Right now on Kickstarter for #ZineQuest3, there is a solo dexterity based role-playing game funding called LAY ON HANDS. It doesn’t have many days left to go, but I was fortunate enough to get a copy of an early draft to preview on Thoughty. This game is smart and looks great already; the idea of having to draw in a maze as a way to test your character’s skills and trying to rack up as many points as possible until the coin stops spinning is just something that I have never seen before.
Today we have a guest review by Thomas Novosel for #33in28 about Lay On Hands, which is currently on Kickstarter! Check out the review and Kickstarter for a dexterity based good time – only so much time to go!
Genre Tags: solo, lonely, journaling, post-apocalyptic, coins, drawing, art
Replayable? Yes!
Actual Play Available? None yet available
Length: Short to Medium, (Journaling Optional)
Hi all! This is the week three set of my #33in28 reviews! The final post will go up on Sunday of next week. This week I’m covering a lot of self-care and meta type games like Ego and soulQUEST, but don’t worry, there’s still time to get Lost in the Deep. Enjoy!
Hi all! This is the week three set of my #33in28 reviews! The final post will go up on Sunday of next week. This week I’m covering a lot of self-care and meta type games like Ego and soulQUEST, but don’t worry, there’s still time to get Lost in the Deep. Enjoy!
This is the second week’s installment of #33in28, my birthday celebration reviewing 33 solo games in 28 days! Today I’m featuring Bear, Morning Phase, Operation Cat Chat, and more! Check out these awesome games through my reviews and make sure to click through on their itchio links to find out more and buy your favorites! I want to point out with this post that every single one of these games could be priced far more and still be more than worth it, so *please consider tipping if you buy!*
Hi all! This is the second week’s installment of #33in28, my birthday celebration reviewing 33 solo games in 28 days! Today I’m featuring Bear, Morning Phase, Operation Cat Chat, and more! Check out these awesome games through my reviews and make sure to click through on their itchio links to find out more and buy your favorites! I want to point out with this post that every single one of these games could be priced far more and still be more than worth it, so *please consider tipping if you buy!*
Continue reading “#33in28 Week 2 Reviews”Thousand Year Old Vampire is a multi-award winning game by Tim Hutchings currently available on itchio and in print at DriveThruRPG. It uses journaling and dice mechanics to guide the player through a solo roleplaying game about the subject – a Thousand Year Old Vampire (TYOV). The game has been widely popular, but I have a lot of thoughts to share!
By Tim Hutchings
Genre Tags: solo, lonely, dice, journaling, roleplaying game
Replayable? Yes!
Actual Play Available? Examples included
Length: Short or Long, Journaling (At your own pace)
Thousand Year Old Vampire is a multi-award winning game by Tim Hutchings currently available on itchio and in print at DriveThruRPG. It uses journaling and dice mechanics to guide the player through a solo roleplaying game about the subject – a Thousand Year Old Vampire (TYOV). The game has been widely popular, but I have a lot of thoughts to share!
As someone who initially interviewed Tim about the game, I’ve been fascinated with it from the start. I love games about characters who have superpowers like immortality or who are living over centuries, and media like that in general. This game explores that full tilt, including some really challenging topics.
The text includes warnings that you will encounter:
“themes of death, selfishness, and predation. Your character may be injured, victimized, trapped, or killed. Your character will murder and victimize people of all sorts, possibly including children, animals, loved ones, marginalized people, or themselves. You might find yourself exploring themes of imperialism, colonialism, or oppression. Characters might engage in self-harm or drug abuse. Illness, debilitation, and body horror may come into play. Your character may have their memories altered, they will certainly forget important things.
Some of this will emerge from the Prompts, some will emerge from the choices you make as a player.
This is a personal, challenging game for mature adults. Please play hard, but stay aware of yourself and your feelings. Some good thoughts about safety in solo games can be found in Appendix Three.”
– Thousand Year Old Vampire
I love Thousand Year Old Vampire. Right now, I can’t play it.
The book is one of the most beautiful artifacts I’ve ever owned. The hardcover has gold riddling the marbled cover, and the interior is packed with images and a stunning, original layout that draws attention to the nature of this book as a well-used immortal’s journal, complete with the impression of things tucked into pages, taped into place, or scribbled into the margins. I love every time I open it, finding new gorgeous, character-building bits and pieces I missed the first four or five times I looked through. It’s sturdy, and while you can write in the book as you play, it may take some bravery to embellish the pages with your own scribbles of isolation and loneliness.
The mechanics are simple, using a d10 and d6 to select and narrow prompts and affect resolution, and the narrative mechanics of Memories and Experiences – the former the bucket for the latter, where multiple short written Experiences make up an arc of a Memory, of which you only have five total at a time. When you gain new Experiences, you lose Memories if you don’t have a space for them.
This mechanic makes so much sense to me when you consider the sheer number of prompts included to put a character through years of triumph and trauma, love and regret, camaraderie and loneliness. Imagine the number of experiences – real moments of eternal living – that a vampire would have in their endless life, how they might imagine ways of ending waking loneliness and sleeping suffering without their loved ones, regretting their deeds, wishing they could do greater ones! It is something that could be played equally passionately and dispassionately, engaging in the powerful prompts with the keen eye of a monster who only has more lives to take or instead with the weary heart of someone who has lived too long and only has longer to live. The possibilities! They are as endless as the days your vampire will sleep through and as engaging as the nights they hunt through.
I want to play this game so badly! It’s so well-written and executed, and the mechanics make so much sense for this immortal being who lives through hundreds of years of life and loss. But, as someone who struggles with memory loss, and during this time of isolation that has been very hard on me, I elected not to play it – right now. Thousand Year Old Vampire will remain on my to-play list until I get the courage to delve into its stunning pages and pen my own story of immortality, but if you want to dive in right now, don’t miss out!
Thousand Year Old Vampire is a lonely journaling vampire game by Tim Hutchings currently available on itchio and in print at DriveThruRPG. It is one of my favorite games I’m reviewing this month and I hope you’ll check it out soon!
This week I have a bundle of reviews for you, my readers! As part of #33in28 for my 33rd birthday I’m reviewing 33 solo games in February, which has 28 days. Each week I’ll post a single review on Monday, then a collection of six reviews on the following Sunday. The remaining three reviews will be peppered in on the big review days or as solo posts! As these are Let’s check out what today has to offer…
This week I have a bundle of reviews for you, my readers! As part of #33in28 for my 33rd birthday I’m reviewing 33 solo games in February, which has 28 days. Each week I’ll post a single review on Monday, then a collection of six reviews on the following Sunday. The remaining three reviews will be peppered in on the big review days or as solo posts! As these are Let’s check out what today has to offer…
*Edited 2/9/2021 to correct a name and fix some formatting.
Genres always have soft edges, and any given work may fit into multiple genres (e.g., NYPD Blue is a drama, a police procedural, and arguably a modern noir, but it is not a crime thriller in the way that fellow police procedural Law & Order: Criminal Intent is). Games aren’t well defined by the genres we use for fixed fiction (because games are not fixed in that way, and are not experienced the way we experience books or movies).
This post is by Beau and John W. Sheldon. Check out John’s work here and find him on Twitter. Support Beau through Patreon.com/thoughty! Individual donations at PayPal.me/Thoughty or ko-fi.com/thoughty.
Genres always have soft edges, and any given work may fit into multiple genres (e.g., NYPD Blue is a drama, a police procedural, and arguably a modern noir, but it is not a crime thriller in the way that fellow police procedural Law & Order: Criminal Intent is). Games aren’t well defined by the genres we use for fixed fiction (because games are not fixed in that way, and are not experienced the way we experience books or movies).
Games need separate genres for their rules as written, for their fictional content, and for the experiences that arise from the confluence of those things with player action.
Rules genres: GURPS and Cortex share a rules genre with the D20 SRD, in that they offer a toolkit approach to providing game rules for “almost anything”. On a different axis of rules genre, GURPS and D20 share a genre because of their simulationist approach to resolving conflicts in a granular way, where Cortex is excluded from that genre.
Content Genres: the fictional and tonal content of a game deserves genre categorization. This includes whether a game is expected to be an action game, a dramatic game, or a comedy, but also the setting and time period, the level of technology, and other trappings of more traditional genres. Games can share content genres without sharing rules genres (e.g., Hackmaster and Dungeon World share several aspects of content genres without sharing much in rules genres).
Experiential Genre: a category defined by how players experience the interplay between the rules, the content, and their own contributions, the more tightly this genre is defined the less universal and helpful a descriptor it will be (since a separate game table with different people may implement rules differently, focus on different content, and make unique contributions, and thusly have a different Experience of a game with the same rules and content).
One table’s experience of Shadowrun as a cyberPUNK game focused on sticking it to the man and helping disadvantaged communities draws from the same fiction and rules as another table’s experience of Shadowrun as a neon future heist simulator.
Notes on broad category: Doing games vs Being games (those that care about what you do vs those that care about what you are). Most tabletop RPG games are Doing games – the rules respond to actions, and they lead to more actions and changes in action. Many indie LARPs are Being games – the rules instruct the players on how to be and what to consider, and players respond naturally to their new way of being – but the rules are less concerned with Doing. The Climb or Still Life are Being larps, while a V:tM larp or a boffer larp are Doing larps. Turn is a Being game, while every other group tabletop RPG I can think of is a Doing game.
When I worked on Turn, I was often asked about its genre. I found this difficult and categorized it as I could but realized over time that games have different ways of being in genres than other media, and realized I needed to address this before we talk more about Wolfenstein: The New Order which defies its own genre conventions…sort of.
I talked to John about this and it prompted his summary, and my summary was as following with a more detailed breakdown of examples of games. It’s mostly something to think about, not argue about, so I felt okay writing it down. Even John and I feel differently about some things, so remember, all is a little subjective.
Doing – about taking action, what you do. Most games!
Being – about responding to action, who you are (& how you feel). Turn, many larps, many lonely games.
We used these to break down the following genre tags for a few different games. The initial bullet points are our brainstormed ideas of what suits a game, but are not all-inclusive, and the breakdowns follow. Each one of these categories has the potential to break down even further, especially content and mechanics, which could break down into in-game tone and meta tone or various mechanical systems for live action, video, or tabletop games.
These breakdowns might take a little while to fully make sense of, but here are the core principles.
This is just the start of a longer conversation about how we use genre to apply a moral value to various games, or to belittle the quality without questioning of games. Wolfenstein is simply an FPS, but is one of the deepest games I’ve ever played. The only difference between Shadowrun 5e and Shadowrun Anarchy is the experience and where the emphasis is on cyberpunk but it makes two very different games. Turn is a combination of genre tags that don’t really have a place when they’re all combined, but it results in a unique play experience as a being game.
What is your game’s genre breakdown using this metric? Does it play like you’re doing or being? How do you feel about ignoring genre or exploring it more deeply? Respectfully discuss in the comments and elsewhere. I look forward to hearing your discussions!
Hi all! Today I have an interview with the creators of Into the Mother Lands, a new project being performed on and sponsored by Twitch and released on YouTube, developed using the Cortex Prime RPG system. You can keep up to date on the project through their Twitter or Discord, and until then, check out the responses from Tanya DePass (T.D.), B. Dave Walters (B.D.W.), and Gabe Hicks (G.H.) below!
Catch Into the Mother Lands, a Cortex Prime RPG actual play using a new sci-fi IP created by Tanya DePass, leading a team of veteran Black & POC creatives as they build the world and its stories together at twitch.tv/cypheroftyr, Sundays at 4pm Pacific/6pm Central/7pm Eastern/5pm Mountain time.
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What an amazing team, and with Tanya at the lead! For our readers who may be new to your work, could each of you introduce yourselves and talk about your experience and specialties that you’re bringing to the Into the Motherlands RPG?
B.D.W.: I say words about things! I have been playing games for about 30 years now. I’m the writer and co-creator of Dungeons & Dragons: A Darkened Wish and DM for the streaming series of the same name. I also have written for Werewolf the Apocalypse 5th Edition and some other unannounced World of Darkness projects.
I have also consulted on increasing diversity and inclusion in a number of well-known gaming properties.
T.D.: I’ve been a diversity & inclusion consultant in RPG’s for the last few years, have writing credits with Green Ronin, Paizo, Monte Cook Games, WotC and have been playing RPG’s since I could hold a D6.
G.H.: Hi, my name is Gabe Hicks! I’m a voice actor, streamer, and designer who works in digital and tabletop. I have written for MOBAs, worked with Paizo, Zweihander, a plethora of other companies and systems and narrative work and taking those experiences and working with different worlds is part of how my design and narrative process have helped me in building this world for Into the Motherlands RPG. It’s learning a little bit from each piece that I’ve done and considering how it all blends in the world together.
There is hype for Into the Motherlands already, but what are you most excited to explore? How does your use of streaming and your varied backgrounds impact your presentation of these exciting elements?
B.D.W.: I am most interested in being able to explore a sci-fi setting that’s not ultimately a bland retelling of the Westward Expansion! We have the privilege of painting an entirely new portrait of a civilization completely free from colonialism, and that has been an incredibly satisfying mental exercise. I can’t wait for you to see it!
TD: I’m excited to tell a story without colonization and slavery as part and parcel of the world’s lore and history. To see where our folks wind up and how their choices become a canon part of our world.
G.H.: I’m really excited to give a core premise for worlds and then see how people build onto them or build their own. There’s a lot here that we have to build up and create more and more, and it’s an opportunity not often given to really have a whole fresh start especially when it comes to world’s imagined specifically by people of color. With the different skill set and experiences of the team as a whole when it comes together it’s beautiful. We’re able to figure out and design a game that plays well in a show format but doesn’t have to be a show to be fun.
That sounds great! So tell me about Into the Motherlands. What is different about it from other sci-fi settings? How are you demonstrating the unique elements?
TD: It’s different in that we’re not going for super grim dark, it’s populated by a variety of cultures and does its best to invert a lot of tropes.
G.H.: We built this system with such a heavy emphasis on storytelling in a sci-fi setting. So many people try to make games that are combat in space without as much emphasis I’d like in story, world building, and creating entirely just new ideas rather than playing off tropes. Not to mention, when we do see these things there is almost never African inspiration tied into them.
What is it like debuting a game on Twitch? Are there unique challenges or benefits that come from this platform as your showcase?
TD: It’s hard because we discovered people will backseat literally anything, including a brand new system and even the production of the show. Benefits are that people can see it done real-time, but also you get to see the weird commentary and other things people are throwing around. For me, it’s hard because all these theories are so incredibly wrong, but you can’t stop playing to address it in chat.
G.H.: I honestly think I’m spoiled now with development. We get a chance to see LIVE what people are interested in, what people want to see more of, what people want to know more about and it honestly makes my job so much more interesting. It’s an opportunity to literally focus on the things people want and then create extra on top. This isn’t a circumstance where we have to wait and see what gets people interested during development. It’s such a fortunate thing.
Where did the inspiration for Into the Motherlands or your work on it come from? How have you workshopped ideas when you’re working to avoid colonialism? Does that come naturally to your team?
TD: We just talked, and decided there would be no colonialism, slavery etc. It’s not that hard and we didn’t need to workshop it. With an all Black & POC writing team, we just opted out off that, simply because Sci fi and fantasy don’t need those to tell a compelling story.
G.H.: It does come pretty naturally. It’s a team effort and that’s so clear when we sit down and work. Like Tanya said it was just a straight up choice, none of it. I’ve literally been reading into the different biomes and environments in Africa, the way flora and fauna interact, and how much variety there is in life. It’s been a never ending supply of inspiration and stuff to share.
What’s it like working on an inclusive and diverse team that’s got such varied perspectives? Does it feel more freeing to work in this way, and does it help on this specific project to be such a diverse team?
TD: Absolutely it’s more freeing. However, we assembled this talented team of Black & POC creatives not just to be ‘diverse’ but because everyone is super talented and capable. While it’s being pointed out that we’re an all Black & POC team, by us because for me (and maybe others) it’s the first time we’ve had that option. But it’s not the only thing about our group, game and show.
G.H.: It’s freeing. Someone always has a new perspective or an insight. IT’s not just one point of view but it’s like knowing we all have some different experiences in some of our similar views. I feel a bit like I have less to prove of myself, a bit like I can already say “These people get it.”. On this project especially, having a diverse team is huge part of why this game works as well as it does. It’s a testament to diversity being such a boon in creation.
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Thank you so much to all three of those able to respond for this interview! I hope you all enjoyed this interview, and that you’ll check out Into the Mother Lands on Twitch each Sunday!
Catch Into the Mother Lands, a Cortex Prime RPG actual play using a new sci-fi IP created by Tanya DePass, leading a team of veteran Black & POC creatives as they build the world and its stories together at twitch.tv/cypheroftyr, Sundays at 4pm Pacific/6pm Central/7pm Eastern/5pm Mountain time.
I’m super excited to share this interview with Sharang Biswas talking about a lot of things, including Honey & Hot Wax: An Anthology of Erotic Art Games, which you should check out after reading what Sharang has to say below!
The images for the book are by Janna Heidersdorf (Illustration) and Jen McCleary (Layout). (update 7/37/202)
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I appreciate you taking time for the interview, Sharang! Would you share with me a little about you and your experience? How did you end up in games doing the kind of work that you’re enthusiastic about?
I’m a game designer, interactive artist, and writer currently based in NYC. I started formally learning game design under Mary Flanagan at Dartmouth (though I studied engineering), and then went to ITP at Tisch School of the Arts at NYU to get a Masters in Interactive Design. Since then I’ve made numerous games, won an IndieCade, 2 IGDN, and a Golden Cobra Award, exhibited my games at galleries and art museums, mounted interactive theatre productions at various venues, and given a bunch of talks at conferences and universities. I’m also currently on the faculty at both Fordham University and Bard College.
I’m actually pretty enthusiastic about many different kinds of work, so I try and keep myself being by doing different stuff all the time. My major project right now is co-editing Honey & Hot Wax: An Anthology of Erotic Art Games with Lucian Kahn. I’ve been into the idea of procedure and process for a while, and about how mundane actions, when placed in a game context, can convey artistic meaning. I explored this in my games Feast & Verdure, and out of that line of inquiry came the thought: “Can games use sex acts as game mechanics, where the acts themselves are not the sole goal of the game?”. From that arose the idea of the book, though Lucian & I expanded the scope to also include games that discuss sex, sexuality, and related topics, without the use of sex acts between players or characters.
Lucian and I were very keen to make this project come to life in a way that uplifts artists and game designers, and so we decided to apply for a grant from the Effing Foundation for Sex-Positivity. We received two consecutive grants, and are basically using all the money to pay the creators involved!
That’s so fantastic to hear! Honey & Hot Wax sounds really brilliant, and also like a unique challenge. One curiosity I have is how you handled ensuring that the games in the collection use consent and are responsible, considering how sex can be. What was your approach to safety and boundaries?
It is my firm belief that art can and should discuss difficult topics–art is one of the ways people, both as individuals and as societies, make sense of the world. However, such art needs to be practiced with care and sensitivity, and as such, Lucian and I were very concerned about issues of consent and safety in the games included in the anthology. To begin with, when we were soliciting proposals, we took a very broad definition of what sex is, and relied on the Effing Foundation’s definitions of “sex-positivity” and “inclusivity” (which you can read here). This was to ensure that everyone was on the same page regarding the goals of our project, and what sorts of depictions of sexuality we would be considering.
Once the finalists were selected, we commissioned Maury Brown for an entirely separate chapter on consent and safety in LARP and TTRPG, to act as a general set of guidelines when playing any of the games in the collection (or indeed, any roleplaying game at all). In the rules for their games, each game designer also included their own sections regarding safety and consent practices, to uniquely address the idiosyncrasies of the experience they were creating.
Additionally, each game was thoroughly vetted by Lucian, myself, Cat Tobin from Pelgrane Press, and Kit Stubbs from the Effing Foundation, a diverse set of eyes to ensure that the games all represented the values we wanted to promote, and that consent language was clear. As director of the Effing Foundation, Kit, in particular, offered valuable insights concerning such matters!
Finally, we were very serious about the playtesting requirement for each of our accepted games; holes and gaps in rules are hard to predict without playtesting. Running my own game with a trusted friend, for example, showed me places where I could clarify language about safety!
Of course, and unfortunately, no safety mechanics can handle every eventuality, or account for bad actors. It is in the nature of participatory, non-linear stories to defy our expectations and predictions, so to all the players of our games, we ask you to exercise judgment and pay attention to your own boundaries!
Is this the first game you’ve applied for grants for? It sounds like you’re pretty great at it! What did that process entail and how do you think it’s impacted how the games are designed?
Grants, like most sorts of applications in this world, are partially about luck, so “being great at it” doesn’t mean as much as one might think! But this isn’t the first grant I’ve received to make game-like work, and hopefully won’t be the last!
When Lucian and I sent in our proposal to the Effing Foundation, we were very clear about what the grant-funding would be used for: paying the folks involved in the project a fair amount. This was paramount. All our funding went to the writers and designers involved in the book.
The creation of any kind of art requires time and space. Time and space are luxuries reserved for those with money. Good art is impossible to make (consistently, at least) if an artist is forever worried about where their next rent check is coming from. As such, Lucian and I were hoping to do our small part in supporting and uplifting indie designers. At the very least, we’ve managed to create a space where artists who might otherwise not be able to make games about risque topics, have the ability to do so, and in a way that’s financially viable!
It might be good to note here that in addition to support from the grant, each designer is also receiving royalties, and a portion of sales is also going towards charitable causes that promote sex-positivity and sex-education!
It is great to hear that everyone is being well-paid and that you and Lucian are working to support charitable works! What do you enjoy about working on larger projects like this with lots of collaborators? How does it contrast with how you enjoy working on individual projects, and how that affects your design? (note: please feel free to give examples of your specific projects!)
I really enjoy working on group projects. Most of the work I’m proudest of is in collaboration with others. However, I wouldn’t call this a “group project” per se. Lucian and I were editors and curators of other people’s work. It was their designs…we just helped them. Granted Lucian and I have games in the book as well, but each of those was an individual work (albeit, with help from others). The book wasn’t really a group project in the same was as some of my bigger, interactive theatre pieces, for example.
For example, when Nick O’Leary and I made the Dark Crystal: Age of Resistance LARP for the Museum of the Moving Image, it truly was collaborative, both with each other and the museum education department. We went back and forth with each other for ideas, to refine mechanics, to flesh out bits and to write content. None of that really for H&HW.
What are some lessons you’ve learned through design over time that you think your particular path is the only way you would have learned them – as in, if I hadn’t done x, I would never have learned y?
Lol, I feel that’s a weird line of thinking. Who knows what I would or would not have learned under different circumstances or different decisions? Besides, I think looking at other people’s paths is at best an exercise in inspiration. Stories of paths taken ALWAYS leave out some aspect of luck or privilege, and few can ever emulate the advice given in these sorts of tellings.
Maybe the only truth that I can say that has a high probability of working for others is 1) constantly making stuff and pushing yourself to try things you haven’t done before is how you learn and improve; and 2) being kind to people is not only the nice thing to do but more advantageous for you in the long run!
What are some of your favorite projects you’ve worked on in games and what makes them stand out amongst the rest? How were you able to put your unique experiences into play while designing them?
Hmm… this is a fun question because it made me look back on my work, and turns out, I’ve made a fair amount of stuff!
In Honey & Hot Wax, what are some of the specific pieces that you’re particularly looking forward to seeing people talk about and seeing the impact on the design landscape from? Were there any you learned from?
I mean, Clio Davis’ “Pas the Sugar, Please” has already generated conversations, after it got picked up by Intramersive Productions as an interactive theatre piece, so that’s great. Otherwise, I thinkLucian and I curated a decent selection of game, each of which has something new and interesting to offer to the gaming landscape. Lol, obviously, I’d love it if people talk about my game and how (queer) sex can be more normalized in culture!
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Thank you so much Sharang for the interview! Check out Honey & Hot Wax: An Anthology of Erotic Art Games and get intimate!
I have an excellent interview today with Oscar Biffi about Crescendo Giocoso Ritornello, which is currently doing amazing on Kickstarter (that just means it’s a sure bet!)! It sounds like an amazing collection of larp scenarios – check out what Oscar had to say!
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What is Crescendo Giocoso Ritornello, as a project and as your vision?
Crescendo Giocoso Ritornello is the second anthology of chamber larps written by the Italian Chamber Orchestra, the community of roleplaying enthusiasts of Laiv.it. We are doing our best to make it a wonderful book with twelve interesting games, but to us it’s so much more than that. Three years ago we created the first Crescendo Giocoso, thanks to our community and our backers on Kickstarter. It was an incredible experience, kind of similar to Pavarotti & Friends: my games and the games of Italian game designers who I esteem, developed to be accessible to a wider public, from different countries and backgrounds.
It turned out to be the show of confidence our community needed in order to focus on our own way of designing games. With a format that worked for us as a starting base, we were able to start organising conventions not only to play games, but to write them together. Our player friends became authors and the same Italian Chamber Orchestra that was born as a joke became real, going from nine authors to almost thirty. Bigger communities of Italian larpers started to get interested in chamber larp and people from all around the world got to know our way of playing.
So in a way Crescendo Giocoso Ritornello as a book is the end point of a journey (we like to say “a grand tour”) made of writing workshops, online chats, conventions, sleepless nights on graphics and texts. In another way, we hope it could be a new starting point for our community, a demonstration that there’s people out there willing to hear our voices as game designers and that “anyone can cook” as in Pixar’s Ratatouille.
What are some of the themes players will see in the different larps in Crescendo Giocoso Ritornello?
In terms of settings, players are spoiled for choice: from the Bronze Age to the Italian Years of Lead passing through XVIII° century Venice and fantasy worlds. Alzh & Imer is about a love story between tow elderly people, one of them afflicted by Alzheimer’s, and Pantheon Club is about social pressure: each player is invited to anonymously put into play a personal “silence” (something you don’t speak about with everyone, because you’re afraid to be judged) and someone else is going to play a Greek Deity who shares or hates this same silence. The truth is we put emphasis on game mechanics above all, so players will pull colored strings to create an imaginary village or scotch tape to build a prison without actual walls, they will play in complete darkness or utter silence, they will play in the same room or in different ones, they will create scene in reverse chronological order or play the same character in different moments of life. There’s only one fixed point: everyone in the gaming group is going to play and have fun. We’ve got nothing against game masters, I’ve been one for my entire life, but my days of watching one of my larps from outside, maybe to step in and just tell the epilogue in the end, are over: I want to play with my friends and as an author I’m not going to ask someone else to just stare at the others as they play. Sharing all this experiences and putting so many heads together has been a great way to explore very different ideas and everyone can find a complete list of previews for all the scenarios on our Laiv.it website here.
The concept of the Italian Chamber Orchestra and coming together to write each of the scenarios is really brilliant and feels very collaborative. How do you work together and address disagreements, conflicts, or even just overrunning enthusiasm in such an environment?
To me the keys are transparence and dialogue. We try to create the ideal environment from the very beginning: even if a hotel with all the comforts would be awesome, we prefer to rent a house and take care of things ourselves, as a group. Maria is in charge of the logistics, but everyone brings something to eat and there are no assigned rooms. Everyone knows that we put authors first in every convention: we ask players which game they’d prefer to play of course, but we also make sure to tell them that is only a preference and they could end up in another game instead. A game is written by a person who deserves space and respect, as well as a player has the right to know what they are going to play. So, when we invited our players to become authors, we found a very sensible and open-minded audience. In order to share this way of doing things with newcomers, in our writing workshops we split up people who already know each other or who have similar experiences in order to create more diverse bands.
The starting points for every collective game in LarpJam is the Crescendo Giocoso model, so we don’t have to discuss which kind of game we’re going to create, and a theme chosen by the director of the band. The director has no special creative control outside of it, they are just a veteran author with the task of coordinating work after the workshop, in order to make sure the draft is ready before the deadline of the next playtesting convention. Everyone can get involved as much or as little as they want: do you want to join in LarpJam to share ideas and then not write a single line of text in the next months? No problem, just tell it to your band. Writing a game, as well as publishing Crescendo Giocoso Ritornello, is a way of giving voice to our creativity and the feeling of being heard is essential. We do our best to create a free space where people can be honest without being judged and where conflict is an healthy part of the process.
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Thank you so much Oscar for the interview! I hope you all enjoyed it and that you’ll check out Crescendo Giocoso Ritornello on Kickstarter today!
A note: Thoughty always welcomes Italian interviewees, even as my interview style will be changing soon, and interviewees from all around the world – of all races! Even if we need to find a translator, I’m interested in helping you tell your stories. <3
Just in time for Valentine’s Day, I bring you an interview with the excellent Ken Davidson about #FlirtSquad, which is part of Zine Quest 2 on Kickstarter! Check out the interview below!
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What is #FlirtSquad, both as a product and as your vision?
Hello Beau, thank you for taking the time out to interview me, I really appreciate it. Okay, background first. My memory of events may not be exactly accurate, but about two years ago, Darcy Ross posted on Twitter because she had a hard time trying to flirt and she asked for advice. This was picked up by a lot of people on Twitter and spawned the hashtag #FlirtSquad. From there, you could post a picture or short clip of yourself trying to look flirty and you were guaranteed to have at least some people respond and tell you how amazing you were doing.
I was one of the first to reply and shameless about tagging people in that I thought could contribute (IIRC you were just such a person). There were so many people sharing so many things, and I read a lot of great advice on how to take better pictures, what was considered too far for people, how to communicate expectations etc. I was like “wow, this is really something.” However, when things really clicked for me was a couple of weeks in, when people who normally don’t try to be flirty online, people who don’t share a lot of pictures of themselves, people that have low self esteem, things like that started to post. They told me either in private or in their tweets that they had always been afraid to post pictures of themselves or to share selfies. Either thinking they weren’t cute, or people would make fun of them, or people would be creepy.
I knew we had something special at THAT point, I was also knew it was Twitter, therefore it was ephemeral, it wouldn’t last forever so I’m like “alright, how can I capture these moments? How can I share this with more people who either didn’t see the tag, or aren’t on Twitter, or aren’t in our small indie RPG bubble? What can I do?” The answer I had for that was “write a LARP!” So, here we are, this is my attempt to give people a safe place, where they can explore their flirty selves and build their confidence with like minded folks, and I think I’ve done it.
That’s a whimsical answer, sorry. So, the game is a LARP that is a series of workshops under the guise that the #FlirtSquad is a real group you can join, we’re going to train you so you can build your skills, then we will choose who gets to join at the end. I have compiled an amazing team and we will be releasing it as a zine as part of #ZineQuest2. This is my first physical product that I will ever release, and depending on how this goes, either the first of many or the last.
This is so awesome! What is the structure of the larp, if any, and what are the guidelines under which players interact?
Thank you I also think it’s awesome! The structure of the LARP basically starts with warm-up exercises, followed by safety discussions, then we assign short roles which are different types of flirters, then an intro, then a series of workshops that I call phases. In each phase we’re teaching a skill related to Flirt which you can use in real life. For example, how to ask for consent, how to say no, how to do different flirty looks, things like that. I don’t want to spoil too much but some of the phases are REALLY fun.
I ran the game at Big Bad 19 and there’s a phases I call speed flirting and OMG Beau it was SO MUCH FUN TO WATCH. I was giggling the whole time, that may have been my favorite thing that happened at Big Bad, the only problem was that it wasn’t long enough, which I am fixing as we speak! As far as guidelines for interaction I am teaching consent through various methods during the game as well as setting some hard rules in the beginning, safety was my biggest concern with this game and I think we’ve done it. Plus, I have a stretch goal, which was of writing we have not reached yet, to bring in Adira Slattery. Adira is going to add a phase which will deal with boundary settings in a more explicit manner, but still cute and fun.
How do you support players to ensure they’re able to commit to the #FlirtSquad theme safely and enthusiastically?
You have to be very frank and up front about what this game is. I frontload the Play principles and advise to explicitly say what they are when you run this game. They are: goofy, fun, inclusive and encouraging. If people are not there for those four things and want to be creepy or whatever they can GTFO. As far as getting people enthusiastic about the game you have to be the model when you run this game.
The facilitator has a character in this game, they are the experienced Flirtsquad member who is going to run the recruits through the workshops and it is imperative that they model the behaviors they expect from the players. I ramble and mentioned safety in the last question but going back to it we use Okay check in and Open Door but we also actually have the facilitators not only model good behavior but also model bad behavior and have the crowd call it out.
Again, I don’t want to spoil too much, but Jess Meier and I ran the game and we had “shame” yelled at us a couple of times, it builds a camaraderie between the players which is built in the game and I hope extends to the world. I think that’s all I got, thank you so much again for taking the time out to interview me I really appreciate it!
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Thanks so much to Ken for the interview! I hope you all enjoyed it and that you’ll check out #FlirtSquad on Kickstarter today! Happy Valentine’s Day!
