Tag: interviews

Five or So Questions with James Mendez Hodes on Ironclaw: The Book of Horn & Ivory

I got the chance to interview James Mendez Hodes about his game currently on Kickstarter, Ironclaw: The Book of Horn & Ivory. We talk research and appropriation, and learn a little about the game mechanics. Enjoy, and don’t forget to check out Ironclaw’s Kickstarter page!

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

Ironclaw is a tabletop role-playing game set in a fantasy world populated by anthropomorphic animals like in Disney’s Robin Hood or Zootopia. It has published settings inspired by sixteenth-century Europe and sixth-century China; my project, the Book of Horn & Ivory, adds a new continent to the game world inspired by Africa and the Near East in the 1500s. While Ironclaw is a much more traditional RPG than I usually play—it has an elaborately detailed setting and a complex combat system—I find the process of creating and developing a player character really evocative and satisfying. Ever since I was a little kid, I’ve loved to learn about weird animals, so I relish the opportunity to play as a centipede boxer or a snake businesswoman or a bat janissary in a world where species differences matter. Ironclaw’s setting also features nations and religions clearly inspired by real-world analogues, so I get to geek out about history even in a fantasy setting where the other players don’t need to memorize realistic details.

What kind of research have you done to build the worlds in the game?

This book introduces four new regions, each representing a real-world country in Africa or the Near East. The Anatolian Caliphate is our Ottoman Empire, the Deltan Sulṭānate is our Egypt, the Pirate States are our Barbary Coast, and the Ọ̀yọ́ Union is our Yorùbáland. My undergraduate studies in African religion laid a lot of the groundwork for the religious traditions of these regions, especially Ọ̀yọ́’s. Before the rough draft went in last October, I read a great deal about Ottoman military history, so you can look forward to janissaries, giant cannons, galley warfare, expanded cavalry rules, and Ottoman rivals such as the Knights Hospitaller and Vlad the Impaler. I also found a fascinating book about Ottoman medicine, which you’ll see reflected in Anatolia’s cutting-edge hospitals. My next research subject will be jurisprudence, marriage, and inheritance law—the Game of Thrones stuff (except it will actually come out this year).

How are you approaching and represent cultural markers and inspiration without being appropriative?

Ironclaw has always upheld the principle that fantasy analogues of real-world things should be presented with the same respect and care you would afford to an academic paper or news article about that subject. For example, Horn & Ivory introduces a religion called Malachism which shares many signifiers with Islam, such as a caliph who combines spiritual and imperial authority, an emphasis on science and medicine, official tolerance of other religions within its territory, and some semi-formal prohibitions on practices the rest of the setting considers benign. The fact that we’ve made some changes, even large changes, doesn’t excuse stereotype, intentional or inadvertent; and as I’ve mentioned in the “how to play this game without being racist or Islamophobic” appendix to the book, the stakes tied to those kinds of negative stereotypes are frankly high for Muslims in the English-speaking world in general and the role-playing hobby in particular.

I’ve carried on the approach I’ve used for my other projects heavy with cultural signifiers such as AfroFuture, Thousand Arrows, and Scion. I start out by identifying the negative stereotypes that pose the most clear and present danger to the material with which I’m working and then designing “perpendicular” to those stereotypes. Because presenting the exact opposite of a given stereotype sometimes winds up reinforcing that stereotype (looking at you, Wakanda), I try to emphasize aspects of religions or cultures that haven’t appeared often in popular media. Signifiers with strong associations have to come from clearly written and sourced reading materials about the history or legendary of the culture, region, or religion I’m discussing. Finally, if I don’t come from a certain culture, I don’t get to decide whether my representation is appropriation or not; so the final product has to pass muster with a friend from that culture before it reaches the public. Ironclaw’s made mistakes in the past and I fully expect to get some of this book wrong, but I’m counting on the community to help point out my errors so I can learn from them, improve on them, and create something we can all be proud of.

What kind of mechanics do you use to model the non-human roles in Ironclaw?

Ironclaw characters have six fundamental traits, each of which gets a die size in character creation: Body, Speed, Mind, Will, Species, and Career. For some characters, Species is mostly a cosmetic or social choice, but I personally like to save a high die for Species because you get to roll it in your pool when you use your species’s strongest senses, when you’re in your species’s natural habitat, when you attack with your natural weapons, and when you use the three skills your species is best at.

For example, Lücius the gangster centipede gets his shiny d8 when he relies on his senses of sight or smell; when he grapples enemies or jabs them with his venomous forcipules; or uses the Climbing, Craft, or Tactics skills. Each species also starts the game with three Gifts, which are little packages of abilities; so Lucius has an Extra Two Hands, Prehensile Feet, and Venom. If you want to emphasize your species’s natural abilities further, you can learn atavistic Gifts as your character advances: so your otter character could hold their breath for an impossibly long time, or your mouse could burrow at incredible speeds.

Species also have distinct social positions, though: there are noble houses, dynasties, clans, and even religions associated with specific species. So if your social engineer countess plans to collect Gifts which give her bonuses with other nobles, she’s probably attached to her species’s Great House. Horn & Ivory also introduces a necromantic secret society whose ranks come mostly from scavenger species such as vultures and hyenas.

What experiences do you hope that players will get out of Ironclaw?

I hope this Ironclaw setting helps players who’ve been scared to engage with cultures outside their comfort zone do exactly that, the way Steal Away Jordan taught me I could have just as much fun in a game about American slavery and as I do in any other RPG. Moreover, I hope we can inspire other designers to represent cultures outside of the industry norms. This might be one of the first RPG books about these places and times, but I pray it won’t be the last.

Thanks to James for the interview! It was cool to learn about the new product James is bringing forward. Check Ironclaw: The Book of Horn & Ivory out on Kickstarter if you can!

This post was supported by the community on patreon.com/briecs.

Five or So Questions with Grant Howitt and Chris Taylor on Unbound

Hi all! Today I have an interview with Grant Howitt and Chris Taylor about their current game on Kickstarter, Unbound! I’ll confess to actually being pretty excited about this one – I’ll leave the explanation to the guys, but I will note that the art looks awesome and it sounds fun! Here’s what Grant and Chris had to say about Unbound!

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

GRANT AND CHRIS, SIMULTANEOUSLY: The most exciting thing about Unbound, for us at least, is the way that it rewards our GMing style – which is to say, extremely low prep, high improvisation. Neither of us like spending hours doing work for a game only to have the players walk in and make it up as they go along – so we thought “Why can’t we write a game that lets the GM act like another player?” So that’s kind of what we’ve come up with. There’s no setting, because we don’t like reading reams and reams of setting text (and we wanted it to be flexible), and at no point does the GM have to sit down and do anything arduous. Everything happens live, from the character creation to the world creation to the game-to-game running of the story as it advances forward. Everything happens in up-time.

Two of my favorite things to do in games are 1) punching things, and 2) jumping through windows. Can I do these things in Unbound, and if so, HOW?

GRANT: 100% on both counts. Punching things is an important and healthy part of any good game of Unbound, and jumping through windows has certainly come up in every game of it I’ve played. The combat is handled with a deck of playing cards per player, which they use to determine whether or not their attacks hit and also as hit points – when they’re out of cards, they’re out of the fight. We’ve found that representing health as a big stack of cards that players deal out of really visualises damage, and we’ve had people get quite upset when we attack them in combat because it feels so visceral. (I think the best role for punching is probably the Brawler, as they specialise in long, drawn-out melee when surrounded by too many enemies.)

We don’t have quite as many rules for jumping through windows as we do for punching, but we can certainly abstract the idea of a window (and you jumping through it) in our combat system by denoting an connection between two areas as challenging – so it becomes a sort of skill test to get through it without taking harm. Also we have a power called Kick In The Door, which means you inflict extra damage on the turn you enter a room, and I definitely think that could apply to windows, too.

How do you accommodate multiple settings while maintaining a consistent system feel?

GRANT: It’s been tricky! We’ve tied everything together with our pulpy battle system, I think, so that no matter where your game ends up it’ll still, essentially, be a game about a group of dangerous people going around 1) punching things and 2) jumping through windows. But, importantly, we’ve done our best to keep everything evocative and exciting, but not explicitly tied to one place, time or idea. So we have Deadeyes, say, as one of the roles – and Deadeyes are people who are good at ranged combat, but that covers everyone from fantasy elven archers to Wild West gunslingers to space-suited recon scouts to magic-missile toting wizards to a dude with a hawk to someone that, I dunno, uses a nightmare science device to create furious clones of himself that have a life measured in seconds and tear his enemies to shreds.

It’s been a real challenge to keep the abilities exciting whilst essentially setting-free, and I’m really proud of what we’ve managed to achieve. We’ve built something that draws players in with some cool effects and powers, but that they have to put their own mark on.

The traits – extra bonus powers that flavour your character’s actions in and out of combat – go a long way to helping people define whattheir setting is about, how magical or unreal it is, how gritty it is. If you get a group picking Captain and Mighty Weapon and Rage and Dirty Fighting, you can tell that they’re veering towards a different world from that of a group that chooses Transform and Shadows and and Fire and The Unnatural. So rather than trying to write different setting packs that make the game “Sci-Fi” or “Fantasy” or whatever, we give people the option to build their setting out of parts organically – Aura, a power that gives allies in the character’s area certain benefits has a different flavour in a technomagic sci-fi setting (protective amulets powered by silicon demons) to when it’s in a modern military thriller (shouted orders, small-unit tactics, self-sacrifice etc). But! We ARE doing setting packs for stretch goals in the Kickstarter, because we’re kind of excited to write some more specific rules.

There are a number of setting-neutral games out there – what makes Unbound different?

GRANT: Well, there’s the playing card thing! Pretty much everyone else uses dice. But aside from novelty, it gives each player a history of their character because we get them to write on the cards – lasting injuries, ongoing villains, lessons learned, stories experienced and so on. (We used to have people tear up cards when they went out of action because it felt really… squicky to do it, and that acted as a bonding experience. But it messed with the odds of the game too much to be a viable thing, so we’ve shelved that to use in something else.)

What else? I think it comes down to our world creation, as we mentioned above. When everyone sits down at the start of the adventure, no-one has to have an idea of what they’re playing – not even the GM. We’ve set it up so that everyone builds the setting together, and plots out future scenes together, and works out what’s going on in the world through a series of questions bound to character choices. Everything goes towards making a world that’s tied to these characters, and vice-versa – it’s a world as seen through the lens of people, not omnipotent creators, so it tends to generate more mysterious places and histories that people are eager to explore. (For example: we’ve got a Dirty Fighting power where you set an area on fire to give yourself an edge in battle, and if they choose it the player has to tell the GM what the most beautiful thing that their character’s ever destroyed is. And, like: what was it? Who did that affect? Does the character feel bad about it? Does the owner want revenge?)

While coordinating to design Unbound, how did you set priorities for the system functions (fiddly mechanics to social mechanics), and what did each of you bring to the table in regards to design skill and knowledge?

GRANT: We didn’t really set priorities, I guess? We decided, when I moved to the US in January 2015, that we should do some work on a game with each other over Skype to try and stay something approaching sane, and it ended up sticking; what started out as a weird dice system evolved over eight different iterations and hundreds of, if not a thousand, hours of work, into the thing you see today. (We’ve always had core, role, and trait, though – the three building blocks have always been the same.) A lot of the mechanical aspects of UNBOUND are combat related – almost all of them, really, with non-combat stuff being much broader and using a looser, more universal system tied around abstracted action and reaction more than the fine-tuned blow-by-blow of combat. Not that we’re not proud of the dramatic scene resolution, mind, we’ve got some great play out of that. But I’ve often found that mechanical specificity in social scenes can really knacker the pacing and flow, so I’d rather build something flexible than something where you have to run the numbers on a conversation to see if it’s a viable option.

In terms of design skill and knowledge, I’m definitely the writer of the two of us, so I’m in charge of putting all the words in the right order; we’ll hash out rough rules together in a shared document over voice chat, and then I’ll tighten up the wording and Chris will double check it. And, honestly, I think the biggest thing that I’ve got from Chris is a design safety net – where, in the past, I’ve built very safe, symmetrical systems in my games, this is the first time I’ve tried to make a serious game with lots of interlocking rules. He’s given me the opportunity to try something weird and interesting and to encourage me if it’s good, or tell me in no uncertain terms why it’s bad. We have a great working relationship. I reckon I’d probably be married to him if we fancied each other.

CHRIS: We didn’t set any hard and fast priorities when we began. I had a few goals that I wanted to reach. I wanted a combat system that gave me some chunky rules and combinations of actions and abilities. It had to feel fun as soon as you picked it up, but have an optional layer of complexity under that for me to get my teeth into. I’ve always loved really rules heavy combat systems for the sheer joy of sliding all of the mechanics and numbers in to place and making a character shine. Unbound also had to allow you to bring what you wanted to the table every game. From the social and skill based scenes, through combat, and even at the first moment you sit down and build a world with your friends. Everything had to provide a framework for that collaborative storytelling.

All of Unbound was written collaboratively which has given us the ability to lay out all sorts of rules that either went straight in the book, thrown away, or modified as we went on. I am certainly not a writer, I’m no where near the skill level Grant has. My talents lie more in the systems and mechanics of the game. So I’d make a new power, and it would be utilitarian. It functions and fits in a theme and performs its role. Grant then comes along and makes it sound like the best ability you’ve ever read and you simply have to have it for your character. We balance each other out nicely, when either of us wrote anything that wasn’t up to standard it got flagged in the document in a lurid red colour and a less than positive comment got attached. Writing together allowed Grant to make a game that maybe he wouldn’t have even tried writing before and to rein me in when I started making complicated tables out of everything.


Is there anything else you’d like to share?

GRANT: So what I think I’m really excited to see is what happens after this – and not just from us, but from other designers, too. I’ve not played anything quite like UNBOUND before, nor have I read anything quite like it, and while we’re drawing on a lot of good sources of inspiration for our mechanics, I’ve not seen this combination. But we’re just scratching the surface of what we can do with the systems we’ve created, and I can’t wait to see what happens when other people start getting their hands on it. As in: how can we play with marking cards? How can we play with the way that the GM builds a sort of character for themselves, out of adversaries, factions and twists? What can we do to mechanically track the progress of a saga throughout all the adventures within? We’ve done some great work on this but I’m buzzed to see what happens if people start picking up our design, our philosophies, and running with them. In video game terms: if UNBOUND is Assassin’s Creed, I want to see what our Shadow of Mordor is. I want to see if this can catch on and what that means for games in the future.

I’m really excited to see the final product of Unbound, and you can help make that happen! Check out the game on Kickstarter now to learn more about the game!


————————————————————————————————————–This post was supported by the community on patreon.com/briecs.

Five or So Questions with Josh Jordan and Caitlynn Belle on Singularity

Today I have an interview with Josh Jordan and Caitlynn Belle on their larp that is currently on Kickstarter, Singularity. There are only a few days left on the Kickstarter, but hopefully this interview will tell you a bit about the project and pique your interest!



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

Josh: Singularity is a larp for 4-6 players that emulates a dating game show set in the the transhuman future. I am excited about it for more than one reason. I like that it allows us to play an episode of a dating game show. I think that’s a fun format for a one-shot game that I haven’t seen before. I like it because setting it in the transhuman future allows me to play characters from a hugely diverse list of human and post-human people. And I like it because I think my co-designer, Caitlynn Belle, is particularly talented at making games about tense human relationships and explorations of personal identity.

What elements of transhumanism are brought forward strongest in Singularity?

Josh: In Singularity, characters are not necessarily human. Though most of them had human bodies when they were born, they now have a variety of physical forms. Basically, the characters exist in a universe where the human body is optional. You can choose your own body to match your sense of identity. Whether that’s an uplifted tortoise, a humanoid composed of pure electricity, an android, an abandoned planet, or something else entirely, you choose to define yourself, and you can conform your body to that identity.

Caitlynn: Mostly the idea of changing yourself and no longer needing to rely on standard conventions of what a human being is. We’ve purposefully kept the majority of the topic out of the game and focused on the technology to change who you are, to bring yourself more in line with the ideal soul within yourself.

When designing games about relationships, particularly larps, what do you think are the most important elements?

Josh: Player safety and comfort are the most important. Then of course, preparing and monitoring to make sure that the players are having fun. After that, being true to the theme of the game itself.

Caitlynn: Figuring out how a relationship actually works and trying to deliver the tools to help players convey that. We have a very romanticized version of how marriage or relationships work via the media we consume, and it’s important to try to transcend that and deliver a more honest experience. The core of a relationship is defined, I think, by how people work together and what they’re willing to go through and still stick it out. If you’re trying to make a game about how people interact with romance and sexuality, you have to take into account that they’re people, with their own quirks and hang-ups about love, sex, gender, ethics, and so on. It’s putting two personalities together and see where they stick and where they repel, and finding out what happens when they can’t make those things compatible.

Another important thing is safety, because a relationship is trust and love and carries certain connotations and baggage with it, and may sometimes elicit strong memories from players. You have to make sure people are ready.

Tell me a little about the structure of Singularity. How does the game flow?

Josh: Allow me to answer that by first showing you the Table of Contents. It follows the order of the game itself, so it should give you an idea of how the game flows.

Pre-Show Directions

  • Pitch
  • Setup
  • Rules

Screenplay

  • Opening
  • Round Table
  • Second Dates
  • Decision Debrief

During the pre-show directions, players talk about what the game is supposed to be and what they need to do to choose characters and prepare to play. They also talk about safety rules and boundaries, so that no player feels unsafe, and so that any player who begins to feel unsafe knows what to do. The players are there to support each other and make sure everyone is doing okay.

During the actual game, which the book calls the Screenplay section, the format is very much like an episode of a dating show, followed by a player debrief. The Host opens the show and introduces the characters. The Star meets all the Contestants at a round table group date. The Star takes each Contestant on a separate second date. Then the Star talks with the Host and makes her final decision of who to pursue a relationship with.

Caitlynn: One player takes on the role of host, facilitating the entire game, while everyone else plays contestants on a dating show. One is the star, and the others are trying to win their affection. There’s a round of introductions, then a first date, where everyone plays a scene in a nightclub or bar or somewhere and they discuss who they are and what matters to them.

After that, players work together to improvise stories about a second date, making it up on the fly. The host will try to interject and draw conflict out of it. Then, after about an hour of play, you’ve got these characters who have put everything about themselves on the table, who are excited that this person is into this thing, but are nervous because they’re opposed to that thing, and finally the star has to make a tough decision and decide who is important for them.

Does Singularity have any built-in safeguards for safe, respectful play?

Josh: Yes, the section of the book entitled “Rules” is all about safe, respectful play. Before the players get in character, they discuss which topics should be off-limits, expectations for physical touch during the game (SPOILER: There doesn’t need to be any physical touch during the game), three things they can do when they feel uncomfortable during the game, and what to do when they think another player looks uncomfortable.

Caitlynn: We talk a lot in the setup about safe practices and techniques – cut and brake, the door is always open, and so on. There’s a whole section dedicated to making sure people understand they’re free to walk away at any time and that we all exist as a group to make this a fun experience for all.

Despite the characters being a bit strange, they’re really just very surreal takes on identity and gender, so we talk about making sure you’re addressing those things respectfully and the role you have in making it work successfully for everyone. Safety and good times are huge concerns!

What do you think is the most valuable thing someone can get out of the experience in playing Singularity?

Josh: That’s a good question. I don’t want to limit what you get out of the game or tell you that if you don’t feel X, you’re not playing right. But I hope that by playing Singularity, you have at least a moment of empathy for people who struggle with identity issues in real life. Maybe you are like me and have always had a strong sense of who you are. That’s great, but not everyone is like that. Or maybe you have a sense of identity, but the society where you live doesn’t value you or your identity. Playing a game of Singularity can give you moments of empathy with people who are either A. still figuring out who their are or B. being told by their neighbors that their identity isn’t worth much.
TL;DR I hope you get out of it whatever you want, but our intent to explore issues of identity. Especially identity in the context of looking for romance.

Caitlynn: That these people exist. Trans, non-binary, queer, or what have you. They’re a part of our community, and even outside of that, a part of our society. The big goal with this game was to help characters find connections across differing creeds, cultures, ideas, identities, and genders, to show that even the people we hate or distrust, they’re still people. We’re all human in the end.


Thank you to Caitlynn and Josh for their responses, and make sure to check out Singularity on Kickstarter!

This post was supported by the community on patreon.com/briecs.

Five or So Questions with Fred Hicks on Evil Hat Crowdfunding

In the indie publishing scene, there are some companies trying out new business models for funding and production. One recent model is being implemented by Evil Hat, the company behind Fate Core and the Dresden Files RPG.  When Evil Hat’s most recent Kickstarter pulled in over 7 times its original goal, I knew I had to find out more. I spoke to one of the main guys at Evil Hat, Fred Hicks, who gave some insight into the company’s plans for using crowdfunding for game releases and supplements.

Tell me about the model for Evil Hat’s crowdfunding plans this year. What inspired the development, and what excites you about moving forward?

When we were reviewing how the company did financially in 2015 — good, stable, nothing to be worried about, but not particularly stellar when compared to our best years — we realized that we had fatigued a bit on running crowdfunds and then had let that conceal how much crowdfunding was a component of our budget in our best years.

We’re past the fatigue now, and based on past performance, we figure our good average number of big crowdfunds (not counting the ongoing Patreon) is two per year. With one in 2015, we decided 2016 would be where we play catch-up and aim to run at least three. (Honestly we could probably do four, but that fourth is for a card game and those can be a bit “grindy” if you don’t have a lot of fire and heat on them, so we need to do our big, definite fire-and-heat card game KS this year and see how that affects our audience & presence in the board & card game category. Also our fantastic backers might shoot us if we try to do four in one calendar year, so best to move that possibility to 2017, for now.)

The Kickstarter we’re running right now — ending in about 24 hours from the time I’m saying this, mid-day on February 10th — is Fate More: From Bits to Books. This is “Fate More Part 1”, which is to say we’ll be running a “Fate More Part 2” KS later. These could have been combined to make a single campaign, but we came to realize that we had two separate groups of things we wanted to do with a sequel-to-Fate-Core campaign, and getting the two halves to play well with each other in one campaign would have been tricky. (More on that in just a bit.)

There’s also a concern, I think, with making sure we don’t ask too much of our backers at one time, and that we avoid aiming too high on a “sequel” campaign. I’ve seen time and again that follow-up campaigns often don’t pull nearly as much as the original one, and Fate Core’s was positively stratospheric.

As it happens, Fate More: From Bits to Books (I’m gonna just start saying FM1 from here on out) has done really well vs. its goals — we’re reaching towards $60k right now, and will probably end at least in the mid-$60k range, if yesterday’s performance continues. But it’s not Fate Core’s $433k, and some folks in the middle of the campaign talked about how that wasn’t a success for Fate More. I heartily disagree! Our base funding goal for two books, and three additional books beyond that, have already been hit, and I was honestly only aiming at the first four books as reasonably-sure. We got there pretty early on. The remaining three books — hardcover compilations of Worlds from our Patreon project — were more of a question mark, a “do people actually want this sort of book?” query meant to be answered by the backers’ choices. And that means any range of possible answers are “correct” and good for our intended goals, whether that answer is “nope, don’t do the compilations” or “holy shit PLEASE DO THEM”.

So we’ve already been well past our victory conditions for the campaign for a few weeks now, back in the $35-40k range. 🙂

At any rate, FM1 is all about taking our digital stuff that’s ready to go to print, and getting it into print. This includes a few new releases, as well as pre-existing, already-released-in-digital content. I prioritized and ordered the stretch goals such that the new releases came first, and like I said, folks just blasted right through those. Folks like new. Plus, by focusing in on stuff which was ready or nearly-ready to go to press, we’d have a very short time period between the KS funding and getting those books shipped — we expect to have them in backer hands by June at the latest, with the titles hitting distribution early into Summer. In this sense, FM1 is “Fate Now”, the stuff that we’re focused on delivering to people in the present, that we want to see in print, on shelves, this year.

Fate More Part 2 (FM2) is the one that looks forward, to the future. It’ll have a stronger new-digital-content focus and will ask more questions that our backers will help us answer. FM2’s focus will be on kicking off new projects, and expanding the overall Fate Core line in some new directions. We’re still firming up exactly what that looks like (with some projects already underway, because it’s good to have something ready to give to backers at launch), so please forgive my vagueness here. 🙂 We’re aiming to make FM2 happen in the Summer.

But between those two campaigns is our April-or-May one, that may be the big one this year if we can reach the right people: we’re going to be crowdfunding the printing and expansion of the Dresden Files Cooperative Card Game. You can read more about it on our website — I’ve played and demo’d the game dozens of times, and it’s tense, fun, and really serves the Dresden Files fans well. We’re in the middle of getting art done for the cards, which is the main hold-up at this point, aside from the usual KS preparations — a campaign video, a teach video, polishing and editing the rulebook. This is probably the campaign I’m the most scared about — in a fun-scared sense — simply because I don’t know how big it could go, or how fast, or how well we’ll connect with the novels’ fans, backers, and boardgame fans. I’ve got a lot of hope, there. We’ve put out a series of solid card & board games over the past couple years, but we’re not really on the map yet. This one has a chance to put us on the map. Maybe even light the map on fire. We’ll see!


What are the biggest challenges you’ve encountered, from a business and marketing perspective, for promoting this project plan and getting the wheels on the ground, so to speak?

Expectations, possibly. Fate Core’s KS sets a high bar, and the Fate-focused backer-audience might be expecting us to clear that kind of crazy thing every time. But that KS was a special snowflake; I think Fate More’s performance is the calmer, saner, and more typical one between the two, and that’s just fine. But Fate Core’s KS is also why we have a 10,000-member mailing list we can promote the new Kickstarter to. So in that sense, we’re already well past finding our core audience, marketing-wise, for Fate stuff. And we got that audience back in 2013 for Fate Core because we’d spent ten years (!)building the Fate audience and community in the first place. So a lot of the challenges you’re talking about are really hurdles that we’ve cleared in the past.

There’s also a communications dimension to this sort of thing that’s a little challenging. I’m hugely transparent in how I run the business — Jeff Tidball would say (!)pathologically transparent, and that’s a fair cop — but that doesn’t mean that people automatically understand the business reasons and dynamics that go into parceling out the things we want to do (to push Fate forward) into two separate KS campaigns.

FM1 is heavily focused on print, but a lot of our audience is very digitally oriented, so I think some folks have felt a bit confused, and it was important to get out in front of that and both talk about how FM2 is going to be more for them,and make sure that to the extent FM1 has a digital component, that it is at least somewhat compelling to them.

I think I managed it, tho it wasn’t really until the announcement of our “Extra Goals” in the middle of the campaign (which focus on releasing more of our content into open licensing) that I really hit the right spectrum-breadth for our digital fans. It’s nuts: for a heavily print-focused campaign, half of our Fate More backers are only in at the digital tiers. But while they’re 50% of the population, they’re only about 15% of the revenue at last count; print is still king as far as money-making goes.

Can you talk a little bit about how this crowdfunding project plan meshes with the Patreon funding and development?

Patreon has been about funding the development of the Fate Worlds of Adventure content, but not the manufacture. The Patreon paid for the writing, editing, development, and the biggest cost, art. But that’s all it could cover. Putting that content into a physical book costs as much or more than all of those costs combined, at least at our scale. (Print on demand is another matter, but I’m often unsatisfied by print on demand for color interior books.)

So Fate More: From Bits to Books is the manufacture portion, as far as the Patreon content goes (it’s also the manufacture portion as far as some digital-only Fate Core KS content goes, with Do and Young Centurions). And there, we’ve chosen to go for compilation books, four worlds in each hardcover volume, rather than the individually printed softcover worlds we did for Secrets of Cats, Save Game, Aether Sea, and Romance in the Air haven’t managed to see sales strong enough to justify the relatively minor cost of printing them. I really love the format — $10 softcovers, 40ish to 60ish pages, full color interiors — but the market hasn’t really responded. Could be twofold, and the funded volume(s) from the KS will help us figure out if that’s a format-driven lack of interest (do our fans want more stuff in one book? do they want their color interiors to have hard covers?), or a general lack of interest in adventure/light setting content beyond the digital market.

What do you think are some of the key items leading to continued success with both this Kickstarter and your products related to Fate in general?

It’s those ten years I mentioned earlier. We started growing the Fate community — almost accidentally, but we were doing it! — just past the turn of the century. During that time up to 2013, there wasn’t any Evil Hat originated for-pay Fate book; just Spirit of the Century and, eventually, the Dresden Files RPG, following an earlier-edition digital-only free PDF generic version.

By the time we got ten years deep we had plenty of pent up demand in the community for a core, setting-free Fate book. And that gave us momentum enough to make the Fate Core KS huge and then carry past that into the market at large.

Being able to get out there with Fate-related stuff, like our Fate Dice line, has really helped too, in terms of smoothing out the company’s revenue stream. Fate Dice sell very steadily and fill in some of the gaps that book-driven releases can’t.

And there’s the Patreon, which has let us produce a steady stream of digital releases even in years where we put out very few physical products (hello, 2015).

We’ve continued our commitment to open content too, which has helped create some Fate focused opportunities for third party publishers out there.

And finally, when we run our KSes, we have our eye on creating products that outlive their Kickstarters.

For one, it’s easy to fall into a trap where the Kickstarter is such a good deal, nobody’s really motivated to seek out the product without the Kickstarter involved. We don’t do early bird specials in the reward tiers, or really any kind of discounting on the products; we sell them at the price they’d sell for in a gamestore. That preserves good retailer relations and makes sure we don’t undercut the value of our product.

We also make sure to focus on producing excess inventory we can sell in distribution, but funded by the campaign; that makes sure we’re in a fairly low risk footing when it comes to the post-KS discovery of whether or not we reached 25% or 100% of our potential audience through the campaign. There’s no way to really assess that aside from shipping your stuff and hoping it sells. Smart budgeting: it’s a thing.

With Fate Core, I managed to size our printables such that I printed roughly double of what the Kickstarter population demanded of each product (tho sometimes that multiplier was higher simply b/c there’s a minimum number of copies I wanted to print of any one given thing so I can spread it around usefully in distro). So that meant I ended up shipping up to half of what I printed, and had half left over to sell through distro, with the KS’s funding of each print goal covering the total print cost of that item.

Worked out pretty well — and concentrated and excited enough of our audience that we’ve even had to go into reprintings of Core and Accelerated in the time since the KS.


How have you worked internally with your teams to really build a solid concept of how this program will work and get them all on board? After all, if you can’t get your people on it, getting customers on it could be even harder.

I presume I am not the smartest guy in the room, and surround myself with people who are smarter than me in their areas of specialty. I make sure to learn from every mistake and listen to my smartfolks’ advice, especially when they’re telling me that I’m doing something wrong or that we need to shift focus. One of the earliest bits of advice I got from Chris Hanrahan, the first smart person I brought on board, was something he told me to do during the Fate Core KS’s insane explosion of activity and funding: get a project manager.

That brought in Sean Nittner, and Sean proceded to make sure we got our shit organized. That let me continue to pursue the things I do best for the business, while someone else was entirely focused on making sure that projects happened, that vision was defined and examined up front on every project, and then communicated to each projectmember at kickoff. And let me tell you, compared to me on that sort of thing, Sean is a super genius and I am… somewhere around a field mouse in terms of intellect. The guy gets how to make a team work on a level I never really did. If I’d been clever enough to get him on board five years earlier, the Dresden Files RPG probably would have come out in 2008 instead of 2010.

At any rate, it means that I don’t have to examine (and be responsible for) process; I can focus on implementation. And so can everyone else. Project managers, like editors, are worth their weight in gold. No, gold’s too cheap. Platinum? Something radioactive? I dunno. A lot.

Chris and Sean have made more recommendations since — including bringing on Carrie Harris as our head of marketing, another soooper genius — and I’ve done my best to follow every one of them. It’s too bad these folks don’t play a sport like they help me run the company, because they’d be at the top of their game and making bank.

(Lest you think I’m leaving him out, Rob Donoghue, my co-founder, remains involved as well, but with life distractions and a day job and so forth his job at Evil Hat is more about safeguarding the soul of the company and making sure we keep in mind what we should do along all the stuff we’re figuring out we can do. That, and nothing I’ve ever done with Evil Hat would’ve been possible without his support and encouragement. You know. Little things.)

Anyway, vis a vis your question, I think what all that amounts to is that I’ve focused on working with these guys to make sure we really have our shit together at the top/leadership level of the company. Poor leaders make for unhappy or unengaged or confused freelancers and that’s a recipe for poor products and a general lack of enthusiasm.

Plus, I pay people on time, very quickly, and at the time they get their work done rather than making them wait for when the thing they wrote (or whatever) sees publication. Because that’s just the right damn thing to do. 🙂 (Note from Brie: This is true! Evil Hat pays on time, quickly, and fair wages. A+!)

Is there anything else you’d like to share about this project that would give people insight into the spirit of the idea?

Insight into the spirit, hmm. Well, going into this, I knew we were taking on a challenge of sorts. The Fate audience is growing, but it’s probably really composed of several smaller overlapping groups divided up (tho “divided” really feels like an over-strong word there) into clusters around preferred product formats, preferred product types. I knew we weren’t aiming the campaign at all of those clusters equally. I tried to touch on each of them — something for the digital fans, the open content fans, etc — but it was primarily for the folks looking to put some new books on their gaming shelves, the bibliophiles. I’m really proud of how it has performed given that challenge, because it’s clear that the fans who weren’t as well-served were still quite willing to show up and lend their support. It’s my hope that Summer’s Fate More 2, the future-directions-focused one, shifts the balance around a bit and satisfies those who weren’t as engaged by this one. FM1 gave us a great start to 2016; FM2 will come around in time to give us a big boost through the rest of the year and heading into 2017. If they all work out pretty well, we may have a solid pattern for us to repeat in the years beyond as our catalog continues to grow. Lots of question marks ahead: I’m excited to start answering them, with a little help from the fans. 🙂


Thanks so much to Fred (and Evil Hat!) for sharing the perspective and plans for Evil Hat‘s future with crowdfunding! There is a lot here that could be valuable for new developers and publishers, so I hope everyone enjoys it. You can find more on Evil Hat’s games on their website, and Fred’s regular thoughts on gaming and development on his blog. 

This post was supported by the community on patreon.com/briecs.

Women with Initiative: Cheyenne Wall-Grimes


Today I have a profile on Cheyenne Wall-Grimes, a designer from Glittercats Fine Amusements. Cheyenne has designed some really great games, including Fool’s Journey, a storytelling game that uses tarot cards to guide you, and Laser Kittens, which is currently on Kickstarter! Her answers to the questions below tell us a little about her history with Glittercats and her games. 


What led you to start designing games, and how did you found Glittercats?

I got into it totally by accident! When you hang out with other game designers, it’s tough not to riff off of each other. I had been play testing games for a year or so and when you get into that kind of mindset, it’s easy to fall down the rabbit hole of “Hey, does this game exist? No? Then let’s make it happen!”

Glittercats already existed, actually. My partner, Stentor Danielson, had formed the company when he began working on board games. He was really one of my biggest inspirations for getting into game design. He is so good with rules and mechanics. We came up with Laser Kittens and he asked me to join on. I couldn’t say no!

What is Laser Kittens all about and what was your favorite part of development?

Laser Kittens is a GMless storytelling game where you play a group of kittens in a foster home, Knoll St. School for Wayward Kittens. You learn valuable lessons about how to become and great cat and how to control your lasers. The game is terribly silly and full of chaos.

As much fun as it was to be influenced by all the amazing foster kittens we had, play testing is my favorite. It has been really amazing watching friends and strangers alike get into being tiny balls of fluff, making hilarious decisions about how they interact with the world around them.

What do you do outside of game design, and does any of it influence your choices in design?

Currently, I’m a barista by day. I’ve had so many jobs, my biggest being a theatrical stage manager. I’m a crazy extrovert and I absolutely love people. So, making games that bring people face to face and have them create a life and world together is really my bag.

Thanks, Cheyenne, for talking with me today!

You can reach Cheyenne via Twitter @CheyWallGrimes and @playglittercats, as well as on Facebook as PlayGlittercats. The Glittercats Fine Amusements blog has more on Cheyenne’s work with Stentor.

Don’t forget to check out the Laser Kittens Kickstarter – it sounds like a great time!
 

This post was supported by the community on patreon.com/briecs.

Five or So Questions with Emma Larkins on Heartcatchers!

I have an interview today with Emma Larkins on Heartcatchers! It’s currently on Kickstarter and looks like a great two-player game! Check it out on Kickstarter and see Emma’s interview answers below.

Tell me a little about Heartcatchers. What excites you about it?
Heartcatchers is a strategic two-player deception game. There’s a pretty simple mechanic of matching card colors and moving piles of cards around on the field – where it gets interesting is the face-down secret cards that are revealed at the end of the game, that can wildly swing the score. The thing that excites me most is when people get a maniacal gleam in their eyes and clap their hands together in glee after playing a particularly devious secret. That’s what the game is really about – like you’re a villain in a B action movie. Also when a crowd gathers to watch two people playing, to cheer them on, give advice, and vicariously enjoy the thrill of victory and the agony of defeat.

What was your inspiration for Heartcatchers?
Heartcatchers was inspired by my boyfriend Phil. I made it for him as a gift for our first Valentine’s Day together (cardstock, pink construction paper hearts, doodles, the whole deal!). He’s working on a tabletop game, and I wanted to make him my own game as a joke, but he ended up really enjoying it. He’s the one who encouraged me to put in the hard work to take it from a prototype to a polished game.

What kind of games and media influenced your design for Heartcatchers?

Funnily enough, I was playing a lot of Hearthstone at the time (Blizzard’s online Collectible Card Game, similar to Magic the Gathering) and wanted to capture the distilled essence of the game. In Hearthstone, you play cards that have different creatures on them, and each has an attack value, a defense value (health), and a set of special abilities. The first version of Heartcatchers featured cards that had numerical attack and defense values, and you had to match the numbers. You can also play “secrets” in Hearthstone that are only revealed when your opponent takes certain actions; the secrets in Heartcatchers (cards placed face-down and revealed at the end of the game, before the score is tallied) are a core mechanic.

Of course, over dozens of playtests, the mechanics of Heartcatchers evolved into something completely different. The numbers went away, the game simplified drastically, and now there are three colors that “catch” each other, rock-paper-scissors style. I also combined the Secret cards and the standard cards to I could reduce the whole game to twenty cards.

Is there a special experience you’ve had while playtesting and developing?
Watching crowds gather to observe games in play! I’ve showed the game to tons of people at a bunch of live events – Boston Festival of Indie Games, Gen Con, a few Playcrafting events, in addition to all the playtests. It amazes me how the game draws people in and gets them excited, even if they’re not playing. The game has surprisingly never been held back by the two-player limit. The reveal moment at the end of the game is so enticing, to see the revelation of how the two players have tricked each other. I never expected it to become such a fun spectator experience.

Could you tell me a little more about the mechanics?
Lay out a field of six face-up cards, and give each player a hand of three cards. Over the course of the game, you place cards face-up on top of the six, making piles. You can steal your opponent’s desirable piles and replace them with less desirable piles. At the end of the game, you’re scored on the three piles on your side of the field, so the goal is to hide all the Heartbreaker Secrets (point subtracters) under your opponent’s side, and all the Ultimate Love Secrets (point adders) under your side. Secrets stay hidden until the end of the game, at which point everything is revealed and the points are tallied – one point for each face-up card in piles on your side, modified by the Secrets. The reveal of the Secrets often drastically swings the score of the game; you never know if you’ve won until the last minute. There are twenty cards in the deck, and a game takes five to ten minutes to play.

A last note from Emma: 

There are less than two weeks left to get in on the Heartcatchers Kickstarter. Check it out today!

This post was supported by the community on patreon.com/briecs.

Five or So Questions with Andrew Medeiros on The Forgotten!

I have an interview today with Andrew Madeiros on his new game, The Forgotten, which is currently on Kickstarter. The Forgotten sounds like a fantastic game, and I’m excited to see it played by my friends and fellow creators. It seems like a really emotional experience, and those can be amazing!

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

Of course! The Forgotten is a live action game that tells the story of people trying to survive while their city is torn apart by civil war. Some of them are family, friends, or strangers who are living day-by-day together. It takes about two hours or so to play and is broken down into day and night scenes. Day scenes last fifteen minutes and are essentially free-form role play, and night scenes take just a few minutes and involve a few of the players drawing event cards to see how their night of scavenging and guarding resolve.

What most excites me is the hope that this game can teach people a bit of empathy for those who have to live through war, specifically noncombatants. The events in the game are a mix of tragic and heartfelt, but they never glorify war; something I feel I see too often these days.

Is there anything that you do in the game to separate the day and night with mood or scene, and in either case, how do you think the use of or lack of that kind of technique influences The Forgotten?

Great question! The game uses a customizable soundtrack that acts as a timekeeper and ambiance for the players. During day scenes, the players will hear anything from quiet days, to rain, or distant gunfire. The night scenes are signaled by a musical track that tells the group that the sun is setting and it’s time to transition scenes. We’ve found it to be very effective in play testing and many players have reported that it was one of their favourite aspects of the game.

Do you think that, while dealing with such an emotional subject matter, there is a benefit to a shorter game?

I think shorter live action games are always my preference, they feel punchier and more satisfying in the end and leave me with plenty of time to digest and process my experience. I think the game continues even after the end, while you’re contemplating it all in the following hours/days/weeks.I know a lot of people prefer longer run time games because it gives them a ton of time to truly immerse themselves in the experience, and I totally respect that, but it’s not the sort of play I am looking to enjoy or offer. In short, both approaches seem to have their advantages, but I went with my preferred style for this one.

What were difficulties you encountered writing a game with a theme that is, while quite common, very often ill-designed or insensitive?

I think I was my own worst enemy on this front. My first version of the game was very bleak; many of the event cards were catastrophic and only highlighted the terrible things people can do when desperate. After doing a lot of research I came to find that people living in these kinds of dreadful conditions are more often than not just regular people like you and I and tended to act accordingly. In my following drafts I made sure to include events that not only challenged the morals and ethics of the player’s characters, but also showcased the good of those living around them. It’s a tough balancing act, as I wanted to offer a game with both hope and tragedy as themes. I’ve strived for that, and I hope I’ve pulled it off.

Would you talk a little about the event cards that players encounter in the night scenes?

I’d love to (this is my favourite part!). Events come in three decks of cards: Guard, Play It Safe and Take a Risk. The Guard deck is drawn by the player who was chosen to stay up and stand watch over those asleep in the shelter and they include events that take place at home; attacks, help from neighbors, people looking to trade, etc. It also includes the game end card, which triggers the final day of play for the group.

The other two decks are for those chosen to head out to find food, medical supplies, etc. (they do this at night because moving around during the day is dangerous due to snipers). Each scavenger chooses if they want to look in relatively safe places or take a chance by searching high risk locales. The pay off for taking a risk is much higher but so is the danger, and so we leave the severity of the game completely in the players’ hands. This all happens within the three or so minutes of the night scene and once the music ends, the next day scene begins as people are returning home from their tasks.


If you could describe the ideal outcome for what people think about The Forgotten in three words, what would you say?

Worthwhile and powerful.



Thanks to Andrew for an excellent interview! I loved hearing about the game and the challenging elements to make it a great experience. Check out The Forgotten on Kickstarter today!

This post was supported by the community on patreon.com/briecs.

Five or So Questions with Vincent and Meguey Baker on Apocalypse World Second Edition!

I had the pleasure of interviewing Vincent and Meguey Baker about their new release and Kickstarter, Apocalypse World Second Edition. Apocalypse World itself came out in 2010, and has been used as the baseline for a ridiculous number of hacks over the past years since then, including Monsterhearts, Dungeon World, and Urban Shadows. The game itself is super fun, and can range from explosive, brutal action to intimate and sometimes disturbing. Second Edition is, I think, an exciting update!


Tell me a little bit about Apocalypse World 2nd Edition. What about this new release excites you?

Vincent: Meg and I have been playing Apocalypse World, and watching people play it, and hearing about their games, for a bunch of years now. Seven years, going back to the first playtest! It’s been fantastic, but along the way we’ve noticed that there are some rules in the game that rarely see play, and some other rules that tend to throw people off. We’ve been developing better rules to replace them for the last year or so, and figured that it was time to show them off.

The most exciting things to me in the new release are the new battle moves – they’re as much fun in play as you could hope for – and the new “threat map” approach to GM prep. It streamlines the old system of fronts. Fronts were kind of abstract, conceptual, and this new system is much more concrete and punchy.


Battle moves sound exciting! What pieces of the game do they interact with most: playbooks, fronts, etc.?

Vincent: The playbooks, same as the basic moves. And the harm rules, of course!

The original optional extended battle moves didn’t ever see much play. These new ones are still basically optional, but they have a lot more immediate grab and punch to them. I think that people will be eager to bring them into play.

Have there been changes to any of the playbooks? If so, I gotta ask, is there anything new and exciting with the Gunlugger (my favorite!)?

Vincent: Sure! First of all, there’s been a change to the lineup: the operator’s out, and the maestro d’ and quarantine are now in the basic set. The most-changed playbook is the driver, who inherited some of the operator’s best moves. Next most is the angel; we rewrote their whole system for medkits. After that, all of the playbooks got streamlined Hx rules and a cut of the operator’s gigs. I think that the gunlugger is, with the hocus, the least changed.

Meg: Changing the lineup meant looking at all of them with cross-hairs, sorting out what we wanted to reintegrate in new ways, and looking for places to contract and expand. The new battle moves and some of the other things we’re bringing in the second edition mean there’s pretty much nothing left untouched. Bloody fingerprints everywhere!


Apocalypse World has hugely shaped the indie scene in a lot of ways over the past years. Has any of the design that evolved from the original AW cycled back to inspire Second Edition?

Vincent: You know, not too much, no. We thought long and hard about this when we were starting: do we stick close to the original game, or do we try to write a new game, incorporating the insights of Monsterhearts, Dungeon World, Monster of the Week, and the rest? Ultimately we decided to stick close to the original.

Meg: Looking at all the games that have used Apocalypse World as their starting point was really helpful in clarifying that choice. Some of the stuff that’s been done is really inspiring and beautiful and creative, and I’m sure it will shape some of our designs going forward. There are undoubtedly some bits that have seeped in, but the biggest thing we came away with after doing a read-through of PbtA games is that we want Apocalypse World 2nd Edition to keep on being that useful, fruitful starting point.


What kind of practices did you use to playtest and reexamine new rules and tweaks to old rules?

Vincent: Reworking existing rules is pretty different for us than doing new design. The easiest were the new Hx rules. Once we had the idea to turn the process around, to have you ask for volunteers instead of deciding things for yourself, the new rules just fell into place. They were so obviously sharper and more streamlined that they needed only a quick test to confirm. The new angel kit rules were the same way.

Hardest were the new battle moves. We tried several approaches, each generally more elaborate than the originals, before these much simpler ones came to us. But even so, once we got the approach right, designing the moves themselves came easily, they were obviously an improvement, and we played with them basically just to confirm that we were right about them.

We didn’t do any formal external playtesting, but I leaked all the new material to my Patreon patrons. Some of them picked them up and played with them, and their feedback was further confirmation.

Meg: When you put it to absolute practicalities though, it looks a lot like: “Hey, I have an idea for some new rules for XYZ, can you make a couple characters quick and see how it works?’ or “Check out these new mechanics with me for a few minutes?” Lots of small spot-tests within the context of a game we know well, to make sure all the parts are clicking into place the way we want.

We also have a dedicated group of wonderful teens who play at our house every Friday, and when I say “here’s new barter rules; give them a shot and tell us what you think” they are generally happy to help. Some of them have been playtesting stuff with me for 7 years, and so I can hand them stuff and walk away knowing I’ll get decent feedback. It also is a great playtesting tool to be two rooms away and just listen for the flow of the game and the engagement level as much as for who says what and rolls how.

One last question: you have been working with Meguey on Apocalypse World in various forms for a long time! What does it take to create a vision as a team that is so coherent, and how do you think it reflects on the design in 2nd Edition?

Vincent: I’m not very good at it! It demands a lot of communication, but I struggle to communicate my ideas in sentences and explanations when what they are is game design.

When we’re working together on a project, I think that we both commit fully to the project’s creative success. Neither of us goes along with the other against the needs of the project, and neither of us sticks to our own ideas against the needs of the project either. We both bring our best work, patience, and attention, and let the project decide.

Meg: I think the biggest thing it takes is patience. Designing together is not always easy or simple; sometimes we disagree on a thing, or have trouble making clear to each other what we mean or why we’re excited about a particular part of the design. Patience and trust that we can work it out and come to a clear place to move forward is important.

An overlapping but not identical taste in art, music, background, movies, games, books etc etc to draw from is great, so we each can bring new insights and ways of looking at any particular design challenge. When we first started designing games together 20 years ago, I was fresh out of Emergency Medical Technician training. For years our combat systems looked like “Ok, Meg, they get hit here, with this kind of weapon. What happens?” I know way more about the odd things that people save than Vincent does, and he watches way more horror movies than I do. Lately we’ve both been reading a lot of books about various world-shifting events in US history – the arrival of De Soto, the adoption of horses by the Comanche, the 1918 flu epidemic, the dust bowl – so we’re steeped in a whole new batch of apocalyptic imagery.

The other HUGE thing we have going for us is that we are both creative artistic people in other places of our lives. So we don’t get offended when the other one gets caught by something and has to get up early or stay up late or block out time on the weekend for a personal project. We get that. We also have pretty decent boundaries on what is shared game design and what is our own projects. The Sundered Land is entirely Vincent, Playing Nature’s Year is entirely me, Apocalypse World is both of us. We read and playtest each other’s games, sure, but on our own projects we each have our own clear direction. With joint projects, we have to be in accord on the direction in order for it to move forward.



Thanks so much to Vincent and Meguey for the interview! It was great to hear about Apocalypse World 2nd Edition and I’m really looking forward to getting it in my hands! Check out the new edition coming up on Kickstarter, where Vincent and Meguey have been providing rich material for new backers already! 

This post was supported by the community on patreon.com/briecs.

Five or So Questions with Eddy Webb on Pugmire

I was excited to have the chance to chat with Eddy Webb about his new game Pugmire, which is currently on Kickstarter. It sounds like such a cool and unique game. I hope you enjoy hearing about it, and check out the Kickstarter if you get the chance!

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

Pugmire is a tabletop roleplaying game I’ve been working on for a couple of years now. “Pugmire” is the name of the biggest kingdom in a world in which dogs have built a new society. They live in the ashes of our world far in the future, seeking adventure and redemption. Think Lord of the Rings meets Planet of the Apes, but with dogs.

It excites me for a couple of reasons. The first is that most of my career thus far has been crime and horror fiction and games, and the world of Pugmire allows me to not only have a little fun, but also tell different kinds of compelling and engaging stories. Secondly, though, it’s all mine. This is a world I’ve build from the ground up, and for the first time I can apply all the ideas and strategies I’ve learned over the past fourteen years of my career to something that I have complete control over. It’s very freeing to be able to reach out to people I know and trust, as well as work with brand new people, and work with them on great projects without having to worry about checking in with another group of people.


Can you tell me about the conception process you have used to develop the game, the world, and the fun characters you mention on the Kickstarter, like Yosha and Pan?

I’ve been developing the world off and on for a few years now. It all started over a Thanksgiving break. I had ruined my normal laptop, and was stuck in a small apartment with my two pugs and a Chromebook. The dogs were driving me nuts barking at invisible things, so I started writing down notes for a fantasy world in which dogs barked at invisible demons. I thought it was amusing, but put it aside.

About a year later, I was asked to write a short story for an anthology, and pulled up the world idea. I fleshed it out, and that became the first glimmers of Pugmire (and the first time I wrote Yosha and Pan). A number of people suggested I do more with it, and the idea of a tabletop RPG was high on the list (since it’s an area I’ve worked as a writer and designer for close to sixteen years). I pitched the idea to Richard Thomas at Onyx Path Publishing, he loved it, and it’s been in various stages of development pretty consistently since then!

I wanted to make sure that there were signature or “iconic” characters for people to gravitate to early on, and Yosha and Pan were definitely two I wanted to include. I used them as a good counterpoint to each other for the Gen Con promotional release we did — she is the voice of intelligence but a bit of sweet naivety, while Pan is the gruff, exaggerated voice of experience — and the dynamic just worked really well.

I’d love to hear some details about the mechanics. What is the base system you are working with, and if you’re doing any fun variations, could you tell me about them?
It’s d20 OGL, but it’s had a bit of an interesting journey. I started working on the system for Pugmire before D&D 5th Edition came out. When I got a chance to read it, however, I realized that a lot of where I wanted to take the system was already addressed in those rules. But the OGL for that edition wasn’t out until just a couple of weeks before we were ready to launch, so I rewrote the original (3rd edition) version of the rules to get closer to that.

But Pugmire is not just a clone of D&D. At each step, I’ve tweaked, streamlined, revised, and outright changed various parts of the rules to fit my vision of the game. People familiar with those rules will find a lot they recognize, and a lot that’s totally new.

Some small rules changes can have knock-on effects, and I used that style of design to help emphasize cooperation and action. For example, there are no experience points and no rules for currency — dogs gain a level after an interesting story, and they can roll to “remember” equipment they didn’t bring with them on the adventure. Additionally, there’s a brand-new mechanic called “Fortune” that allows players to reroll dice and affect the flow of the game, but it’s all in a bowl in the center of the table. Anyone can spend it, but they have to ask the group if it’s okay first. Little things like that, combined with the in-world ideology of “Be A Good Dog”, really help to get people thinking about cooperation and telling interesting stories.

What kind of stories do you think people can tell with Pugmire, and what kind of experience do you think they will get out of those?

After years of writing games that were very complex, dark, and full of terrible people doing terrible things, I wanted to write a game that was more heroic. But I just can’t get into bubble-gum fantasy where everyone is good just for the sake of being good. I still value characters and worlds with texture. As I started working on Pugmire, I realized that I could create a world where one group of players can have a lot of fun playing Corgis with battleaxes, while another group of players can dig into the religious ramifications of the edict “Be A Good Dog.” It works on a few different levels, sometimes simultaneously, which makes it a game that can scale quite well between light-hearted fun and poignant sadness.

Finally, what are your main inspirations for Pugmire and how do they see representation in the game?

I had a wide diversity of inspirations. Some, like Mouse Guard and Redwall are fairly obvious — talking animals that go off and have fantastic adventures! But others are more subtle. The early, slightly gonzo material in both Dungeons & Dragons and Gamma World were certainly inspirational to me, particularly that strange but compelling blend of genre fantasy and science fiction that manifest as Pugmire’s “magic.” Also, the not-quite-post-apocalyptic feel of Thundarr the Barbarian really influenced the feel of a fragmented society that looks to the past and gets some bits wrong. But really, my biggest inspiration are my dogs, past and present, who continue to delight, console, and infuriate me every day. I constantly try to imagine the adventure they think they’re having, and I try to bring them to the table.

Thanks so much to Eddy for the great interview! I think Pugmire sounds like a great game for a variety of audiences. Make sure to check it out on Kickstarter!

This post was supported by the community on patreon.com/briecs.

Five or So Questions with Dabney Bailey on Tavern Tales!

Today I have an interview with Dabney Bailey on Tavern Tales, which is a really cool game that is currently on Kickstarter. When I played Tavern Tales last year, I ended up getting so entranced with my character that I started writing fiction blurbs on my G+ account. I love the game, and I hope you check it out on Kickstarter! (Also, this art is AMAZING!)



Tell me a little about Tavern Tales. What excites you about it?

For me, the most exciting thing about Tavern Tales is the sheer number of possibilities it offers. I built TT from the ground up to be as versatile and flexible as possible. The game bends to fit the needs of the players rather than the other way around.

The character creation system is incredibly flexible, allowing you to build virtually anything imaginable — I’m constantly being surprised by the builds my fans over at the forums come up with. In fact, just a few weeks ago, someone figured out how to create a gigantic fantasy robot that the whole party could pilot together. The possibilities truly are staggering.

Tell me a little bit about the character creation system. How did you build in flexibility, and what kind of characters can you make?

Most other RPGs tell you what you can and can’t play. They’ll give you a list of options like “This is the wizard class. If you’re a wizard, these are the only options available to you.”

Tavern Tales abandons this approach in favor of a more organic method where the players get to define their characters, rather than the game designer defining their character. Character options are divided into Themes, which represent archetypes like Thievery, Undeath, or Arcane. Then, it’s up to the player to pick and choose whatever options they want with no limits. If you want to be a conventional wizard, you can go full Arcane. If you want to be a magical necromancer, you could combine Arcane and Undeath in interesting ways.

Tavern Tales gives players the freedom and options to build the character they always wished they could play.

What kind of settings can you play in for Tavern Tales – is it just fantasy, or is there more to find?

It was originally designed to be a fantasy setting, but it’s flexible enough that it can easily be adapted to fit other settings. In fact, there’s a section of the rules that encourage you to reflavor your character options to fit whatever aesthetic you like.

I’m currently playing a sci-fi version of Tavern Tales and it the systems runs smoothly.


What was your process for creating the system, and what inspired you?

I think my inspiration was all of the character ideas I had in my head that I could never play. I started to get really frustrated by games that forced me to play certain characters in certain ways. So, I decided to build a game that would free me from the limitations that I had grown frustrated with. I built TT to be kind of like Legos. Rather than me building a complete toy and giving it to others to play with, I give players Legos and let players build whatever they want out of the pieces.


How can players get involved in the community for Tavern Tales, and what can they get out of it?

I released TT into open beta in April of 2014. Since then, the community has been instrumental in helping TT grow. I am a very verbal designer, so I’ll typically post new mechanic ideas to the forums to hold a public discussion before I implement anything. In fact, some of the ideas in the book came straight from fan suggestions. If anyone out there is interested in game development, I highly encourage you to join reddit.com/r/taverntales. We’d love to hear from you!

Thanks to Dabney for the interview, and I hope everyone checks out Tavern Tales on Kickstarter! 

This post was supported by the community on patreon.com/briecs.