explore and link together, and we think being able to play through those links in a really direct way is new and refreshing and cool. We also hope players have fun! Not every game needs to be fun, but Scherzando! is, and we love seeing people get really animated during gameplay.
There are plenty of things we’ve seen people take forward from this: confidence, communication skills, and even sometimes a better understanding of a musical instrument. But we also hope that people take home a really good memory about a fun story they told with their friends, not only in words but in music.
There are any number of reasons why – some are simple, like “I can always get a glass of water” or “There are easy to read pronoun flags” or “The game offerings are amazing,” but some are far more complex, and today I want to talk about those more complex reasons. I’ll tell you a little about what I did first!
My Big Bad Con 2018 was intense. I was busy as hell, the entire trip. Somehow, though, I still recall distinct moments of calm and chill, even though my schedule was probably the fullest of any convention I’ve done and I had some of the most stressful events I’ve ever participated in. But that’s Big Bad Con, right? I’d say almost anyone who has gone there would say something similar – hell yes, I was busy! But I had a good time, and I don’t feel like my soul’s been ripped out at the end.
I love Big Bad Con because Big Bad Con loves me. If you go to Big Bad Con, I expect you’ll enjoy it, because Big Bad Con doesn’t just care about you, Big Bad Con cares for you.
I attended Big Bad Con last year and it was a remarkable experience. I talked about it in three bigposts. I had never felt the way I did at Big Bad Con, not at any other con. This year, I was insistent that John attend with me – John is not huge on conventions, but this one felt so different, I just needed him to try. Plus, he had a game to promote this year. And he did the Tell Me About Your Character booth!
Over the course of the convention, I hosted the Soda Pop Social, was on two panels by others (Expanding Fantasy, Other Paths) and one of my own (Beyond the Binary), ran Turn, ran my Leading with Class workshop for non-GMs, and played Roar of Alliance. That’s a lot for me at a con – like, GMing alone kills me, I never expect to survive it. But in spite of all of the overwhelmingness, I feel pretty good about the con.
I’m going to summarize each event here, but there may be more detailed posts about them in the future. I just want to give some framing for the core of what I want to talk about.
Soda Pop Social I arrived and immediately was escorted by the fantastic Jeremy Tidwell to pick up sodas for the Soda Pop Social. We picked them up, then I set up the event for a soda pop tasting that was quite fantastic, I think. We honestly got amazing feedback! Sean Nittner, who is kind of the guy in charge at the con, ensured I had tons of backup regular sodas for the guests and made sure my space was available.
We had such awesome response that Sean’s already asked about my hosting the social next year – in a bigger room, so more people can attend! It was awesome because my plan for experienced and new gamers and creators to connect worked (supported by people like Meguey Baker stopping by), and having a welcoming event for sober socializing was a real thing. Special thanks to Ken Davidson for helping me hold the door, because it was a very exciting event and I was a very anxious boy!
Expanding Fantasy The Expanding Fantasy panel was great, and DC (who did an excellent review of Big Bad Con here) did an awesome job running it. Kelsa Delphi and Lauren Bond were both awesome but I admit I felt a little intimidated. I was, I think, a little harsher and less kind than the rest of the panelists. I ended up getting a compliment on that afterwards, weirdly but nicely. But, it was good to talk about the ways we can approach fantasy that are more inclusive and less tied to the historical faves.
I wish I could remember the panels clearly enough to give a bunch of detail, but the general gist was to not reflect back on traditional media just to copy it – try to break down things and do it differently. I specifically recommended, if you do decide to pull from older media, looking back at old political cartoons from the era and see where the racist and otherwise bigoted stereotypes show up in the character descriptions, then move away from them.
Other Paths Other Paths was a great panel where we got to talk about alternatives to interpersonal violence in games. Anna Kreider ran it, and I was there alongside Meguey Baker and Katherine Cross. Everyone had really excellent things to say about why we are interested in having media that has alternative options to interpersonal violence (for example, because the world is super violent and if you only offer a hammer, every problem is a nail, and it translates back to the real world), and how we approach it.
I got to talk about Headshots and how I took something violent and changed it into something altogether different. That was cool, and I’m still reeling a little over getting a round of applause!
Turn This will end up with its own post at some point, but I want to especially thank my amazing players for being just the damn best – Jeremy Kostiew, Alex McConnoughey, Vivian Paul, and Karen Twelves. We had a foggy little island town with shifters who all had a lot going on, and in spite of a bunch of interruptions from outside we kept a smooth pace. I hadn’t been able to pre-prep the town like I’d planned, but we still got almost a balance of worldbuilding+character building and actual play.
Alex’s feedback after that the pacing was just right for em really made me happy – pacing for Turn is unusual and not everyone will like it. I am making a few small adjustments to the current text and process of Turn but it still feels very strong, and ready to go to Kickstarter at the end of the month. Having a private room to run the game made a huge difference – I would never have been able to run on a crowded con floor.
Leading with Class – Leadership in Games: Not Just for GMs The workshop went unbelievably well. I was assisted by the excellent February Helen, who had just the right of support and positive energy to get me through something very meaningful but very stressful! The workshop attendees were fantastic – thank you to all of you! – and engaged well with the materials. I messed up on my script early on and had to recover, but everyone was patient with me, and when I was back on track it was super smooth.
Helping my attendees build their leadership character sheet was so fun, and the feedback afterwards (including that it was better than scrum sessions and that it was easy to follow and exceptionally well organized!) really boosted my hope for Leading with Class, which is something many people know I have been struggling with lately.
Beyond the Binary Beyond the Binary was the only thing I was truly upset about afterwards, and it was entirely my fault. My panelists – DC, Krin Irvine, Venn Wylde, and Jason Tasharski – were all great. The big issue was that the room hadn’t been changed to a conference setup when I first arrived, which hadn’t been an issue for the previous panel but considering our estimated attendance was going to be an issue for us. What ended up happening is I had a room full of about 20 people trying to get me to fix the room to meet their needs, while trying to get started on the panel that had to start late in the first place. This was my bad planning – I should have asked Sean to change the room orientation before the panel prior, since the setup was originally done for LwC in the first place – and my bad response.
I struggled to respond to so many people at once because I was anxious about the panel and the panelists and about giving a good impression, and I failed. I also physically couldn’t help, and while trying to manage all of the things at once, I made myself feel helpless and it completely fucked up how I handled the rest of the panel. We had to skip tons of questions because I’d been too ambitious and I did a bad job. On top of that, at the end of the panel I slipped and said “guys” and I’m still incredibly angry at myself for it. So, my fault, but still hard to deal with. Everyone was very kind about it, and supported me even though I fucked up.
One important thing I want to note is that it was indicated I didn’t give equal time to the panelists, and that I gave voice to white panelists over people of color. And I’ll be honest: I didn’t notice I did it. But, I trust that it’s true. It’s potentially partially because I mostly had white panelists, which I didn’t do on purpose – I sought out the only nonbinary person of color I knew was a guest for the panel, but it’s legit that this isn’t enough. I’m not happy that I fucked up on this (AND I let nonbinary cred issues prevent me from wrangling time better), but I’m recognizing it as a note for change. I’m not sure how to do it, but I’ll do my best.
ETA: Overall the panel was good – the panelists had a lot of great stuff to say and their perspectives were super valuable. A lot of it came down to there being a broad variety of ways we all interact with gender identity and expression and how we should always talk to people first to find their unique perspective. Thank you to the panelists, and I’m sorry for being so negative here – this is my disappointment with my performance, not yours.
Roar of Alliance I got to play an amazing game of Roar of Alliance with John, Rose (not sure of last name), and S. Tan, all excellent roleplayers and strategists. I was feeling pretty rough due to the panel and some emotional stuff afterward, but everyone was really supportive and the private game room allowed me to recline on the couch briefly when I got a bad headache. That was super valuable. Honestly, it’s just such a great game that you can play with varying levels of energy and the players were so fun to play alongside! I had a great time, in spite of how rough I was feeling, and we told a lovely story.
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So, now I want to talk about why Big Bad Con matters so much, and what Big Bad Con DOES.
I’ve studied a little about leadership, you might say, and I’ve witnessed a bunch of different ways people run conventions in and out of games and how they lead in general. What the leadership team – cuz that’s what the staff is – at Big Bad Con does is create a culture change, a community, so influential that it impacts everyone who attends, from what I can tell. I think that some of this might be related to the culture of the key leaders on the teams, but everyone at every level at Big Bad Con is doing big things.
A recent Twitter thread by Alex McConnaughey sheds light a bit onto the mentality at the convention, where ey say “I feel like the folks running BBC never forget that the goodness of the community comes from the work put into it.” This is powerful, because it’s right – the people at Big Bad Con never seem to be coming at the convention from the perspective that they are good, but instead that they’re doing good. In the LwC episode on Values and Perception, I talk about my rule that there are no good people (3:18).
This applies to Big Bad Con well, because the people at Big Bad Con are doing good, they are acting good, but their behavior never comes with the sense of pride and self-distancing that comes with thinking that they are inherently good. Which brings me to another point that I mentioned earlier, in ethics. Big Bad Con practices caring ethics, from the best I can translate to convention organizing.
This sounds super weird, right, because they’re a convention! Aren’t they supposed to be about unfettered capitalism, productivity, and unbelievably high standards of goal-meeting? That’s the vibe I frankly get from a lot of conventions. Cuz they are like that – many of them are simply money-making measures and focused on Doing The Things The Most, and lose track somewhere of the fact that we’re all people. Instead, Big Bad Con seems to approach with caring first.
Like, one, check out their community standards. They’re explicit, and they are something you have to accept before you can sign up for the con. They also have really serious consequences for doing things that are harmful, and they’re posted all over the con and reinforced regularly. They also have an entire page dedicated to safety and calibration tools, which they made into a deck of cards this year! And these things aren’t afterthoughts, they’re regularly visited throughout the con, accessible, and the yellow bandanas worn by staff constantly remind you that there are people there to help who are friendly and enthusiastic.
Two, every event that I held, Sean and the rest of the staff were there for me. The fact that the panel didn’t go perfectly was entirely on me – I know for SURE if I had asked Sean for help, it’d have been resolved. But I didn’t. I know that because before the Soda Pop Social, Sean and Jeremy checked in with me and got me a huge ice bucket, a bottle opener, and helped me set up.
I know that, because the night before my workshop, Sean checked in with me specifically to ensure I had the equipment I needed AND supported me as a friend and colleague with kind words AND when he realized I could use an assistant, had it arranged for February to meet with me ahead of the workshop the next morning, fully ensuring I was going to make it through okay. I would have been a disaster without that support, and I hadn’t asked for it – Sean saw the need, and made sure it was addressed. And he made sure I had support, not someone to step over me.
Sean has also passed on a Viking helmet to me.
Which brings me to
THREE: Everyone I interacted with at Big Bad Con, staff or otherwise, approached basically every situation with How can I help? rather than You should do this. This is a huge problem for me professionally and especially at conventions – tons and tons of people approach every one of my anxieties and stressors with fix-it bandaids, as though I’ve never had a thought in the world about how to address my issues. I get instructions rather than support. It’s not universal, but it’s the majority, especially when it comes to running games and events. And…that didn’t happen here. Not last year either!
I noticed it especially surrounding things like the Leading with Class workshop, where I routinely feel like people correct me and tell me what to do, and running Turn. Would you believe, not a single person gave me GM advice? They just asked about the game, and asked how they could support me. This, to me, is the difference between caring about and caring for. At a lot of conventions, people care about you, but they don’t do the emotional work to care for you. And it’s not always the place, but approaching with caring for makes a difference.
Like!
Four! The convention has adequate water for attendees, quiet rooms for individual games, events like the Soda Pop Social and the Stitch and Bitch, and there was a low-key dance party on Saturday night. Some of this is thrown by the participants, but I also didn’t feel unsafe at the dance party – it speaks to the culture of the con that no one seemed overly intoxicated, that they checked with each other on the volume of the music, and so on. I saw people checking before they touched each other, even! Plus, Sean and me left the remainder of the sodas donated from the social to be accessible to all – and I know that rescued more than one person from discomfort.
Including me, to be frank.
And there was also stuff like how Jerome Comeau “held court” when injury and discomfort prevented him from participating in the normal events, and in doing so, created this gorgeous social space! John even commented on how nice he found it that he could just go hang out and be quiet or be social, at his own pace (this is the first convention John has not retreated to the room for extended periods!). I often feel free to just sit and be quiet at Big Bad Con, when I’m overwhelmed, and listen to others – I don’t get pressured into joining games or into having conversation. My point with this is that body needs and mental health needs are well respected – there’s peace, there’s sustenance, and different habits are respected.
Five, and this is a big one, is something talked about by DC in their post. When talking about Nathan Black and his exemplary behavior, DC said this:
“That standard became clear to me in many ways. I was on three panels, and I attended a few more. I was surprised to find older cis white men sitting in front of me, taking detailed notes on how to be better about diversity and inclusivity in setting creation. They were in panels on gender fluidity and non-binary players and representation. On working with children. On all sorts of things. They didn’t sling white guilt at me or my co-panelists. They didn’t raise their hands to make statements. They didn’t approach me after with emotionally draining stories. They said thank you, told me how much they appreciated my work and time, and maybe had a question that came from their 3 pages of notes.”
And this rings super true to me. Even the standard issue cis white guys that attend Big Bad Con, for the majority, are there to care and learn. DC notes they were often misgendered, and I get that, too, and that there is still bias (including colorism and so on) in the environment, but in my experience, the level of prejudice and enaction of it is so much less than other cons. I didn’t feel like people were sexist to me like at other conventions, but maybe that was because there are so many more openly gender nonconforming people at the event that fewer people assumed I was a woman?
I did TRY to look more…not a girl.
I recently started using Beau as an alternate name (I use both Beau and Brie pretty equally), and I had the pleasure of a lot of people I know at the con using it, checking which one I’d like to use, confirming my pronouns, and so on. It was really affirming, and leads to my final note (for now!).
Six: Big Bad Con includes positive masculinity in its progressive basis of caring. I am going to try to break this down simply, because it’s kind of a lot, but we can start with DC’s points about Nathan Black. Nathan represents a lot of what I think about with Big Bad Con as a community: relentless positivity, respect, honesty, kindness, generosity, and passion. And DC is right – that’s not just Nathan, though he is definitely pinnacle of it. I see that same behavior and energy in every Big Bad Con staffer I met, including ones who operate in masculinity like Nathan.
Sean, for one, is a man who I see as a brilliant leader. Then there are people like Jeremy Kostiew, who has a particular warmth I truly value. And Alex McConnaughey (who worked on Behind the Masc, writing the Minotaur skin for Monsterhearts), who understands masculinity in a truly fantastic way. And there are women and nonbinary people on staff who can express masculinity just like anybody else, too, so my point here is that these people on staff don’t erase that masculinity. They don’t label all masculinity as toxic and try to box it out of the events where caring is focused. There were spaces for people who weren’t masculine, but also mixed spaces, and an overall environment that said to me so long as you are doing good with yourself, you can be whoever yourself is.
I feel like somehow because of who all is involved in the convention – women, men, nonbinary people, trans people – Big Bad Con has made an environment that welcomes people of all different kinds. It’s not perfect, but I felt okay being a nonbinary masc person when I was feeling that way, and I felt okay being nonbinary neutral, too. Being nonconforming felt welcomed, even when it wasn’t femme. Because the leadership exemplified a variety of expressions, many of which included masculinity, I felt like my expression was safer and more respected.
And I think this reflects on the caring nature of the con, and why – as DC mentioned – these older cis white men are part of that community in a greater way than they might otherwise be. When you see people like you, even just a little bit, you’re more likely to engage. But it only works if they’re actually a good example! And I just think that the Big Bad Con community is such a good example.
I can’t wait for next year!
P.S. – I forgot to mention the HUGE amounts of charitable good that comes from the con itself with the food bank, the Wolf Run, and so on – it matters, and is part of the caring perspective!
Post-con Brie Beau’s status.
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Today I have an interview with Mark Sabalauskas on Return to the Stars, which is currently on Kickstarter! I’m contributing a solarpunk scenario for the game, but I’m really interviewing Mark because it’s a hopepunk game in a world that could really use some hope. So check it out, and see what Mark had to say below!
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Tell me a little about Return to the Stars. What excites you about it?
Return to the Stars is an optimistic science fiction role playing game, powered by Fate.
I am excited to share a game with people where they can imagine having cool adventures in better future.
The direct inspiration was the sense of community that came from being surrounded by diverse, smart, and curious people at a Sci-Fi convention I attended. Hanging out with enthusiastic pop culture geeks was a real respite from much of the darkness in world. It occurred to me that the original Star Trek may have resonated because it provided a similar respite in the 60s, a very turbulent time.
So I created a game that combines the best parts of gamer and geek culture with science fiction exploration. Imagine if Chiana from Farscape was a genetically enhanced cosplayer, or Scotty was someone who loved hacking things to take to a Maker Faire.
The basic premise is that in a post-scarcity future hyperspace travel gave easy access to countless worlds, and humanity sorted itself into like-minded communities. One such society was the Convention Authority, founded to celebrate the now classical arts of science fiction, fantasy, and gaming.
One day, without warning, the stellar beacon that illuminated hyperspace went silent rendering galactic travel impossible. The systems of the Convention Authority stayed connected thanks to a replica fleet of early starships. Now, after more than a century of effort, a long-range exploration craft has been built. Its purpose: to return to the stars and reconnect the lost civilizations of humanity.
You play as one of a new generation of geeks — makers, genetically enhanced cosplayers, scientists, and pop culture enthusiasts setting out on an adventure of exploration and discovery.
What are some of the challenges of making a hopepunk type game, and how have you approached them?
Hopepunk is a subgenre centered around the idea that in the face of oppression and cynicism caring about things is an act of resistance. It is about being kind and also fighting against injustice.
One challenge was to balance hopepunk with other themes in the game. I addressed this by having a setting where long isolated civilizations are reconnecting. Around the table, this means the world being rediscovered “this week” can tell a unique story, giving you a chance to dive deeply into its themes.
Also, player characters come from a fairly utopian society. They could simply chose to stay in their post-scarcity paradise, complacent, sitting around a pool discussing seven centuries of anime and arguing if the 78th edition of D&D was the best, while robots serve them pina coladas. During character creation you have to create an aspect that explains why your character wants to leave this privilege behind. Why they are willing to put their comfort aside and risk their lives to explore and help the rest of humanity.
To encompass the full scope of hopepunk, Return‘s skill system had to players plenty of non-combat options–play can revolve around making and learning and sharing what you’ve learned, not just combat. Also, the mechanics for competitions and down-time tinkering give players ways to show off the the things their characters care about.
Tell me a little more about the world. What kind of people are there? What sort of technology do they have access to?
Return to the Stars is set in the early 27th century, 600 years from now. During that time humanity spread through the Galaxy thanks to origami drives that fold hyperspace. 125 years ago, Stellar Beacon that illuminated hyperspace suddenly went silent, rendering galactic travel impossible. Now a limited form of interstellar travel has been discovered. Communication is limited to the speed of space travel, so players need to act on their own initiative, they can’t phone home for instructions.
You’ll travel from world to world, encountering a diverse array of human societies. There are no intelligent aliens in the setting, and digital life can’t travel through hyperspace. Stories exist to help people understand humanity, these choices are very intentional. Of course, you still have the option spinning a tale about a runaway AI on a particular planet.
Probably the most unique tech in the game is cosplay, which in the 27th century is the aptitude for self-presentation using costuming, genetic modification, posture, and movement. Because cosplay involves granular genetic control of your body it is a skill you can use to recover from physical consequences.
What’s the mechanical system like in Return to the Stars? How do players interact with the world?
Return to the Stars is powered by Fate, which is a proven indie game system that has been popular over the past decade. It is great for telling stories that are centered on who your character is and what they care about as opposed to what stuff they carry.
You characters have skills and stunts that let them bend the rules. But the heart of the system are aspects, short phrases that describe who your character is. You start a session with 3 Fate points, when you need a boost, and it makes sense, you can spend a Fate point to get a skill check bonus. On the other hand, if you chose, your aspects can complicate you life, earning a Fate point, so you can be awesome later. So if your character is a very curious science officer, they might tempted to wander off to investigate a strange screech, earning a Fate point, or they might spend a Fate point to be awesomely effective at solving a scientific mystery. In this way the game emulates the up and down beats of a story.
Return to the Stars comes with an adventure specially designed to teach the core concepts of the game. In playtests at many different conventions, new players have been up and running and having a good time after ten minutes of explanation.
My goal: if you love anime or games or science fiction or cosplay, and have thought about trying roleplaying games, you can get Return to the Stars, read it, and play.
If you already love games powered by Fate, I’ve added fun new subsystems: character arcs, props, downtime tinkering, and competitions. You can learn more about them on the Kickstarter. And, of course, there is a dedicated set of sci-fi skills and over 100 new stunts to mix things up!
At the center of it, what kind of stories do players tell in the game, and what do you wish to see the most?
Return to the Stars is designed to help players tell stories of sci-fi exploration and adventure. I hope players players take advantage of a game that can be as much about making, learning, and communicating as it is about punching space fascists.
Ultimately, of course, the great thing about a tabletop role playing game is that people can bring their own interest and passions into the game, adding theme to the themes in the game: optimism, space opera, pop culture, and hopepunk.
Hi all! Today I’ve got a great interview with Jacob Kellogg and Joseph Kellogg, creators of Rodent Rangers,a nifty roleplaying game currrently on Kickstarter! The project could really use some attention and it seems like a fun game, so please check it out, and see what they have to say about it in the responses below!
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Tell me a little about Rodent Rangers. What excites you about it?
Jacob:Rodent Rangers puts players in the role of anthropomorphic mice who go on missions under the feet of modern humans to help those in need. In addition to the nostalgia of old animated films like The Rescuers or The Great Mouse Detective, what’s exciting about this game is the light-hearted, joyful purity of it. Especially with the real world being as dark as it is right now, the idea of sending your tiny persona into a big world and nonetheless making a difference—all without the constant violence or mechanical complexity that comes with other games—just feels really appealing. Be a cute mouse and go help somebody. Let everything be okay for a while.
Joseph: What excites me most is the ability to tell stories that let kids get creative and solve problems. Instead of trying to sanitize other systems that rely on violence, Rodent Rangers focuses on using wit and a pure heart to deal with villains, while allowing for daring feats and narrow escapes.
What do the players do to play the game mechanically – how do they take action and tell stories?
Jacob: Mechanically, Rodent Rangers starts with a familiar premise: shared narration, with dice to resolve uncertain or risky actions. It’s a very lightweight system, with no hard rules for action types or explicitly-defined special abilities like you have in games like D&D. Instead, activities are descriptive, with the dice determining success or failure. The dice system is pretty sleek as well, with no bonuses or penalties being added to die rolls. Instead, your attributes tell you how many dice to roll and your skills tell you which size those dice should be, then you roll a batch of them and see how many “hits” (dice that show a 4 or higher) you got. If you meet a minimum threshold of hits (depending on the difficulty of the task) you succeed.
Joseph: Rodent Rangers is a skill-based RPG, with a dice system specially designed to be as math-light as possible. When players want to try something, like befriending a stranger or finding a clue, they pick a type of die based on their skill level, and get a number of them based on basic attributes (like Strong or Clever). When they roll, they just have to count the dice that came up as 4 or more.
What do the characters do in the narrative? Are they rescuers? What kind of adventures do they have?
Jacob: Narratively, the Rodent Rangers are an in-world organization that spans the globe, and sends teams of field agents out on missions to help their fellow critters (or even humans sometimes). You might recover a museum’s stolen relic, help to evacuate mice from a flooding sewer city, or even help guide a lost human child back to their parents. There’s an emphasis on being part of a team and working together, as well as being noble and wanting to help people (after all, that’s why you became an agent of the Rodent Rangers).
Joseph: Characters in Rodent Rangers are agents of the titular organization, a worldwide network or do-gooders and adventurers. They get sent on missions to help other animals or people in danger, and hopefully make friends along the way. In the sample adventure, players will be asked to track down a researcher who was kidnapped by sinister treasure hunters. To rescue him, they’ll need to look for clues, get past a devious snake, make new friends, and maybe even get into a high-speed car chase!
Potentially even encounter villains such as this!
What kind of character becomes a Rodent Ranger, and how do they fit into the larger world? Do these characters stand out?
Jacob: There are really only three key aspects of a person who becomes a ranger: they’re part of animal society rather than human society, they have some kind of skill or ability to contribute, and they want to help. Beyond that, a character could be anyone, which I think is something I really like about this game. You don’t have to be born into the right circumstance, be the chosen one, be part of the dominant forces of society, or whatever else. If you want to do good in the world in your own unique way, then there’s a spot for you on the team that no one else can fill.
Joseph: A Rodent Ranger is someone who loves adventure and helping people. Many mice are content to live peaceful lives, and shun danger. Rodent Rangers are often the best at what they do, and driven to put their talents to good use in the wider world.
How is Rodent Rangers special to you in it’s design and concept?
Jacob: Aside from some of the conceptual elements that I’ve already talked about liking, I’m really into how straightforward and “essentials only” the mechanics are. Games can sometimes get a bit overwrought, trying too hard to make sure every element of the experience has its own mechanic instead of just giving you the tools you need and leaving room for imagination. For example, as much as I like D&D, I would probably like it even better if you dropped the entire “spells” chapter in favor of a more “here’s the general idea, do what makes sense” approach. That’s what Rodent Rangers does: it gives you enough to show you what the game’s about and enable you to play, then gets out of the way.
Joseph:Rodent Rangers is special because it reflects many of the cartoons of my childhood, in which a pure heart and brave soul were all that were needed to save the day.
Tell me a little about Impulse Drive. What excites you about it?
I’m a huge fan of all sorts of space opera books, movies, games, and shows. From the late Iain M. Banks’ Culture novels & Mike Resnicks Santiago: a myth of the far future to shows like Killjoys, Farscape, Andromeda, and Dark Matter, and games like Knights of the Old Republic and Mass Effect. Space Opera combines commentary on society and the myths we tell ourselves with pulpy romance, melodrama, and action in delightfully weird settings.
Impulse Drive is an expression of my joy for these melodramatic, heartfelt stories about volatile but endearing misfits.
What do players (and characters) typically do in play in Impulse Drive? What “drives” the game?
It’s the players job to create and play an interesting, active character by taking risks and embracing the consequences. Players describe their character, what they think, say, and do. Players look for when Moves apply to the situation the group is describing, and when their characters Hooks affect the situation or bring fraught relationships to the fore. Players are directed to think cinematically, like the game is a pulpy space opera movie or TV show.
Characters are misfits with simple motivations, but live in a world that complicates things. The characters have tense, fraught moments with each other and take dangerous jobs or missions that lead them into conflict and adventure. Lots of flying too fast, indulging too much, pissing off the wrong people, and getting into fights & shootouts.
What are the characters like in the game, and how do they function mechanically?
Characters are volatile and bombastic. They’re competent badasses with a lot of luck on their side – until that luck runs out. They rely on their unique strengths, skills, and gear to get them out of sticky situations. But their character flaws and complicated pasts & relationships mean there’s always more trouble around the corner.
Mechanically, the core function of a character revolves around their Approaches (5 modifiers ranging from a score of -1 to +2 at the start.) and their Moves, discrete chunks of rules made up of a trigger (usually fictional) a process (usually rolling 2D6 and adding a modifier) and an outcome (usually fictional). Impulse Drive is Powered by the Apocalypse, so it’s mechanics are very similar to games like Apocalypse World, Monsterhearts, and Masks to name a few.
The five approaches (Volatile, Calculating, Slick, Stalwart, and Alien) describe behaviors more than they describe physical or mental prowess. I wanted the names for the Approaches to be flexible and evocative. Slick means being kinda charming in an unreliable, slimy way, but it also describes pulling off a fancy maneuver. Slick is being quick, responsive, and hard to pin down. Volatile is about passion, but also unpredictability and violence. Calculating is being logical but also cold, you can’t be thoughtful or empathetic with Calculating. Alien is being weird and touching forces beyond your ken. All of the Approaches have a mildly negative connotation – except Stalwart, which is for being resistant, solid, but also reliable and dependable.
Orbiting Approaches and Moves, characters are made up of the Gear they can use, the Harm & Stress they can take, and two elements that complicate their lives; Hooks and Calamities.
Hooks are an opportunity to define their character through flaws and fraught relationships. There are some default Hooks on each Playbook that players fill in mad-lib style, but they’re an opportunity for players to describe the challenges and struggles us want to watch their character. Hooks give you an opportunity for interesting roleplaying but also earning more XP by increasing the chance of failure. Hooks are always activated at the Player’s discretion, so they can choose when they want a higher chance for complication and XP, or a higher chance for success.
Calamities are a finite list of mechanical changes and fictional events that happen to the character if they take 5 Stress. The last Calamity in each list is an exit for the character from the main stage – they’ll either retire to safety or go out in a blaze of glory. It’s always fun to see which players try to manage their Stress frugally, and which players jump in and aim for certain Calamities because they think they’re cool. I’ve never seen a Warhorse who can resist an opportunity for a great victory, at the cost of a part of their body.
What’s it like in the world of Impulse Drive? Where do characters live, and how does that influence the tone of play?
The “World” of Impulse Drive is an array of space stations, ships, and worlds that the PCs visit in their ship. The Galactic Community is made up of societies and civilizations with populations that count in the billions. Technology ranges in sophistication and style between these civilizations, but most are on par with the crew of PCs. The particulars of the societies that the PCs come into contact with is determined by the group, led by the Space Master. This ensures that the themes the group is interested in exploring will be embodied by the societies they are on the fringes of.
The parts of the galactic community that we generally see in Impulse Drive are the fringes, less settled areas where conflict, corruption, and crime are commonplace. Law and corporate interests encroach on these spaces and culture varies greatly from society to society, but the status quo teeters on a knife-s edge, waiting for the crew to come along and disrupt it.
The Space Master uses Strains, similar to Fronts & Threats from Apocalypse World to track and advance these volatile situations towards a climax.
How does being a misfit really impact one’s place in this space opera world?
Being a misfit is all about how you don’t conform to the status quo for society, how you disrupt and challenge what the majority sees as ‘normal’. It’s about being different, and having society at large be passively or actively suspicious and hostile to you.
PCs in most RPGs do this by the very nature of the rules of the games, but also how players generally embody characters who do this by default – whether that is desirable or not. The PCs have lots of mechanical tools that irrevocably change a situation once they interact with it – for better or worse.
Along with this, the game tracks how certain important groups or NPCs relate to the crew of PCs using Disposition. There are 5 states of disposition that describe how someone is likely to react to the PCs within the fiction, but also has a modifier attached to interact with certain Moves that deal in broader social or transnational situations. While the galaxy in general may not even register this one little ship and its crew in the fiction, in terms of the game we relate to NPCs by their relationship to the crew members.
This is open information. The players know how the various interests in their corner of space feel about them and what to expect when they dock at a station in a hostile faction’s territory. Even the positive dispositions Friendly and bonded come with strings attached or caveats. The PCs being misfits is mechanically encouraged by one of the XP triggers in the end of session Move. Your PCs earn XP if the crew made a new enemy, or thwarted an existing one. This encourages the characters to find organizations and societies that deny their individuality and stand against them in a way that gains their animosity.
Hey all, today I have an interview with Liam Ginty from Sandy Pug Games about Americana, a tabletop roleplaying game coming out on Kickstarter! It sounds like some fascinating times investigating a tragic murder, so check out the answers below, and give the quick start a look, too!
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Tell me a little about Americana. What excites you about it?
Americana is an idea I’ve had for ages – a retro-fantasy setting. The image of Orcs in letterman jackets, goblins in those awesome Pink Ladies outfits from Grease – it just came to me one day and stuck with me, but I didn’t really have anything to do with it till I made a game called Mirror, which gave me a dice engine to call my own, and suddenly I had something I could build from.
The game itself is about a lot of stuff – being a kid at a time when the idea of teenagers having a time and space of their own was new and strange and pretty scary to everyone, claiming the aesthetics of a time period that’s been off limits to a lot of marginalized people to create a fun, enjoyable and accepting place to play in – but the core gameplay revolves around investigating the death of your best friend while managing your time at school, social events and familial obligations and navigating a town full of weird gangs and magical places that you create during session zero. It’s a really interesting gameplay loop that I don’t think has been explored very much, we took that very teenage experience of trying to figure out when everyone can hang out and made it part of the game in a way that’s really fun.
Besides the aesthetic (which we have a really great team of creative folx bringing it to life, tons of stories, art and even an audio drama we’re planning on making), I’m mainly excited about a mechanic we’re calling Your Dead Friend. Your Dead Friend is the victim of the crime at the center of all of this, and as such, we wanted to make them very important to the game. You actually make a full character for Your Dead Friend, just like you would make a normal PC (player character), and you can tap their skills for assistance with tough challenges – doing this invokes a flashback, where you roleplay out a scene where you learned this skill, or shared a moment with your friend. So throughout play you build this character, and your relationships with them, and playtesters have created some incredible stories from this mechanic, and we’re really really hyped to see what people do with it.
We also have a mechanic called Ties and Connections that is just really cool visually – as you play you put together this conspiracy style board, drawing lines and connections between gangs, locations, characters and Your Dead Friend, slowly putting the mystery together.
How do you handle creating a town with all these exciting elements in Americana?
We focus on the parts of the town that are, or would be, important to teenagers, and break the town down into Hangs, Crews, Risks and Adults. A Hang is somewhere designed for, or co-opted for the purposes of just being. The old water tower, a disused Goblin cave, the field outside of town. We encourage players to make these hangs as magical or as mundane as they like, and they’re modeled much like our characters are – with Strengths, Weaknesses and a Vibe that characters can tussle with or exploit for their own purposes. Of course, what’s a place without a gang to call it home. That’s where the Crews come in.
Crews are cliques, like greasers, preps, mage-kids or jocks. They similarly have a Vibe and a couple of strengths and weaknesses, a catchy name that sums up their whole deal (and probably gets printed on their custom varsity jackets) and a leader. The leader gets a little extra detail so players have a face for that group right from the start. You also give the crew a hang to call home. Maybe the greasers all hangout at “Felicities Garage” or something. Again, we want people to create crews that reflect their own game, so we let people be as mundane or as magical as they like. My favourite crew in playtesting so far was a gang of gothabilly inspired proto-goths, who hung out around an abandoned necromancers tower, reading poe and casting spells.
Risks are the kind of dangerous activities that you and your peers get up to when the adults aren’t watching. Parties, deadly races, and illicit wizard duels in the woods near town. These are events set up by the various crews as a way for everyone to test their mettle against one another, and provides some really cool ways for players to challenge people, get up in a crews business or otherwise make themselves known without having to resort to straight up fisticuffs. Risks have a name, a crew associated with it, and a danger level that tells everyone just how risky this whole activity is. I was a big fan of “Electric Dance Fighting”, one of our first playtests Risks, where crews would have big street dance contests on the arcing lightning from a power line.
Adults are a bit more simple, to reflect the info and perspective of a teenager – they have a name, some strengths and weaknesses, and a position that tells you where they sit in the Adult world.
This is all done during Session Zero, tho we encourage players to add or modify these as needed throughout play, and it’s also done non-sequentially, so you can come up with a crew, go make up a Risk then come back to make up the hang later. You have a variable number of all of these elements depending on the scale of the town you pick. We’ve found this system just pops with awesome ideas when you get a few people around the table, and I wish I could just list off all the examples we’ve heard during playtesting so far. Really makes for some fantastic story elements with clear narrative and mechanical purpose.
A blank Your Dead Friend sheet…maybe you should be the one to fill it in!
I’d love to hear more about the Ties and Connections. How does that work and who gets to influence it?
Ties are how we lay out the various relationships between these crews, their leaders, locations, adults and characters all with the victim. We have a sheet that has the victim in the middle, their stats and so on, and a lot of blank space around them. As players investigate the world they’ve built, they record connections that NPCs, crews and locations have with Your Dead Friend by writing their names on the sheet and drawing these ties between the various factions and Your Dead Friend, which in turn makes it easier to figure out the next place to investigate, the next lead to track down and so on. This evolving document creates an ongoing campaign-length record of leads and dead ends, suspects and mysteries that you spent your game following up on. Here’s a WIP example of one after a couple playtest sessions. The final sheet will look a lil nicer than this, obviously, but it gives you an idea of what an in-progress set of Ties looks like.
Oh, and as for who gets to influence it – like almost everything in Americana, it’s a table-wide mechanic. The Storyteller can declare a tie, the players can confer and make one if they feel it makes sense, or everyone can agree together to make one. One area we really want to build on with Americana is making the dynamic between GM and Player less of a wall. Making the story more of a collaboration between the whole table from start to finish is a part of that.
So what are player characters like in Americana? How do they develop and fit into these towns?
Characters in Americana are all one of 6 Archetypes (what we call Classes) based on high school tropes – The Jock, The Nerd, The Royal, The Outsider, The New Kid and The Artist. They’re all friends of the victim, but not necessarily of each other, and we have a mechanic called The First Clue that’s specifically for bringing everyone together and getting the characters invested in the mystery. One thing we were super aware of when making these archetypes is that some of them are often depicted as cruel, or mean in popular culture – Jocks are bullies, Royals (the popular kids) are often vapid, and we wanted to avoid that at all costs, highlighting instead the positive traits of someone who really loves sports, or is a social butterfly.
These characters are, generally, people who’ve been part of the town most of their lives, and are personally devastated by the death of their best friend, and their character growth tends to come from their collective grief and the various support mechanics we have – working together is vital in Americana. The way the game is designed really forces this Us vs Them sentiment where the player characters are alone in their investigation, and have to rely on each other as much as possible.
Finally, tell me about Your Dead Friend. Where did this plot element idea come from, and how did it grow into a mechanic?
Your Dead Friend came from me watching Brick and realizing the single most important character in that – and almost every murder mystery – is the victim, but they’re so often neglected in RPGs that focus on similar themes. They’re either a plot thread or an inciting event, but never really show up much in the story from there. While doing my research for the game (Watching Riverdale mainly) I noticed how useful it was to have flashbacks where you can expand on that character and make them matter so much more to the audience than if they were just a corpse. It seemed obvious that the victim should sit at the table somehow.
First of all I played with the idea of having a player literally be Your Dead Friend, it’d be another Archetype, but I couldn’t really figure a way to make it work well with the other mechanics and vibe of the game. We played with the idea of having them be a summonable element, a ghost, a bunch of other things, but all of that went by the wayside when we realized how important Assists were for the game. It all kinda came at once at that point, the flashbacks, the assist skills, etc. It allows the character of the victim to grow really naturally through the players inventing that relationship they had from whole cloth and stops them just being a dice pool to draw from.
Hi all! Today I have a post from J Dymphna Coy on the subject of post-consent safety paradigm. For some advance clarity, consent is basically whether or not we grant permission for people to do a given thing. And if you click here, you can find some references for the safety tools mentioned. Otherwise, I think you should be able to follow the article pretty well! — A few months ago, I attended a session at RightsCon about Sidewalks Toronto. Sidewalks Toronto is a project by Alphabet (i.e., Google) to build an entirely new neighborhood in the city of Toronto from the ground up. They want to create a so-called “Smart City,” which uses various electronic surveillance tools in order to allocate resources more efficiently.
Naturally, the attendees of a digital rights conference cast a somewhat skeptical eye at this development. But one of the things I kept hearing about was “informed consent.” The most common question was some version of the following: “How can we make sure that people have informed consent about what kind of data is being collected about them?”
Mark Surman of the Mozilla Foundation brought up an interesting point: the business model of Google (and virtually every other Silicon Valley company) is to collect as much data as possible and then decide what to do with it all later. How can we even have informed consent, he said, when even Google doesn’t know what we’re consenting to?
Ultimately, my conclusion from the session was this: consent is ultimately meaningless in the context of the information economy. We cannot place the burden upon the populace as individuals to protect itself from Big Data; we must collectively assert our rights as a society and place the duty upon megacorporations to not exploit us.
That’s all well and good, you might say, but what does it have to do with gaming?
The inimitable Jess Hammer once mentioned that the X-Card has been dubbed a safety tool when it should more properly be considered a consent tool. The observation stuck with me, and I’ve been tooling it around in my head ever since.
So what is the difference between consent and safety?
Consent* happens before a game begins, or during a game. It involves mechanisms for determining the content of a game, or whether the game will continue at all. The X-Card, cut-and-brake**, and lines and veils are all good examples of consent tools.
Safety happens during or after a game. It involves mechanisms for directly attending to the emotional well-being of the players. A well-done debrief is a safety technique. De-roling is a safety technique. Anything that requires that players provide care (rather than merely asking if care is necessary) is a safety technique.
This is not to say that consent tools are bad, or should not be used. Quite the opposite is true! But they should be regarded for what they are, and used in a way that complements safety tools.
So why should I bring up Google’s data collection practices in this context? Surely a put-upon LARP organizer who already has to deal with the utterly thankless task of running a game does not have anything in common with Silicon Valley megacorporations. After all, the power relations are completely different. We can negotiate consent with another player of a game in a way that we can’t with a company like Apple. I can walk up to my fellow player and say, “Hey Fred, please don’t include bananas in this game, I have terrible fructiphobia!” By contrast, the notion that would could just write a letter that read, “Dear Apple, Please remove line 52 of this iTunes agreement because I don’t like it!” and expect results from it is absurd.
I bring up the comparison because much like Sidewalk Labs, your fellow players of a game have no idea what’s going to happen, and therefore any consent-based paradigm has limited utility at best. I bring it up because I want to emphasize the importance of safety and care, and to make sure that we’re not glossing over these things as designers and communities.
I’m not a big fan of making up categories of things for its own sake, or of having self-important internet arguments, or crushing my community with the tyranny of small differences. But I’ve heard the common complaint for years that safety mechanics don’t quite do what they’re advertised, and I hope that making the distinction between consent and safety might make something clearer in at least one person’s head, and maybe even make games a little better for the people who play them.
– *It is perhaps worth noting that consent originated as a legal term. It’s designed to protect various parties from indemnity or liability. While legal protections are important, focusing on what technically legal is not necessarily the best way to give guidance on how to navigate ways to avoid hurting or exploiting the people around you.
**The OK check-in straddles the line between what I’m deeming as “safety” versus “consent.” It resembles safety insofar as it places the onus on the entire community to ensure that that all of the participants are OK, rather than on other mechanics that place the onus on the affected person to tell the other persons in the scene to stop. I’m calling it “consent” here because it primarily involves whether or not care is necessary, as opposed to actually providing said care for the most part. But like all categories, the point is not to get into nitty-gritty arguments about where the boundaries are, unless you find that sort of thing really exciting (I find it tedious).
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Thank you so much to Dymphna for the excellent article! I hope you’ve all learned something a little new today. 🙂
P.S. If you’d like to write an article for approachable theory, email Brie at contactbriecs@gmail.com with a one paragraph pitch, your name, and your pronouns.
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Tell me a little about Bee Lives: We Will Only Know Summer. What excites you about it?
Bee Lives: We Will Only Know Summer is a worker placement and resource management game for 1 to 4 players. I’ve been developing it for about a year now and the game play is heavily influenced by Euro games. Titles like A Feast for Odin, Carcassonne, and Clans of Caledonia (to name a few) have provided some inspiration for mechanics.
The theme, however, comes from my experience as a beekeeper. I’ve been tending bees in urban Philadelphia for the past 7 years and have learned a lot about them in that time. When I did some research and found that no one else had done a worker placement style game about bees yet I decided that I wanted to be the one to combine two of my passions and create that game.
There are several things that excite me about this game. The first is how much I hope this will introduce people to the world of bees. I really wanted to design the game in a way that made people think like a hive does. The victory point conditions are set up to reward actions and behaviors that do well for the survival of your own hive. Some of them, particularly swarming, creates challenges for you as well. You can’t just think about points, you have to also think about getting through the winter in order to win.
This all really ties into how I learned to design games as a librarian. I’ve been making tabletop games for close to a decade as part of my educator duties, and I really like that I’ve designed a game that lets you learn while playing but does not have the objective of teaching. Bee Lives was made to be a game first, with the learning piece a side effect.
I’m also just really excited about this whole process of creating and publishing a game. It’s great seeing the community response to the project and the positive energy that a lot of people are responding to the game with. I also loved bringing Helen and Alina onto the project and working with them. Alina captured the style I tasked her with through my art direction just how I was hoping. Helen has really helped tie the art and the game mechanics together with her graphic design. The graphic design in particular is so important for a game’s user experience and I’m pleased with how it’s all come together so far.
What is play like on an average turn in Bee Lives? What do you do? In a turn of bee lives your primary task is decide how to most efficiently utilize the workers you have. There are 8 possible actions you can take, and each one helps your hive get to, and survive through, winter in some way. Do you need more honey and pollen so your bees don’t starve and you can make new bees? Send a couple workers out to forage. Maybe your hive is getting too much disease? Send some workers to clean it out. Is your neighbor being aggressive? Perhaps it is time to put some bees on defense or even go out on a raid to rob some honey from those neighbors.
Once you’ve decided how you want to spend your workers you take turns with your opponents, be it real players or the AI driven wild hives, taking those actions. This can of course throw you off of what you were originally planning. Raiding can leave you with less honey than you need forcing you to compensate elsewhere. Someone can block you from accessing a specific tile you wanted to forage from, forcing you to forage elsewhere with extra workers you were not planning. Then there is the main puzzle of managing the space in your comb so you can balance having enough food for all the bees while leaving enough space for new workers to hatch out of, and also keeping some water on hand in case you need to cool down your hive. There is a good amount of planning you need to do each turn, and then hope it doesn’t fall apart when it comes time to feed your bees and hatch out new workers in the upkeep phase between the 9 turns of the game.
How did you decide on the designs you use in the game for visual aid?
Helen and I worked pretty closely on this. We wanted everything to be attractive but functional and serve the player from a user experience perspective first. The graphics for visual aid are intended to be intuitive, and allow you to figure out what you need to do without having to look it up in the rule book each time. I also want to make the game language independent if we can.
Right now the only part of the game (apart from the rule book, obviously) that needs words are the event cards. Before we go to print I am hoping we can make those language independent as well. We also took care to add symbols to anything where color may be important so anyone who is color blind can still play.
This is most clear with the black and white icons we have added to the 4 different tile types that are in the game. It’s possible we’ll be having some of the actual art for the graphic design icons redone, but this is just for aesthetics if it happens. The symbols and why we chose them will remain the same.
How close to real life is the game in functionality – how much of a “bee life” are we living when we play?
Bee Lives is definitely an abstraction of what it is like for a bee hive in the Philadelphia area each ear. I’ve spent a lot of time with bees these past few years, and I wanted to really replicate what they need to do in this game without making a full blown simulation. The game doesn’t reflect every nuance of bee life.
For example, the bees don’t collect propolis or make royal jelly, and disease is abstracted down to the Varroa mite only, when in reality there are several health issues that can affect them. I want players to experience what it is like to be a hive without making them micromanage every aspect of it, and I believe I have succeeded in doing that.
Bee Lives sounds like a really great experience! How did you make those decisions in what to include, what to design into the game to interact with? That must have been challenging! What was most important to you?
This is where my experience creating games as a librarian really came into play. It can be really tempting to throw everything, including the kitchen sink, into a game. When you do that, though, you end up with a complicated simulation that makes sense to no one but the designer. You need to know what to trim and where to really emulate the real world experiences you want the players to experience through play.
When I did this for Bee Lives, I looked at what was important to understand about bees and what was needed mechanically to make the game enjoyable, competitive and balanced. I needed people to experience the difficulty bees go through in managing disease and resource gathering, so I made sure those were aspects that were included. I needed to balance those things with mechanics that would make the game challenging, which is where the main focus of resource management came from. Navigating these two pieces is a lot of what game design is, for me. It’s a way to let people experiment with a system they otherwise have no real way of interacting with, and I think that is a special thing.
