Tell me about Magical Kitties Saves the Day. What excites you about it?
What has me truly excited about Magical KittiesSave the Day is how much fun everyone has during our playtests. People are enthusiastic
about trying the game. People are even more enthusiastic to try it again. As a
game master, that kind of enthusiasm is infectious. And the world of Magical
Kitties, based around just a few core principles, so endlessly varied and
effortlessly rewarding to create in: Your magical kitties can be in your
hometown. Or in the Old West. Or fighting aliens. Or living in a Martian
colony. Or, really, anywhere.
Let me back up. In Magical Kitties everybody plays a kitty with a unique supernatural power. Every kitty has human. (Some humans believe that they own the kitties, but that’s clearly ridiculous.) Every human has a Problem. The kitties need to use their powers to solve their humans’ problems and save the day! On top of that, every hometown has Troubles. Troubles can be almost anything: Witches. Aliens. Hyper-intelligent raccoons. To run an adventure, all the GM has to do is take a Trouble and point it at a Problem. As the Trouble makes the Problem worse, the kitties have to fly into action! (Often literally.)
How do players create their human
characters and kitties?
You can either very deliberately craft your
kitty or you can use the random character generators to discover your kitty.
Either way, character creation is very fast, so it’s more about whether you
have a specific vision or if you want to be surprised and challenged. You can
also mix-and-match the approaches: Maybe you care a lot about what your kitty’s
Magical Power is, but want to randomly generate your kitty’s Talent and Flaw
and then figure out what your kitty’s personality is from that. You can do
that!
Kitty’s attributes: They are Cute, Cunning, and Fierce. They also have
Talents and Flaws, describing what they are particularly good at (being a
talented actor or a keen sense of hearing) and also what gets them into trouble
(like having a big mouth or being a scaredy cat). And, of course, they also
each have a cool Magical Power — invisibility, telekinesis, technopathy, frost
breath.
When it comes to humans, the most important thing is their Problem. Again,
players are empowered to customize their own Problems. But we also include a generator
that combines an emotion — like sad, angry, scared — with a source, things
like money, illness, family, friends, work/school, and so forth. This is
ultimately a creative seed, and so you need to make it specific to your human
(and your kitty).
So if a human is scared about money, for example, that might mean they’ve
fallen behind on their mortgage payments and they don’t know what to do. Or
maybe they owe money to dangerous monsters. If they’re angry about money, on
the other hand, then maybe someone has stolen something from them and they’re
furious about it.
What’s the mechanical structure of Magical Kitties Save the
Day, especially in regards to dealing with Troubles and Problems?
The core mechanic of Magical Kitties is a streamlined dice pool system that effortlessly creates degrees of success:
Failure
Success, but…
Success
Success, and…
Super success!
Each degree has some generic structure to outcomes. For example, on a Success,
but… the kitty will succeed, but also:
A foe uses its reaction.
You suffer an Owie.
You get into a sticky situation.
You are unable to act for some time.
You have one fewer die in your next pool.
The GM forces your flaw.
Something else that’s creative.
By moving beyond a simply binary of success and failure, the game inherently
encourages both game masters and players to engage deeply with the outcome of
any action resolution. Young players, in particular, get really engaged by the
results.
Problems have a Severity and Troubles have an Intensity. Both measure how difficulty it is to solve or overcome them. As Problems and Troubles are resolved, the story of your magical kitties will slowly come to an end… or you can have new Trouble come to town.
This sounds like a really lighthearted
game, but I admit some of the Problems you mentioned hit nerves for me as a
player. How are you supporting players in encountering topics that might be a
little bit, uh, Problematic?
One of the reasons we’ve embraced the Source
+ Emotion method of generating problems is that it isn’t providing
specific problems. That specific problem is still coming from the player. If
you ask a six-year-old what “money + sad” or “friends +
angry” means, you won’t get the same kinds of problems you will if you ask
a twelve-year-old or twenty-four-year old that question.And since we’re
not pushing a specific problem into the playing space, the players generally
self-control for what they’re comfortable exploring through play without even
really thinking about it.
Magical Kitties is framed as an all-ages
game. What have you done to make the game approachable for people of different
ages, backgrounds, and abilities?
In working on Magical Kitties I’ve
personally done a lot of research into age-appropriate cognition. The results
are frequently surprising! For example, character creation uses
d6-as-percentile tables. I initially thought that might be a difficult concept
for our target age range and was looking at alternatives, but it turns out that
specific exercise if used in Grade 2 curriculums.
Our creative team for Magical Kitties is already diverse, and making it even more diverse as we bring more creators
onboard is a priority for me. Bringing all of these different viewpoints into
the Magical Kitties universe is making that universe bigger and more
exciting in every way possible. If there’s one thing we’ve discovered, it’s
that the love of kitties is about as universal as you can get! Kitties and the
people who love them can be found everywhere.
I also believe that Magical Kitties can be an opportunity for people who have never played a roleplaying game
before to discover a whole new hobby. We think reaching out to all-new
audiences is really important in terms of making sure that all voices get to be
part of our conversation. To that end, Magical Kitties includes a lot of
tools for new players: There’ll be a solo play scenario, for example, so that
within literally moments of cracking open the box you can start playing the
game for the first time. And there’ll be a My First Adventure book for
first-time GMs, taking them step-by-step through running their first scenario.
Tell me a little about Red Carnations on a Black Grave. What excites you about it?
Red Carnations on a Black Grave is a freeform rpg about the Paris Commune, a brief but intense socialist revolution in 1871. For ten weeks radicals, socialists, and the working class controlled the greatest capital in Europe–until the French army arrived and brutally put down the “rebellion.”
The game explores the lives of 12 characters caught up in this intense moment in history, exploring their personal lives and relationships against a backdrop of a doomed resistance.
I came accidentally to this moment in history and then became fascinated by it. The Paris Commune is not well known, and I’m delighted to bring this crucial moment in the history of revolutionary struggle to more prominence. As a designer, it succeeds pretty well in capturing the kind of drama-infused and emotional play that I love to bring to the table.
The creator, Catherine Ramen.
What kind of research did you have to do to write the game and capture this experience?
It started when I picked up, more or less by chance, a copy
of Mary and Bryan Talbot’s graphic novel The Red Virgin and the Vision of
Utopia which is about the socialist and anarchist activist Louise
Michel (who is a playable character in the game). I’d never learned much about
the Paris Commune before this time, but I had been looking at maybe doing some
kind of French Revolutionary-themed game. The Commune is much later than the
original revolution, but it quickly became a source of deep interest to me.
I read several works in English (John Merriman’s Massacre:
The Life and Death of the Paris Commune is an excellent overview and
introduction), mostly on the academic side of things, with a focus on the experience
of women in the Commune, but also some primary sources written by the
participants in the Commune. My French isn’t terrible, so I was also able to
read some of the primary accounts of the Commune in French–this was the only
place I could find anything in depth about Joséphine Marchais, for example,
even though I mostly left that information off of her card in the game.
The one thing I think that really helped was to look at some
of the many, many posters the Commune government issued during its brief life.
I used those as a source for the Inspiration cards in the game–these are cards
that contain a historical event or situation and some sense impressions; it’s a
good way to get some historical information into the game without overwhelming
the players. About 90% of those cards are based on actual posters I
found.
Who are the people in this story? How do you think modern players can relate to them?
Right now there are twelve base characters in the game, plus
a thirteenth optional character we were able to add thanks to hitting a stretch
goal; we’re also going to have some more optional characters become available
if we hit other funding goals.
The characters are a mix of historical people and plausibly
historical characters. There’s Louise Michel, who was a badass (and a
pain in the ass) all her long public life; Joséphine Marchais, one of
three women to be sentenced to death for arson after the fall of the
Commune (the sentence was commuted). There are two families, the Marchandons with
a former political prisoner and a young widow among them, and the family of Amanda
Mercier a single mother and sex worker. She is in an explicitly queer
relationship with Lodoïska Caweska, another historical figure who
was often described as an “Amazon” and wore a uniform and carried
pistols; in the game she’s a veteran of the failed Polish revolution of 1864. I
wanted to make sure that the community of Montmartre (where the game is set)
was vibrant and diverse–as it was in reality; plus I wanted to make sure there
was representation from France’s imperialist ventures: so we have Dominique
Rousseau, a physician from Martinique who got her MD in the United
States, and Tariq Tannoudji, an Algerian light cavalryman who stayed in
France after the war against the Prussians. (Algeria went into revolt during
the period of the Commune, and was repressed pretty brutally as well.)
These are characters mostly living on the edge of society and of poverty, with a political system that is unresponsive to their needs and wants and voices that are not heard over the shouts of the rich. This is unfortunately probably relatable to a lot of people right now! Certainly as a queer designer I often find my anxieties about my future and my place in society are a pathway into these characters’ lives.
But also: one of the things I do when facilitating the game is to remind the players that while the game is often intensely political, those politics will emerge from the situation and the various historical inputs into the game. The best games of Red Carnations on a Black Grave in my experience have been the games when people focus first on their relationships, rivalries, hopes, and fears, and let those flow into the situation formed by the historical events. I mean, I don’t know how to play a revolutionary socialist in 19th century France, and I actually did the research! But I do have some thoughts on how to play a queer person caught up in a tangled love triangle, or an artist afraid of never having her voice heard, or someone trying to figure out how to keep food on the table. In that way I think most players can find a way to understand and relate to their characters.
What decisions did you have to make in design to encourage the complicated relationships and drama you want to see?
I have a story about that! When
I first started designing the game, I knew the characters were going to be the
most important part of the game so all my early work was concentrated on trying
to come up with plausible candidates and thinking about how they related. I
knew I wanted Louise Michel; I found references to Lodoiska Caweska in several
sources and she seemed too interesting to pass up, as was Josephine Marchais.
Beyond them I had plans for a physician, a priest, etc. Around October of 2017
I thought I had my final cut ready.
Then I went and saw Peter Watkins’ film La Commune (1871). It’s an
amazing and powerful movie, five and half hours long and in French, filmed on a
soundstage with over 200 actors, most of whom weren’t professionals; I highly
recommend it even with its eccentricities (for example, there’s ahistorical
television stations broadcasting from both Versailles and the Commune) and
after I got home at 2 AM I realized I had to tear up a lot of what i had
started and ground all the characters in the working class.
The other main change came after the early playtests. I
originally had several questions for each character printed on their cards; but
I quickly realized this was too limiting. One of the earliest rules changes was
to create a small deck of questions that the players would randomly draw. These
are pretty provocative and leading questions, and answering them fills out the
deliberately skeletal relationships between the characters. It also really
increases replayability as the setup will change every time the game is
run–and there are a lot of ways to answer the questions and use them. At one
recent game at Dexcon, one of the players leaned so hard into Marie having been
a police informant that she remained a spy for the Versailles government,
challenging her father’s beliefs and causing havoc to everyone around her. I’d
never seen that in a game before!
How do you support players emotionally and safely in such an intense emotional environment that also deals with difficult political issues?
There are safety tools mandated in the game; right now these
are the XCard, Open Door, and Lines and Veils, but I’m exploring the
incorporation of other tools. I’ve also asked Jonaya Kemper to help create some
exercises to deal with traumas that emerge from the game and do de-roleing
after it ends.
This goes back to asking players not to concentrate on the politics of the game
when framing scenes–the game is suffused with political content and doesn’t
paint the Commune with utopian colors (although the game is of course very
sympathetic to its cause). This helps I think ground players and distance them
a little bit from the grinding, mechanistic tragedy that will overwhelm their
characters.
This is an area that is going to continue to be worked on as we finish
development on the game; I’ve had games of Red Carnations that were extremely
cathartic and games that were extremely emotionally draining. I’m very invested
in making sure that this experience is emotionally deep but also safe for
everyone to enjoy as much as possible.
Content Warning: There are allegations against Erika Shepherd for abusive behavior. I don’t have any links, but have been notified in private and respect the privacy of those raising the concerns, and I’m making this note as part of my policy against perpetrators of harm.
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Hi all, I have a few quick questions with answers from Erika Shepherd on Hearts of Magic: Threads Entangled! It looks like a really interesting game, I hope you like what Erika has to say!
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What is Hearts of Magic, both as a product and as your vision?
Hearts of Magic is a Firebrands Framework game about fey nobles, arcanist-bureaucrats, and anarchist witches vying for control of a magepunk fantasy city, getting in messy entanglements with eachother amid an undeclared magical war. It’s a story told against a backdrop of imperialism and class struggle, but it’s also a story about individuals finding ways to resist that system, and just maybe finding eachother instead.
It’s intended for one-shot play, with zero prep and an easy-to-learn ruleset you can pick up and play; while it has a set of factions and setting elements built in, it’s easy to adapt to other settings/factions, and flexible about how you portray your faction, without defining a lot of the worldbuilding.
It’s also, not to put too fine a point on it, *gay as hell*. An Oblique Discussion is explicitly and intentionally a game about, not being able to say out loud the thing you want to tell somebody, and As A Lesbian, it was important to me to put down in a game that feeling of, talking around something and hoping your were understood. It’s a game about fighting with your friends and allying with your rivals, but most of all, about falling in love with your enemies, and about how love (or something like it) can overcome the things that keep us apart and the systems that tear up our world.
The cover of Hearts of Magic, illustrated by Finn Carey.
What is the design process for a project like this with the ten games in one design, especially when trying to create these messy entanglements?
I have to give almost all the credit to Vincent and Meg Baker, for the overall design – Hearts of Magic started as a 1:1 reskin of Mobile Frame Zero: Firebrands, and much of that design is still part of Hearts of Magic. I did, however, remove a couple of the Firebrands games, and added two of my own – Weaving a Spell and A Wizard’s Battle. With that said, I did have to think about the kinds of entanglements I was looking to create. This game is as much the story of The City as it is a story of the characters themselves, and I wanted to make sure to focus as much on the ways characters interact with The City as the ways characters interact with eachother.
In “A Chase”, for instance, I wanted to make sure to fill out the landscape of the city and the range of setting options, for the players, being sure to include a range of physical locations in the City to expand the range of whats possible, there (Like trains! Can’t have magepunk weird-fantasy without trains!). Another example is how A Wizard’s Battle makes sure to include as much about how a violent confrontation affects the City, potentially devastating the surrounding neighborhood.
With that said, the real core of the game is about the interactions between the player characters; by making Weaving A Spell focus closely on the intimacy of doing magic with another person for instance, by keeping the focus of the games on the relationships between the players and not just their factions, I wanted to make sure that there was more binding the players together than keeping them apart.
Sketch by Sasha Reneau.
What kinds of characters do we see in Hearts of Magic, and what are they likely to encounter mechanically in the various games?
The three factions of Hearts of Magic are the Lords and Ladies, the fey nobles whose families have controlled The City for generations and who hold their power with the magic of nature, promises, and prophecy; the Order, a bureaucratic empire of scholar-mages who use the might of empire to, supposedly, try and protect the world from the dangers of magic; and the Witches, anarchists trying to free the city from nobility and empire alike and teach Magic to the masses. Each faction has their own set of adjectives to describe the characters with, but aside from the faction description and the adjectives, very little about character creation is dictated by the book – you can explicitly be any kind of person you can imagine, certainly not limited to traditional fantasy archetypes. My favorite character I’ve played as is a noble Lady whose body is a musical instrument of glass, wood, and clockwork, and that’s pretty tame on the scale of what the game allows.
The ten games that make up Hearts of Magic are:
Solitaire (what were you doing? what have we heard about you?),
A Chase (do you have the nerve to pursue?),
A Conversation Over Food (at ease together, or a tense meal?),
A Dance (when the music ends, will I see you again?),
A Free-for-all (why do we fight, and what are the stakes?),
Meeting Sword to Sword (steel meets steel, gaze meets gaze – who will blink?),
An Oblique Discussion (how can I tell you the things I can not say?)
Stealing Time Together (alone, together, with a gentle “may I?”)
Weaving a Spell (how do the two of us make magic greater than either alone?)
A Wizard’s Battle (can you resist the full strength of my powers?)
The games are all played by taking turns choosing prompts, except for Solitaire, which you play by yourself quietly to establish some context for yourself, and A Conversation Over Food and An Oblique Discussion, which give you the choice between choosing a prompt or engaging in actual improvised conversation. A Chase and Meeting Sword To Sword involve coin-flips to determine the outcome, but all the other games let the players decide the outcomes, and even in the fights, your character’s fate is always in your own hands – only you can decide if your character’s life is on the line, or how badly they are hurt by their opponent’s blows.
Hi y’all, I have an interview with Jay Dragon about Sleepaway, which is currently up on Kickstarter! Jay had some really interesting things to say about Sleepaway. I hope you enjoy the responses below!
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Tell me about Sleepaway. What excites you about it?
Sleepaway is a Belonging Outside Belonging game about a group of summer camp counselors protecting their children from a nightmarish monster. It is born from both my complex and intense relationship with the summer camp I work at, and my own thoughts and reflections on my childhood. It’s secretly a very autobiographical work, with themes ranging from my own friendships to important places from my teenage years to certain experiences I’ve had with my mental illnesses. I’m also really excited about the design space – it manages to merge the collaborative GM role of Belonging Outside Belonging games with a bizarre structure that resembles a “ghost GM” (as I’ve facetiously referred to it to friends). Horror is a genre with a narrative arc, and building an arc and a “Legacy Games” -esque framework into Belonging Outside Belonging becomes a really fascinating intersection of design space.
Jay Dragon.
That sounds really cool! I remember summer camps being the height of complex emotions as a kid. How do you approach the emotions and excitement of those environments with care?
I think that care and compassion are the most important part of
Sleepaway to me. An early and immediate concern is making sure that the
campers have narrative weight and independence, that they’re not just
extensions of the staff’s emotional journeys. I think it’s really
important that the campers get to have their own life paths, and that as
a counselor in the game you can support their endeavors but you’re not
in a position to fix them and you can’t protect them from everything.
Being a queer summer camp counselor is so complicated because you see kids going through things you’ve been through yourself, and no matter how much you want to help them, you know they’re on a journey of self-discovery that they need to engage in on their own. The game has ways for the kids to go off and engage with each other without the players interacting, and ways to put down the counselor characters and play out the campers interacting in an abstracted, ritualized way.
What are the mechanics like in Sleepaway? How do players engage with the fiction?
The beating heart of Sleepaway is the Belonging Outside Belonging system by Avery Alder and Benjamin Rosenbaum. Players pick up and pass around setting elements that represent locations and forces within the setting, while building a web of interpersonal relationships. Periodically, players end up invoking the Lindworm, which results in a moment of tension as everyone closes their eyes and a card is picked from a deck, causing horrific events to happen. My favorite mechanical moment in Sleepaway is the Lindworm – there’s a purposeful decision that players never have the chance to roleplay as the Lindworm, and the Lindworm is treated as an outside entity outside the game itself.
As you play the game, you can also end up developing a corkboard of motifs, characters, items, and locations that are tethered together, which at the end of a campaign you unravel in order to defeat the Lindworm. It, along with Rituals (moments when you put the traditional structure of the rules aside to enter into a new fictive space that abstracts a moment of play that wouldn’t normally get space to show up) really show my camp LARP origins! I think bodies are always implicated in all games, and I really love the way a tabletop game can challenge and shift the way that engagement can occur.
The Belonging Outside Belonging system is really intriguing. How does it suit Sleepaway in regards to player interaction? What types of design choices did you have to make with the system to make it suit your vision?
I’ve rapidly fallen in love with Belonging Outside Belonging since I
started working within it. It’s one of those systems that can transform
game design into poetry, just through it’s invitation to play. The move
“Ask: Why won’t your character just fuck off?” is both one of my
favorite ones to use in play and also one of my favorites to be asked!
Belonging Outside Belonging allows for a game that integrates less on
the characters and more on their relationships with one another and the
land.
I wanted the game to reflect my own experiences roleplaying at The Wayfinder Experience (my LARP Summer Camp) while growing up. This meant the game is really rooted in developing a complex relationship to the land. At The Wayfinder Experience, we always thank the land before engaging in play, and I’ve always missed that sensibility in regards to tabletop. Belonging Outside Belonging games allows me to build a game where the players are all collaboratively representing a world that is just as much a living breathing identity as any individual player, and can in some ways exist outside the players as a sense beyond us.
What is the Lindworm, and how does it work? How does it interact with the fiction?
The Lindworm is the monster of the summer camp, the thing that hangs
in the background of everything. It represents cycles of trauma, abusive
people, and the ways in which the outside world can hurt us beyond our
control. The Lindworm isn’t a character in the game, nor is it a setting
element or anything else that any one player is responsible. The
closest you get is that one player secretly channels the Lindworm during
the session, but they are never referred to as actually roleplaying as
the monster. There’s some things that shouldn’t be roleplayed as or
sympathized with.
At the start of each session, both to set the tone and protect the space, you invite the Lindworm to play. I wanted the sense that the Lindworm was an actual creature that hovers over the game itself, but also by inviting it you’re able to ensure the safety of the space, because it’s not actually there. Over the course of the game, the Lindworm’s channeler makes secret decisions for it, playing cards from a deck to determine how everyone (themself included) are in danger.
The Lindworm acts callously, infallibly, and unrelatably – it will casually murder important characters and destroy everything the players have built. The horror of the Lindworm comes from knowing that its actions can happen to anyone, but due to the way Belonging Outside Belonging works as a system, the Lindworm is always invited to act upon the group, and the group as a whole interprets the Lindworm. As a collaborative horror game, the fear comes from a collective desire to be afraid and to build horror together, inviting the Lindworm like a tabletop version of Bloody Mary to play with before putting it back where it began.
Hi all! Today I have an interview with Nicholas Kitts on the game Children of the Beast, which is currently on Kickstarter! It’s a game that uses a phone app combined with a beautifully illustrated book to play stories about monster hunting! I loved the art so I had to know more! Check out the interview below.
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Tell me a little about Children of the Beast. What excites you about it?
Oh
man, such an open-ended question. So, I played rpgs since I played 1st ed
D&D with my dad in elementary school. And the thing I miss most about those
years is a sense of wonder and exploration, about never being sure what was
around the corner. Sure, some of that was just childish naivete, but man there
magic in reading crappy black and white drawings of bizarre monsters like the
flumph. Now I’ve played and read so many rpgs that I’m gotten pretty jaded,
finding myself enjoying narrative rpgs more often if only because they offer
something fresh.
So
we wanted to focus on that aspect of exploration with Children of the Beast, I
really wanted to bring something new to the table that people would have to
play to discover. So I’m excited about people discovering things like
fleshsmithing body parts, finding out they can speak to sentient slime, and
learning that the tunnel they’re in is actually the insides of a giant worm. We
actually try to hide a lot of mechanics so people learn as they go!
I’m also just excited about our aesthetic, which I’ve heard described as “grotesque, but oddly beautiful”, which is totally what we’re going for.
What is the core activity of play in Children of the Beast, and what are the characters like? How does the Hunter’s Blood impact the character’s experiences in game?
So your group gets to explore the wilds of the Warrens, it’s like a living landscape that constantly shifts and evolves, like mother nature on steroids. You’re intending to explore it as beast hunters, tracking down creatures that have contracted a mutating plague called the Corruption. However, as you learn more about the world it becomes obvious it’s not just a simple matter of tracking down and killing monsters. It’s a world full of characters and personalities affected by the Corruption and the Warrens, and you figure out how your character would react to all of it and develop. Of course, it can always be just about wanton murder, but it’s still an rpg, you can explore what parts of it you want.
The
Hunter’s Blood is sort of a genetic thing that makes your characters immune to
the Corruption and actually capable of hunting beasts. The public has a
terrified respect of you, like if Cthulhu was your plumber or something. They
will trust you to do your job but otherwise they want nothing to do with you,
maybe even prefer you were dead. This can cause a lot of juicy interpersonal
conflict as what you need to do becomes more complex, which I love, haha.
How did you come up with the various beasts and their designs, and how do you mechanize them in the game?
Man,
how do we come up with monsters… It’s honestly a tricky question! I’ve
probably come up with over half of the initial ideas, but working with a team
means everyone kinda gets to put their little touch on things. Like the artists
we work with sometimes just come up with cool ideas I never even thought of
once they start sketching. The goblin, which is like this giant bone worm thing
with a nest of skulls, is one that I love how it came out, even though in some
ways it was quite different than what I initially imagined. A lot of my ideas
have been initially seeded by dreams I had, so I don’t know how much that helps
people, haha.
Mechanically
it depends. We often have mechanical ideas when we create a creature, but game
development is a complicated beast, sometimes ideas just don’t work out in
playtesting as well as you thought they would. We always try to bring something
new to the table with each one, and that can sometimes be quite difficult to do
without significantly increasing the scope of the project, haha.
But
in general, we try to achieve at least two of three things:
Does it have a unique method of attacking?
Does it have a unique method of defense or an interesting weakness?
Does it have a unique twist, like with its senses or movement that changes how they would approach the creature?
#3 is obviously the trickiest, and can overlap a bit with the other two, but it’s just a guideline for making interesting creatures. Honestly doing a whole bunch of unique things can be terrible for a single creature design, as it loses focus and players will have difficulty understanding what they need to do.
How do you design a game with rich interpersonal narratives and the technological interface you use and still make it a safe place for people to play? What did you have to consider with content and people’s comfort levels, considering the artistic depiction of some of the monsters?
So
this is actually something we think about a lot. We’ve been lucky to have a
very diverse team over the years, and each one has helped give me a new
perspective on things since I’m a pretty standard cis white guy.
We
don’t find it necessary to really comment much on gender for example. A lot of
“survival of the fittest” type games can often devolve into some
pretty reductionist gender roles, but fact of the matter is this is a fantasy
game, and we don’t need any of that cruft to make the world feel real. In the
app, you can choose from a variety of icons for your gender and boy did we
include a lot. Now being inclusionary is more than just saying “look, we
included you!”, so we hope people find and enjoy the other ways in which
we’ve worked to have a diverse world.
But in the end, we can be pretty gross at times. We just try to stick to more “body horror” type grossness, and we try not to revel in it either. I want you to feel surprised, not sick. The point of the game is to have fun, and if the themes of the game sound interesting to you than we hope you enjoy it. I admit I’m not entirely sure what to do if someone finds something we did objectionable, at least other than try to ignore it and hope it doesn’t play a prominent role. I’ve played in a lot of groups with a “rule of x” or something similar, where a subject or action can be cut out of the narrative, and I can only hope people feel comfortable doing that with our game. The app connects over the internet, but it needs a password for your campaign so we really intend for it only to be played with friends.
How does the game work using the phone app interface? How did that open your options with mechanics and design?
Designing
a game with an app is like working with an angel and a demon.
On
one hand, there have been many mechanics we cut or changed because they would
have been incredibly awkward to use in the app. It’s actually because of this
that we’ve been trying to have our tools be as flexible as possible, where the
app doesn’t have to “know” everything for you to use something in
game.
But having a sort of forced editor like that, where clean mechanics result in less work the programmers have to do, is something I’ve really appreciated over the years. Because many of the mechanics we did cut were in fact just awkward to begin with. The app also allows more advanced mechanics, like our wound system, to become possible. You gotta be careful though. If a mechanic is unplayable by hand it’s not really playable, especially for our game that doesn’t require the companion app. So for us, an “advanced mechanic” the app can help with is one that has a lot of simple steps, steps that can be reduced to only a few decisions when using the app. We’re actually still trying to streamline certain aspects of the wound system, as I’d like it to still be easier to play by hand.
I have an interview today with AdamD from Game to Grow about Critical Core, which is currently in preorder! It sounded like such a fascinating project focused on helping autistic gamers! Check out Adam’s responses below!
—
Tell
me about Critical Core. What excites you about it?
Critical
Core is a starter set for therapeutic tabletop role-playing games. We’ve been
using games to help kids and teens build social skills for around 8 years now,
and have always wanted to reach a larger audience of people than we can reach
directly in the greater Seattle Area. At Game to Grow we’ve been saying for
years that we think the world would be a better place if everyone played more
games together. This is our opportunity to get a game into more homes,
hospitals, schools, clinics and libraries around the world.
What are the backgrounds like for
the various people working on Game To Grow? What motivated you to apply it to
games?
Adam Johns is a licensed Marriage and Family Therapist. I (Adam Davis) have a masters in education with a specialization in Drama Therapy. We met in grad school at Antioch University Seattle and started working together running drop in groups using Dungeons and Dragons with socially isolated youth. As we ran the groups we realized the potential that the game has as an intentional intervention for building social competence. We created Wheelhouse Workshop, a for-profit company, in 2013 dedicated to using RPGs to build social skills. After several years of running groups and serving the local community, they formed Game to Grow in 2017 to continue to expand on the use of games to help people learn, grow, and change.
Game to Grow was formed as a nonprofit to reach a larger audience to help with a wider range of challenges. Another member of the development team is Virginia Spielmann, who is a British-trained Occupational Therapist with more than 20 years experience working in pediatrics. Virginia is a specialist in the DIR Floortime™ framework of developmental intervention. Virginia approached us with the Critical Core project as a collaboration with the ad agency Mcgarrybowen Hong Kong, who sought to use their creative talent in design and project management to serve the autistic community in Hong Kong with an innovative idea. Critical Core was born from this international collaboration.
How does the starter kit work and
what is included in it?
The starter kit contains three main
components: the rules and materials for a simplified and easy-to-play
role-playing game, a facilitator’s guide with the best-practices we have
developed over the near decade of experience we have running groups and using
this method to help clients, and adventure modules in which the in-game
scenarios are targeted developmentally to real-world areas of social growth.
The goal is for new game masters to be able to pick up the starter set and learn a simple game they can use to help and connect with their family, students, clients, or community. They can use the modules and facilitator’s guide to improve the outcomes of their game and provide some support for kids, whether they’re on the autism spectrum or not. Experienced game masters will be able to apply the wisdom in the facilitator’s guide and adventure modules to other game systems and use the games they already know and love to help their community. Trained therapists, educators, and other community support will have a new tool in their repertoire to help their community in a way that is, fun, safe, and enriching.
How do you approach accessibility for
those with disabilities like blindness, or who have mobility issues?
Our approach to accessibility is that, as our colleague
Mike Fields said during a presentation: ”An impairment is only a disability
when there is no accommodation.”
We also recognize that every individual is different
and may need a different level of modification or accommodation for them to
fully participate. The key element to
accessibility is open dialogue around what a participant needs and how we can
help. There
are obvious ways we can improve accessibility, i.e., by making sure paths are
clear for wheelchairs and walkers, or by providing braille dice, though it is
impossible to be 100% prepared for everything so we must be open to
conversation about how we can make sure our table has a place for everyone.
How do these starter kits work for people who aren’t
experienced professionals, based on your testing?
We’re still developing the kit to make it the best it can be to professionals with less experience using RPGs to help. Our “official” beta-testing with Critical Core kits hasn’t begun, though in the trainings we’ve conducted over the years using the wisdom and best practices that will go into the facilitators guide, we’ve seen the largest area of growth is making sure that the professionals new to facilitating RPGs for growth remember that they are also a player, and that SO MUCH of the power in the work comes from relationships and play. So we’ll make sure that the kits have a clear outline of the game structure, but also explain in depth how to use the game to maximum impact. Not just the what, but the why and the how. Much of that will be in the facilitator’s guide included in the Critical Core box.
Hi all! Today I have an interview with Nora Blake on Dust Wardens, which is currently on Kickstarter! It sounds awesome and promotes a lot of values I appreciate, so I hope you like the responses below!
—
Tell me a little about Dust Wardens. What excites you about it?
This is a game I’ve been working on in one form or another for almost
two years; it’s technically a hack of a game that doesn’t exist
(anymore). I think the most pressing influence is Vonnegut’s Cat’s
Cradle and the way it talks about bonds between people and places and
things (words like karass, wampeter, and granfalloon do not appear in
this book, but honestly they might as well!). Those themes have stuck
with me for a long time and are really important to me, especially as
someone with almost no ties to, for example, blood family. It’s nice to
think about my connections to the world and which connections are really
mine.
The game focuses a lot on relationships, and this is mechanized in Vows. How do Vows work and what do they mean to the players?
Essentially, Vows are promises; specifically, they should be “I will”
statements that drive you toward action. I’ve seen them end up as
anything from things like “when the time comes I will give you my
moonlight” to “I’ll always hold the pieces together when you feel
broken”. They help to define your relationships through a lens of action
and devotion, which are very important to me. I’m the type of girl to
make big romantic promises with an inside context only the two of us
know.
Polyamory and queerness feature heavily in Dust Wardens. I’d really love to hear more about this! How did you prioritize including it, and how do these elements affect the gameplay?
I talk at length about polyamory and queerness in the text itself,
and how pivotal these things are to it. The world of dust wardens is a
dangerous one, and humanity exists on the fringes of life on the planet.
There is no bastion of “civilization” or state controlling their lives
or coming to save them. On a more somber note this is how it can feel
sometimes to be a queer trans person in the world doing my best to build
my own pockets of community in a wider, more dangerous world. I won’t
call it a metaphor, but it’s an applicable framework.
Why did you elect not to use playbooks, and how does this enrich the game for players of different backgrounds?
To be honest I thought about using playbooks a few times in the
course of development but I never found any that really felt right. I
have no idea how I would sort dust wardens into categories. It’s
something I might revisit someday, but as it stands I like that things
are more freeform. All I’ve ever wanted is for you to be able to make
yourself in this game and play the game with someone on a date.
Dust Wardens cover art by Anna Landin.
The choice of using cards as a mechanic is really cool! How do the card mechanics differ from traditional PbtA type mechanics, and how do they better support Dust Wardens as a game?
The tools we use in play have an immense impact on tone and impression. I think about the Quiet Year a lot and how the map is such an integral piece of its tone. Originally this game used playing cards, and had a much stronger Americana theming, but as time went on I began to want something better than America. I’m sure part of that is from thinking about hope a lot more these days. A better tomorrow is out there, even if it’s on the other side of an apocalypse. The world of dust wardens isn’t there yet, but it’s on its way.
Tell me a little about Grimmerspace. What excites you about it?
Grimmerspace is a Starfinder compatible sci-fi horror setting. It allows you to game through a gritty brand of sci-fi wherein the concepts are mind-bending and terror is outright palpable. I’m darkly zealous for the chance to raise the bar on these two genres that Brundlefly together so harmoniously.
While success in all genres hinges on achieving certain desired instant reactions from an audience, such as romcoms that always end with one lover leaving the other for good but it all gets turned around because of an impassioned and revealing speech that leaves us misty and full of hope for a more positive tomorrow, or a tearjerker that absolutely requires our investment in the story’s characters enough that we genuinely find it sad when the crops die and the family bloodhound contracts dropsy, the horror genre is actually more like the humor genre in that there is a binary pass-fail with no shades of gray between. You somehow conjure a primal fright or a laugh or you do not. And there is the expectation to create that effect many times in a row, which is demanding. But if you fail to deliver memorable terror or a symphony of giggles, it just wasn’t that good, was it?
Grimmerspace is a chance to pull upon ten thousand threads of speculative wonderment and dread from films, books, TV shows, graphic novels, daydreams, and true life experiences from my past leading all the way back to childhood and then tangle them together to form a web that traps your imagination. It’s an artistic holy mission to create something next level for gamers. That’s ambitious sounding, but that’s who I’ve always been. If brass rings were five feet off the ground we wouldn’t ever mention them.
What does horror mean in Grimmerspace? What do players encounter that can shake them to the core, giving them memories turned to nightmares?
Horror is as widely sourced in our science fiction setting as it is in any Earth-based fiction. While you could play a game that’s entirely along tonal lines of say, Alien or Event Horizon, those films merely scratch the surface of the dread storytelling possibilities we left in the GM’s toolbox.
Grimmerspace horror is like any horror fiction that ever shook you, regardless of where it was originally set. We’ve excised the quivering heart of such tales and placed them on distant worlds and in the cold and deadly space between them, and woven science fiction inextricably throughout them.
Lou Agresta and I identified fifteen subgenres of horror we’re working with in Grimmerspace, and when Iron GM Games designs an adventure we look at which subgenres were present and then label them according right up front so GMs will know what they’re in for, be it any particular combination of the following horror subgenres: Apocalyptic, Body, Comedy, Cosmic, Crime, Dark Fantasy, Erotic, Gothic, Occult/Religious, Psychological, Rural, Splatter, Surreal, Survival, and War.
You don’t find horror merely in having beasts and monsters, and the darkest natures of people on display. It’s in how you frame a scene. That’s where the terror comes from. An excerpt from my essay About Horror in Grimmerspace (which is what I hand out to our writers to orient themselves in my idea of storytelling) goes like this:
A vampire skulking around a gloomy castle in D&D can provide fun at the gaming table, sure. But do you find that vampire inherently scary? In D&D, a vampire is usually just viewed as a potential level drainer and you already have a pretty good idea of how to kill the thing (if not, you’ve really got to step out of the sensory deprivation tank). However, if a GM had a flair for inspiring dread or put in a solid amount of work, they could make that vampire the most chilling encounter the players ever experienced. That same GM could also spend that very same effort to make Keep on the Borderlands scary, right? But that’s a lot to ask from a GM. Grimmerspace is there to make it easy by offering the recipe for effective horror right there on the page, so just follow our suggested directions.
Let’s get back to that vampire (not that there are traditional vampires in Grimmerspace). What if we wanted to make a vampire that was actually scary? How about one that, once surrounded by a party, spins growling to face each of the PCs one by one in preternaturally quick jerks that cause one NPC ally’s dead lover – dangling by his/her neck in the vampire’s maw – to sway like a broken mouse? The vampire isn’t all that scary on its own. But the dominance of its prowess certainly is. The loss of a loved one is. The NPC couldn’t save the lover… the person who just before had so much light in their eyes is now but a sad, limp prop who only moves when their devourer makes them move, and in a horrid way you’ve never before imagined. Humans are supposed to be exalted beings but clearly, we are animal prey just like any other beast of the field. Ta-da. Genuine discomfort!
Our adventures can’t be horror just because maybe you saw a corpse or spines removed from bodies. Not that these gruesome sights don’t help establish horror. They most certainly do. But horror also has to be baked into the plot itself, not superimposed ala “Well… maybe this could be scary if we made the monsters gooier.”
Very cool! When you talk about a horror sandbox, just how
big is that box? If someone’s hanging by the tether of their spacesuit, what
are some examples of horrors they might witness before they feel the sudden
jerk of the limit?
That sandbox is as wide as a galaxy and then some, and rife with locales that each engender particular blends of horror subgenre. This particular question offers a serious challenge to my desire to be pithy because you have me wanting to essay here. Worry not, I’ve been court ordered not to.
There are remote planets all around the less explored edge of the G-Rim, and each of them has individual characteristics that make it unforgettable and unique. The ineffable locha trees of Paravesh that exude chaos itself. That which lies dormant under the sands of Tarmire but will come alive with your sweat. That which beckons to and changes you on the ocean world of Sensica V. The City of Morn promises the chance to speak to the dead, but Grimmerspace is a ravenous place that often takes more in return than is deserved.
And while unthinkable threats in remote zones are solid choices, we’re not limited to them. For instance, the planet of Attien Prime is studded in eight mega-arcologies, each reaching from the ground to well past the clouds and each huge enough to house a billion person nation. That set-up precludes certain types of horror tales because a blade-wielding maniac with the Friday the 13th ch-ch-ch-ah-ah-ah soundtrack playing behind him would be taken down in a heartbeat by a law enforcement drone. But there are horror stories that ideally pop off in overcrowded places. In a tightly contained realm full of rich and poor, segregated into separate cities and work areas, you can imagine how any outbreak or revolt could turn into something quite ugly. All those people packed in with no way out. All of that bubbling resentment or screaming panic. So while you won’t see the lone and wordless slaughter lovin’ maniac in the woods who proves so effective in rural horror, you might witness a swarm of mayhem gush across a city like a tsunami wave of blood ala World War Z. One minute of that might have you wishing you were taking your chances back at Camp Hockey Mask.
Now, what horrors might you find in the killing space between the stars of the G-Rim? Well, we’ve made space less empty than most would like. There are things that can get you out there. Things outside your ship. Things within it. Thing is, Grimmerspace offers heroism in the face of all of that horror. Our heroes have been through too much to let the monsters win, and they battle on even if it costs them their sanity or their life. Same goes for the villains. One example, there’s a predator that floats through interstellar space on cosmic wind, waiting to feed upon the energy of the passing ships it ensnares. However, the Shung Corsairium, a deeply evil and dangerous pirate organization, capture and weaponize these creatures, using them to immobilize other ships in electro-absorptive netting.
All of this to say that when you first experience things that go bump in the night or that scratch at the ship’s hull, it ought to raise the hairs on the back of your neck. But like Ash and the Evil Dead, eventually, you’ll been pushed past the edge and you resign yourself to fight back until you’re strong enough to overpower your monsters. Our setting is grim, to be sure. And horror can certainly be disempowering. But in Grimmerspace you can and likely will become the very thing that makes the boogeyman lose sleep at night. Fear is something to be confronted. It asks you questions that you can answer if you try hard enough. Fear can be beaten.
Finally,
how does Grimmerspace work within, or defy, the confines of the Starfinder
mechanical structure? How might players who like Starfinder be drawn in, and
how might they be pleasantly surprised by new elements?
Horror gaming is often best served with a narrative touch,
and so our challenge at Iron GM Games is to gently add that touch to Starfinder
which is an inherently crunchy system.
We offer tips throughout our adventures for how to convey and maximize the effect of horror. How NPCs are developed and used is a major part of this. Foreshadowing. Explaining the nature of why things frighten us and why we want them to. An optional sanity system that is ideal for the cosmic horror subgenre (or any other subgenre in my opinion). There are so many more tricks up our sleeves than what I’m alluding to, but when the book release, you will see what we’ve done. You will see and despair. The darkness will come for you and you will become the darkness. But hey, in a FUN way!
I’m very excited to share this big interview with you today! It’s an interview with the San Jenaro Co-Op about their Short Games Digest, Volume 1, which sold over 100 copies on its first day released! They also have a Kickstarter coming out on June 15, 2019 for the Roleplayer’s Guide to Heists! Today you’ll get to hear from Liam Ginty (L.G.), Ken Rountree (KR), Chris Falco (CF), Olivia Hill (OH), Galen Evans (GE), Magnus Hansen (MH), and Dyer Rose (DR)! Hope you like what they have to say!
—
Q: Tell me about Short Games Digest and your role on the project! What excites you about it?
L.G.: I’m a writer and one of the mentors heading up the Short Games Digest. SGD is a collection of shortish TTRPGs made by a variety of designers both new and old that serves as our flagship project for getting new writers published in the industry. I really love the collaborative process of the project – everyone chipping in to create something better than any one of us could, I also really enjoy reading everyone’s games – some first time designers have made some really excellent work and it’s been a joy watching some folx grow so fast and so much over the course of the volume. KR: I’m a writer for the first two Short Games Digests. Specifically, I wrote “The Gods Play Dice” for the first volume, and am working on something heavily cat related for the second volume. The SGD is my first time writing for roleplaying at all. I’m excited because I feel we are a group of friends with a common goal rather than a traditional roleplaying company. We don’t just care about the games we make individually, we support each other in making each other’s games. The awesome mentoring and editing teams made the impossible into the achievable.
CF: I’m also a writer for it, and personally, I find the lower barrier of entry combined with the community surrounding it to be the best part. Games can be anywhere from short to long, freeform to mechanics-heavy, and it allows for a diverse number of writing styles and experience levels to go into it.
OH: I write and do some layout work for the Short Games Digest. I’m excited to see so many new names moving from repeatedly saying they want to make a game to being able to say, “I’ve made a game.” It’s really great seeing the diverse approaches the various creators have taken to this project, and all the different ways they’ve creatively answered the completely strange questions posed as part of the design process. It’s also amazing seeing creators excited to build something for the collective benefit, and not just a crapshoot of “will my game be the next D&D?” I like the idea of using the act of building games as a method of building community.
GE: I wrote my first game, “Yesterday’s Tomorrow, Today” for Short Games Digest Vol.1 and served as one of the community editors. The idea of a project of so many cool games and settings and mechanics is very exciting and I am proud I am a part of it, but the most exciting bit is being a part of a co-op with such a diverse and talented membership. Getting to collaborate with this group and work to produce really amazing and ethical work in this space is a joy.
Art from Yesterday’s Tomorrow, Today.
Rad! So what kind of content do we see in Short Games Digest, and how did you work together to make this content happen?
GE: You can expect to find over 10 RPGs, all less than 30 pages, with their own unique systems and settings. Do you want a OSR rogue-like game of brutality? Check out “Clerics”. Do you want a expressive dungeon diving game? “The Great Instrument” should be right up your alley, do you want a action packed fast moving space opera? “Yesterday’s Tomorrow, Today!” is a action packed fast moving space opera. Do you just want a expressive game of courtly romantic queer love? Try out Filamina Young’s “Lonely Knights” and have a blast.
As to how we made it come together, Liam Ginty did a lot of the organizing work, and handed out to everyone a prompt to start writing, we all chatted about concepts together, but started work writing a game, Olivia handed out a design doc to help us prepare our work for layout, and we requested Dyer to make art for our games, During the process, myself, and the rest of the editing team would receive works in progress, add comments and offer tweaks and suggestions. It was a very natural process. In many ways, the game was the baby of whomever was authoring it, with the rest of the co-op acting as support and sounding boards.
MH: One of the wonderful things is the vast array of different content you get in the SGD. I made a weird fantasy dungeon crawler unlike anything i’d made before, and when i needed to fill up another page of space for layout reasons, I got to make a short, 1-page larp for two, as well, a game about lying to your friend – two incredibly different games. And there are so many others, like the game about lonely and very queer knights, or a game about competing for a good position in a new dimension you’ve found yourself in. That said, even though we have a wide variety of games, the strangeness of some themes, and the page constraints do mean the games have a tendency towards the experimental, the new, the interesting. And our community is very inclusive, so there’s quite a bit of Queer content in there as well.
Once I finished a script, people commented on it, and helped me turn my ideas into a cohesive whole, and Galen edited it into readability. Not to mention that Dyer Rose provided the (very pretty!) pictures. It means that even though The Great Instrument is my game, it’s not just the wholly-formed child of my mind. There’s a bit of Galen’s editing style there, there’s Dyer’s visual style, and of course, the creativity of whoever gave me the theme “War In Heaven (Celestial Mecha)”
What’s it like being part of a co-op, and how do you do things like dividing responsibilities and sharing creative loads?
GE: It’s a blast! It is like having a group of friends who are all driving towards the same overall goal. We are still figuring out a lot of things as we go, but as one of the “new blood” in the TTRPG publishing scene, it has been great to have mentors like Olivia, Filamina, Magnus, and Liam. as they offer overall strategies, they give us a free hand to execute what needs to be done. Everyone is very respectful and honest about their capabilities, capacity and needs and it makes for a wonderful collaboration environment.
CF: It’s pretty cool, and gives you a lot of opportunity and ability to get yourself some experience that you might not have managed otherwise. The “prompt” system of the SGD itself means you always have a direction to aim for so you’re not just wondering what your next little game should be. Responsibilities are mostly divided into the organizers and then everyone else; the organizers say what needs to be done, and then everyone else claims what duties they want. It might sound a little unorganized, put that way, but it works out pretty well (and in a given project it might be a little more specific than that).
DR: It’s been a real blessing to get involved with these folx and form this co-op, everyone is supportive, kind and understanding (people first!) and everyone has something to offer. We complement one another’s skills well while helping to improve or teach completely new skills to others with interest.
Responsibilities are all completely voluntary, from beginning to end. Even the process of choosing to take the lead and pitch a project. For instance, let’s say someone comes in and is like “Hey! I got this idea I think is really cool! *explains project* Is anyone interested in getting in on that?” and if there is interest at that point you put a call out for people to sign up, you put together a contract that delineates things like share splitting/remuneration and any other important bits. And the people who want to work on the project sign up as a writer, artist, editor, layout, and whatever else the project might need.
At the moment, creative loads have all seemed to be managed by the people on their end, and how much they volunteer to take on. As an artist, I get a few prompts and when I’m getting my way through those, if there is still time, I’ll reach out for anyone else that needs art. Everyone knows I am but one man and can’t necessarily do art for everyone and that’s okay (again: people first.).
KR: Everyone is supportive and filled with awesome beans! We signed up for specific roles in the beginning and generally stick to them, but people step up when something outside of their expertise pops up all the time. There’s a lot of anxiety involved with a lot of newer people creating games when they maybe hadn’t published anything AT ALL before. I think we all have a good instinct on when to give constructive criticism and when somebody is just looking for some validation. As silly as it might sound to a certain type of human, someone saying, “Hey, you’re doing great. You’re going to create a game and it’s going to be cool af,” is valuable.
OH: It’s really nice because this isn’t a primary gig for any of us, so it’s something easy to step into and step out of as the time and energy arise or fall. If you need to step away for a couple of weeks, you can do that. If you’ve got time on your hands and want to pick up some slack, you can do that. It’s like Marx said, from each according to their ability, to each according to their needs. We’re all individuals with different situations. I’ve been in gaming development projects before where one person’s situation got in the way of the whole project moving forward. With this model, those same hurdles happen, but we’re more open to step in and say, “Hey, can I get that for you?” In the end, it makes for a much, much smoother development.
How does being a part of the co-op positively influence projects like the Digest, and how does it complicate it?
GE: It democratizes the work and makes it far easier to create the hype train. Also it works as an incentive to do work, As a new TTRPG designer, I’m not sure when i would have gotten off of my butt to make my game if it was not for the Digest and the timeline, and even if I had gotten off of my butt and made my game, I still don’t know layout, or how to best market an indie RPG, I would just be yet another person out there with their own system, instead thanks to the help of the co-op I can say that I am a published game designer 🙂 because of the hard work of everyone else, I am able to live my dream, and all it costs me is helping others live theirs. Where it does become complicated is in project management, we have a huge and diverse group of collaborators and there is a bit of a wrangling cats issue, however, because we have so many people it is often easy to distribute needed work to someone else if things fall through.
DR: Positively influencing projects? Man, honestly I have to say how does it not? Okay that’s your second question, and I have one of those, but seriously… It’s just absolutely amazing. You have so many kind and creative people that are all trying to not only succeed, but help you succeed, they are always there if you need a second, third, fourth set of eyes on a project, they are there to fill in gaps and knowledge, and teach you those skills if you want. And they are there to encourage you, having a constant hype train around your lil project, your lil 4 page game or your illustration is such an awesome driving force to keep going. It’s infectious, everyone is so excited, not just for themselves, but everyone else. As for the issues, Galen kinda touched on that above me here, but the main issue I notice is something we are looking into at the moment, where currently are tasks are all kind of spread across some discord rooms and Google Sheets, and it can be a bit chaotic at time. But we haven’t run into any real complications with that, currently have someone designing some work flow stuff on trello, so i expect that chaos to be toned down a lot before we get to a point where its a problem.
KR: When I first started in the Co-Op, I missed the deadline for my game due to life circumstances. I was so used to the normal boss based business model that knots formed in my stomach. I apologized seventy three point five times, and said some very self-deprecating things. But everyone was supportive and understanding. I was so used to people screaming at me over minor things from places I had worked, and here everyone was being super cool and supportive. I worked harder and came out with what I consider a high quality game. If I was working in a traditional model, I may have been fired or worse. But not only did I finish the first game, I’m completing a second as well as a microgame for volume 2.
CF: The Co-op model is honestly perfect for something like the games digest, since it allows so many different people to all just write in their own style without trying to blend everything together. If someone has a problem, it’s easy to say “No big deal, put it in the next volume” and still have plenty of games in it so we don’t need to worry about it. As others already mentioned, everyone’s really friendly and supportive, which helps people get comfortable in writing their games in the first place, too.
What is something in the Digest that you just cannot wait for people to see, whether it’s because of the work you or someone else did or just because it’s cool?
GE: Aside from all of Dyer’s amazing art you mean? It’s really hard to pick just one thing, there are so many cool things packed into this digest and I know there is something in it for everyone, so I guess I will talk about my own game, “Yesterday’s Tomorrow, Today” the thing i am really excited for people to see and try out is the game plotting mechanic I call “That Cosmic Swing” which endeavors to keep action going and keep the pace of game frenetic and fun by removing any delineation between narrative and structured time that many games have. When I run games I often have an issue of getting things moving while wrangling players, and I have come up with hacks and ideas to keep things moving and get the story going and I took those ideas and formalized them as one of the key components of the game, and to be honest, I think its super slick…
DR: Oh man. I honestly have to say, just like every last game in that book. It’s bringing in so many unique voices and design philosophies, so many unique systems that each one is its own unique treasure in its own way. Just seeing the WIPs and Write Ups in discord has left me hungering to get a copy of this into my hands, and I’ve already seen most everything in it!! I will say I think the thing I’m most excited about, to narrow that down abit more, is the number of people in this book that will be able to say for the first time “I have a published game” that’s SO COOL, especially for someone that had NO IDEA they’d be able to have that happen 3 months ago.
KR: Doogans and Dogans. That’s all I’ll say for myself. The Tony Hawk inspired RPG by CF fills me with joy just by it existing.
I love this logo!
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Thank you so much to the San Jenaro Co-Op for the interview! I hope you all enjoyed it and that you’ll check out Short Games Digest Volume 1 today!Watch out for the Roleplayer’s Guide to Heists Kickstarter mid-June!
Tell me a little about Moonflower. What excites you about
it?
moonflower is a story game about a journey to the Moon, set
in a dreamlike world in which a sweet and alien flower is blooming. The main
characters are called the Pilgrims, who are seeking the Gardeners, who live on
the Moon, for help that they may or may not be able to provide. moonflower is a
simple GM-less game designed exclusively for one-shots, each session taking
around 3.5 to 5 hours.
It’s not a game where players have to fight monsters or race
against time. The end of every moonflower story is defined before any session
starts – the Pilgrims reach the Moon and meet the Gardeners. However, the focus
is on the journey itself. As the story goes, the players must sacrifice their
inner selves and compromise with their circumstances. It is, by design,
impossible for a Pilgrim to achieve their goal without having compromised.
Either they will have changed from how they started the journey, or they will
have inflicted changes on others.
What excites me about this game is that moonflower places
strong emphasis on the process, rather than the result. By rules, every Pilgrim
finds success, but that is shaped by the context, which is the decisions and
choices the Pilgrim made to get there. The game uses tarot cards to guide the
story instead of a single facilitator. Each major arcana card (upright or
inverse) has a story hook associated with it and players draw five every
Chapter. Three are used as the actual story hooks and players briefly discuss
how they interact with each other. And I’ve designed the game so that story
hook combinations almost always demand a tough choice.
So even though moonflower is a short game and the end state
is always the same (except the potential epilogue, of course), it creates a
wide variety of stories.
Another thing, outside the game, is that moonflower is a game produced by a team of Korean artists. It’s also the first Korean TTRPG that is being brought to the English-speaking part of the community. This is an honor, but it is also very frightening!
How does moonflower’s use of tarot cards help players
explore the story?
moonflower has its own reading of tarot cards, unique to the
game. For example, The Tower being drawn may suggest that a great, physical
disaster happens within the story. The Empress, on the other hand, would
suggest that the Pilgrims encounter a being of unfathomable wisdom in a hostile
setting. For another, there’s The Devil, which suggests that a life-or-death
decision must be made urgently. Each individually is just a story hook, but in
moonflower, players briefly discuss how they will come together before a major
scene starts. So with those three, one of the Pilgrims may have fallen sick and
must be treated with a rare medical fruit, but it grows on a fragile and sacred
tree. As they climb it, a branch snaps and centuries of growth is lost – and
the ancient creature that’s been guarding it comes to question the Pilgrims
whether their well-being was so important to risk the sacred tree.
That’s simply one way of interpreting those three cards
among many. The main story driver is the 22 major arcana cards. Whether they
are drawn upright or inverse matters, so that’s 44 story hooks that can be
combined in units of three. I’m not very good at math, but I think that leads
to a very big number of potential stories. But the important thing is that the
cards’ stories keep driving the characters toward points where they must choose something.
Another thing is that moonflower’s tarot reading is deeply
intertwined with the setting. The Tower, which traditionally hints at
catastrophic change, is interpreted to mean a literal collapse of a great tree
(and trees are a big part of the setting). That’s a literal take at the image.
However, players may have decided during the Dreams phase that an elder tree
grows from the burial ground of an ancestor, in which case a tree’s fall is
more than just literal in the story.
It seems like the idea of change and sacrifice is really
vital to the game. Why did you choose to explore these themes?
This is a rather personal issue, but let’s talk about fun
bits before we get to that. moonflower initially started as an exercise in
rapid game design. I asked people to give me three game design ingredients and
forced myself to make a game based on them in 72 hours. The very first version
of moonflower is fondly remembered, the way one remembers adolescent years.
Since then, I’ve refined the core game idea and experimented with it over six
months.
Since it started as an exercise in rapid game design, I did
not have the luxury of fine-tuning themes. Though, after the work was done, I looked
back and wondered why moonflower seemed to say something. Then I noticed that
it’s about change, sacrifice, and – most importantly – compromise. The first
version of moonflower was drafted when I had been working for a rather
prestigious organization as a translator. Until then, I had been sailing
smoothly along that career path, but I hit a wall while working on that
project. The stress was intense and the hours I had to put in were
unreasonable, but I told myself I had to do it because the pay was beyond
acceptable. I had little free time and I was drained of any kind of energy when
I got home, but money was good.
It turned out that I had been thinking about compromises
without a break back then. Am I doing this for the money? The prestige? The ability
to tell my distant relatives that I’m doing something “serious” with
my education? What if I went the other way? How would I afford the lifestyle
that I was enjoying? And most importantly – is this what I wanted to do when I
first decided to work with words?
At the end, I realized that compromising on things is
necessary to keep going in life. It’s not failure – it’s just another kind of
change.
I read before that any kind of media that says anything at
all is propaganda. moonflower is propaganda in the sense that it says refusing
to change and compromise may hurt. It’s propaganda aimed at myself. Fun
propaganda to play with friends, though!
If that was too personal, I apologize.
Bringing Korean games to English-speaking audiences
Fortunately I had been working as a translator for a long
while, so bringing moonflower to English has been somewhat convenient. For one
thing, there was no need to clarify with the author about intent or motive. The
most challenging part was not actually about the language, but about audiences.
The Korean TTRPG community is thriving, but it’s truth that it’s less active on
the game design side of things compared to the English-speaking counterpart.
moonflower is its own thing – the only game comparable to it available in
Korean is Polaris by P.H. Lee – and, at first, I’ve seen rather negative
feedback on it, saying it’s “bad Polaris with flowers”. I figured it
was because the game was a bad rip-off. But by chance I shared an early version
in English and I actually got a praise on that exact point, that it’s like
Polaris in many positive ways. Of course, different peoples, different
cultures, different tastes, and all that. But it was puzzling to see something
like that in first person. Working on this game in both Korean and English, I
tried hard not to prioritize one audience over the other. This is quite
difficult, actually!
The challenge itself is also the benefit, I think. The
bilingual nature of moonflower meant it could attract diverse perspectives.
Different experiences lead to different interpretations and they all have
contributed to moonflower’s growth as a game. Had I been working on moonflower
exclusively in one language, I would not have had half the conversations about
it. Then moonflower would only be half as good.
What do you feel is the most valuable part of focusing on
the journey in moonflower?
The journey in moonflower is both literal and symbolic – the
Pilgrims are walking on a path toward the Moon, which is both a physical and
emotional place. This leads to metaphorical stories rather smoothly. In some
games, going to the Moon might involve three-stage rocket launches, but more
likely it will involve deciding what the trials and crossroads mean.
The journey from the start to the end is always different.
The same tarot card may mean radically different things depending on when they
come up. This is because the journey up until that point gives each card a
different context. But, then again, people who play moonflower again (or read
the Voice of the Forest table before) may know what to expect. I think it’s
kinda like taking a journey along a known route, in real life. One knows what
will be where, but no sight is ever the same. A familiar landmark along the way
from home to work might evoke different feelings depending on things like what
happened that day or something mundane like weather and time of the day.
