Tag: story games

Five or So Questions on Flotsam

Hi y’all, I have an interview today with Joshua Fox, who you might recognize from Lovecraftesque, about Flotsam: Adrift Amongst the Stars, which is currently on Kickstarter! It seems like an interesting new game and Joshua’s track record with Lovecraftesque makes me excited to see what’s there! Let’s see what Joshua’s excited about:

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Three people standing around a small table, in front of a large porthole window looking out to space and a spaceship. The people are a of diverse backgrounds and potentially species, two looking mostly human - one lighter skinned, one dark skinned - and the third blue-grey skinned and humanoid.
The art for Flotsam is so gorgeous!

Tell me a little about Flotsam: Adrift Amongst the Stars. What excites you about it?

Flotsam is a GMless game about outcasts, renegades and misfits living in the belly of a space station, in the shadow of a more prosperous society. It’s all about their everyday lives, interpersonal relationships and small scale drama, against a backdrop of poverty, social strife, gang conflict and supernatural weirdness. That’s the basics of the game. System-wise it’s kind of like a cross between Dream Askew and Hillfolk.
There’s two things about the game that excite me. First, I love stories about space and space stations, and I’m excited to offer a different take on the genre. Shows like Deep Space Nine and The Expanse give me all the genre trappings that push my buttons, but the bits I’m most curious about are the ordinary people lurking in the shadows, away from the epic political drama and space battles. What’s life like for a Belter union worker while grandiose plotting goes on? What does that Cardassian spy get up to when he’s not worrying about being assassinated? How do all those people relate to each other, and what little dramas take place in their lives? Flotsam answers those questions. It gives you an awesome science fiction setting, but zoomed in on the part of the story that usually gets skipped over.

The second thing – and if I was honest I’d have put this first, because it’s my personal quest – is that Flotsam is my take on how to do GMless gaming. It give you the best of both worlds. It lets you play one Primary character and explore their personal issues and relationships, really inhabit that character. It also lets you take the fullest possible part in building the setting and driving external threats forward, stuff I really enjoy as a GM. And of course I get the same back from my fellow players. That combination has given me some of my best gaming experiences. I’m particularly proud of how the system streamlines both sides of the game down to a level that makes it easy to juggle those two jobs.

Tell me a little about the core mechanics and how they relate to the setting. How does what players do mechanically translate to what happens in game?

Each player controls one Primary character and one Situation. A Situation is a constellation of threats and problems united by a theme, such as “the gangs” or “the spirits”. The setting is mostly encoded into the character Playbooks and Situation sheets, which are stacked with thematic details and setup questions to prime the game.

In any given moment of play, you’ll probably have two or more people playing their Primary character, and you’ll have at least one person playing their Situation. The interaction between those is pretty free-form most of the time, very much the “roleplaying is a conversation” approach. The game rules tell you when to step outside that freeform conversation, and that’s mostly mediated by decisions taken by people playing their Primary character.

If you want to inject some energy and threat into a scene that you’re in, you activate one of your character’s Weaknesses. Weaknesses can be external issues, like an enemy or rival, or they can be personal flaws, like the fact your character is arrogant and overconfident. When you activate a Weakness, you’re inviting the other players to make trouble for your character. In exchange, you get a Token which you can spend to power your Strengths. When you want to solve problems and put your character in the driving seat, you activate one of your character’s Strengths and spend a Token. Doing that gives you permission to narrate how your character competently does their thing, and blocks other characters from complicating what you do with new problems. And finally, if you keep your hands off those two mechanics, the Principles of the game encourage the other players to step back and let you have whatever interesting interaction is at the centre of the scene.

In other words, when you play your Primary character, you’re in control of pacing for the scene. Do you want to be put under pressure? Do you want to kick ass and take names? Do you want an intense, undisturbed conversation? You get to decide. With that said, you can’t just say and do whatever you like – if you ignore a problem in the fiction, or do something risky or challenging, that gives the other players permission to make trouble for you even though you didn’t activate a Weakness. But most of the time, the pacing of the scene is in your hands, with the default being the interpersonal interactions that the game is focused on.

The final piece of the puzzle is the XP system. This rewards you for having social and emotional interactions with another character, where you show them something of who you really are, and take the relationship out of its equilibrium. Every time you do that you earn Marks against your Relationship with that character, and when you accumulate enough Marks you rewrite the Relationship and improve your character. Together with those charged setup questions I mentioned before, this mechanic drives the game towards an overall focus on developing, evolving relationships.

a horizontal banner styled like riveted metal, with a desk in the center (top down) that has a book, star charts, and a watch on it.
This is such a pretty banner 🙂

How are you balancing these difficult concepts like poverty and gang conflict with the supernatural and sci fi elements? How do mechanics influence this?

Oh, wow. What a question! That’s a great question.

The game has a number of key themes, of which poverty is one, which are woven through the game. Each theme is threaded through the playbooks and the situations, in lots of small ways. So it’s difficult to disentangle how they’re handled, because it’s not like there’s a mechanic for poverty or something like that. But the game also brings each theme into sharper focus in individual playbooks and situations. For instance, for poverty, there’s a specific situation devoted to it, which means there will be one player whose job it is to think about how deprivation and want (and conversely wealth and privilege) impact on the community, ask questions about that and push that theme into the game. And there’s a particular playbook – the cast-off – that is all about what it’s like to live with economic precariousness, working different jobs to pay the bills.

The science fiction and supernatural elements are essentially handled in the same way. As to how they’re balanced with the more real-life serious elements – they’re not exactly distinct elements, if you see what I mean? The cast-off might be an ordinary human with mundane skills, or they could be an alien who has crash-landed on the station and is trying to parlay their unique skills to make a living down here. In one playtest game, my character was a trader up to his neck in debt, trying to stay afloat, but also happened to be a member of the race who built the station – and who had been driven off by humans. So his circumstances and the science fiction bits of the game intersected fairly heavily.

Now having said all that, it’s down to the players how they handle these themes. It’s totally possible for one group to de-emphasise a given theme, by choosing to pick up particular characters and situations. You drive the game in the direction you want to go. You could let the weirder elements come to the fore, or you could focus on the social problems of a place that lacks basic necessities, that happens to be on a space station. Either way the game’s principles push you to treat the characters like real people, to focus on their lives and relationships, and make them the centre of the story, not cool tech or weird phenomena.

Tell me about some of the Strengths and how they tie to the narrative and character development. What kind of Strengths can you have? What do they mean to the characters narratively?

Each Playbook has its own unique set of Strengths to choose from, which tie into the nature of the Playbook, and could be a skill, a resource, or a special ability. So if we take the Spider, who is a trader, criminal or spymaster, they can have straightforward abilities like “deception” which enables them to lie their way out of trouble; they can have resources like “connections (underworld)” which enable them to invent items or contacts that they need; and they can have interesting options that sort of sit between the two like “contingency plans” which allow them to invent a way out of a situation on the fly and say they planned it all along.

An example of weirder abilities are those of the Sybyl, who is a prophet with strange gifts; most of their Strengths have slightly cryptic names like “Dreamwalk” and “Thread of Fate”. The game doesn’t define what that means – we find out what your character can do in play, and in the process we might also find out what drawbacks or side effects those abilities come with.

Some of these Strengths link to the Playbook’s Weaknesses, like the Thunder, who may have a gang at their beck and call (which is a Strength) but that gang might also be liars and schemers (a Weakness). And one fun mechanic I haven’t yet mentioned is the way that Weaknesses can turn into Strengths; so perhaps your character is paranoid and vengeful, which starts out as a Weakness that can get them into trouble, but later on you might spend a character upgrade to switch that to a Strength. Maybe you rename it to “it’s not paranoia if they really are out to get you”, or something like that, and now you can spend it to be ready when things go south – rather like the Spider’s contingency plans. So we see how a character can come to understand and master their own flaws.

I think the key thing about Strengths is that, as long as you have a Token, they’re pretty much a guaranteed get-out-of-jail-free card. So that encourages and enables players to dig themselves into deep trouble, knowing that ultimately their character can get out of it. So we can tell stories about characters whose backs are against the wall, without the fear of a couple of botched dice rolls ending the story there. Similarly, your fellow players are free to push as hard as they like because they know you’ve got that option. It really puts the direction of the story in your hands.

What are the most important stories you’ve told with Flotsam so far, and what more are you hoping to see from players? How has seeing the game played influenced the design?

I’ll tell you about a couple of my favourite stories so far.

In one of them, Oscar (a gang leader) and Deacon (a political activist) forged a tense and interesting relationship. Deacon was a demagogue, telling anyone who would listen that they needed to overthrow the oppressive government of the Above. Meanwhile, Oscar was worried that Deacon could light a powder keg under their community and bring the wrath of the Above down on their heads. This was complicated by a romantic relationship between Oscar’s daughter and one of Deacon’s followers. The story saw Oscar choosing between all these competing concerns to decide whether to throw his weight behind the resistance movement, even though it meant putting his people and his family in danger.

Another story included Barter, a trader struggling to avoid the attention of some very scary creditors, and Scarlet, a runaway who worked any job from appliance repair to stealing artifacts. Life kind of had both of them on the ropes, but they – and the other characters in that game – had each others’ backs, coming through for each other when their lives seemed right on the verge of falling apart. When Scarlet’s makeshift home got burned down by a gang, Barter gave her food and shelter. When Barter was running out of excuses not to pay his debts, Scarlet helped him make the trade that kept him afloat. So that was a great heartwarming story about people pulling together in the face of adversity.

I’ll come to what more I’d like to see from players in a moment, but in terms of how playtesting has influenced design, it’s kind of a truism but it’s really reinforced the need to simplify. The original draft game had a lot more moving parts and custom moves. But when people are juggling a main character and a situation, flipping between a GM-style role and playing their character, and keeping track of all these relationships, simplicity is absolutely key, to ensure nobody is overwhelmed. So I’ve stripped it back to the simplest set of rules I can without losing the things that make the game tick. At the same time, I’ve put a lot of work into refining how the system is taught, which again comes down to the fact that everyone has to know the rules. With Lovecraftesque we created a printable teaching guide to help people grok the system without everyone needing to read the rules, and that’s the same approach I’ve taken here.

Finally, what has amazed and delighted me about playing this game is how it seems to unlock people’s creativity. It gives you just enough structure and starting prompts to make it really easy to create intriguing, flawed relationships and beautiful, evocative settings, each reflecting the whole group’s ideas and input. So I guess I’m looking forward to seeing even more of that, seeing what different groups come up with. One thing I’m excited for is the stretch goals I’ve got lined up – these will provide some pre-written setting material and charged relationships, and each puts a very different spin on the game, so I’m eager to see how people use that at the table.

Two femme-appearing individuals at a bar, one tending bar and the other on a stool, wearing a military-style uniform and drinking.
I love the styling of the uniforms!

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Awesome! Thank you so much to Joshua for the interview! I hope you all enjoyed the interview and that you’ll check out Flotsam: Adrift Amongst the Stars on Kickstarter! Make sure to share the post so your friends can learn about it too!

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Behind the Masc Kickstarter

The Behind the Masc Zine Kickstarter is LIVE! This project is run by non-cis masculine creators and we’re making Apocalypse World and Monsterhearts playbooks, rich backgrounds for D&D characters, and some lovely art, too! Please check it out – we’ve got some awesome creators working on re-imaginings of masculinity!
https://www.kickstarter.com/projects/briecs/behind-the-masc-zine

Behind the Masc is a really important project for me and I hope you will all check out the Kickstarter and consider backing the project!

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Five or So Questions on Spell: The RPG

I have an interview today with Taylor Smith on Spell: The RPG which is going up for purchase after a successful Kickstarter! Check out what Taylor has to say about this clever magic RPG!

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The cover of Spell: The RPG with characters casting spells of varying kinds, mostly in purple, pink, and white colors.
I love the colorful cover by Nathalie Fourdraine!
Tell me a little about Spell: The RPG. What excites you about it?

Spell: The RPG is a little bit of everything I love about making games. At it’s most simple, it’s a tabletop roleplaying game that uses a handful of six-sided dice and letter tiles; players can resolve actions with simple rolls or they can create magic by spelling out what they want to cast with the letters. So, it has a neat gameplay gimmick—and I’ve loved gimmicks since Mouse Trap and the Jumanji board game’s red filter reader—and it’s easy to teach and learn…and its name is a pun. It was really important for me to encourage creativity in play for Spell and I think that’s what I’m most proud of.

What’s really been exciting about Spell: The RPG for me is its potential, both for players and myself. I’m so happy to say that Spell has been quite a few people’s first ever tabletop game and has changed a few minds about the hobby. I’m also regularly very pleasantly surprised by things I’ve seen players do with the system, either in their interpretation of the rules or when they hack and mod it for their own play groups. And then there’s the potential of what it represents for me, as a product: I’m publishing Spellbook Vol. 1 alongside Spell: The RPG, which contains five campaigns written by me and illustrated by five fantastic artists; Spellbook Vol. 2 will have another set of campaigns, but written by other creators. I’m so excited to see creators I personally admire telling stories with Spell that I never could’ve told.

What was the inspiration for the clever main mechanic, and how does it work when someone decides to cast a spell?
About five years ago, I was co-running a larp and only tinkering with game mechanics at the time. After a rousing game of Scrabble, I got it stuck in my head to make an RPG using Scrabble tiles. The idea percolated, incomplete, until I was working on a piece of someone else’s game—a system meant to represent basic human motivations. That mechanic, which would evolve into the Impulses, wasn’t used for that other game, so I recycled it as a core game engine; I remembered the letter tiles and then plugged these two orphaned mechanics together.

The way these pieces work are complementary: basic tasks are accomplished with the twelve Impulses, which are motivation-oriented stats; players roll a number of six-sided dice equal to the Impulse they’d like to act on to accomplish a goal (to get through a locked door, maybe use Daring to burst in spells blazing, Force to break the door down, Reason to think through how the door might be dismantled, Style to make the best entrance, or Calm to just knock) and the results are compared against a difficulty.

To cast a spell, the player states their goal, rolls an Impulse, sums the results, and then draws that many random letter tiles. As the player tries to spell a word with the tiles, the character is sifting through glyphs of the universal language to rearrange reality. If a word is spelled (and adequately justified) the spell is successfully cast. If the spell is in conflict with someone else, like a baddie, they get a chance to defend, so there’s a fairness of rolled stats vs rolled stats with modifiers for how fitting the spell is for the situation. Players can spend Potential points in the moment to save spells they like and then reuse them later without having to spell them over again. There’s no “mana” or “slots,” so characters always have access to new, strange magic, as well as their own repertoire of custom spells they build over time.

A stack of wooden letter tiles.
A collection of the tiles used for “casting” in Spell!
What are the campaigns like – adventures, mysteries, etc.? How did you create unique and interesting campaigns?

Spell: The RPG is functionally “setting neutral,” meaning it can be played in any world in any era, so I’ve also included Spellbook Vol. 1, which is a collection of five campaign supplements. I tried to represent a variety of options for how play could look and invited players to hack and modify the game as they’d like for their own games. For example, Magic Moon Warrior is a monster-fighting magic girl adventure to the moon and includes some modified rules for transformation spells; Wakeful in Reverie has rules for only being able to use spells while lucid dreaming, as the story straddles the line of waking and sleep; Godqueen, which can be played as a GM-all/any campaign, has the players in the role of a pantheon guiding a civilization throughout history. Spell can support a serious ongoing campaign with longterm character growth and story progression or provide the minimum necessary structure for an absolutely wacky one-shot.

I believe in players’ ability to invent and create, so instead of providing a definitive lore, I wanted to make tools players could build their own world and stories with. Spell is written with goals of creativity and potential in mind, so even during the most daunting campaigns, there is agency in the ability for players to create their own magic. There’s also always an element of physical play involved—the actual rearranging of letters—which I think helps players feel collaborative and imaginative. The name of the game is literally a pun, so humor is absolutely welcome. Maybe a player wants a powerful spell to extinguish a raging inferno and while looking at their letters, they realize they can spell “cats.” The group can share a laugh, maybe a welcome reprieve from the intense situation, as they imagine a horde of kitty firefighters; they could even discuss this option in character! Maybe they go with that one or they spell something else, diving back into the action, but that moment of silliness and play still happens.

A cover of the Spellbook sectioned into parts representing the campaigns, one with a bird-cat-like creature, others with people and patterns.
The characters on this cover already gained my interest!
Tell me about Impulses. What do they mean to the characters, and how are they set up – default values, gained over time, etc.?

Impulses are goal-oriented stats that both provide the math for rolls to be made, as well as help shape the character’s personality and methodology. The twelve Impulses are: Calm, Daring, Feeling, Focus, Force, Grit, Hope, Reason, Renown, Scheme, Style, and Trust. The player assigns twelve points between them at character creation; some will likely start at zero, but that doesn’t mean the character doesn’t experience that Impulse, they just can’t rely on it to inspire action. For example, a character with zero Calm is still capable of being calm, they just can’t pull on that part of themselves enough to effectively diffuse a chaotic situation, but maybe they use Grit to weather it. Characters gain Potential points, which are like experience, but you get them at the start of a session and you can spend them in the moment; these points are used to both keep spells and to increase Impulses.

Impulses are important to me, especially in trying to make them intuitive. While a player is assigning points to their character sheet, they have to think both about what the character can do, but also what the character is like, how they view the world, and how they meet their challenges. By using more common words, the idea is that a player could say something like, “My character just really hopes this is going to work out,” so that means they’re using Hope. Impulses also represent fields of knowledge from their past experiences related to that Impulse. For another example, if a character is Daring and skydiving is their main outlet for it, they’ll have the skills and experience associated with skydiving; if their thrill is on the stage, they’d have skills and experience related to their performances. The goal is, after filling in Impulses, the player has a holistic character with a lot of potential for inferred experiences and abilities.

A diverse cast of characters posing dramatically while preparing to cast spells.
These characters in this illustration by Christina Gardner look so fun!
How do you think the narrative control players have in the game will support a healthy play environment? What sort of supportive tools for the narrative are you including or recommending to go along with Spell: The RPG, since it’s such a freely flowing game?

I describe Spell: The RPG, in the book, as “light-hearted” and encourage players to use a setting that’s supportive and thinks magic is neat, though there are notes about more grimdark interpretations—with disclaimers about consent for those themes ahead of time. With that setting as a backdrop, it’s been my experience that the collaborative, creative, and just a bit silly process of rearranging letters, especially physical tiles, really helps the game feel like “play.” The party works together, but so too do the players in a very tactile way; it creates an environment of everyone wanting everyone else to succeed, not just be the best or coolest individual.

In addition to regular comments throughout the rules and settings, like “this can be heavy, so make sure to talk about it first,” the Game Moderator section (I’m using “moderator” instead of “master” because I believe a GM is a facilitator and a player, not a tyrant in a gross power dynamic) includes steps for conflict resolution, a summary of the lines and veils system, and a summary of your own Script Change system. These tools are super important to me and I’ve been using them in my own games. While Spell: The RPG is outwardly positive, it’s perfectly capable of including many, very different themes and content. Even simply the opportunity to spell swear words or slurs from random letters can disrupt the game for players, so guidance on these elements is also included. The rules also make specific mention that characters, as adventurers, are not at all limited in their gender, ethnicity, or background. Additionally, there’s a note on disabilities:

There are no mechanical “flaws” designed for Spell: The RPG. Impulses represent a character’s motivation, so no disability will make them less capable of adventure. The respectful inclusion of physical and mental disabilities as roleplaying cues or context for actions is certainly encouraged, but there are no one-size-fits-all modifiers to apply.

This intention is also reflected in the cover art (by Nathalie Fourdraine), which prominently features a variety of body types, gender and cultural representation, and the inclusion of a character with a hearing aid and a character with an athletic prosthetic leg. For the all the interior art of Spellbook Vol. 1, finding Own Voices illustrators was key and an open discussion of diversity in the characters was vital. My hope is to have Spell create a comfortable and inclusive foundation that players can play within—whatever those games may be—and feel like that foundation supports them, their identity, and their goals for play.

As a final note, I’d like to include that I love hearing from players, their experiences, and their feedback. I try to stay as open and accessible as possible myself. My contact info is included in the books, so both positive and negative comments will be heard.

Three characters - a bird person, a femme person, and a more masc person, all posing to cast spells under the text "The World of Spell."
I love the cute characters here by Leigh Luna!
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Thank you so much, Taylor, for the great interview! I hope you all enjoyed learning about Spell: the RPG and will check out the newly released materials when they come out! In the meantime, check out Taylor’s new work on Drip!

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

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Five or So Questions on Gather: Children of Evertree

Today I’ve got an interview with Stephen Dewey on Gather: Children of the Evertree, a freeform GM-less game currently on Kickstarter. Gather sounds like a really fascinating game and uses one of my favorite mechanics: asking questions. Check it out!

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a box and individual card with the text Gather: Children of the Evertree on it, fully illustrated.
Gather: Children of the Evertree box set.

Tell me a little about Gather: Children of the Evertree. What excites you about it?

Gather: Children of the Evertree is a worldbuilding game built around a freeform/LARP style of play. I call it a “roundtable LARP” because while you’ll be immersed and in-character from start to finish you’re still sitting around a table with friends while you play. In Gather, you take on the role of Speakers – each of you an elected representative chosen by your respective Kinship or community – that have crossed the vastness of the Evertree to attend an annual meeting known as the Gather. In theory, the Gather is a great idea. Every year the Kinships of the Evertree may send a Speaker to go the Gather and discuss the previous year, talk about shifts and changes, discuss the affairs of the world, and so on. However, the Gather is a meeting so saturated with laws and customs that trying to conduct this meeting is often frustrating, limited, and feels almost alien and otherworldly (to the players) in its execution. The rules that govern the Gather don’t only limit what you can talk about, but how you can talk about it.

Practically, the game is played out with a deck of cards. The game is GM-less, zero prep, you just draw the first card and dive right in. The cards explain how to play, provide a little bit of information about the world in which you live, and then present the heart of the game – a number of Question cards. You’ll draw a card, ask the question to the group, and then the answers to these questions form the “discussion” of the Gather. What’s exciting about this is that every question and answer helps to shape the world around this meeting. Not just in abstract ways, but in how the world relates to the Kinships gathered at the meeting. We see the world through their eyes, and that’s what shapes it. A few small pieces of setting at the start, along with the questions, provide the edges of the world, but you fill in the rest of it as you play – what’s going on in this world, how do these Kinships interact, what threats are out there, what has happened, what is going to happen. It’s all hashed out as you play, and presented as it relates to the people who live within the world. In that way, the world is built less by images on a map, and more by the relationships and connections that fill it, which means that the parts of the world that you’re going to really dig into and flesh out are the ones that you’re interested in, and that you want to see more of.

How did you write the question cards and keep them from being boring or repetitive?

Every time you play, you’re playing with twenty question cards. Twenty-one if you count “By what name is your Kinship called?” which is always the introductory example question given near the start of each session to get players accustomed to how questions are asked and answered. Of the twenty remaining questions, five are set. Essentially, how large is your Kinship, what do you have a lot of, what do you have a shortage of, how many have joined your Kinship this past year, and how many have left or died. Thematically, these five questions were the ones asked at the very first Gather ever to be held, and so they have been asked at every Gather since. Conveniently, these also help players setup the boundaries and pillars of the world and Kinships so we can see the stakes we’re working with.

Beyond these, there are fifteen additional question cards. There are pulled, at random, from a deck of fifty when you’re setting up for your session. Thematically, these are questions that have been asked at other Gathers that have come and gone in previous years, since each time the Gather meets a new question is added to the collection (more on that in a bit). This provides you with a lot of variation when you play. Every time you sit down for a session you could choose to revisit a Kinship you’ve played before, or make one entirely new, and this may change how you play and the interactions you have with others. However, changing what the questions are from session to session and, just as importantly, changing the order in which they’re asked will drastically alter how players approach the game, and the themes that are present at your table.

After these twenty question cards have been gone through, every player has a chance to ask one question of their own design to the group. Once these have all been asked and answered, a vote is held, and a single player-generated question is added permanently to the game for a chance to be asked at all future Gathers.

Tell me more about the Kinships. How are they made up? What meaning do they have?

Your Kinship is the community, family, guild, nation, or assembly that you have come to the Gather on behalf of. It’s your job to represent your Kinship as their Speaker. Every player takes the role of a Speaker, each of them from a different far-flung Kinship scattered across the Evertree. To take up the role of Speaker is a heavy responsibility because within the Gather you don’t even speak as an individual. Every word you speak carries the weight of your entire Kinship behind it, so it is tradition to hear Speakers use words like “we”, “us”, and “our” rather than “I” and “me”.

Kinships start as nothing more than a name. While you’re learning how to play the game players are given an introductory example question which is: “By what name is your Kinship called?” Everyone then has the opportunity to name their Kinship. You know a little bit about the world at that point, about the Evertree in which you reside, but beyond that the name of your Kinship is entirely up to you. You’ll announce it, and then write it down on a notecard for all to see. Maybe you’re The Branch Tenders. Maybe you’re The Forgotten. Maybe you’re the Astral Cardinals. Maybe you’re Those Whom The Rot Found. Whatever you’d like. After the Kinships are named however, and you start into the first few questions of the Gather, magic happens and these communities that didn’t even have a name fifteen minutes ago suddenly come to life. All of the Gathers questions relate back to these Kinships, how they’re doing, what they need, and what they have to offer, so every time someone answers a question you learn a little bit more about what that Kinship is, who they are, and how their little corner of the world works.

Video by Galactic Network talking with Stephen about Gather.


How does player interfacing with the layers of tradition and rules at the Gather influence storytelling?

To really explain this, let’s delve a bit into the mechanics behind the Gather, because how the “laws” of the Gather force you to engage in this meeting directly influence how storytelling takes shape. Once players have gotten past the setting cards and the “how to play” cards they’re left with the core of the game – the question cards. When a Speaker flips a question card they read it aloud. As an example, the question might be “Has war been brought upon you by another this past year, whether by words, stones, powder, or hex?” All of the Speakers then consider their answer to this question, and at the moment the Speaker who read the question discards the card all of the Speakers answer the question on behalf of their Kinship in unison. This unified answering is a critical component of the laws that govern the Gather as a sign of respect to all Kinships. No one Kinship’s voice is more important than another. Every Speaker begins the game with three tokens, and after this cacophonous answer is given to a question, Speakers may offer their tokens to their fellow Speakers, offering them to anyone they’d like to hear more from. This could be if you heard someone give an intriguing answer through the din, or for any number of other reasons. Once all of these tokens have been handed out, if you’ve been granted such a token (and have accepted it) you have the opportunity to state your answer once more. This time, you’ll say it by yourself, and may elaborate on it if you’d like.

For example, if you heard me say something about hexes amid the united answer, you might offer me a token to hear more because hey, hexes are cool. If accepted I would repeat my answer and elaborate on it. For instance, I might say “Yes, a war of hexes. We believe the Rotchildren have laid a hex upon our crops. They do not grow, they only crumble and spoil in the fields.” Maybe I’ve just called out another one of the Kinships at the table, or maybe I’ve invented a new one. Now that I’ve given my answer, any Speaker may offer me another token to speak further, but these must be paired with a question. If I accept the token I must answer the question. So, you might ask me: “Believe? Do you have any proof that it was the Rotchildren?” If I accept your token, I’ll respond. “Technically, no. But we know the ways of the Rotchildren. This is how they work. Everywhere they travel in the Evertree they bring destruction with them. They have always looked on our lands with envy.” Again, any Speaker might offer me a token with a new question, and this will continue until either all questions have been asked and answered or until I refuse to answer a question. Perhaps the Speaker for the Rotchildren offers me a token and asks “And who exactly did that land of yours belong to before you stole it away?” If I hold up my hand and refuse to answer (sometimes a far more dramatic choice than answering) my time to speak is done and we move on to the next Speaker who was given one of the initial tokens.

While everything outside of the question cards and the initial setting information is entirely improvised and created by the players during play, this playstyle of questions and answers creates built-in prompts for storytelling to build off of. You’re never presented with a blank canvas and told to “go!” instead you’re guided more easily into collaborative storytelling by building off of each other’s prompts, questions, and answers.

What themes and setting elements do you think Gather does best, and what unusual possibilities are there to explore in the worldbuilding?

The structure of Gather’s gameplay is very similar to the Evertree itself. A good way to think about the game is to think about the question cards and the answers given in unison as the trunk of the tree. These are the solid foundation of the world. A question tells us things about the world, and the answers tell us things about the Kinships. From there, players have the ability to go down these tangents of questions and answers, literally off-shooting from the trunk like branches. These branching paths of answers, questions, more answers, and more questions allow you to follow these paths of story and worldbuilding as far as you’d like, letting players focus in on what is cool to them and really digging into the threads that excite everyone, before coming back to the trunk and shooting off onto the next branch. Finally, when all the branches you want to explore have been explored, we move up the tree to the next piece of the trunk.

I know that freeform, live action, or improv-heavy games can be intimidating to more traditional tabletop groups, but as with many of my games I have endeavored to make Gather a more guided experience. It’s like an improv with a safety net. Even if you’re not quick on your feet with creating answers that doesn’t matter as much because you can just speak quietly and let you half-answer get lost in the din. Not interested in exploring your thread further? You can always reject tokens. There are a lot of options here even for people who may not be as comfortable spinning worlds off the top of their heads.

What’s especially fun to explore in the worldbuilding is that there are very few boundaries. This world can truly be what you’d like it to be. And even if you play the same Kinship session after session, that doesn’t mean that anything about the world or the Kinships within it will stay the same. Are there societies and cities in the Evertree’s branches? Are you human? Are you a nest of birds? Nearly anything is possible, so the possibilities from session to session are endless. I anticipate that this is a game that will fuel fantastic, terrifying, and beautiful concepts for Kinships that will keep you wanting to come back to the table with it to try out your next great idea.

The words "Gather: Children of the Evertree" in white over an image of yellow-green leaves on dark brown trees, looking up through them into the blue sky.
Lovely image of the Gather: Children of the Evertree title.

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Thank you so much for the interview, Stephen! I hope you all enjoyed hearing about Gather: Children of the Evertree and that you’ll check it out on Kickstarter today!


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Five or So Questions with New Agenda Publishing

Hi all! Today I’ve got some answers from Misha Bushyager, Eloy Lasanta, and Jerry D. Grayson of New Agenda Publishing on what they’re working on, what they want to do, and what New Agenda Publishing means to them. They released a quick start this week for Orun and I wanted to highlight them while I could!

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Tell me a little about New Agenda Publishing. What excites you about it?

A black woman in a black shirt.
Misha Bushyager

Misha: For me it was a chance to be the change I wanted to see. Too often when women or PoC or queer people ask for diversity, we get told to make our own thing if we want to see it, so this is us doing that, specifically calling out that it’s what we’re doing.

A dark skinned man in a green shirt.
Eloy Lasanta

Eloy: My answer is pretty much the same. I love to create games and stories, but we are using New Agenda as more than just another game company. We have a platform through which to help new voices, many of which are from marginalized communities really tell their own stories, ones very different from what’s already out there. I wanna be a part of that.

A black man in reflective sunglasses, a hoodie, and a tee shirt.
Jerry Grayson.

Jerry: Being marginalized is the same as being invisible. Being invisible makes you easily discarded or trivialized. I’ve always been told I can have a seat at the hobby table, but it’s difficult when there is no chair. My agenda is to help provide enough chairs at the table for everyone. I’ve found my place, I’ve hit my stride, and I’ve achieved a slight amount of success. I want to play all that forward and help anyone, doesn’t matter color, creed, or orientation find a spot in the hobby. I want everyone to feel welcome and comfortable in their skin.

What excites me about New Agenda Publishing? The chance to amplify and execute ideas I believe in. To show that so-called minorities have just as much to offer to the hobby and industry as anyone else. To prove that varied backgrounds bring diverse ideas to the table and create something more significant than the individual creators. I’m excited to share a byline or credit with people of different colors and genders that want to make games.

What are the core goals of New Agenda? What is your mission?

Our core goals are to help designers from underrepresented populations successfully create games. This to us means more than just writing them. We want them to be able to find artists, and other writers and editors and distributors. We want to mentor people on both the creative side of games, but also the business side. We want to show them how to market, how to run a Kickstarter, how to work with a printer, all the nuts and bolts that get their games into the hands of players. Right now, we’re putting together all the foundations and structure for us to be able to do this.

How are you finding appropriate projects to publish and what are your criteria?

We decided early on that the first thing we did should be a flagship project that showed we could work together and that highlighted each of our strengths. We’re three very different people, all creative but with different backgrounds and skill sets. After we each separately came up with a list of ideas we narrowed it down to the couple of things we had in common and what is now call Orun is what emerged.

Going forward, we plan to put out a call for designers interested in either publishing mentorship or contributing to one of our existing properties. We’re refining the criteria but at the moment it’s: a new designer (one that hasn’t published a game before, contest entries don’t count) with a concrete idea of what they want to produce, and the follow through to help make it a reality That belongs to one or more of the following categories Person of Color Female or Non-binary Trans* Queer

A book showing planets and space with the text ORUN CORE BOOK.
The Orun core book cover.

What oversight will you have of products your publish to make sure they meet your standards? How will you handle conflicts?

The great part about this new venture is that we all have experience in what we’re doing. We all have quite a few projects under our belts, but now we’re putting our collective abilities together to make something greater than the whole. If you’ve checked out any of our projects in the past, you’ll see that we already have incredibly high standards for our products so sticking to that is key.

As for conflicts, I think the thing to understand is that we certainly didn’t jump into New Agenda Publishing lightly. It is a company founded on mutual respect for each other opinions and skills, and we’ve already shown that we can handle conflicts internally with communication. We all come from different gaming backgrounds so we already knew we wouldn’t agree on every matter, but we have learned to find middle ground that pleases everyone on a few occasions. Other times, we’ll defer to the person most experienced or most excited about a particular concept. Conflicts are key to learning how you’ll work together, and thus far, I’m excited!

If you wouldn’t mind, what are each of your personal goals for New Agenda Publishing, both near and far reaching?

Misha: Near term I want to have a successful launch of Orun to prove we can take a project from soup to nuts and still want to work together. We’re three big personalities but so far we’ve meshed well and I can’t wait to see what else come out of our collaboration. Longer term, I want us to become a place where people aren’t afraid to pitch us their ideas, trusting us to help them nurture their ideas to completion, and hopefully success.

Eloy: I’m never one to build go small. I speak my mind, I push myself creatively, and I try to bring others along and make sure others are doing the same. With New Agenda, I see the next step in my own personal goals of advocating and encourage the industry to continue to grow and evolve. Specifically, I see New Agenda Publishing becoming one of the few big RPG companies within the next few years. We’re starting small but our plan is to surge with activity as soon as everything is off the ground. Oh man, I really can’t wait!

Jerry: Near – I want to make games that bring everyone to the table. My Questing Beast is making something so excellent and inclusive that everyone wants to participate. To do this, I need the best and the brightest creative talents out there, and I believe many are not yet discovered. I can’t do this alone, I don’t want to do this alone, and I refuse to do this alone. The well is a lot deeper than any of us can imagine and the world is full of people that want to create and play the game. I want to touch them all.

Far-Reaching – I want to build a community that’s inclusive, sprawling and informed. For the longest time, many in the community have felt left out, underserved, and disenfranchised. The hobby community is like a huge quilt made up of many colors, textures, and points of origin. I want the community I play in to reflect that. I’m not one monolithic culture, and the hobby community isn’t either. Let’s celebrate what makes us different in a positive way. Ultimately, I want us all under that quilt snuggling and keeping warm together.

A blue and orange gradient backround with a rotating symbol of a circle and the letters NAP, next to the words New Agenda Publishing in white text.
The New Agenda Publishing logo.

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Thank you so much Misha, Eloy, and Jerry for the interview! I hope you’ll all look out for the Orun quick start and everything else that New Agenda Publishing has to offer!

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Turn Grows, So Do I

a gif of Chris Evans breaking a log in half
Chris Evans is a representation for me, the log is my fear of running games.

I recently updated the biggest games document I’ve ever worked on myself, the Turn playtest document. It’s like almost 80 pages now. Like, that’s a lot. The updates included:

  • minor changes to Human role abilities for clarity
  • minor changes to Beast archetype powers for clarity
  • adjustment to refresh for exposure
  • integrated essay content
  • more Storyteller content
    • how to on session 0
    • session checklist
    • explanation of rules
    • character creation
  • an entire player’s guide to all of the roles and archetypes
  • elaboration on some mechanics
  • rewritten elaboration on mechanics 
  • complete step-by-step on how to start a game of Turn

I don’t know if that sounds like a lot, but it was a lot of work!

I’m hoping to talk about a variety of these things over time, but the biggest one I wanted to talk about is the Storyteller’s Guide and how that came to be.

Storyteller Purposes Make everything personal (to the characters) Always put the characters at risk of exposure Keep the characters connected Love the characters and all of their flaws Give everyone a secret Use status as leverage Give every wrong a reason Don’t let deviance go unnoticed Keep in mind that everything takes time Offer every player and character moments of comfort and of success
The Storyteller Purposes were actually written by dictation to John while we were driving across the state last year.

I am not a particularly gifted facilitator, especially not in an actual “game master” type of role. I avoid it like the plague because it stresses me out, I don’t feel like I do a good job, and I don’t have experience in it. However, for Turn, I have very clear ideas on how the game should work. It’s the only game I’ve run 4 sessions of, ever. But I didn’t write any of these ideas down.

So, when John and I went to the lake cabin (my parents’), he asked me a ton of questions. I answered as best I could, and realized I kind of had to write all of it down. Since then I’ve been adding text to the Turn document like wild! I have a lot of ideas for how to solve the little issues people have come up with before I made the changes, but I have no idea if they’ll work for people other than me.

To some kind of credit, I did try out the first draft of the “how to set up Turn” the other night and it went awesomely. I even did the new Session 0! And it worked great. I’ve added some detail since then, so I hope it’ll work. Here’s some things I wrote about, which are in addition to the materials I’d already written:

Character Creation
This has guidance on helping the players answer questions about their characters, how to handle animal groups, a note on NPCs, and special rules for some of the roles. It’s stuff that I know will come up, but didn’t write down. Some of this is just hard to figure out how to word, or I hadn’t had time to put on paper. Some things I just didn’t know needed written guidance, but it did – like the special rules for the Late Bloomer or the NPCs. But, now it’s written down!

Two sheets of paper, one titled "The Beastborn" and the other "A Wolf," with various details of the characters on it
The Beastborn and Wolf character sheets for John’s character in my new game, created by John W. Sheldon.

Session 0
This is how to actually get the game going. It directs the Storyteller to the Beginning Your Game section and then walks them through a structured first couple scenes. I’m really pleased with it and when I tested it out it went amazingly well, for someone like me to run, so I’m glad it’s on paper. I had to really separate out what was important in a first session, and I think that this meets it – connecting the characters, placing them within the town, and establishing the personality of the characters.

Running an Average Session
This covers the typical things a Storyteller will encounter in a session of Turn. Some people had expressed they weren’t sure how to engage stress or how to run beast scenes, so I wrote up some details on that to get people really on the same page. This involved writing up how you should pepper each session with mundanity – everyday tasks that will stress out shifters – and beast issues like territory and habitat struggles.

I also included a Storyteller Session Checklist that makes sure that there are NPC to PC connections, PC to PC connections, gossip, mundane vignettes, and beast scenes alongside the human scenes everyone leans to. I’m pleased with it!

Tracking Goals
This section was to make more concrete guidance on how to handle players trying to achieve goals. It includes guidance on using progress bars based on difficulty, and how that comes across for each goal. I needed to give a more solid way to mark and record this so that there wouldn’t be unfair imbalance in how quickly some goals were achieved. Plus, this way the Storyteller can have visual representation of the progress.

The top of two pieces of paper titled "The Beastborn" and "A Wolf," with text describing the character following.
A closeup of the character sheets – wolves have packs in the game, did you know? by John W. Sheldon.

Reintegrating into Animal Groups After Exposure
After I’d made a small change to the refresh rate for exposure, I realized I’d never noted that animal group stress doesn’t refresh. I fixed that, and then wrote up some rules on how Storytellers will use a progress bar to help shifters reintegrate with their own group or find a new group, based on difficulty. I think that this, the explanation of exposure, and my new guidance on beast scenes will help Storytellers more actively engage that material.

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Overall this has been a heck of a lot of work. This is only the ONE section, out of all of the ones in my bulleted list up top. The thing is, I’m not really changing rules for 90% of this – I’m just explaining stuff. More of this whole project is explaining things than I ever thought it’d be, and I’ll tell you, I’m hoping that this makes a difference when people get into the text!

One of the hardest things I’ve had to do is make guidance for Storytellers. It’s not something I do a lot, and honestly, a lot of people in that role are people I don’t actually enjoy working with (just a personality thing, maybe?). I don’t necessarily want Storytellers in Turn to work the same way a D&D GM would, or even a Fate GM. I want them to care a lot more. It’s a heavy workload to run the game, by many people’s counts, especially for a “story game” sort of game – but I wouldn’t have it any other way.

I started a game on Friday as Storyteller, and we have a fantastic group of a Late Bloomer otter, a Showoff raven, and a Beastborn wolf in a town full of intrigue because the shifters know who each other are and there’s formal shifter culture, and it’s incredibly exciting to think of the places it could go. I know I’m gonna have a lot of little progress bars and it’s gonna be exciting to mark each one off. I can’t wait!

A map with circles and lines showing a town, three cards showing a fast forward, a pause, and a rewind, and the Human Form struggles sheet.
Our town, Script Change, and the Human Form struggles – just the stuff I was reviewing while I was taking a break.

And that’s the thing, right? I’m excited about running a game. Me! I have literally pretended to be sick to avoid doing it, and here I am, enthusiastically planning NPCs and secrets, anxiously bugging my friends about playing the next session. I actually did an okay job, and it’s me saying that!

There’s so many things I love about game design, and as hard as it can be to do it on spare dollars, I can’t ever stop being amazed by how much it teaches me. It is a constant learning experience, and I’m very glad that my time spent digging into Turn’s mechanics and text has encouraged me to do something I find terrifying – and made it exhilarating instead!

It’s awesome, and so is Turn. Check it out if you want to see the hard work I’ve been putting in! Thanks for reading <3

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approachable theory: Types of Fun

The approachable theory logo, with the text "approachable theory" and an image of two six-sided dice with one pip showing, with a curved line below it to make a smile. The dice are black with cyan for the pip and yellow with black for the pip.
The approachable theory logo.

Hi all! Today I have a post by Selene Tan on Types of Fun! Selene is a game designer who is always up for a design competition, and writes about games and GMing. This post is about types of fun – the ways we enjoy games – using a variety of existing theory and talking about how we can understand those things in our own experiences. Selene said she loves “interacting with dynamic systems that produce unexpected and inspiring outcomes, and it’s even better with friends!” So let’s see what she has to say!

I ask that you remember the requests I put forth about treating my writers with respect and understand that a lot of game design theory is still growing, so definitions can be a little fluid. 

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A table with assorted playing components, dice and playing cards, and play sheets and mats.
A collection of materials for a game of Roar of Alliance (Game and photo by John Sheldon.) during play. 

Whether you call it “fun,” “enjoyment,” or “involvement”: when you’re playing the right game, there’s something that makes you want to play it, and keep playing. But not all games are fun in the same way.

The fun of tactical miniatures combat in D&D 4th edition is different than the fun of a collaborative story/map-making game like The Quiet Year. There are many types of fun, and while people have preferences, none is intrinsically better than any other.
We can sort these different types of fun into categories. Sorting and labeling experiences is a good way to analyze them, and analyzing game experiences is a key skill for game design. There are schemes that classify games or players, and schemes that classify fun directly. I find schemes that classify players reductive. As a player, I enjoy many kinds of games, depending on my mood and situation. Classifying games is more useful, but again, most games combine different types of fun. I prefer to classify fun because as a designer, those are my building blocks. The types of fun I want to focus on are a key part of my design vision.
It’s worth comparing several schemes to learn what works for you. The main factors that I consider when deciding on a scheme to use are:
  1. how applicable it is to the kinds of games I want to classify. If there are a lot of experiences not covered by the scheme, some of the types are unused, or most experiences go under one type, the scheme is a bad fit.
  2. how easy it is to remember. If there are too many categories, or the names are confusing, it’s hard to remember the scheme.
  3. how easy it is to apply. The categories should clearly describe what experiences belong to them, and most experiences should clearly belong to one or two categories, without confusion.
I’m including links to several others, but here are three schemes with different approaches that I find
useful for analyzing RPGs.

Schemes of Fun

8 Kinds of Fun

My personal favorite scheme, and the one that started me on categorizing fun, is 8 Kinds of Fun, originally described by Marc LeBlanc as part of the Mechanics/Dynamics/Aesthetics framework (overview).
Chris Sniezak at Gnome Stew has written in more detail about the 8 Kinds of Fun for RPGs. Here’s a quick summary of the types:
  • Sensation: Game as sense-pleasure. e.g. playing with miniatures and detailed terrain, background music, or props; drawing; manipulating dice.
  • Fantasy: Game as make-believe. e.g. exploring a world from the point of view of a character. This is the most “RPG-y” kind of fun.
  • Narrative: Game as unfolding story. e.g. playing through a story with cool set-piece encounters, crafting a story together with other players.
  • Challenge: Game as obstacle course. e.g. dungeon crawls or combat-focused games, any encounter where the point is for players to overcome it with skill.
  • Fellowship: Game as social framework. Playing as an excuse to hang out with friends. e.g. Kaleidoscope, where you “remember” (invent) a movie with friends and discuss it.
  • Discovery: Game as uncharted territory. e.g. sandbox games, hex crawls, and dungeon crawls.
  • Expression: Game as soap box or self-discovery. e.g. drawing your character or other game elements, creating detailed characters.
  • Submission: Game as mindless pastime. In RPGs, this is usually combined with Fellowship. e.g. Kick-in-the-door play where the goal is to defeat baddies without thinking too hard.
Pros

Classifies types of fun, not games or players
Flexible enough to apply to RPGs, board games, and video games
The eight categories cover a wide range while being easy to remember
Cons

The categories have a video game bias
Some of the word choices seem awkward (submission, soap box)
A table with assorted playing components, dice and playing cards, and play sheets and mats.
I used Roar of Alliance because it has a variety of materials and two parts of play, with strategic combat and “downtime” roleplaying making up the game – both could be very different kinds of fun. (Photo by John Sheldon.)

Quantic Foundry Gamer Motivations

Another scheme is Quantic Foundry’s Gamer Motivations. It classifies reasons that people play games, where each reason is a type of fun. There are two schemes, one for video games and one for board games. The video games scheme has 12 motivations in 6 groups, while the board games scheme has 11 motivations in 4 groups.

These are the video game groupings:
  • Action, containing excitement and destruction, e.g. fast-paced combat like Savage Worlds, or causing mayhem in towns.
  • Social, containing competition and community, e.g. combat in Agon, where whoever deals the killing blow gets more Glory; most D&D play where the party works together; or D&D Adventurer’s League play, where you’re part of a larger community.
  • Mastery, containing challenge and strategy, e.g. dungeons, combat, and character build optimization.
  • Achievement, containing completion and power, e.g leveling up, stomping enemies, and completing quests.
  • Creativity, containing discovery and design, e.g. hexcrawls and sandboxes, creating characters, or coming up with unusual uses for items and spells.
  • Immersion, containing fantasy and story, e.g. speaking and playing in character, following elaborate pre-planned plots, or playing dynamic characters that create emergent plots.
Pros

Data-driven. Quantic Foundry used a combination of survey questions about preferences and favorite games to create clusters of users, then labeled those clusters to get the 11-12 motivations.
Comprehensive. It’s hard to think of anything not covered.
Cons

Since the schemes are for video and board games, some categories are barely used while others are heavily used for RPGs.
It’s hard to remember all 11-12 motivations.
The category “Immersion” has a different meaning than its usual meaning in RPGs

Threefold Model and GNS

The third scheme is the Threefold Model (Drama, Simulation, and Game), including its descendant, Gamism/Narrativism/Simulationism (GNS). The Threefold Model and related models classify play styles or modes by what aspect of RPGs is their highest priority.
Gamism is a play style where the highest priorities are challenge and competition. One example is the Dungeon Crawl Classics “character funnel,” where each player starts with multiple Level 0 characters and tries to keep at least one of them alive to Level 1.
Narrativism/Drama is a play style where the highest priority is exploring theme through character. Different characters address the theme in different ways, and highlight it through decisions. For example, every playbook (character class) in Apocalypse World has a unique take on surviving in the wilderness, from solving everything with guns to building a community.
Simulationism/Explorative is a play style where the highest priority is to experience a world or characters that have deep, consistent internal logic. Investigating crimes in Mutant City Blues, where the Quade Diagram describes how mutant powers relate to each other and therefore what kind of mutant criminal you’re looking for, is an example of simulationism/explorative play.
Pros
Created for RPGs
Only three categories to remember
Cons
Lots of arguments and confusion about the definitions of each category
Ignores some common types of fun, e.g. Sensation or Creativity: Design

Other Schemes

Using Schemes

One way to use a classification scheme is to analyze play. I’ve adapted Nathan Paoletta’s Two List Method for this.

Make a list of all the things you like and dislike when playing RPGs.

Then play an RPG session with that list in mind. Afterwards, write down a new list of things you liked and disliked from that session. If you won’t get to play for a while, make a list from your most recent session, but it’s best to do this while it’s fresh in your mind.

Pick a scheme and classify your list items. For each like, write down the type of fun. For each dislike, write down the type of fun it interferes with, and if applicable, the type of fun it promotes. Don’t worry about forcing things to fit: it’s okay to have some lone items. But if there are a lot, you might want to pick a different classification scheme!

For example:

I like to play characters that help people. (Fantasy, Expression)

I dislike games where everyone plays backstabbing schemers who are out to get each other. (Inteferes with: Fellowship, Submission. Promotes: Challenge, Expression.)

You’ll see trends arise from the lists. Some categories will have more items than others, and some reasons will keep showing up.

The categories that keep showing up in your likes are the types of fun you enjoy the most. You have the most experience playing and creating that type of fun, and the strongest intuition for them. You’ll also find complements: groups of types that keep showing up together, or types that show up occasionally on your list of likes but not in your dislikes. The types that show up on your dislikes list interfere with or detract from the types you enjoy.

When you’re designing a game or wrestling with a mechanic, ask yourself what types of fun you’re aiming for. If the mechanic doesn’t seem to be working, is it encouraging a different type of fun than the one you’re aiming for? Is it related to a fun that interferes with your goal? If you have a design that feels like it’s missing something, try adding one of the complementary fun types.

If you want to read more about classifying and analyzing fun, here are some resources:

A table with assorted playing components, dice and playing cards, and play sheets and mats.
Roar of Alliance is a fun game to play, and now after reading Selene’s article, I can’t stop wondering how someone would evaluate the game in regards to the type of fun – what type of fun is your favorite game?

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Thank you so much to Selene for the excellent article and for making the theories of fun a little more approachable! I learned from reading this article, so I hope you did, too! Please share and keep checking back for more approachable theory!

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

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Five or So Questions on BFF!

Hi all, today I have an interview with Terri Cohlene and her son, Ross Cowman, designers of BFF! BFF! is currently on Kickstarter and is a game about girlhood, friendship, and adventure – it looks like such a fantastic time, and I hope you love hearing what Terri and Ross have to say about it! 

FYI: This game is nearing the end of its Kickstarter and could super use some support – please share and consider backing an interesting new project that has a diverse cast of characters to play!

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The Kickstarter video is so good! So much happy!


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

Terri: Finally! After all this time, it’s getting out into the world! BFF! is a role playing game about friendship, girlhood, and adventure. Originally I wanted to create a game about friendship that girls would love. Turns out, lots of people (young, old and of different genders) are having fun getting into that mindset.

The art is fantastic and provides a backdrop for all kinds of great adventures, from school to sleepovers to summer camp to road trips to just hanging out at the mall.

Ross: Yes, all of those things. And it is really cool to be be working with my Mom, and all of the other folks on the team. BFF has so many people’s wonderful ideas in it!

As a design nerd: I’m excited to be using boardgame techniques to make a role playing game. I think this design space has a ton of potential to bring story gaming to a new audience that maybe didn’t feel like they had access before.

A board game box and board, along with stand up character tokens, "charm" tokens, some cards, and character cards.
BFF! really does look like a combination of a board game and a roleplaying game, and I think that’s awesome!

BFF! seems to be almost a board game + story game hybrid. How did this design come about?

T: Maybe that happened because I didn’t know what I was doing. I started the ball rolling and, because my expertise is “story,” that’s where I began. I was thinking about what was important to ‘tween girls, and, Bingo! Friendship, of course. Then I shared my idea with Ross and he fine-tuned the game design, plus we brainstormed A LOT to get the results we have now. The landscapes were kind of obvious, except the fabulous details we ended up with were totally inspired by the artists and everyone else on the team.

R: When my mom brought me her idea my first thought was to hack Fall of Magic somehow to make this work. We eventually added some unique mechanics like charm bracelets and friendship cards to specifically support the friendship theme.

A series of character tokens representing girls of all backgrounds and types, including disabled characters, girls of color, athletes, musicians, and more! Very colorful!
Speaking of friends, look at all these awesome friends!
Where are the character concepts and fictional structure being drawn from? Have have you come up with mechanics that connect those characters? 
T: The brains of Cowman/Cohlene! Then we added the creativity of the rest of Team Deernicorn. Welcome to our world!!
R: Terri and I came up with initial ideas, then bounced them off everyone else in the team who added their own stuff to the mix. We wanted to have a balance of urban and rural, of indoor and outdoor, of crowded and spacious…
The characters are connected explicitly at the start of the game through the charm mechanics. Everyone trades charms which represent things our characters like about eachother.

A person with dark hair bent over paintng.
The art for BFF! is really adorable, done by artist Veta Bahktina.

The charms sound so cool! What is their function mechanically, and what makes them important narratively?
T: The charms sound cool because they are cool! I initially had the idea of actual charm bracelets that best friend players could even wear between play sessions. While a nifty idea, it wasn’t practical. At all. (Ross wisely pointed this out!) Then we briefly considered having charm necklaces that the friend tokens could wear. Again, not practical. So we ended up with bracelet templates and custom charms brilliantly designed by Taylor Dow. They represent traits or memories that the friends like about themselves or each other. Throughout the game, there are opportunities to add charms, gift them or get rid of them, each time explaining why you are taking this action. They add to the depth of understanding, growth, and bonding (& fun!) that happens during play.

R: The charms are the biggest mechanical deviation from Fall of Magic and really crucial to getting players into the friendship mentality at the start of the game. At the start of the game we each take turns selecting a charm for ourselves and talking about how that charm represents something we like about our character. Then we go around a second time and each give a charm to another character and say something we like about them. Between each hangout each do another charm scene which functions as a kind of mini-debrief in the middle of the game.

The box for BFF! and the heart of the deernicorn logo. The box is colored orange, green, yellow, and blue and has a cast of diverse characters on the cover.
The BFF! box art is so pretty and colorful. I love seeing all of the characters on the cover!
You’ve had some awesome sounding playtests. Were there any unique challenges in playtest with the broad age demographics or with keeping tone? What was some of your favorite feedback?
T: Not really. It’s been pretty easy to get into the middle grade mindset, whether that means imagining an older or younger (or same age) alternate self. Once that’s set, the playing field seems to be pretty equal. Favorite feedback? “I love it! It’s my new favorite game!” Or maybe, “You want to be an eggplant? Be an eggplant!”
R: We’ve had consistently awesome playtests, people grinning, laughing, and just having a really fun relaxing time roleplaying these friendships together. Some of the kids from the YWCA playtest group told us after they were really inspired to make their own characters and hangouts for the game. For me, inspiring some of these young women and gender-queer youth to become future game designers, is the best possible feedback I could ask for.

A visual map of a town, including a local mountain, various buildings, a river, a seaside, and a lighthouse.
The gorgeous map/game board in BFF! is colorful and compelling!

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Wow! Thank you so much to Terri and Ross for the interview! I hope you all enjoyed reading and that you’ll skip on over to the BFF! Kickstarter page to check it out, and share this article with your friends! There’s a few days left to make BFF a reality, and I think it’s totally worth it.

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

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

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

Leading with Class

Hello all,

For the past several months I’ve been gearing up to start a new project called Leading with Class. Leading with Class is a web series I’m doing to teach leadership theory and practice using roleplaying games! It’s so exciting to have it together!

There’s a Patreon for the project and I have a Twitter set up that I’ll be trying to use for the project as well. It’s a dream of mine to teach important skills and make knowledge more approachable using games, and this is a great opportunity to use my experience and my education to put some good into the world. I hope you’ll join me!

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

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

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

Five or So Questions on Archives of the Sky

Hi all! Today I have an interview with Aaron Reed on Archives of the Sky, which is currently on Kickstarter! Archives of the Sky is a GMless game with collaborative story telling, set in the broader reaches of the universe where characters seek purpose in the epic galaxy. It seems pretty nifty, so please check out the interview below! You can also peek at at a play example here.

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Kickstarter video for Archives of the Sky.

Tell me a little about Archives of the Sky. What excites you about it?

Archives of the Sky is a tabletop storytelling game that uses epic science fiction as a stage for stories about very human conflicts and values. I love sci-fi and roleplaying, but most of the existing games I know of in the genre focus more on its external trappings: spaceships, laser guns, and so on. There are a few rare exceptions that focus on the more human, philosophical side of sci-fi– “Shock” by Joshua A.C. Newman is one of my favorites– but I wanted a system that also took inspiration from GM-less improvisational games like Microscope, Fiasco, and Downfall. After a lot of iteration and playtesting, Archives is the result.

What excites me about it is that it really evolved into a great vehicle for supporting a group of people to collaboratively create an amazing story together. The mechanics of the game really work to provide a structure for a plot, and to ensure that plot is based around a conflict between beliefs. The characters are then forced to resolve this dilemma somehow, which means they need to get down to the heart of why the believe the things they do and why they’re worth defending– and that tends to lead to some great roleplaying.


four people in a semi-circle around a table filled with index cards, paper, and writing instruments.
A group of people playing Archives of the Sky. Index card tents! yay!
How do you set up a game of Archives of the Sky – who has input into the story, the characters? – and how do plot hooks happen?


Everyone’s involved with setting up the world and telling the story– there’s a role called the Archivist to help facilitate, but everyone has equal creative authority. The first thing you do when you sit down to play is create a House together, a group of near-immortal wanderers who have been exploring the galaxy for thousands and thousands of years. You start by coming up with their core purpose, which becomes the game’s first value. This might be something like “We preserve life,” or “We learn truths,” or even something simpler like “We hunt” or “We sing.” It’s something this House has sworn to pursue as their highest calling.

The rules walk you through fleshing out the House a bit more, giving them a few more Values and figuring out their place in the galaxy, and then each player makes their own character, someone within the House. Characters each have their own personal Values, which may or may not line up with the House’s Values, or with each others’. These are the seeds of stories– think of Captain Kirk in the early Star Trek movies, who has sworn to uphold the Federation’s mission of peace, but will also “never forgive” the Klingons for the death of his son. Clearly, he’s going to have to face this conflict sooner or later. (Sentences starting “I always” or “I never” make great Values, by the way.)

Once the game begins, players take turns staging Scenes that advance the plot. Each scene is based around a Question which that player has about where the story is going. So if a mysterious transmission was detected in the previous scene, the next player might ask “Who sent the transmission?” as their Question– or might introduce a new complication by asking something like “Why can’t we find the source of the transmission?” Everyone then collaboratively plays a scene around answering the Question, both playing their character as well as making things happen in the story world (like a GM).



Some "trove" cards, created by the players to support storytelling - the words are machines, magnitude, nightfall, prisoners, absorbtion, decaying, and disturbance.
Some “trove” cards, created by the players to support storytelling.

What are the basic mechanics like for social and other conflicts, and how do they engage players emotionally?


Players have the option of resolving conflicts through roleplay, but there’s a mechanic that provides a bit of randomness and an uncertain outcome that can be used by any player who wants it. Another thing you do at the start of play is create a deck of index cards called the Trove, each one with a single word on it. (The rules encourage you to pull these words from your favorite sci-fi novels.) When you want to resolve an uncertain outcome, you can draw from the Trove and let the word inspire the outcome. What’s great about this is the interpretation can be anything you want: literal, metaphorical, even tangential. So the word “fire” might inspire one person to narrate a catastrophic explosion, while another might read it as the fire in someone’s eyes as they pull off a wild maneuver.

Where emotions come in is when the story gets to a Dilemma, a conflict between two Values. This is a situation where the characters need to decide on a course of action, but either decision would threaten one of the Values in play. Say the players have created a House with a core Value of staying hidden; but one of the characters has a personal value to protect the helpless, and the House has a chance to save a lot of lives by coming out of the shadows. Can that character convince the others to change their minds and go against their House’s highest value? Or will she find a way to live with betraying what she believes for a greater good? It’s not an easy decision, because any character who acts against a Value they believe in might have to Adapt at the end of the session, making a permanent change to their character.

An example of a Value, "We Always Show the Truth" with one in the background reading "We Record Tragedies."
An example of a Value, “We Always Show the Truth.”

What was your playtesting process like? Tell me about any realizations you had, and how you dealt with necessary changes.

I’ve been making digital games for a long time, but this is my first fully finished and released tabletop roleplaying game, and one of the things that surprised me was how much more playtesting and iteration tabletop takes. With digital games, you spend some amount of time thinking of ideas, a hellishly long amount of time programming them, and then some amount of time playtesting: ideally throughout the process, but often closer to the end. With tabletop, almost all of your iteration time is spent actually playing the game and seeing how it works, with a few hours here and there to think through problems people are having and revise the rules.

Archives morphed a lot as it went through close to twenty fairly significant revisions (i.e. not just tweaking wording) over about two years. It accumulated more and more rules as I tried to get all the parts to work the way I wanted them to. The downside was this is as you went through a game, you kept bumping into new rules, and needing to stop to explain them. Finally I sat down and counted up the number of individual rules and mechanics in the game, and there were something like 27 of them. I challenged myself to try to make a version of the game that had only 10 concepts that needed to be explained. I think the simpler version that came out of that was when I really cracked the code of how the game worked, and from then on everything was just refinement.

The biggest two realizations I had were A) the game was really about Values, not the plot events (in the original version, you did a lot of writing down plot points on cards, moving them around the table, taking special moves to revise them, etc.– in the final version, all that focus is placed on the Values in play instead). And B) A bunch of separate mechanics in older versions could be combined into the simple rule “Ask a question to begin a scene.” So at certain times of the game that’s a fixed question; at some times there are some questions that make more sense than others; but it’s only one rule to explain, and everything else follows naturally from that framing, which simplified things a lot.

How do you put the “epic” into the game, with mechanics, narrative, and structure?


I wanted all players to get involved in telling the story: contributing details to scenes, helping build the world, and so on, but in practice people were often afraid to contribute when it wasn’t their “turn” to stage a scene. So I added the concept of two meta-roles, called the Epic and the Intimate, that people take turns playing. Your job when you’re the Epic is to look for opportunities to make the story huge and awe-inspiring in scope… so if someone mentions a spaceship, you might jump in with “It’s three miles long and made from some incredibly black material that totally swallows up the starlight.” By contrast, the Intimate looks for moments to keep the focus on emotions and small human details: they can ask a player what their character is feeling at any time during a scene, or add small touches of detail, like a texture or a significant glance between two characters. This system works really well to give players “permission” to tweak the story, and having those two things to focus on help make the stories feel like the kind of sci-fi I want to emulate.
The Archives of the Sky cover, reading "Archives of the Sky, a tabletop storygame of galactic scope and human ideals, by Aaron A. Reed."
The Archives of the Sky cover.
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Thanks so much to Aaron for the interview! This was a real cool game to learn about. I hope you all enjoyed the interview and will check out the Archives of the Sky Kickstarter today!

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

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

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