Stars by Ethan R (https://www.flickr.com/photos/etharooni/3884801617/) CC-BY-ND-2.0
Tell me a little about Poor Amongst the Stars. What excites you about it?
The possibilities. There are twentyish questions asked during creation of the generational ship and at least three suggested answers for each question. Not taking into account player creativity, that’s 3486784401 possible ships, each subtly but importantly different.
So while the book does encourage you to select from a limited list of answers the players are not actually that restricted in the scenario creation. I’m pleased that I was able to find so many options for ways to describe how the characters are trapped aboard ship and what that cage feels like.
How did you figure out the questions?
I originally started with a more technical approach, describing the ship in mechanical/physical way; how long is it in meters, how big are the cabins, what scientific instruments does it carry. I quickly realised that this approach was not compatible with Malandros. What matters more is how the ship feels and how it influences play. So I started from the point of view of an unimportant person on this ship and built the questions to give context to their life rather than just measurements. For example, I don’t ask you how big the ship is, I ask you how does its size feel to the characters; is it cramped, cozy, spacious or nearly empty?
ISS by Daniel Lombraña González (https://www.flickr.com/photos/teleyinex/6977215423/) CC-BY-SA-2.0
What about the questions makes the creations interesting? How do they spur creativity?
The questions and prompted answers themselves don’t make the creations interesting. That comes from players and their creativity is spurred from a lack explanation. The prompted answers never tell you why the ship is as chosen. In selecting an option, the players are partially forced to consider why they are picking that option and to consider what history the ship has that resulted in this current condition. For example, if the players decide that the ship’s crew are segregated from the passengers a lot of the story detail will come from expanding the reasons why. In my test game, the players decided that the crew slept in a virtual reality to keep them in a pseudo-stasis to preserve their precious skills and knowledge.
Where did you get your inspirations for the Poor Amongst the Stars?
I was thinking about writing a setting for Malandros and had the thought that a science fiction would be an interesting diversion from the original Imperial Brazil setting. Another author had already tackled a colony style setting so when the idea of a generational ship fell out of my brain it interested me. Fiction that influenced me during writing included: Macross Frontier, Cities in Flight, WALL-E, Dark Star and Red Dwarf.
What are a few examples of scenarios for the setting?
I wouldn’t say the book has any pre-generated scenarios. With Malandros, the scenarios are created by the characters relationships with themselves and the constraints the ship puts on a person’s ability to improve their standard of living. The book does have a short section on episode themes for the game master to apply if they feel the need to inject an external stimulus.
Crab Nebula by NASA GSFC (https://www.flickr.com/photos/gsfc/33735105264) CC-BY-2.0
Tell me a little about Kids on Bikes. What excites you about it? Doug:Kids on Bikes is a narrative-driven story telling game set in your favorite 80’s movie or TV show. We like to say that it takes place in a town small enough that everyone knows each other (for better and for worse) and in a time before cell phones could take videos of monster. The GM acts more like a facilitator, and the players are really the ones telling the story.
One of the things that excites me about Kids on Bikes is the way that the game starts! The town and character creation, especially the rumors and the questions about the relationships between the characters, helps to start the game even as you’re creating the world you’ll be playing in. Stories often start to emerge and tensions start to become clear there in pretty cool, open-ended ways!
What was the motivation for putting together Kids on Bikes? What about the concept put your hearts into it?
D:Stranger Things! Two summers ago, like most of America, I’d just binge-watched the first season, and I posted on Facebook, “Okay – who wants to make this a game?” Jon responded, and we got rolling on it. But even more than that, I grew up as an AD&D player. I had a paladin, a wild mage, and a few classes I created myself, and seeing D&D played on the show really made me want to replicate that in some streamlined way – but also to pay homage to the wonderful 80s tropes that I grew up on.
How do you approach violence and violent content in Kids on Bikes?
D: Personally, I play games for escapism, so violence for me in games has to be one of two things: either absurd, cartoonish, and completely divorced from reality like it is in D&D – or nonexistent. Kids on Bikes is super close to reality, which is something that I love about it, but that also means that the violence in it is supposed to be terrifying. In the rulebook, when we talk about combat, one of our statements is that there’s no such thing as “safe” violence in Kids on Bikes. And our first step in creating the world of the game is having all of the players establish what they want to see and what they don’t want to see. Ultimately, Kids on Bikes is a framework for players to create what they want within it, but it’s definitely a framework that discourages casual violence.
Tell me about the design process. How did you start mechanically? What has changed since the game’s inception?
D: We started with thinking about making a game that felt like AD&D but streamlined. I had a bunch of ideas that complicated things, and Jon was really great at saying things like, “Yeah, THAC0 was a thing…but maybe that’s not in anything anymore for a good reason.” As we went, we kept streamlining and streamlining to keep the focus on the story. That’s something that Jon is really, really good at…and that I’m learning from him!
Another thing that was probably the main aspect of the design at the start was the notion of duality. We love the idea of inversions and balancing acts that happens in so many of these things from the 80s, the way that the villain is some corrupted version of the good guy or the way that every negative is a positive and, usually, vice versa. In our initial creation, we kept asking ourselves, “Great… What balances that? What’s its counterpoint?”
What is your focus audience for Kids on Bikes, and why? Is it a nostalgia product, considering the timeline restriction, or something different?
D: Our audience is new and experienced RPG players. It’s an easy enough to pick up game that even folks who’ve never rolled a d12 before can jump in and get rolling, but we think the opportunity for narrative is rich enough that it can appeal to people who love narrative games and have played a bunch of them. I don’t think of it as, first and foremost, a nostalgia product; I think of the time restriction as a way to complicate what, in the modern day, would be easy solutions and drive the narrative. Like, if a current high school stumbles upon a cult, they shoot some quick cell phone video, they post it to Snapchat, and it’s a scandal. 30 years ago, though, they have to convince people that it’s really a thing. That’s the kind of space I’d want to tell stories in right now, so that’s the kind of engine we made. That said, there’s for sure a nostalgia element to pretty much everything I design, so I think that influences the kinds of stories I want to tell.
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Thanks so much to Doug for the interview. I hope you all enjoyed reading it and that you’ll pedal your way over to Kickstarter with a few friends to catch the last few days ofKids on Bikes!
This post was supported by the community on patreon.com/briecs. Tell your friends!
This is so damn pretty regardless of anything else. Dang. By Shen Fei.
Tell me a little about 7th Sea: Khitai. What excites you about it?
The Khitai setting expands 7th Sea’s 17th-century swashbuckling fantasy to Asian, Oceanian, and Pacific settings. I’m excited to represent times, places, and legends close to my heart and my real-life ancestry, many of which have never appeared before in tabletop role-play. Khitai also ups the scale of the game’s heroism: one Hero can lead an outlaw gang in the marshes of Shenzhou, a slave revolt on the peninsula of Han, a pirate fleet in the islands of Tawalisi, or a samurai clan governing a warring state in Fuso. We get to stretch the boundaries of what a Hero looks like and how they can change the world.
I know in previousinterviews we’ve spoken about your academic and personal expertise, but I’m curious what new you may have studied, played, or what kind of media you looked at to work on Khitai. What were some specific things you enjoyed reviewing as you’ve worked on the project? Tell me how they’re reflected, at least a little, in the game.
Khitai has brought a great deal of new media into my life. Here are a few inspirations that really stand out.
The Water Margin Classic, also known as Outlaws of the Marsh, is probably the single most significant influence on Asian swashbuckling adventure in general, and my vision of Khitai in particular. It’s one of Chinese literature’s Four Great Classical Novels alongside the Romance of the Three Kingdoms, Journey to the West, and Dream of the Red Chamber. It’s about 108 martial heroes whose … eventful … lives drive them to join a bandit gang in the Chinese swamps, where they make trouble, rebel against the unjust government, and then ascend to positions of responsibility and authority in a new government.
I based indigenous Fusoese religion on The Song the Owl God Sang, a book of folk songs and stories compiled by a young woman of indigenous Japanese ancestry who mysteriously and tragically died hours after she completed it. Fusoese Kamuyru will reflect the sometimes-playful, sometimes-deadly kamuy who rule the land, animals, and humans’ relationships with the foregoing in Ainu thought.
To research Han, I started watching a K-drama called Slave Hunter because it’s set in seventeenth-century Joseon Korea, where somewhere from 10% to 33% of the population were slaves or serfs of some kind. I think I might have gotten more than I bargained for, because it’s sexy swashbuckling pseudo-historical nonsense in exactly the same genre as 7th Sea. I highly recommend it. Things I have learned so far about historical Korea:
only NPCs wear shirts
disguising yourself as a member of a completely different social class is trivially easy
all combat involves super jumps and/or backflips
hip hop is the most traditional Korean musical genre
the more complicated someone’s hat, the more likely they are to be evil.
Han sourcebook cover!By Shen Fei.
[Brie’s Note: As someone who is a big fan of some major K-pop/Korean hip-hop style bands, this amused me a lot actually.]
What are some challenging aspects of creating adventuring type games that travel over sea and in non-Western/Western-assumed settings, in regards to fictionally aiming it towards players and gathering interest?
Tropes define a great deal of Western popular media’s relationship with Asian material. Navigating and integrating those tropes into new stuff is tough because so many people have such different assumptions and feelings attached to those tropes. Let’s look at martial arts as an example. If we’re telling a swashbuckling story about Asia, we should of course include martial arts action. But gamers have different priorities about these topics: some players get really excited about fidelity to their understanding of realistic combat, others want to do unrealistic things on purpose, and many gamers are just tired of martial arts storylines because all too often, that’s all there is when it comes to Asian content.
Still, Asians developing and excelling at martial arts has a strong basis in both military history and fiction, with characters like Preceptor Droṇa from the Indian epic Mahābhārata or places like the Shàolín Monastery. So we’re going to feature both realistic and unrealistic (but still well-sourced) martial arts action in Khitai; but what we can’t do is perpetuate the stereotype that martial arts are either a) peculiar to Asia and Khitai and not other continents, or b) assumed to be known by every individual Asian or Khitan you meet. Nearly every culture in history (and every culture in 7th Sea without exception) has practiced martial arts; fewer, but still many, have traditions of martial fiction as robust as China’s. Martial arts figure prominently in The Three Musketeers, Things Fall Apart, and The Summer Prince. America’s 52 hand blocks and Nigeria’s dambe are no less effective boxing systems than wing chun or karate. It’s okay for tropes (though not stereotypes) to inform and expand our storytelling. It’s not okay for them to limit us.
Naoko, a young Hero whose home was destroyed by bandits. By Charlie Creber.
What are heroes like in Khitai?
They’re complicated! To answer that question I want to revisit the Water Margin Classic’s 108 Stars of Destiny, the rebellious outlaws of Liángshān Marsh, because they represent a lot of the internal contradictions I hope to see in Khitan storytelling. They prize honor and loyalty, but they spend most of the story getting drunk and committing crimes for reasons ranging from revenge to boredom. They rebel against the corrupt government, but wind up in positions of authority in that government. This theme comes back again and again in Asian heroic literature: very often the individual who winds up with the job of “hero” isn’t very good at their job, and the one who winds up with the job of “villain” seems way better in comparison.
Similarly, the arch-villain of the Mahābhārata, Prince Duryodhana, is a pretty bad guy; but his best friend, King Karṇa of Anga, is the most badass, loyal, and honorable warrior in the entire epic—he just winds up on the wrong side because he’s of mixed-caste parentage, and only Duryodhana is willing to look past it. In the final Battle of Kurukshetra, Karṇa’s chariot wheel gets stuck in a rut and he gets out to fix it, reminding the hero Prince Arjuna that attacking him while he’s coping with technical difficulties would violate the laws of honorable warfare. But Arjuna’s charioteer, Lord Kṛṣṇa—who is an avatar of Viṣṇu!—tells Arjuna to shoot Karṇa now because Karṇa’s harder than Arjuna and it’s the only way they’ll ever beat him. So the shining hero shoots the villain in the back, his head goes flying, and that’s how you win a land war in Asia. These are the kinds of problems the players will have to sort out. Or cause.
Agnivarsa sourcebook cover. Such drama! By Cassandre Bolan.
What has been your favorite part of working on Khitai, in any aspect of the project?
The most exciting part of this project has been watching the creative team and the players—myself included—go from knowing nothing whatsoever about certain places and times in history to champing at the bit to play characters from there. John Wick has gone from doubting we could do Korea justice to posting excited links about Admiral I Sunsin on Facebook. I never knew about the Sultanate of Sulu and the Moro pirates until I started reading about them for background on the Kiwa Islands, and now I’m plotting what might be my first ever Renaissance faire costume. A little while ago, a fan posted a sea shanty she’d composed herself with reference to Théans sailing to Nagaja and seeing the elephants there. I get to watch 7th Sea‘s world grow larger and more colorful one player at a time.
Hi All! Got an idea today, so I wrote it down. Check out Boy Band: The Game, which will get a fancier version at some point, but until then, get ya grabby hands on it.
FYI, Some of my photos are a little shaky. I was in the middle of an allergic reaction for half of it, and honestly, no tripod when I’m not feeling well makes it lousy. I tried though!
This is, I think, the last installment about my experience at Big Bad Con 2017! —
Gif of selfies and friends <3 (featuring Tanya DePass, Misha Bushyager, and Nathan Black
My experience on Sunday at Big Bad Con was really great. I had a lot of positive experiences, and some really good emotional ones. The morning was mostly socializing – Tanya picked up some Jack in the Box for me, I visited people and talked about all sorts of stuff, and in the afternoon, I got to play games! (I know, gaming at a gaming con, who would have thought?
The first game I played was from my upcoming collection, Let Me Take a Selfie. The game is called Who Made Me Smile? and I played with Tanya DePass, Nathan Black, and Misha Bushyager. It was so fun! The general play is that we each write some three-sentence stories with different mood themes, and then take selfies after we read a selection of them.
Our stories and some selfies. 😀
After that, we talk about it, and take a “neutral” selfie. The most fun part for me is after that, when we look at other players’ selfies and the stories they read to guess which story was associated with which selfie. It’s fun to see how my friends express their emotions!
Google made this.
After that, you match up who guessed which selfie right, and everyone gets the chance to take selfies or write more stories. We didn’t have any need to write more stories, which you do if anyone doesn’t match anything right with another player, so instead we just took selfies together! I loved it so much.
It’s important to note that none of us see each other outside of the internet very much, so being able to share these stories and see the emotions people expressed in their selfies – including people who don’t normally take selfies – was such a great experience! I think everyone else had fun, and it’s something I really enjoyed. Also, it was so cool seeing people play my game!
LOTS more here, including Dialect!>>>
I got to play Dialect in the afternoon with Hakan Seyalioglu running, alongside Vivian Paul, Vera Vartanian, and Kristine Hassell. I honestly can’t get over how amazing this game was. Vera cried a hecka lot, in a positive feelsy way, so we must have been doing okay. 🙂 Dialect is a game about language, specifically the death of it, and to make that happen, you need to build it. It is fascinating to me how integrated the language is with the cultural and emotional development of the characters, honestly.
Dialect table setup.
We played a group of artificially intelligent robots left behind after humans departed from earth known as EIPS (Earth Inter-Planetary Surveillance, “eeps”). The general vibe ended up being that the planet was One Hot Mess and environmentally trash. So our job, we decided, was to do surveillance on the planet so that the humans could someday return. We were there a while, and as time passed, we got better at our jobs, so we ended up with idle time to do less rote things. One of the first words we made was a filler word – ona – that we often said while thinking, interrupting our own speech, and so on. We also developed friendship. These three things are the aspects in the game that we would go on to tie words and explanations to, as well as ourselves.
To me, Friendship was the most important aspect of the story. It came up constantly because our relationships were really deep. EIPS took friendship seriously, and were grateful for those they connected with. Initially, the connections were for maintenance – the EIPS bots would repair each other by linking to each other and doing updates and repairs. During that, they learned about each other, about compassion, and about caring. This is where they made friends – synckeeps. Their synckeeps were bots they really cared for – and our bots were all synckeeps.
I mean, seriously, just thinking about the game has me tearing up, jeez.
In Dialect, you have a character of your own which a card that guides the character’s identity. I was the Explorer, and I associated myself with Friendship – in the game, I tried to explore the breadth of human emotion with my limited artificial intelligence, and got quite far, I think. I played 244-L, known as Leon. Leon was a “life emulator” designed to replicate human existence with the safety of robotic structure. He looked …approximately human, and had human-like skin that could regenerate from pretty much any chemical or environmental exposure. He was the canary in the coal mine, so to speak. Leon’s creator had loved the idea of Ponce de León’s Fountain of Youth, and Leon was the realization of that – his body would keep regenerating, regardless of what happened. That was the plan, anyway.
Kristine played Jesse, the Jester, who was initially a data entry module. I think Jesse was associated with the surveillance of earth aspect. She was connected to data points all over the place until, as time passed, each one shut down and she was left alone with just us other models. While the settlement of bots was in the thousands, she was just herself. Because of this, she had learned sarcasm, which was her way of dealing with stress and isolation. She reviewed our daily reports for errors, and for so many years they had been static – eventually she started to copy and paste.
Next, there was the heart of our group – Spinner. AMZ013 was played by Vivian, who did a spectacular job making a lot of us feel really squishy. Spinner was a utility bot who had a broken wheel and so, obviously, Spinner spun and wobbled instead of going straight. Spinner was an incredibly interesting character who kept us on track, oddly enough, when the story got more challenging. Spinner was one of us who had a lot to do with how we spent our idle time (see later, “Uplink.”
Finally, Vera played IONI, ECR1147-C, a satellite who was never actually launched. IONI was our technical hub, kind of “in charge” of the situation – her archetype was the Ruler. She monitored all of the goings on, and made a lot of the big decisions. IONI, like Jesse, was pretty much the only one. We found out that IONI had been saying she received contact from the humans, but it turned out that for far too long she had been getting radio silence – what we knew as commfail, the word that described our sadness.
The first big event we had was that Jesse uncovered a discrepancy – a variance – in her reports. She couldn’t just copy and paste. She reported it to IONI, and IONI decided to investigate it with an expedition. As Leon was an explorer both emotionally and on the ground, he would go out on the expeditions with other EIPS units to test the environment. It beat him up pretty bad, and there was always a worry he wouldn’t come back. Because of this, we developed a way to say “good luck.”
When an EIPS unit says goodbye to someone, they send a datapacket to them with silly pictures and cute animals (cute cats, otters, etc.). While EIPS don’t entirely understand the point of all of it, the humans who made them were cheered by them, and they learned to enjoy them over time. Along with this, however, we needed an indication of them doing it, so we came through with . The bots with LED screens could simply flash the hearts, while those who were more anatomically human used their hands to make the heart (see picture).
This pic is super old but it demonstrates the point, yo.
(This was actually inspired by RPG_Dante (Bryant Stone) who I met at CONlorado. He signals to me when we part ways. I may have made everyone tear up with this because of how cute and sweet it is, which is a rare thing for a Brie.)
After Leon came back, it was determined that there was nothing evident in the outside that would explain the variance. We moved forward an age. Each age, you take one aspect and move it into the next circle set up on the table that represents the ages in the game. We chose Idle Time, which was changed into Overtime – we were working past our limits, longer than we had planned with no response from the humans, and running out of glint (our fuel). We were working overtime.
Kristine broke my heart with her character’s story and how she dealt with the loneliness and commfail that the characters experienced, as well as how she brought levity to the table. She was the first of us to express worry – known to us as 404. Her 404 was often founded, as Leon and Spinner got into a mess. There was a holiday known as “Uplink” where we would all power down and just socialize and be calm during a big storm that passed over our compound, and it took a lot of time and energy to give this space to us.
After the Uplink, Leon found Spinner. They hid in a closet and – in one of the most dick moves I’ve ever done in a game – Leon suggested that they might save glint if they put some of the others… out of commission. “Not everyone is necessary all of the time” is I think what was said, and the interaction was so painful, but Spinner agreed that it wasn’t an unreasonable plan. They planned to keep it secret, and had hid out of the range of IONIs base sensors, but they couldn’t get away from Jesse.
Jesse showed up and asked what was up, and in the process of trying to hide their discussion, Leon offered Jesse a can of “Pork nnnn beeens?” (Spinner noted it’s only $2.49) while trying to demonstrate that they were just getting rid of old cans. It didn’t work, and they spilled the (not pork and) beans. Jesse demanded answers in her 404, and Leon and Spinner responded. One of the biggest issues was that they suggested powering IONI down, even though she was their synckeep, and things got very complicated. After getting support from other EIPS, they gathered their courage and reported their thoughts to IONI, presenting themselves as in favor of Eco-Mode (which was a label for their faction, including those who agreed with them). IONI wasn’t happy, but was eventually convinced.
The age turned, and they began putting people into Eco-Mode. The first versions – periods of time where they disabled groups and later reenabled them – went okay, but over a lot of time, they ran into an event that made it harder to move forward: The Wipe. A huge sector of EIPS units were powered down, but when they were meant to go back online, there was nothing there. Their AI had been fully wiped. Unrecoverable. The commfail was immense. Going forward, the synckeeps struggled to stay together and powered on, but as those who had pursued Eco-Mode, some of them felt obligated to version.
Spinner was the first to get boxed up – literally – but was so well loved that the entire community came to wish him as he went into Eco-Mode, heavy with 404 that he might not return, and experiencing commfail at not having him near. This hit Jesse especially hard. Still, as Spinner left, he repeated our unity saying, “We are still here.”
Our aspect for Surveillance of Earth, in the last age, was changed to Survival.
Leon continued to do expeditions, and Jesse found another variance, so he pushed out one day to find out what was there. He was walking along with guidance and wishes of from Jesse and IONI because there were no other life emulators with him, just bots without AI doing utility tasks. There was a lot of interference, and he struggled to hear them while his vision was overwhelmed with environmental waste. His last messages repeated until it cut off – “404. 404. IONI? Jesse? 404. 404–“
IONI and Jesse struggled with the loss of their synckeeps, upset they couldn’t recover Leon because of the environment and their limited abilities. Eventually, they were the only ones powered on. In an act filled with commfail, IONI had Jesse power her down and send her last message out to the humans with the full archive. It was truly heartbeaking, honestly, I swear we were all near tears. Jesse, hugging her pork nnnn beeens, was alone.
After time, utility bots who had been surveying the landscape came across the body of Leon, who – after his skin had been burned away by sulfur waves – was now healed, but still deactivated. Jesse had him brought into IONI’s hangar, and then she brought in Spinner and set him up. She arranged little monitors for IONI, Leon, and Spinner, and played messages and videos. We faded to black.
In the dark, a message blinked on IONI’s status monitor.
“Archive received.”
Final table.
—
HOLY CENA MY FEELS, Y’ALL.
This is one of the best game sessions, and games, I have ever played in my entire life. I’m still crying just thinking about it. It was an amazing experience. Great players, great facilitator, great game. I would love to play Dialect like 8 billion more times. SO good. *dies*
Afterwards, I hung out with the aforementioned Dante and had dinner. I told him about being the messenger of in our game, which I think he liked. We also discussed my new mechanic for Script Change, frame-by-frame, and his own project that sounds like a lot of fun. After Dante left, I talked with Kristine, Tomer Gurantz, and a few other people about Brooklyn 99 and The Good Place and it was a great way to finish out. My flight was early and I stayed up late but it was well worth it.
I can’t wait to go back to Big Bad Con! I had such a good time and it was really amazing.
This post was supported by the community on patreon.com/briecs. Tell your friends!
Today I have an interview with Glenn Given from Games By Playdate about the new game, Slash 2: Thirst Blood. Slash 2 is the sequel to Slash: Romance Without Boundaries, a card game about shipping – the fandom kind – and is a really fun and exciting game! Check out Glenn’s responses below.
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Tell me a little about Slash 2: Thirst Blood. What excites you about it?
Slash 2 is a standalone sequel to Slash: Romance Without Boundaries. It is a fan fiction shipping party game where players compete to create their favorite One True Pairing while swapping stories and micro-fictions. The thing that excites me the me the most about Slash 2 is the opportunity to incorporate everything we have learned since we began making games (the Original Slash was our very first project). We have researched hundreds of new fandoms and used player feedback and fan communities to better balance our characters while maintaining diversity and accessibility. I am also terribly excited to introduce remix game modes to Slash. We have had loads of fans telling us how they play and they have been some of the most creative and rewarding contributions so we are sharing those with the players as best we can.
Tell me about the different modes of Slash 2: Thirst Blood. What did you do to develop them? Which were the most challenging to codify?
We looked at what other games were popular and said “you know what, I bet you can use Slash for that” and it turns out that works pretty well. Seriously though we took a look at the Board Game Remix Kit, at the litany of party games these days and at fan suggestions about new modes and ran with that. There are simple adaptations that don’t require any further materials like using Slash for your game of Fishbowl. We’ve added a light RPG/larp that riffs off of Ghost Court to try and get more players into the storytelling side of the game and so forth. The most challenging thing was taking these game modes and really distilling them down to a few paragraphs or less of clear and inspirational rules.
Glenn Given, potentially lurking.
What were some of your favorite new cards to add to the game?
Hands down my favorite new character is “Every Punch Thrown in the film The Raid.”
What was different between this game development experience and the original game’s development?
We were consciously developing this product. With the original it came out after a 3 day bender at PAX East from a rented house full of geeks. We drove from Boston back to my job at the time in NH and printed copies that evening to play at the con the next day. With Thirst Blood we took a look at what worked and at how the landscape of fandoms have grown, how fanfiction in general has evolved in just 3 and a half years, and built something directly for those people. The characters are a better reflection of the audiences rather than me just stuffing every Disney Afternoon character into the set.
What are you most looking forward to seeing when the game is out in the wild?
I am really excited to see people look at the new characters and to look at the new rules and have the realization that what they have enjoyed can be played in a completely different way. I hope that they will see that games like this aren’t just rules ad cards but that they are toolkits for having a good time.
I attended Big Bad Con 2017 in Walnut Creek, CA on a scholarship from the con. This is post two! Find post one here. —
I got room service to make sure I finished my homework. >.<
I woke up after like, real sleep for the first time in a while, and wrote a paper for school before messing about hanging around with people until my next panel. I was brought a handy towel by Dante so I didn’t ruin the hotel towels and, tbh, I couldn’t find the towel before I left Monday morning, so no idea what happened there.
The next panel I was on was Gaming and Emotional Safety, with Mickey and Misha. Everyone knows I’m a pretty woobie heart person so I get emotional a lot, and I also have had some trauma in my life that I struggle with and that can (sometimes nonsensically) come up in game. We reviewed many of the various safety tools (though not all), noting that they’re not one size fits all and that people should use what works for them.
We discussed the importance of pregame discussion of content and tone, debriefs, and emotional safety as a whole. Games might not be everyone’s standard definition of “fun” but we aren’t there for abuse. It’s important to be on the same page, respect each other, and check in. I reminded people that even if they’ve had the same group for decades, they may make their games more fun for everyone by talking to their friends about their preferences. This included discussing racism, sexism, homophobia, mental illness, and so on.
more here>>>>
Games here that have risks in them: Misspent Youth, Lovecraftesque, Night Witches, Dread… that’s just a few. They are awesome games, but we gotta be safe. This is taken when I realized that games I worked on were for sale (Lovecraftesque), but handy for demonstrating games with inherent issues – like the racism and mental illness stigma in Lovecraft.
I also noted the difference between a squick and a trigger. Squicks are things that gross you out, make you a little uncomfortable, etc. They can stick with you, but are unlikely to have long term mental health impact. Treat these with respect – make sure people are okay with them, ensure they’re tonally appropriate, and be willing to alter content if it needs to be done. Triggers are typically tied directly to trauma and can result in panic attacks, nightmares, and activation of things like paranoia and mania (in my case). Don’t approach people’s triggers without checking in and getting their permission! And if you know about common triggers, ask your group before including them, but don’t require details. There’s also phobias, which I suggest treating much like triggers. Always check in.
There are some people comfortable with approaching their triggers and phobias on purpose, which Mickey and Misha discussed a bit. It’s not something I normally venture into, but they talked about how it can be helpful to work in that abstracted environment. Really loved that part of the panel!
Finally, we talked about inclusion, exclusion, and bad actors. The key points were 1) it is always okay to leave a game for any reason and especially if you don’t feel safe; 2) if you include people who hurt others with the content included in their play, you are excluding those who will be hurt, including excluding people of color in favor of racists, excluding women in favor of rapey men, etc.; and 3) you can always eject someone from the group. Always. If someone is hurtful, if they’re unsafe, don’t give them a space to be that way.
I was reminded later in the weekend how vile in-game violation of consent is. If you force a player or a character to do ANYTHING they don’t consent to, including ignoring at-the-moment objections, you are behaving inappropriately and you’re hurting people. Reconsider your role until you learn how to play games without hurting people.
I was lucky enough after the panel to meet up with Brian Vo, who made me a cocktail! It was nice to meet him and the drink was great. 😀
My nerding out in clothes for fandoms I’m not in.
The final panel I participated in was Adult Themes in Gaming: Adult versus “Adult” with Mickey Schulz, Clint “Ogre” Whiteside, and Jason Morningstar. It was a really great panel and I was excited for it because this is a topic that’s meaningful to me, specifically: what content is really mature content, how to present it, the tools we have to manage it, and adult content that isn’t just sex.
(It’s always funny when I run into Jason because we’re both typically busy, and we have these mini conferences like “what are you doing?” “what are YOU doing?” “I’m doing THIS!” “OMG tell me more about this!” and it sounds silly maybe but running into him like that is always awesome.)
We talked about the content we include in games – Mickey and Ogre include pretty much everything that their table is safe with, which is a lot (sex, romance, violence, and other stuff that needs to be approached with caution); I tend towards having lighter content, emotional interaction, some tougher topics, and I don’t approach sex very much; and while Jason covers a lot of more complicated stuff like grief and war, he doesn’t really touch the subject of sex at all in his games, though he discussed a recent experience playing a happy, healthy married couple and how transgressive it felt. It was so cool to see a variety of experiences at the table.
One note: Mickey commented on this and is making changes for future panels, but everyone at the table was white. This is something that is actually common to happen, but it wasn’t intended and it’s not a good trend, so more effort going forward will happen.
We talked about the difference between having content exist and be played out (which some people might consider more pornographic in regards to sex), and having content that fades to black or is glossed over. This is something I think really needs to be discussed in detail with players and GMs at the table, making sure everyone is comfortable.
Some people might want to push their own boundaries, too, which is dependent on a lot of factors. Specifically, I might be willing to address sexual content at a table full of close friends, but at a table with strangers it might not be okay. Likewise, there are non-sex topics that are challenging and mature. Violence is one of them! We use violence freely, but that’s not necessarily because it’s appropriate. We should be more considerate of this – Jason even said he’d like to explore more ways to resolve conflict without violence (my mini pacifist high fives this idea). Grief is another subject.
Before this con, and before last year’s Metatopia, I had a grandparent pass away (my grandmother first, then grandfather). I still went to the cons, and played in games where grief was relevant. At a lot of tables I might have stepped away or asked not to cover it, but both of these times I had people I trusted (last year was Jason, Amanda Valentine, and Roe Nix playing Storybox and this year was Hakan Seyalioglu, Kristine Hassell, Vera Vartanian, and Vivian Paul playing Dialect), and who I knew wouldn’t treat me badly if I cried a little or if I needed a break.
Honestly, the newest addition to Script Change, frame-by-frame, is here so that when people want to explore topics that are challenging, they can do so. It’s not always easy, but making a safe environment matters. Safety tools, discussion among players, developing a social contract – these things matter.
Useful tool (yes I’m reusing this picture) even at its base mechanics – using more of them can make games better.
One of the things we discussed was about deciding not to play or leaving groups. Just like in previous panels, we talked about ejecting harmful people and bad actors, but we also talked about self-selecting your group. Stepping away if the space isn’t safe, tapping out, or leaving groups: these are all okay. It’s okay to say no.We need to make it normal to leave games, to step away, and to take care of ourselves. That’s part of handling adult content.
After the panel, I had a bit of a breakdown. I was still processing grief (I still am!), I had done three panels without a panic attack which is amazing, and I’d been traveling and surrounded with people and writing a paper… I was exhausted. I burst into tears when I was alone by the elevator, fell to the floor, and just sobbed until Stephanie Bryant found me. Angel that she is, she made sure I was okay, took me up to my room, and reassured me it was okay to be upset. I’m so grateful for that!
I spent some time talking with Tanya and some Twitch and gaming friends of hers, & one of them who had attended the panel said the work I was doing was “so important, so valuable” and it really felt amazing to hear. I don’t often think of anything I do making a difference, but hearing other people say it is super awesome. It matters a lot to me. Thank you to anyone who thinks well of my work – I appreciate it so much.
I’ll have one more post covering Sunday with my games of Who Made Me Smile? and Dialect. Thanks for reading!
SNEAK PREVIEW! Dialect table!
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Frame-by-Frame is a mechanic that lets players express that they want to take it slow moving through the next scene. When a player calls “frame-by-frame,” they are indicating that the upcoming scene may be new, sensitive, or even just a topic they’re unsure about, and they want to let the group know that they want to move carefully through the scene. The player who originated it should say “play” when they want to indicate that regular play can be resumed.
This can be used when players are purposefully encountering content that they’re sensitive about, or when they experience new topics or content in game. The group should be considerate of the player’s needs. Continue introducing the topics or content that was originally planned, but pause occasionally to check in with the player who called frame-by-frame and ensure they are still okay with continuing. This allows the opportunity for that player to feel safe using other Script Change tools without feeling like they’re interrupting the game.
Frame-by-frame may also be announced at the start of a game or session so that when these subjects are encountered, the group can take it slow. Consider making notes of these topics on index cards for the GM.
This post was supported by the community on patreon.com/briecs. Tell your friends!
This will be probably a three-post report because I’m trying to break down my panels and games pretty detailed, so I wanted to warn you ahead of time. These will be paid posts! Thank you for your support. 🙂
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Me on my flight in, very tired.
Overall Con Thoughts
Big Bad Con is the best con I have ever attended. I don’t say this to like, make other cons look bad, that’s not the point. I came out of Big Bad Con feeling much more positive about the experience than any of my previous con experiences, I didn’t get hurt while I was there, I felt safe and comfortable throughout the con, and I was able to play the games I wanted, see people I wanted, navigate registration super smoothly, make it through my panels with a lot of encouragement from the audience and fellow panelists, and I felt supported coming to the con after a death in the family.
The con also seemed very diverse, compared to what I expected or maybe what I’m used to, I don’t know – I saw a ton of androgynous-styled people, I know of many trans people who attended, there were more people of color that I interacted with than is my norm, and so on. It was awesome.
The rooms were great, local food options were tasty and at least accessible to me (I went out to dinner 3 times and had no real issues getting to the restaurants), and the food at the hotel was good so I didn’t get stuck if I was too sore to walk. I will note that the panel room was super chilly and that could be worked on.
I played two games that I really enjoyed, met so many new people in an environment where I wasn’t feeling pressured to rush, and it was just really great. Sean Nittner and the entire incredible staff (who talk about Big Bad Con here) made it a great experience for me. I honestly really want to go back and I don’t know how I’ll make it happen, but it would be worth it.
Note: My experience is only my experience, and others may feel differently. For example, Stephanie Bryant expressed that being the only woman in a large crowd of people outside Games on Demand was awkward and uncomfortable. This is something that could use review – for me this is a consistent Games on Demand issue but my experience isn’t universal.
more!
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Hazy!
Friday
I arrived at OAK airport around noonish on Friday, and Jeremy Tidwell was kind enough to pick me up and transport me to the hotel. The hotel is pretty nice! I had some minor room issues, but they were quickly resolved, and I got to meet Jeremy Kostiew FINALLY (his beard is gorgeous, fyi) and forgot how hugs work, as well as getting say hi to James Mendez Hodez, who I’m interviewing right now also.
I got to hang out with Mickey Schulz, Lex Larson, Misha Bushyager, and Rachel Beck. I loved talking with them and having a space where I could get settled into the con after the long flights. Also got to meet Tanya DePass, my roomie, who is awesome. Later I got to meet Sandy Jacobs-Tolle, who is really nice! I screwed around a lot but also spent a significant amount of time talking games culture, current work, and so on.
I noticed that there is a huge trend of people just really feeling like there’s no safe space for them. We talk about this online a lot, but in person, we were just really venting it out. We have to fight our way through just to be able to play. The number of people who said “I don’t play at tables with people I don’t know so I don’t game at cons” was significant, and heartbreaking. I know this feeling, and it’s just not fucking fair.
Later I went out to dinner with Tracy Barnett and some of the others. We discussed games a lot, but also some really challenging personal experiences from growing up, our own baggage, and how it influences our play styles, our gaming, and our lives. I had a few conversations like this over the weekend and was reminded that gaming is an incredibly human hobby.
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I was on the You Don’t Look Like a Geek panel with Kristine Hassell, Tanya, and Jahmal Brown. I admit it was weird (but good) to be the only white person on a panel. The experiences that the others shared we’re very far from my own, but I felt really lucky to be there as a part of it.
I was, to my knowledge, the only non-cis person on the panel, which is part of why I was there, plus my orientation queerness and disability. Those don’t all seem super visible, and in narrower communities like indie games they don’t seem remarkable, but those things still can fall into the category of weirdo for a lot of geeks.
Thankfully Big Bad Con had made steps to welcome people like me. Like Metatopia, all-gender bathrooms made a difference for me, so much.
We talked a lot about things that made us feel unwelcome or out of place. I am the only one who actually uses “geek” as a label for myself much, and it’s not a constant for me. We discussed ways to make geek environments more welcoming for people like us, how to handle exclusionary behavior, and also (my favorite) what benefits we had from being nonstandard geeks, much of which centered on finding others like us.
I liked when Jay talked about being a veteran and how when he had gone to basic training everyone had to be in it together, and how that’s how he participates in games: everyone is in it together, and they should try to find common ground. I will note this can be challenging (sometimes more for some than others), it’s a good intent. It’s relevant to the discussions that happened here and elsewhere about those behavior you will allow at a table, and why you would let people like racists stick around.
On the subject of being white, I was reminded how much white people contribute to ostracizing and distancing people of color from the community. That’s bad, and something I hope to continue working on.
I personally spoke a little about forgiveness and moving forward in geekdom. We have a hard tendency to hold tight to people’s mistakes, which is understandable. But when someone has apologized, even if they’ve demonstrated change and tried to make up for it, we so rarely give them forgiveness or allow things to move forward. They can continue to be pariahs, treated with disrespect, and so on. It hurts me to see that, and my heart ached when someone from the audience came to thank me for talking about it because they had messed up in the past and they feel like they can’t do enough to make up for it. That sucks! If you continue to be treated like a bad person even after you’ve apologized and made changes, the motivations to keep trying get fewer every day. This sticks with me.
That being said, we discussed the nature of exclusion and inclusion where keeping racist, sexist, homophobic, and other bigots in your space excludes people of color, women and trans and nonbinary people, queer people, and other marginalized people from your space. Even if they’re still at the table, they are likely uncomfortable and may have already checked out. This subject came up A LOT at my panels.
John Brieger caught up to me after the panel to talk about his current project and ask for my thoughts on his safety mechanics. It was fun to meet him and the others I caught up with, but my exhaustion and medication caught up with me and I hit the sheets early.
Before I crashed out, I was gifted a pocket size Script Change card by Tomer Gurantz! I received a lot of good comments about Script Change this weekend, and on Sunday spoke with Dante (Bryant Stone) about adding a new mechanic to it. It’ll be coming soon as one of the optional mechanics. 😀
Front of the fancy pocket card. 😀
And backsies! 😀
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That was Friday! It was REALLY packed somehow, even though I wasn’t actually that really busy. I am still processing a lot of what happened before I left for the con (work crises, loss of a family member, etc.), but I honestly have a lot of love for Big Bad Con. I had heard so much good stuff about it, I thought it would disappoint, but nope. 😀
Saturday (with two panels) and Sunday (with two games and talk on Script Change) coming soon! Thank you for reading!
This post was supported by the community on patreon.com/briecs. Tell your friends!
Tell me about By the Author of Lady Windermere’s Fan. What excites you about it?
By the Author of Lady Windermere’s Fan is a game about putting on an Oscar Wilde play.
More specifically, it’s a story game about a group of actors who, through a spectacular level of mismanagement by their producer and director alike, have reached opening night without having held a single rehearsal. Or picking up a script. They don’t even know what they’re supposed to be putting on… all the marquee out front tells them is that it’s a lesser-known play by the master of the Victorian farce, Oscar Wilde. And with that to go on, they’ll just have to wing it.
Which means that players are doing two things at once. On the one hand, it’s a story game made for telling narratives in the vein of The Importance of Being Earnest or An Ideal Husband: self-important people who tell big lies about petty things, and then fall over themselves trying to keep their deception from being discovered. Everyone looks foolish, everyone embarrasses themselves, but in the end everyone gets a happy ending whether they deserve it or not, because that’s how these things go.
But on the other hand, and this is the part of it that I’m the most excited about, it’s very much a game about putting on a live performance. Windermere is inspired by my experiences in school and community theater; it’s a game about being thrust on stage, underprepared, and doing your best to keep things moving by any means necessary. If you’re on-stage, you’re in character, and you’re responsible for keeping up the pace. As games go, it’s kind of exhausting, because you don’t really get time to think once an act starts. You need to keep the chaos in control. When you make mistakes, and you will make mistakes, you have to run with them.
But that also makes it exhilarating! It’s frenetic, and unpredictable, and even though the stakes are low it still feels very rewarding to survive to the final curtain. Whether the play you put on ends up being a really admirable Wilde pastiche or just a complete trainwreck, you still overcame all odds and put on a dang show. You can take a bow, because you’ve earned it. That’s the moment that I was really trying to capture with this game. That is what I’m most excited about.
I have a lot of interest in learning of interactivity in games. During play, are all players interacting at once? Are there different levels of involvement?
Once the game starts, everyone is interacting. There are a couple different levels of involvement, but players will be shifting between them over the course of an act. Players might be onstage or offstage, for instance, and each has its own limits and responsibilities. Most of your time playing will be onstage, when you have to be in character and move the plot along. If you’re offstage, you have some more breathing room… you don’t have to react as quickly, and can watch the action without participating it. You can also do off-stage specific things like calling out sound effects or changing costume (which allows you to come back onstage as an NPC). Players will switch between being on and offstage often, and just like in real theater, even when you’re not onstage you are still part of the play.
The other variable in players’ levels of involvement is the spotlight. At any given moment, one player’s character is the Spotlight Character, which just means that they are currently the focus of the action. Specifically, that’s when characters get confronted about the lies they have been telling, and respond by telling a bigger and harder-to-defend lie. When the spotlight is on you, you’re stuck onstage, and can’t leave until you’ve dug a bigger hole for yourself. But once you’ve done so, you pass the spotlight on to another player, and now THEY become the focus of the action. Everyone takes their turn in the spotlight.
What materials are part of the game? What is tactile, and what is supposed to be all in the minds of players?
For the most part, it’s little index cards. You are limited in the number of props you have access to, so before the play starts the players brainstorm a bunch of useful items and write each down on a card. Once the play starts, these become a tactile element: if you want your character to be holding an item, you need to be holding up the appropriate card. That way, you can’t just make up items, and if there’s an object you want to use, you have to track where it actually is. Costumes work similarly; you all come up with costumes for NPCs during setup, and while you’re playing you change costumes by physically taking that NPC’s card and plopping it over your own character sheet.
There’s also a spotlight token; this is just some visible object to indicate which player’s character is the focus for the moment. I usually use a hand fan. When you as the spotlight character have told your lie, you pass the token to the player you want to see take the spotlight next, and the action seamlessly shifts to being about them.
Finally, there are audience favor tokens; beads or coins or similar small objects, used to indicate how much the audience likes you. Players start with three tokens, and there’s a pile in easy reach. When you break character on stage, you toss one of your tokens in the pile. When you think another player said something especially funny, you take a token from the pile and give it to that player.
Both the spotlight and audience favor tokens are using tactile interaction to communicate, without breaking the action of the play.
Where did you pull inspiration for the development and structure of play?
As far as development goes, this started as an entry for the Game Chef design competition back in 2014. The theme of the year was “There is no book,” and one of the optional ingredients was “wild.” A little willful misspelling later, and the idea of performing an Oscar Wilde play when you didn’t have the script was born.
By the Author of Lady Windermere’s Fan owes a lot to story games like Fiasco and Kingdom. Games in which you set up a scene, then dive into the action, letting characters bounce off one another however they see fit without a lot of rules or guidance. Windermere pushes that same structure a little farther; instead of short scenes frequently punctuated by breaks to control the overall flow of the story, there are huge and endurance-testing acts, making it easy for players to lose control of the overall flow of the story.
Beyond that, obviously Wilde’s plays were an inspiration, especially The Importance of Being Earnest, but I also got inspiration from other sources, like Noises Off, a comedy about putting on a play that you aren’t prepared to perform, and even Frasier, a show that really codified the structure of a farce.
Was everyone in this era judgy? Sweet monocle tho.
Do you have any controls in place for the game if a player needs to pause or they want to back up and reconsider something that was introduced? How much content control do the players have when other players act?
On the one hand, when it comes to the safety and comfort of the players, I take that seriously. I outline a simple “safety valve” mechanism, and am explicit that groups who have another they prefer (X-card, Lines and Veils, whatever) can and should be using it. It’s important to me than having all the players be able to feel secure that they are playing in a safe space.
But when it comes to more minor matters of how the plot is developing, there you’re a bit out of luck. A lot of the tension in the game comes out of having to roll with unexpected developments that come both from the other players and from yourself; what’s said stays said, even if you didn’t quite mean to say it. What you do have are intermissions; between each act, all the players get the chance to stop, and breathe, and talk about where the play’s going. Think of it as an opportunity for course-correction; you can choose to drop a plot thread, or change the trajectory your character is on, or even express concerns about where you think another character’s story is headed.
Finally, what do you want people to feel at the end of play? What memories do you want them to carry on, and what have you seen players who have experienced the game so far take forth?
At the end of the play, I want everyone to be tired but proud. Usually, they are; there’s a definite sense of accomplishment that comes from surviving the play in most of the games I’ve been a part of. Mostly, I want them to be smiling; ultimately, the players are putting on a comedy, so the memories I want them to take with them are the funny moments. The really good one-liners, the delightful twists of the plot, and even the collapses, when for whatever reason the play totally fell apart. Like a Wilde play, the overall plot is pretty incidental… it’s a structure on which you can hang beautiful moments.
