Tag: gaming

Turn – Playtesting is Hard, Y’all

This is going to be a little more colloquial than normal, so bear with me. On playtesting in general, I’ve got some Feels™, but later on in the post there’s some more about my recent work on Turn.

I took this of a bison at a local park. 😀

On playtesting while designing in general: 

Monkeys on pogo sticks, playtesting is hard. While it is somewhat easier being a player in a playtest for Turn, being a Storyteller is exhausting. Now, it’s not the game. It’s not the players! I’m just an amateur GM and I struggle a lot with it. In both cases (player & storyteller) in playtests, I’m doing double-or-more duty of storytelling/playing and analyzing the ruleset and how it interacts with the players and itself and how the game functions as a whole oh and also I have to worry about how to fix things and where to clarify wording in the main document and ohmYGOD!

BUT. This is really an important part of the design and development process. Not all games need playtested, but many truly benefit from it, and Turn needs this a lot because it is a complicated game with many interlocking pieces and concepts, and for me, it must be perfect.

And like, here’s the deal. I have three major documents in which I maintain Turn’s text – two public facing for players (one for internal playtests, one for external playtests), and one private. When I make an update (which I typically do live), I update all of them. I use comments in the private document if I can’t make immediate documents, and add identical text when I can to each document.

This is essential for my process. I have memory issues that make even taking brief notes difficult because they may be meaningless to me later, so if it’s simple stuff, I change it as soon as possible. I design in-process, on the fly. I can’t rely on future Brie. I need to make the game now, not later. So when I say running and playing these playtests are challenging, it is not simply the act of those things, it is those things and actively designing and critiquing my own work.

I have tried to make games without doing this. I can’t. When I playtest face to face, if I don’t have my tablet at hand, I struggle to fix the things that need updated at a later date. I can play and even storytell, to a degree, while I am making edits. I let players have some chatter while I make notes, or take a quick break. I can roleplay sometimes while I’m trying to determine how a mechanic might impact play, and can sometimes start using it while playing or running instead of waiting to try it later.

I don’t know what I will do if I ever do an even bigger, more complicated game than Turn, but this is my reality right now. I wonder if other people experience this. Do you take notes? Do you edit and change rules on the fly? Can you put off changes until later? I don’t know how weird this is.

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Beast archetype: Otter

In playtesting Turn specifically, I’ve made some minor changes. The core mechanic has not been adjusted. The secondary and tertiary mechanics and structures, some text and interaction, have been fiddled with. I wanted to just go over some basic stuff.

Firstly, in combat, which I talked about on Twitter this week, I’ve finalized the basics. Shifters vs. small groups of humans is simple – shifters call the shots entirely. Any degree of violence, any amount of harm – but there are other consequences. For shifters vs. groups of humans (4+), it gets more complicated. Shifters can flee, if they want. They could sacrifice themselves for the good of others. Or… they can kill everyone. Everyone. But, that’s all the options they get.

For shifter-to-shifter combat, I’ve added an assortment of options based on the beast archetype that the player has. If they have specifically chosen powers on the beast archetype, they may impact the combat. Then, they pick from a Consequences list to apply to their opponent. It worked alright in my first experience with it, though I did end up clarifying some wording.

Second, I had to clarify some elements of the core nature of Turn. Here is an excerpt from the current Turn document explaining the nature of shapeshifters in game and the stories that have freedom to be told:

How Shapeshifters Work
While there are some details players will fine-tune in their game, there are a few items of note for how shifters work in Turn. The most important things to note are that:

  • There is no concrete origin pre-defined. Shifters are not from any real-world cultural, religious, or scientific background. The designer of Turn asks that, unless you are of a particular culture or religion that has shifter backgrounds, you do not use that background for your game. 
  • If there is magic in Turn, it’s unknown and invisible to mundanes. There are also no external entities that hunt shifters, as that would violate the nature of the individual secrets of shifters and the premise of Turn.
  • Shifters are assumed to be effectively invulnerable, and any real injuries heal rapidly enough that it doesn’t matter. They have the natural bodily functions of their human and beast forms, however.
  • Shifters have super strength and super senses appropriate to their available forms – scent, sight, etc.
  • Shifters live the length of their longest lived form, and age at that speed.

Some of this is not like, totally loved by some people, and to be honest, that’s whatever for me. No one has to play the game, like the game, or even acknowledge it. It’s mine, and this is the game I want to see played. The things that I realized were issues the most are things like: are shifters invulnerable? is there magic? can there be threatening external entities? (yes, maybe, no.)

There are reasons for all of these. Shifters are invulnerable because 1) it’s cool, and 2) physical threats, even things like aging, are not the dangers in this game. For the use of magic, sure! If you want to! But visible magic would be the death of all secrets, exposure would be rampant. So yes: magic is cool, but it should not be a function of the world that is free to mundanes.

The last one – the external entities – are because of a deeper issue in Turn that I hope doesn’t fall to pieces when it gets wider distribution. Turn is not about external threats – not outside the town. The threats are within the town, those close to the PC shifters. It’s about internal threats – themselves, their beasts, their desires and needs. It didn’t strike me until someone wanted to include it, though I had considered the possibility very early in conception. But once I saw it, I had a very harsh emotional and thoughtful response, and had to really dig down at the problem.

Another thing that I’ve run into is people just really not grokking small, rural towns. There are things in small towns, especially USian towns, that are really common, and players have had a little trouble accepting them. The weird one I ran into most recently was the fact that virtually everyone drives in small-town rural US. One player from Scotland stated that he didn’t drive at all, and didn’t even have a license, and I was startled – this was not a thing I had considered at all! But it’s true – especially in places like where I grew up, in small, rural towns, not driving is incredibly rare and also very inconvenient. It was bizarre.

Another I’ve encountered is some people’s very significant resistance towards playing religious characters and an aim to frame religious groups as bad. This is problematic. I’m personally agnostic, but I grew up Brethren, and religion is very common in the US, and can be very passionate in rural places. It’s not inherently bad, either. Frankly, having atheists and agnostics, secular people, in small towns like where I grew up? Not common. And people give them a strong side-eye, frankly. So, this is something I’ll be covering, along with the infrastructure of many small towns, in some of the additional text for the game.

No red pandas yet. Be patient. They are cute and fuzzy still.

I also have been getting some minor grumps from people that my beasts are too focused on the US, particularly places near where I live, and that I’m not making an effort to expand my game, which, please take this as kindly as it can be said: fuck off. I have spoken before in many different places, including this blog, about my attitude towards writing what you don’t know and do know. I have only lived in rural Pennsylvania. I’m writing what I’m familiar with right now.

Also, keep in mind, this game is barely in beta. I have a lot of plans for the future for how I can expand it, make it more accessible and more welcoming to players unlike me and who have different experiences. But holy sweet Cena, stop getting mad because I haven’t started writing about small neighborhoods in Canada or rural China. This is a slow process, and you must understand that I am not trying to deny the possibility of those things – I just don’t know them, and I do my best to not bullshit my way to telling stories that aren’t mine.

Anyway.

It’s been very challenging and very revealing, showing me both ignorance on my part, the part of players, and areas where I frankly just need more time and experimentation. But the core of the game stands strong, and I am still passionate about the future of Turn.

Thank you for reading! <3

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Six Tweet RPG: Place of Purpose

I gave writing a game in six tweets a shot yesterday. It’s below!

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Place of Purpose

Take a coin, paper, pen. Write words & numbers, 1-5: fight, cry, love, sleep, run. Write again 6-10: need, want, hate, ache, hurt.

Write a name, job, home, purpose. Answer: Old or young? Strong or weak? Alive or dead? Alone or together? Interpret as desired.

Draw a map, simple’s fine. Mark home, mark place of purpose. Line from one to the other & mark four risks. You name the challenge.

Write your story from risk to risk. Who do you meet? Name them. Why are they there? Write this. At each risk, flip the coin twice.

The path from risk to risk is yours, but the coin chooses one each 1-5 & 6-10, & tells you what you encounter. Write how you fail.

You continue after failure to your place of purpose. When you arrive, flip the coin twice. Write how your purpose is fulfilled.

This post was supported by the community on patreon.com/briecs. Tell your friends!

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Throwback Game: Walk With Me

I wrote this on G+ a long while ago and it was talked about on The Gauntlet. Just wanted to have it for posterity or whatever.

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Walk With Me

2 person apocalyptic RPG set in isolation

It is dark. You have no one else. You have nowhere to go. It is cold. There is little food, and there are predators at every turn. Beastly monsters have taken your home, so you must leave your sanctuary to find food and find a new shelter. If you don’t find food soon, you will need to make a choice. Your path is perilous. You start to walk.

Both players start with six dice, representing your soul and your life.

You roll dice every time you need to survive.

Every time you feel lonely or afraid you steal one of the other people’s dice.

Whoever has no dice first is the one that kills the other. Their dice are restored to full, and they can find a new companion.

The walk never ends.

This post is not funded, but Thoughty is supported by the community on patreon.com/briecs. Tell your friends!

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A Looksee into The Dark Eye and The Warring Kingdoms

Today I have an interview with Jasmin Neitzel who contacted me about a supplement on Kickstarter for The Dark Eye [TDE], The Warring Kingdoms, from the publisher Ulisses Spiele. I was intrigued because The Dark Eye isn’t something I’ve seen much about. This supplement to The Dark Eye follows up their Ennie-nominated setting, The Dark Eye: Aventuria Almanac. It sounds like a great project and I hope you enjoy reading what Jasmin has to say!

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Tell me a little about The Warring Kingdoms. What excites you about it?

The Warring Kingdoms Nostria and Andergast are part of The Dark Eye’s core setting, the continent Aventuria. They are two smaller realms caught in a hateful struggle that has been going on for generations. Taking a toll on the countries, depriving them of economic and social growth. Neither Nostria nor Andergast are in the focus of sweeping metaplot events or the plans of bigger realms. They are very much focused on each other. The setting very much is a down to earth approach to fantasy, going for a middle ages feel. It feels grounded, lived in and true to life and human experience. It is a setting where nature, history and magic have their own mysteries and where war has a real cost. But without going grim dark with it. There is room to be heroic and for good people to succeed in the end, even if not everything is black and white and there is room for moral choices to be made. This medieval fantasy feel is showing in the artwork and the text, making Nostria and Andergast into specific places and not just pastiche.
There are a lot of elements and plothooks in the setting that I am really excited about. Like the city of Nostria ravaged by a plague a few years ago and in decline since, with empty rows of houses that serve as home to gangs of criminals. The labyrinthine castle above the city home to the educated Queen Yolande, trying to be a wise ruler to her backwards country. The storm swept coast, where free farmers are holding back the sea by building dykes. Something that speaks to the northern German in me. The deep and endless forests and what might lurk within, places where nature makes all manmade borders obsolete and the woods themselves are the true sovereign of the land.Personally I also like how The Warring Kingdoms as a setting allows us to examine accepted fantasy tropes. There is a lot that sounds very familiar here. A feudal order, knights, kingdoms in endless conflict. But the way it is portraited [portrayed] and rooted in the setting gives it weight and allows to ask questions. The feudal order is just as playable from the peasant perspective and what it means for them. The wars take their toll, yeomen are recruited to fight, farms and castles are damaged. Conquered villagers have to swear fealty to a new liege. But there also is an emotional cost. The inherited hate and prejudice after generations of fighting, even if in the borderlands only the rulers are changing and cultures are mixing. Where often picking a site in the conflict would be the only way to go, striving for peace, however uneasy it might be, and an understanding between cultures is portraited [portrayed] as just as viable as becoming a war hero. War itself is, unsurprisingly with a title like The Warring Kingdoms, one of the big themes. It will never be truly won or over. The war is as much a force of nature and creeping background threat as a sandbox to play in. But to give a heroic fantasy aspect to it there is a totemistic aspect to the war as well. An ancient quarrel between Animal Kings, the firstborn of their species and a mythic Root of Hatred the players can engage and appease. But even if they succeed there still is the resentment of generations at war, looping back again and grounding it in human experience.

Another trope that gets examined is gender roles in the tropes of medieval fantasy. Aventuria as a setting has been explicitly equal rights since it’s development in the 80s. Allowing for female fighters, rulers and artisans on the same footing as their male counterparts. Andergast however is one of the few patriarchies on the continent. Which culturally isolates them from their neighbors. By putting them next to and in conflict with Nostria it put “medieval” gender roles in contrast with a emancipated society and shows their injustice. But without painting every Andergastan as an evil cliché. It is an aspect of their culture, that is hard to unlearn and without contact to others not often question. Cultures are an important part of a The Dark Eye character and have weight in the rules on equal footing with their species and profession. So you are not a human fighter but an Andergastan Forest Knight and the Warring Kingdoms gives this culture weight and a setting to use it in.

As a supplement, how does The Warring Kingdoms integrate into The Dark Eye? What makes it unique beyond other settings and supplements?

With Nostria and Andergast focused on each other and the region providing a lot self-contained of hooks and conflicts while on the surface level fitting the European flavored take on a medieval fantasy setting, The Warring Kingdoms work well as the first regional supplement. Before this we had the core rules and the Aventurian Almanac, describing the whole continent, in less detail for each of the regions of course. With The Warring Kingdoms we are zooming in on this two realms and the setting they provide. They are not only geographically in the same place but united by narrative themes and a similar feel. You will just need the corebook and to a lesser extend the Almanac to get full enjoyment from The Warring Kingdoms, everything that you need to know and all rules to play in the setting are collected in the setting supplement. But the setting book is not the only thing that we offer. In the Kickstarter it comes with a adventure modules for the region and playing into the themes. New Bonds and Ancient Quarrel for example is about securing an uneasy peace, starting with a political marriage. We also provide a novella and a comic set in the Warring Kingdoms and, if our backers are generous, a soundtrack album. So there is material to engage with the setting in a lot of ways. The setting book being the core and working on it’s own. So within The Dark Eye you are getting a lovingly detailed and ready to play setting.

I would say the european, specifically german perspective on a grounded, sometimes fairytale like medieval fantasy setting. Written by people who just need to walk a few steps to get a view on a real life castle. We are inspired by different landscapes, our own culture and history, when writing fantasy and I think it shows in a lot of small details.

more below the cut!


How have you made The Warring Kingdoms mechanically interesting, beyond just being part of The Dark Eye? Are there new items, new roles to play?
The Warring Kingdoms are introducing rules that support and reward thinking about your character’s culture. There are traits you can pick that give you a little bonus and a little drawback for something that is typical of your culture. Using this rules we are also giving an identity to the culture of smaller regions within the Warring Kingdoms. While the core rules only featured Nostria and Andergast as a whole. That way the verbose Nostrians can lose time when a skill check involves talking but depending on fishing for a living they get a small bonus for that. While Andergasters from the eastern Steppes are not just stubborn than the rest of their culture they also deal with horses for a living and get some bonus there, but their rough homeland and dealing with orcs gives them less courtly manners. So small mechanical benefits that also tell you something about what life in that character’s homeland is like.
We are also featuring new schools of magic for mages and new familiars for witches supported with some new spells. If you want to throw exploding fireballs as an Andergastan battlemage or if you want an owl friend as a witch of the Silent Sisterhood, this book has you covered. As a faction important to the setting we are introducing druids as a new school of magic with their own set of rituals, spells and tradition. Our druids, called Sumes in the Warring Kingdoms because they worship the earth goddess Sumu, are more like the priest of celtic and pagan Europe than the shapeshifters of D&D.
New items are featured with all the rules to use it and some description in the sourcebook. But if you want even more details we also offer the Armory of the Warring Kingdoms with illustrations for each piece of equipment and some optional additional rules and some deeper descriptions. There are of course weapons typical for the Warring Kingdoms. Like the Nostrian long bow or the Andergaster, a 7ft long two handed sword. But there are everyday items as well, like clothing typical for the Kingdoms, tools to build a dyke or works of art.

What inspiration have you used to develop the setting of The Warring Kingdoms?

We had a history to build on, since the setting, like most for The Dark Eye, has been around for some decades. People used it before, first as a setting for novels and later adventures. There has been another sourcebook describing it, as well as the computer game series Chains of Satinav. So we could build from there and expand on those ideas. But of course we did set the focus to support the themes we found interesting and wanted to put a spotlight on. Another goal was to describe those things that enhanced the play experience foremost.
As a feudal setting with knights, longstanding feuds and wars we of course took inspiration from classic tales about knights. So even if the setting is not Arthurian there is some inspiration to be found. We of course couldn’t ignore Game of Thrones. But Grimm’s fairytales and Ottfried Preußler’s Krabatt and Astrid Lindgren’s Ronja the Robber’s Daughter did lend a lot of inspiration as well. European history and the image we have of the middle ages as well as real historical research also played a big role. Some sources on inspired certain elements of the setting. You can find a lot of the hanseatic city of Bremen and its harbor Bremerhaven in the trading hub Salta and Slaterhaven for example. While the steppes of Teshkal in Andergast are in a lot of ways draw inspiration from Rohan in the lord of the rings, which is not as big an influence on the rest of the setting.
Do you think that there are significant differences between The Dark Eye and USian games like Dungeons & Dragons, and that this has influenced The Warring Kingdoms?
 
I think there is a difference in playstyle that developed over the years and influenced the design decisions that went into creating the rules for subsequent editions of The Dark Eye. TDE is less combat and encounter focused in it’s scenarios. Instead pushing for engaging with the background, it’s lore and NPCs. There are a lot of social challenges in adventures for the dark eye as well as a big metaplot that often is featured and engaged in published scenarios. But there is also room to just experience the world, featuring scenes of exploration, fluff and sight-seeing. Which is something our players enjoy. There are of course American settings that do similar things Glorantha comes to mind as a setting with very deep lore and the World of Darkness featured a metaplot. But The Dark Eye as the defining game of the market it changed what mainstream assumptions look like in Germany and is it’s own mixture of stylistic elements.
Players of The Dark Eye usually enjoy to have their character’s backstory and connection to the world of Aventuria represented on their character sheet. So there are mechanical representations of mundane things, that mostly offer flavor. They of course can feature in scenarios. We offer mechanics that allow players to zoom in as deep as they like. For some players it is okay to know their character is from Nostria. Others take one of the cultural personality traits, others arrange their stats to have their fighter be good at fishing or their mage to know how to build a dyke. Making the stats tell a story about your character is something the system has to do and something we expanded on in The Warring Kingdoms. Of course it still has to be able to also handle fights in a balanced way and all the other things a traditional rpg design demands. A character who learned how to build a dyke will be rewarded in a scenario where that plays a role, that is delivered with the Kickstarter. Even if it will not come up too often, it still feels important then. But it might define what the character is like, even if it never is the skill that saves the day. To allow for builds like this TDE has a pointbuy system with roles defined by the setting. Similar to Shadowrun I would say. [Beau says: Shadowrun 3e point buy is my favorite crunchy game build ever so this like, is totally my jam.]
Of course this influenced The Warring Kingdoms. To provide a working metaplot you have to give players room to do their thing and be the most important people in the setting, at their table at least. But you also have to give a few hints at what can happen in the future. So we have to decide what to hand over to the players and never touch again, so they are free to use it and what to point out as something that we will pick up in the future. We are marking NPCs with chess pieces for example. A pawn we will not mention again, a knight will remain in the setting but can for the plot be easily replaced with any npc the GM likes, a king will be important later on and it is important for later developments that this person show up in this scenario. So metaplot considerations featured into designing the setting. Within The Dark Eye the setting is trending towards being less metaplot heavy and leaving a lot in the GMs hands. We still put in a few hints that will keep people interested in what the future holds.
The description of the setting is providing plot details as well as challenges and conflicts as well as a lot of cultural details and interesting fluff. Necessary to explore and feel the setting through your characters perspective or to give a deep background to your character, even if you play them in another culture. So The Warring Kingdoms is not only describing a field to play in, a destination to travel, a series of storyhooks or a set of difficulties to measure up against but also a lens through which a character can experience the world.

What do you mechanically to handle social interaction in The Dark Eye, and how is it reflected in The Warring Kingdoms? What influence does the setting have on the understanding on the mechanics for social situations?

It can be done done as a skill check, where we have a variety of skills divided by approach. Either as a contested check between two characters (PC or NPC), just going for a success and seeing how good you rolled or a long time task, where you are accumulating points, till you reach certain milestones for a full or partial success. Each of these three core mechanics are there for every skill check. They can be applied to social interaction depending on what your goal is. The quick roll for a success works best if it isn’t too important how long a task takes and what the other character is doing. The contested roll is important if you want a defense and to compare two characters against one another. It is used between player characters or between player characters and important NPC. The long term task works well if you want to convince people over time, turn asking around for information into a montage or do other long term things like counseling someone in a time of grief.

There also is a ladder of attitudes people can have towards each other ranging from bitter enemies to unconditional love. You can roll to move people along that scale or to just get them to do something. Which gives more of a choice and makes a difference between long and short term goals. Those rules are covered more in depth in the Compendium, which is not yet released in English.

Your social status and other traits modify your roles or sometimes allow you to roll for things you otherwise wouldn’t be allowed to roll for. In The Warring Kingdoms it is important where you stand in the feudal hierarchy. A peasant will have trouble addressing the Queen in a forthright manner and it would be a harder roll for the player. But if the peasant plays into his lower status and pleads instead of demanding, that might make the roll easier. On the other hand the Queen will not have it easy if she is trying to speak with the peasant as equals or if she attempted to mingle with criminals to gather information. It is a medieval world, with distinct social classes, which is reflected in the mechanics. But we also allow characters to rise above that system and interact as people. There are a few scenarios where looking beyond the feudal system and showing compassion for both sides will lead to the best outcome. Still feudal rule is normal for most of Aventuria and certainly The Warring Kingdoms.

For The Warring Kingdoms specifically we used some mechanics to have the rules interact with the themes of resentment and enmity between Nostria and Andergast. The cultural personality traits we talked about can provide hints how to play a character from a certain region, also having a small mechanical impact. One trait you can pick up for any Nostrian or Andergastan is the inherited hatred between them. So interacting peacefully with someone from the other country gets a bit harder. There is a “animosity track” you can use to see how much a character is influenced by hate and to reduce it or raise it in steps by using social rolls. You can tie this into the mystical background of the Root of Hatred as well.

There are a lot of modifiers and use cases for the rules described in the core book that come from The Warring Kingdoms but the core mechanics remain. Rather traditional skill check, social class, culture and approach matter. There are a few ways to have more than binary success, like the animosity track, long-term tasks or the attitude scale.

Tell me more about the schools of magic! What can you tell me about new familiars and druids? How do they interact with the setting and mechanics?

The background of The Dark Eye determines what approaches there are to magic. There are different of traditions that shape how your character casts their spells. Shaping the general outlook a spellcaster has as well as some of the flavor of casting spells. Like if they need incantations, gestures or just force of will.

The guild mages have a scientific approach to spellcasting, write books and have academies. There are three recognized guilds of mages, all with protection by the laws. Except in Andergast, where those laws never were established. Still there is an academy in Andergast, the Combat Seminary. The mages trained there are ready for war and the rough manners of a rough land. They do not seem like your typical bookworm, instead often serving with the Andergastan troops, using their staff and magic as weapons in the skirmishes against Nostria. They have some of the most destructive spells in the system in their grimoire. So an Andergastan Guild Mage is a good pick for a fighting adventurer.

Nostrian mages are very different. Supported by Queen Yolande, who graduated from this school, they study the history and hidden magic of the land. Called the Academy of Light and Darkness they use magic of both as well as magic that transforms objects and the environment. The worldview taught at the Academy is one of strict dualism and a divide between good and evil. They are a good choice to play an academic character in the backwards Warring Kingdoms and someone whose assumptions about the world will be challenged outside the university walls.

The tradition of the witches is more guided by intuition, being in tune with your familiar and the sisterhood of witches that share the affinity to your type of animal. A witch can conjure curses on people they dislike, they can fly on a wooden item (not necessarily a broom) and of course cast spells. They lack the protection by the laws but in Nostria they are not persecuted or anything but respected as advisors and a power factor. We introduce the Serpent Witches in The Warring Kingdoms. A member of the Sisterhood of Knowledge they have snake for familiars and are hungry for knowledge, sometimes dangerous knowledge and known for knowing a lot of secrets. They have snake, divining and disruptive magic.

The owl witches of the Silent Sisterhood are secretive, at home in the wide forests of the warring Kingdoms and sworn protectors of all witches. They do hunt down witch hunters and other enemies of their tradition. They are seen as the best fighters amongst the witches and their magic supports this a lot it buffing her abilities in combat. Growing claws, running up trees or making branches attack their enemies.

The witches are the most important tradition in Nostria. Attuned to the land and revered by it’s inhabitants. Witches being predominantly female, even if other gender identities are found in their ranks, they are a good counterweight to the Andergastan patriarchy.

Andergast’s most important tradition are the druids or “Sumes”,as they are called in the Warring Kingdoms, they influence and advise the king and are seen on par with clerics of the gods, speaking for the earth goddess Sumu. They can influence people’s mind with rituals and use magical obsidian daggers in their spellcasting. Still their magic is attuned to the forests of their homelands which they protect. The Sumes speak for the forest and can decide if trees are to be cut down or animals to be hunted. A privilege that can get them in conflict with nobility.

There are two factions of druids in Andgergast, the servants of Sumu, who are like I just described them, whose magic is of the forstes and the elements. They usually genuinely want to protect the land and keep Sumu, who they see as a dying goddess alive.

The Augmenters of Power are different, in method and often motivation. They still are Sumes and seen as envoys of nature but their magic is more about influencing people. They can tell if someone is lying and cause fear or confusion. Most of their spells take control of someones body or reactions without outright dominating their thoughts. Their workings and intrigues are a big part of the setting and tied to the Root of Hatred. Even if they still try to save the land, most heroes will question their methods.

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Thanks again to Jasmin for the interview, and I hope you all enjoyed reading! Check out The Warring Kingdoms on Kickstarter now, and remember to take a look at the Adventuria Almanac’s Ennie-nominated setting! 

Note: OWL WITCHES!

If you’d like to be interviewed for Thoughty, or have a project featured, email contactbriecs@gmail.com.

Five or So Questions with Glynn Seal on The Midderlands

Hi all! I found this cool setting and bestiary while scrolling through G+, and the word “bestiary” drew me in (I’m a sucker for them!). MonkeyBlood Design has some sweet looking stuff on their website and The Midderlands, which is currently on Kickstarter, looks pretty nifty! See what Glynn had to say below!

(Note: While The Midderlands contains a setting as well, most of the pictures are of the beastiary. I like monsters. Deal.)

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Groat. I love it.

Tell me a little about The Midderlands. What excites you about it?

The Midderlands is an OSR mini setting and bestiary for Swords & Wizardy although as with all retro clones, it’ll work interchangeably with minimal effort.

The setting itself is based on the area in England where I live, the Midlands. The idea of taking this area and turning it into a more twisted, darker fantasy-land excited me. I could take landmarks and towns and run riot.

All that said, the idea of the book started as I was drawing weird creatures. I thought it would be good if they lived in and around where I lived, kind of like the Spiderwick Chronicles by Terlizzi. The idea evolved from there.


Tell me about weird creatures! Bestiaries and monster manuals are a favorite of mine. What will we see spilling forth from the pages?

The book contains a bestiary section which contains 25 new monsters. These include the Muckulus, Oorgthrax, Mud Cow, Thorned Briarling, Six-headed Sewer Gripe, Mawling and Nobblin to name a few. Each of the 25, also have a pre-generated NPC. Of these 25, 18 have defined race-classes that you can play. Now don’t get me wrong, some of these are bonkers but they have a lot of fun gaming potential. Some favourite monsters are the Conus Ogre that feeds on electricity, and the Six-headed Sewer Gripe with its decapitation attacks. Edwin Nagy has done a great job of adding flesh to the bones of the monsters. I would give him the art, tell him some things I wanted it to do/be like – and he would create these monsters of wonder.
Slitherling by Jim Magnusson.
What sort of elements are you bringing to your home of the Midlands to make it darker, to find a deeper root?

I wanted an undercurrent of something chthonic, dark and unknown going on beneath the earth. The spinning core deep below the land is made of Gloomium – a green substance which leaks to the top and taints things. The sky is green-hued and fires burn with green flames and such. There are black-clad folk about and their intent is shadowy. I don’t elaborate too much on stuff, allowing the gamemaster to take it where he wants to go with it – to fit their own agenda, or campaign ideas. I just wanted to create enough “game-juice” to give the feeling that there is untoward stuff going on.
fishy fishy fishy oh
How do you find inspiration for different monsters and game elements?
I’m never quite sure where the inspiration was coming from. I spend lots of time going through G+ and some people post some great art. In terms of the monsters whatever appeared on the page as I drew it. The drawing of the head happened first. Once I had all the heads, I created a set of headless bodies. I then printed them all out and matched up heads and bodies till I got something cool. Then I would come up with a concept and send it to Edwin for stats.

The setting just kind of fell out. A good example is that there is a ruined windmill on my way into RL work. I decided to add that the location section as Bognock Windmill. Many RL landmarks were harmed in the making of this book.

What are you doing to make The Midderlands accessible for multiple systems (OSR to Pathfinder, even) – freedom from mechanical trappings is one thing, so what in the setting makes it work for more than one system?

As it’s written for Swords & Wizardry Complete, it is easily moved to other retroclones. S&WC is generally single saving throw and doesn’t use Morale so there is a tweak needed to use in LotFP. Most OSR folk can pick this stuff up and go on the fly.
Pathfinder, D&D5E and DCC would be a little more tricky in terms of stats, but The Midderlands is not intended to be overly complicated. The setting contains no real stat stuff at all – so that can be taken and used anywhere. Other than the bestiary stats, there are magic items and oddities that can easily be used in other non-OSR systems. As an example, a Wodensblade is a +1 longsword, +3 vs green-skinned creatures. That kind of thing can be used pretty much anywhere 😊. Spells are referred to such as Charm Person, so that will be understood in most systems. Monster stats will need a little more work for non-OSR systems.

So far, the support for the Kickstarter has been fantastic, given the ambitious funding total. I want the book content and production quality to be something people get in their hands and go “whoa, this is so cool!!”, so I’d rather fund something memorable than a PoD offering if I can. That does have a cost though. We are almost half-funded at this stage and still over 20 days to go, so it’s very-promising and myself and the team are massively lucky to have such great support.

Thank you for your hosting hospitality, great questions and for your interest in the project!

#themidderlands 😊

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Thanks so much to Glynn for the interview! I hope you all enjoyed reading and that you’ll check out The Midderlands on Kickstarter, and remember to share the post around!

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A Game of Shame, Gonna Make You Nut

Recently, I participated in a game on Twitter with Caitlynn Belle (@weirdcaitie). She had a weird picture, and for a month, I made daily guesses to what that picture was of. I sadly lost (I believe it was in part on a technicality due to legume furries, but that’s neither here nor there), and had to make a game.

This is that game.

Gonna Make You Nut

Pardon my minimal InDesign skillz.

(Whether this post will be charged to Patreon or not is a freaking mystery right now. If you have a huge objection, please note it.)

This post was supported by the community on patreon.com/briecs. Tell your friends!

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Five or So Questions with Alex Hakobian on Broadsword

Hi all! Today I have an interview with Alex Hakobian on the new game Broadsword, which is currently on Kickstarter! It looks like a fun romp and I wanted to give you all the opportunity to check it out. See Alex’s responses to my questions below!

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Illustration by Gary Chalk (originally drawn for (IINM) Lone Wolf and licensed for reuse in Broadsword)


Tell me a little about Broadsword. What excites you about it?

Broadsword is a tactical adventure game in the format of a hybrid boardgame/RPG – a “roleplaying boardgame,” if you will. It’s about a group of valiant Heroes working together to defeat the evil forces of the Abyss.

What excites me about it most is the foundation on which it was conceived and built. Although Broadsword takes evident inspiration from many sources ranging different genre, its greatest asset is its direct bloodline to the classic 1989 Milton Bradley/Games Workshop boardgame HeroQuest.

Like many youngsters in those days, I have very fond memories of the game. It was, in fact, my personal gateway drug to D&D and similar roleplaying games later in life. It was only natural that some of that deeply engrained experience bleed though into Broadsword.

What are the aspects of HeroQuest you found valuable enough and important enough to bring forward into Broadsword?


In the most basic of terms, Broadsword is my love letter to HeroQuest. As such, it was important to me that the spirit of the game stayed intact. I wanted you to come away from a session feeling like, “Wow, that was just like the original. But better!” Thankfully, this was easily done in great part because my game originally started out as an expansion on the original, but quickly grew into its own entity.

Speaking specifically, I knew I had to keep some of the key boardgamey elements. Foremost among these were the custom pictographic dice, known as Combat Dice. I felt these were the backbone to the whole thing. Remove the dice and the entire thing falls apart, severing its legacy bloodline.

Going hand in hand with that was the tactical, grid-based combat. It simply wouldn’t be itself if I were to, for example, have it use narrative, storygame or “theater of the mind” type rules.

There are a couple other, much smaller assets or concepts brought forward, but the two mentioned above are far and away the ones that carry the most weight.

Illustration by Gary Chalk (originally drawn for (IINM) Lone Wolf and licensed for reuse in Broadsword)
How are you venturing out into different genres and sources, both mechanically and flavor-wise?
I’m not sure I would qualify it as “venturing out” into different genres and sources so much as experiencing them, internalizing them, then funneling it through into the game. For example, if you hear “Fireball,” “Lightning Bolt,” or better yet, “Magic Missile,” you are going to think “classic D&D Wizard spell.” So I consider: What makes them so great? Once I believe I’m come up with the essence of the answer in mechanical terms, I can then move forward with including it in some form in the game in a way that makes sense for the system, mechanics, and flavor.

Let’s take “Fireball” as an example. The Pyromancer class has a spell called “Explosion.” The flavor text reads, “A massive fireball explodes, doing great damage.” Mechanically, that translates to: “Any figure on one square you can see takes 2 Body Points of damage. All figures in the surrounding squares each take 1 Body Point of damage. Elite monsters defend the attack normally.”

Now, when compared to other systems where PCs or monsters will have Hit Points typically reaching double digits or beyond, a paltry 2 points of damage seems like nothing. But for Broadsword, that’s really quite tremendous. Even the beefiest classes in the game only top out around 8 Body Points. And that most monsters in the game generally only have half that. Seen in that light, “Explosion” can easily completely eliminate or severely damage a crowded room of monsters.

Getting back to the question at hand, however, I extend this same process to aspects of games from other genres and systems – video games, books, what have you.


Can you tell me a little about the classes in Broadsword and how they interact with the core mechanic and the game itself?

Sure. The game starts with a dozen different classes (with more being supplemented in the near future). In order to provide niche protection to keep the core theme of each class as unsullied as possible, I came up with a system of keywords that I applied to each piece of equipment. I then took each class and sussed out which keywords would make sense for that class to be restricted from using. This process quickly gave way to the need for categorization of the classes themselves, eventually ending with 3 categories of classes.

There are 5 Fighter classes (Berserker, Hunter, Paladin, Ranger, Warrior), who have the least keyword restrictions and can use the most types of gear. Each of the Fighter classes also have their own Class Ability, a talent unique to that class. 5 Caster classes (Aeromancer, Geomancer, Hydromancer, Necromancer, Pyromancer) have the highest restrictions on usable gear. (This is, of course, balanced by the fact that Casters have lots of spells.) And 2 Hybrid classes (Cleric, Druid), who dabble in both melee combat as well as a little magic usage, but they can’t use the very best weapons and armor, nor can they cast as many spells as often as their Caster counterparts.

Your choice of class determines what gear you start with (and by extension, how many Combat Dice you can attack and defend with), what your spell list looks like, and what types of items you are restricted from using. It also provides the baseline for your Body and Mind Points – which may be modified slightly by your choice of race.

What are the experiences and discoveries you have enjoyed most about designing Broadsword?

I found that, despite there being a number of different systems interacting with each other at any one time, the game remains incredibly simple to pick up and learn. This is good, because while I did indeed want to add some granularity and “crunch” on the RPG side of things, I also wanted to keep it streamlined, with a low barrier to entry.

Running the playtests were also a lot of fun, and I don’t believe the level and quality of fun I had ever really diminished through the process, even while testing some new mechanic I wasn’t sure of. It certainly helped that my playtesters were HeroQuest junkies themselves! They quickly learned the ins and outs of the game nearly as well as I did, so it was painless to run a half-baked idea by them before putting anything down on paper and see if it was an idea worth pursuing.

Illustration by David Lewis Johnson
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Thanks all for reading, and thanks to Alex for answering my questions! I hope you all will check out the Kickstarter for Broadsword and share this around in case anyone else might enjoy it!

This post was supported by the community on patreon.com/briecs. Tell your friends!

To leave some cash in the tip jar, go to http://paypal.me/thoughty.

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1 Like = 1 Insight from Designing Games by Brie Sheldon

1 Like = 1 Insight from Designing Games by Brie Sheldon 

I did this on Twitter recently and thought I’d share!

https://storify.com/briecs/1-like-1-insight-from-designing-games-by-brie-shel-59610aa82891bb265d7b159e

This post was supported by the community on patreon.com/briecs. Tell your friends!

To leave some cash in the tip jar, go to http://paypal.me/thoughty.

If you’d like to be interviewed for Thoughty, or have a project featured, email contactbriecs@gmail.com.

Interview with Danielle Lauzon from John Wick Presents

Hi all, I had the chance to speak to Danielle Lauzon about her work at John Wick Presents, and wanted to share with you what she had to say. Danielle is a staff developer and design lead for the 7th Sea live-action roleplaying game, which is at Gen Con this year and should have a few spots left!. Danielle shared with me some of her background, too, so get to know her below!

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Danielle Lauzon
Tell me a little about yourself! What is your background in games, non-game work, and what do you love about what you do?
I’ve been playing RPGs since I was a kid. First trying to get my older brother to let me play AD&D or Magic: The Gathering with him, and then playing Nintendo with my mom. I finally got someone to play a tabletop with me in high school, which is also where I was introduced to Vampire: The Masquerade. When I got to college, I played in my first larp, and well, I’ve been playing pretty much whatever I can get my hands on ever since. I have played in, run, and organized games on every level from small table-tops to large larp events. 
I have a Master’s degree in Animal Nutrition and worked as a neuroscientist for the past eight years, until I slowly transitioned to writing for games full time. I had originally wanted to go to Veterinary School, but when faced with a decision between Graduate School and Vet School, I jumped at research. I loved it, except no one told me that if I wanted to really practice my degree, I’d have to move to the Midwest. Let’s talk about how when I lived in Dallas, the place was too cold and dry for me. Anyway, I made due and put my research capabilities to work anyway. The rest I learned as I went. Now I use my degree to tell my friends why the new fad diet they are on is probably no good for them.
To say that I love what I do now is pretty much an understatement. My hobby has become my life, and it’s pretty damned cool. I get into high level game design discussions with people, and they actually take what I say with gravity. I get to go to larps all across the country as research for my job. I mean, other than the isolation of working from home as a fully fledged extrovert, it’s pretty cool.
It isn’t all fun and games though. Deadlines cause a lot of stress, and anyone who has ever written can tell you that writing every day is really a job.

What is happening with the 7th Sea larp? You have a broad plan for it, and I’d love to hear more. 

Oh man, I’m so excited about the 7th Sea larp. We’re looking to create a multi-chapter Chronicle that can run for several years. Our goal is to create a meta-plot that incorporates the actions of individuals in different cities to steer it and give it life through over-arcing Stories. These Stories will be high level decisions that generally take place between games, something like inviting an important character into town, or directing troop movements. This isn’t something the characters do immediately, but their immediate support will go towards influencing the outcome of the Story. Some Stories will only be locally focused, but many will tie into that overarching meta-plot.

For the basic gameplay, we’re marrying some American Freeform/Nordic styles with some of 7th Sea Second Edition’s player facing action. I.E. the players mediate actions between themselves as much as they can. And when it comes to characters taking actions against Game Master threats or characters, they simply do, just like in the tabletop. The indecision comes from how the other players may react to what you do, or how your actions push the story forward, and not from whether or not you can do a thing. Of course you can do the thing, you’re a Hero!

As far as setting, I’ll have to refrain from saying too much, other than it’s going to be set mostly in Theah. Though, characters from other areas of Terra may be allowed in the future.

What exactly does a staff developer do in a games company? What is rewarding about it?

You ever wonder how a game book goes from a seed of thought in someone’s head to that beautiful 208 page, full-color supplement sitting in your hands? Well, that’s what I do. Developers in general take the seed of an idea, figure out how it looks in book form, outline the book including giving direction on themes, moods, and overarching story. Then I hire writers to take my ideas and direction and make them into chapters. Then I work with an editor to polish that writing. Then I work with the layout artist to make sure that stuff looks good on the physical page. I work with the art director to make sure the art they ask for fits the themes and mood of the book. Mostly, I’m like a project manager, I take the book from project to project and work with the person doing the work to make sure it fits the vision. If there’s a hole that needs filling, I write it. If there’s a question about the project, I answer it. If there’s feedback from the thousands of Kickstarter backers, I go through and incorporate it into the book, or cry about how I can’t rewrite the whole book to accommodate it.

As a staff developer, I do this for multiple books at a time. I also get to wear the unofficial hat of “Theah expert” here at John Wick Presents. Which really just means that I know where to find that piece of information about what year Eisen tried to invade Ussura and failed miserably.

What’s rewarding about it? Well, these books are like my babies. I get to see them out in the world, and people exclaiming over parts they love, and lamenting on how I cut out their sacred cows from the First Edition. (Something I’ll admit gives me great joy.) But really? I get to work with so many talented people each time I develop one of these books. I get an insight into so many different people’s writing styles and thought processes, and then I get to take the best parts of that and teach them to everyone else. Everyone learns, grows, and as I do more and work with these same people, I get to see them grow as professionals. That is by far the most rewarding part of my job.

What challenges do you encounter working over multiple projects and just keeping it all together?

Oh man, there are all sorts of challenges associated with it. The first being that it’s really hard to switch gears in a single day. I try to schedule stuff so that I can work on something different each day, but sometimes a lot of things come up in one day. I have two methods. The first is bullet journaling, where I make a monthly and daily task list and try to keep up with it as best I can. The other is spreadsheets. I keep project deadlines and schedules in spreadsheets so I don’t lose track. Between that and google calendar, which sends reminders for me (yay!), I am keeping it together. For the most part. Though sometimes things slip through the cracks. :/

Are there specific techniques, software, habits, and/or methods you use to go through the larp design process and separately, the development process?

Google Docs is a great invention that lets me share working projects with other people to get input. Larp writing is a collaborative process, no matter what anyone says. And beyond just converting rules into something larpable, I’m always coming up with scenarios for running the actual larps. And that need collaboration. The same is true with development. I use Dropbox and Google Drive the most for collaborative work, and word or excel files for stuff I keep locally.

As far as habits? Man, that one’s harder. I try to work when I can. Some days I get really distracted, or I can’t concentrate. On those days I make lists of stuff that need to get done to help me organize myself. I may make shopping list for larp props, and I might crowdsource questions I’m having problems solving on my own. Other days, I put my nose to the grindstone and write, edit, and create.

Have you ever had your background education and experience lead to a “whoa, this does not work!” moment when doing development work?

Never directly. I’ve had some moments where I think “science doesn’t work like this” and I might correct something small. For the most part, working with 7th Sea, I don’t have to worry about that. They weren’t known for their scientific genius so much during the Renaissance. Especially not in the fields of nutrition or neuroscience.

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Thanks so much to Danielle for answering questions and sharing so much about her work with me. Remember to check Gen Con schedules for the 7th Sea larp and watch for more from John Wick Presents!

This post was supported by the community on patreon.com/briecs. Tell your friends!

To leave some cash in the tip jar, go to http://paypal.me/thoughty.

If you’d like to be interviewed for Thoughty, or have a project featured, email contactbriecs@gmail.com.

Five or So Questions with Hannah Shaffer on Damn the Man, Save the Music!

Today I have an interview with Hannah Shaffer on her game Damn the Man, Save the Music! which is currently on Kickstarter kicking ass. Damn the Man, Save the Music! is an exciting, thoughtful, 90s-music-filled game and I hope you all love hearing what Hannah has to say.

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Cover by Evan Rowland

Tell me a little about Damn the Man, Save the Music. What excites you about it?

Damn the Man, Save the Music! is a game about a bunch of weirdo outcasts trying to save their ’90s record store from collapse. It’s inspired by one of my favorite movies, Empire Records, which everyone should go watch right now. What excites me about Damn the Man is that it uses ’90s nostalgia as a way to explore the best parts of ’90s media while challenging the worst parts.

I watch a lot of ’90s movies, and while I love their structure (like where did action-romance movies go? Why aren’t those getting made anymore?), it was a weird time for minority representation. Queer characters started to appear in ’90s movies, but they were often there just to add a bit of edgy humor. And you’d find people of color in most ’90s comedies, but their roles were at best “token” and at worst, the same deal, there for stereotyped jokes. Empire Records is a movie that celebrates the music of its time, but the only reference it makes to hip hop is in a line that disses rap and makes a homophobic joke at the same time.

I love Damn the Man because it provides this opportunity to play out a ’90s movie but better. It asks people to think about what ’90s nostalgia is all about, and to explore that nostalgia with a critical eye—without even realizing that’s what you’re doing.

In-progress art by Evan Rowland
What is the gameplay like in Damn the Man, Save the Music!? What kind of action do we see?

Damn the Man is a single-session game and all of the game’s action takes place over the course of one day. The day is divided into a three act structure—the store opening, a big record signing event, and closing shop at the end of the day. During each act every character gets one Schedule Scene. That’s a scene where the spotlight is shining on your character, even if there are other people in the scene with you!

There are a few different things you can do during your schedule scene: you can try to heal a relationship with a friend (all relationships start off damaged in the game), you can try to double down and accomplish a task your boss assigns you, or you can shoot for your goal.

Choosing to heal a relationship might look like taking a smoke break with a friend you’ve been avoiding after learning you’re both secretly gay. Doubling down looks like diving right into a store task, like trying to catch a shoplifter before they make off with an entire rack of new CDs. And shooting for your goal looks like finding the time to confess your love, or pay back a debt, or find the lost cat… right in the middle of your schedule scene.

Every scene ends with rolling dice to see if you accomplished the task your boss assigned you. Winning lets you accomplish the task and functionally prevent a store trouble, losing means you failed to accomplish the task (like screwing up everyone’s coffee orders) and a store trouble escalates as a result.

The game’s action is centered around the scenes. Trying to juggle increasingly absurd retail tasks while also trying to accomplish your heart’s true goal and heal relationships with the people you love. There’s a real sense of not being able to do it all, and things getting wackier and spiraling out of control as the day goes on!

What sources did you pull inspiration from, aside from the ’90s as a whole?

The most obvious inspiration for Damn the Man is the movie Empire Records, a movie about a bunch of teenagers working at a ‘90s indie record store, who take a dramatic shot at saving their store when they learn it’s going to be bought out by a big corporate record chain. The game follows the structure of Empire Records pretty closely, but it also follows this ‘90s movie coming-of-age structure, where everyone totally freaks out and then undergoes a major personal transformation in the course of a day.

I really liked movies by Kevin Smith and Richard Linklater during my high school years, so you’ll see that inspiration in Damn the Man as well: Dazed and Confused is a surprisingly poignant movie, Slacker, Clerks, and Chasing Amy, a movie about how things break down when we try to force our own expectations and demands on someone else’s identity.

Finally, I think the game is inspired by my complicated relationship with nostalgia. We’re in a golden age of ‘90s nostalgia right now, but the ‘90s really sucked for a lot of people. Nostalgia can be this way of reframing history through a rose-colored lens that privileges certain types of experiences. I wanted to make a game that celebrated ‘90s music and counterculture that wasn’t just another Buzzfeed “remember when” listicle.

How did you move from “hey, this is a thing that matters” to “this is a game you can play” with the game – did you do a lot of playtesting, or spend a lot of time privately testing mechanics?

I did do a lot of playtesting! The game started as kind of a joke hack of Questlandia, when I was re-watching Empire Records and realized it shared the exact structure of a Questlandia game:

A big personal goal you have to accomplish today, only three scenes before you’ve got to accomplish it, characters who are just trying to do their best with what they’ve got, and then a big collapse—or not!—at the end.

Questlandia was the first game I made, and I think the mechanics need some work. I just kept bringing Damn the Man to conventions and playing it with friends, watching closely for the places where people got stuck. I took away mechanics and added them and took them away and added them until finally I was seeing games that regularly had a great flow, a good energy, and rules that supported exactly the types of stories the game is trying to tell.

Art by Sarah Robbins

Tell me about some of the important themes of the game. Weirdo outcasts, queer characters—what matters about them beyond representation? What strength lies in their stories for Damn the Man, Save the Music!?

I talked a little bit about nostalgia before, and how it paints over the past with these “everything was great” rosy-colored brush strokes.

I wanted to make sure Damn the Man told these stories that captured the feel of a ‘90s romance-comedy, without erasing the experiences of queer people and people of color. Beyond the importance of representation (which is really important), these are coming of age stories, whether or not the characters are teenagers.

Everyone in Damn the Man is searching for something. They’re trying to make things right with their friends, they’re trying to manage the demands of retail and the people who treat you crappy while also trying to find meaning in their lives. I really like telling those kinds of stories. I feel like there are a lot of big hero stories, but not a lot of “people just trying their best” stories. I wanted a story that shines a light on a single day, or a single moment in time, that maybe changes everything or maybe just gets lost to history.

Fictional Damnster Fire band poster by Sarah Robbins
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Thanks so much to Hannah for an awesome interview! I hope you all enjoyed reading and that you’ll check out the Damn the Man, Save the Music! Kickstarter soon!

This post was supported by the community on patreon.com/briecs. Tell your friends!

To leave some cash in the tip jar, go to http://paypal.me/thoughty.

If you’d like to be interviewed for Thoughty, or have a project featured, email contactbriecs@gmail.com.