Today I have an interview with Connor Alexander about Coyote & Crow, which is currently on Kickstarter! This game sounds so incredible and is something I have hoped to see in games – a sci-fi fantasy game that’s about an America that was never colonized by white settlers. I feel like this is a really major project and I hope you enjoy learning about it, like I did!

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I’m excited for the opportunity to interview you about Coyote & Crow! It has been very successful on Kickstarter thus far, but I’d love to know more about you and the project. Can you tell me a little about yourself and how you came to work on the game?

Hi Beau! Really excited to chat with you. Thanks for taking the time. I’ve been a gamer my whole life, but I only started working in the hobby game industry in 2014. Pretty quickly I began to notice the representation gap in both presentation and in creative teams. The gap in the game industry seemed to mirror most of the rest of media and pop culture, which surprised me a little at first. Doing something about it didn’t occur to me until I was chatting with a Native representation consultant and they said something to the effect of, ‘even when they do representation accurately, it’s almost always through a colonial lens’. That really stuck with me. Then I saw the trailer for the video game Greedfall and I knew I had to take some kind of action.

I feel so very privileged that I have a steady job in the game industry and had access to many experienced voices who were willing to give me advice. I’m just a working stiff so it was really tempting to create a proposal and try to just sell the idea off to another publisher and let them run with it. In the end though, I felt that there were too many ways that the project could lose integrity along the way. Once I decided to tackle it myself, it became about team building. And that’s where the game began to become something much bigger and more important.

It’s pretty clear there’s a lot that makes this game unique and intriguing. How would you approach a new player to pitch the idea of the game to them, and are there any things players should know starting out?

That’s actually been one of our biggest hurdles. There’s almost no comparative media out there. When you talk about classic fantasy, even non-gamer audiences know Game of Thrones and Lord of the RIngs. Traditional sci-fi and cyberpunk also calls up a dozen properties and tropes. That cultural shorthand is embedded deeply in our collective conscience. On the one hand, you have to battle all of the negative stereotypes and assumptions non-Natives have. On the other, you have to create a world that’s both exciting and challenging to Natives, but also speaks to an incredibly broad array of Native cultures and traditions in a way that’s inclusive while not appropriative. It’s an extremely narrow ledge.

So to answer your question, when speaking to someone about it for the first time, I try to put them in the mindset of when they first read about Wakanda in the Marvel Universe or when they first played Horizon Zero Dawn. Not the cultural specifics of those worlds, but the idea of shifting your perspective of what could be. Once they’re in that headspace, I usually ask folks to picture what our continent would look like if Europeans or any other colonial forces had ever set foot here. And not at the point of contact 500 years ago, but in the future. From there, I usually can start filling their heads with all of the little details that make this world feel lived in. And while our game has a speculative future with fantasy elements to it, we made it a point to build a world that has a lot of potential grounded in reality.

As for things players should know starting out, there’s a big one that many folks have mentioned. I’ve heard so many variations on ‘I want to play but I’m worried I’ll do or say something insensitive’. I love that so many have asked that. It means there’s progress being made. But we are designing the game so that non-Natives can jump into this and play without worry. There’s a section at the beginning on how to approach the book and what to avoid. And throughout the book we give explanations for words and phrases and additional context for certain concepts or rules. On the flip side, we have specific things we call out where we indicate that Natives can add on or tweak a rule to help it fit their tribal specific customs or context.

That’s all really useful to know! You have a great team with a lot of varied experiences. What is the process like for deciding which ideas for mechanics or content goes into the final product? How do you ensure the most voices are heard?

That’s actually one of the most rewarding portions of development for me. I created the broad parameters of the game and set the stage. Once we had an initial draft, I invited everyone on the team to comment on it and if they felt strongly about a section or a concept, invited them to have a chat with me about either doing edits or re-writes. Nothing in the book is so sacred it can’t be changed. If someone on the team has a brilliant idea, I want it in. As long as the idea doesn’t derail the core concepts or conceits of the game or cause internal inconsistencies, I’m on board. It’s led to some really vibrant discussions and concepts I never would have thought of on my own.

We’re certainly in the ‘kill your darlings’ stage of development and with that comes the pain of seeing some of your initial ideas break in play testing. From a personal standpoint that stings, of course. As the game development progresses, it’s like I built the framework of a house and I’m seeing people add walls and paint and windows. The more work they do, the more mine becomes invisible. But that’s fine. I never wanted this game to be some sort of statement about me personally. From the start I knew this project would be better thematically and mechanically if we had a chorus of voices.

You’ve shared a lot of cool stuff on the Kickstarter page, but I would love to know more! What are some of the exciting things we can expect from the game, the kind of things that really make you want to share with others? 

For me, it’s the little details that make a world feel lived in. A perfect example is the underground transit system of Cahokia. It was built originally as a system of tunnels to keep people warm and safe during the brutal winters. As we thought about it practically, we saw flaws. How would this be lit? Keeping fires going in enclosed tunnels would be difficult for so many reasons. Our answer was one that I think is equal parts inspired and reasonable. The people of this world eventually grew their light sources through cultivation of bioluminescent fungi along the walls and ceiling of the tunnels. The effect is that in this future the interior ceilings and walls of these tunnels and the magnetic levitation rail transit system all glow green and blue and purple. While having a living ceiling as a light source is a cool image, I like to also think that it represents a different way of problem solving. We’re working hard to fit as many of those kinds of thoughtful ideas as we can into the book.

We’ve also got bigger ideas that we at least want to set up. I’ve always been a fan of storylines in games that involve shadowy organizations or grand conspiracies. Mystery in TTRPGs is one of my favorite hooks. So we have lots of story prompts and adversaries that are based around those kinds of adventures. It also leaves lots of room for Story Guides to build out around their own concepts.

What led to the decision to make this a game that focused on sci-fi fantasy vibes and encourage the specific style of play (which seems unique) that you did?

That’s a great question. I don’t think there’s a way to answer that without addressing my own personal tastes, so I hope I don’t come off as self-absorbed. I grew up on original Star Trek, Star Wars and authors like Ray Bradbury. Stories that were full of forward thinking and hope. In contrast, my Native heritage always felt grounded in now, in today. It was a very personal and not always a happy part of my relationship with my father and our family.

But in the last decade, we’ve seen some media that has started to meet somewhere in the middle of those two points. It’s not all utopia and hope or escapist fantasy, but it’s also not grim and dirty reality. Shows like the Expanse, newer Star Trek, video games like Horizon Zero Dawn and tabletop games like Android Netrunner were all able to put fresh spins and new perspectives on some of those old concepts, while also highlighting diversity and representation in a way that didn’t feel obligatory.

When I knew I wanted that kind of feeling for Coyote and Crow, it just became a process of elimination. I didn’t want just fantasy because too often non-Natives exoticize Native Americans and that setting is just too ripe for them to abuse, even if it was told well. And pure science fiction doesn’t leave as much room for the subjective and the immaterial that I wanted to make sure spoke to so many Native beliefs across tribes.

I wanted it set in the future because I wanted Natives to see this as a hopeful view of what could have been and maybe some things that might still be, but it had to be built on  a different past because I wanted it very clear to everyone that this was a world that colonists and specifically Europeans, had no part in building.

It was also important that the core mechanics offer combat as an option and not the default. Most fantasy games are geared toward going somewhere unfamiliar, killing everything there and then measuring your success based on how much you looted. That sort of storytelling is really limited. For me, the best stories are about building bridges, righting wrongs, finding equilibrium in the middle of chaos and optimizing your gifts in ways that benefit as many as possible, not just yourself. I’m really hoping that Coyote and Crow becomes the launching pad for those kinds of stories.

Amazing! So much good stuff here. I just have one last question to finish this off. As you’ve worked on the design and playtesting for Coyote & Crow, what are some experiences that stand out and excite you for the game and for players to enjoy? What lasting impact do you hope for?

That’s actually a long list. The first time we did a playtest and one of the players got to experience the exploding dice mechanic and they were so thrilled. I knew I was on to something when I saw that look of joy and excitement. Another great moment was when my Native group of playtesters got to meet the supernatural entity that we were using in our adventure (and appears in the one shot that’s in the book). That feeling like we were all playing something that was “ours” was palpable and deeply gratifying.

Since I’ve passed along some of the play testing to our team, I’ve heard some incredible stories from our Story Guide. They said one group just decided to completely cozy up and become friends with a group we’d originally written as sort of adversarial. That was great! As much as I love writing stories and being a Story Guide, having players take it down their own path is always such a treat. Most of my own personal favorite RPG stories over the years usually involve some amount of deviating from the gamemasters plans.

Which leads me to the second part of your question. The lasting impact that I’m hoping for is that people, Native and otherwise, find themselves exploring the world we’ve built and feel inspired to tell new stories and new kinds of stories. I’m a firm believer in storytelling and the power of it. It has the power to unify, to heal, to inspire. My greatest wish is that Coyote & Crow does what all of the best science fiction does, which is to bring some hope to our real lives by giving us a thought provoking world to temporarily escape to. If I can do that for some folks, especially my Native cousins out there, then I’ve succeeded.

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Thank you so much for the interview, Connor! Coyote & Crow sounds like a really amazing game and I’m excited to see all that comes from it. Check it out on Kickstarter today!

Today I have an interview with Dominique Dickey about their project, Tomorrow on Revelation III, which is currently on Kickstarter! This project seems really amazing and explores a lot of complex themes, so I hope you enjoy hearing about it! Check it out!

I’m excited for the opportunity to interview you about Tomorrow on Revelation III, which you’re launching on Kickstarter. It sounds fascinating! Before we talk in detail about the game, can you tell me a little about yourself and how you came to be designing this project? 

DD: I’m Dominique Dickey! I’m a writer, editor, and consultant. I’ve previously worked as a freelancer on projects such as Thirsty Sword Lesbians, Sea of Legends, Lost Roads, and Pathfinder Lost Omens. You can also find my rpg TRIAL on itch.io: it’s a narrative game that explores race and the criminal justice system via the story of a murder trial, and was my first foray into games as a mechanism of social change.

Last summer, I had the idea for a game about farmers avoiding becoming obsolete on a space station. I was interested in themes of capitalism and finding meaning outside of labor. I also wanted to design a game about community-driven social change, and find a way to represent that change through game mechanics.

I spoke to my dear friend Charles Linton and realized that my initial premise was more suited for a one-shot than a campaign, as resolving the problem (making sure the space farmers had rights and protections) would break the game (by obliterating a core aspect of the setting). I also didn’t want it to become a game about making oneself necessary to the capitalist machine: what if the farmers’ profession actually does become obsolete, but they find value outside of their labor? The way I initially envisioned the game would not allow players to answer that question, or others like it.

From those discussions with Charlie, the game shifted to be about a group of people on a heavily stratified space station, all with different backgrounds and levels of privilege, working together to improve their collective circumstances. I was really excited by the idea of developing the eponymous station and its stratifications—this was my first time writing a game with a super concrete setting, and I wanted to create a rich and generative sandbox for players and GMs to enjoy.