This weekend I finally had the opportunity to have the photoshoot I have dreamed of for some time, which included a couple of important logistical issues – like finding a place to dig a shallow grave, and arranging a time in near-winter where it wasn’t too cold to lie in it.
In this photoshoot, I’m styled in cowboy inspired clothes much like I wore as a kid equestrian, but styled up a little to my modern tastes. There’s a little bit of a narrative to the photos, so I hope you enjoy it!
The photography in this shoot is by John W. Sheldon, and myself and Jennifer Hill (a.k.a. Jaydot from Shop Jaydot) are the models. The shoot was conceived by me, styled largely by me, and planned by me and John. It is extremely meaningful to me, and I am super grateful I was able to experience it. This may be highly pretentious, but it is very special!
Hello all! Today I have an interview with Jan Martin, creator of Crow Island Funeral // PROCESSION! I’m so excited to share this interview, Jan is an amazing creator and Crow Island is SO cool!
Jan: ” I wanted to have this section of the overall story play out as a game because it underlines the importance of surviving the trip in a way that a short story couldn’t do on its own. Being able to fail, actually fail and lose and not make it at all, would have huge implications in the universe. There’s no telling how the future would have unfolded if that group didn’t survive the trek to the City of Seven Nations. “
Hello all! Today I have an interview with Jan Martin, creator of Crow Island Funeral // PROCESSION! I’m so excited to share this interview, Jan is an amazing creator and Crow Island is SO cool!
Thank you for the interview, Jan! You have been designing games for a while now, but for people who are new, could you tell me a little about yourself and what gives you passion for games?
Jan: I think the biggest thing for me with games is I love how they can help putting together a good story. Every great TTRPG session would make a great TV show, film, book, comic, whatever medium. That’s a magical thing to me, a book with some rules and ideas, in the hands of a group of humans, leads to great stories. Stories that come together organically, with lively characters and compelling scenes. I’ve spent my life writing fiction and I’ve never been able to come close to the kind of story you can make with friends around a table.
It’s that idea that I might be able to craft a game that can help people create compelling stories of their own that really excites me. Game designers have an incredible power in this way, and I guess I’m always trying to chase that same power. To facilitate stories full of laughter, drama, and intrigue between friends with a book of ideas is amazing. That’s what gives me passion, is the pursuit of the dream that I too can someday make a game that can do that.
Beau: Today we’re talking about your solo game, Crow Island funeral // PROCESSION. It is a really well put together game with a lot of content, & I am excited to know more! What excites you about Crow Island funeral // PROCESSION?
Jan: This is the first introduction to a much larger world and Universe that all my games and fiction are set. This game takes place in the same location as seen earlier this year in a short-story I wrote for Wizardpunk by Sandy Pug Games. That story was set in the modern day. In Crow Island funeral // PROCESSION players explore that area in the early years of civilization on the planet. It’s the year 349, exactly 10 years before the discovery of Spirit Trees and Spirit Magic. It introduces some names that will show up again and again, Asogomas and Naad, as well gives a peek into early culture.
Anyone who picks up my games now and follows from here on will keep seeing familiar details and learn more and more about them. I’m really excited to be able to share these bits of the world, and even more excited to see peoples reactions as they learn how things end up. I’m also a little worried, because the deeper it goes, the wilder it gets and I run the risk of alienating some people along the way. The expectations of what this world is and its place in the Universe it lives aren’t obvious at this point. I’ve got some plans to try and keep people onboard and interested so hopefully those work out.
Beau: Creating a world in which your games are set sounds really awesome! Having read through your game, I feel like there’s a lot of richness there. What is guiding your planning for this world and what are some ways you can see it in Crow Island funeral // PROCESSION?
Jan: It’s a combination of things, a large part of it is making sure everything fits within the larger Universe. There are a lot of different planets and even Universes involved so it’s a challenge to keep everything organized. For Crow Island funeral // PROCESSION in particular a key part of keeping organized is a timeline of the planet that starts when Crow Island itself is in year 1, when it created by Kiskik the Creator.
The timeline goes all the way up until current day, the year 13,425, which happens to be the year the larger game in the series is set. You can see this in the game itself through some of the lore, for example the two paths you can take. There’s the Path of Asogomas and the Path of Naad I mentioned before, but another example is the location Mudgash River. This is the location where the story in Wizardpunk is set, and will be an important spot in other games and stories. Some of the areas on the map will come up again more than others, but pretty much everything you see in this game will be present or referenced in future ones.
The map from Crow Island’s text with a zoomed in focus on East Central Crow Island, featuring a legend of the landmarks and settlements, by Jan Martin.
Beau: Crow Island funeral // PROCESSION has a really cool card mechanic and I love the structure of it. How does the design of the mechanics interrelate with the world building and the fiction of the stories you tell in the game?
Jan: The mechanics are meant to reflect the uncertainty of life while still being predictable. This ties directly into the world which is very similar to how my people lived pre-Colonialism. We had great understanding of the land and how to move through it and survive, but there is always that element of unpredictability, random chance, chaos, whatever you want to call it. It makes it so even the most skilled individuals must take care and have constant respect for the dangers of nature. Having the cards always have the same set of resources available, just presented in different order thereby taking something predictable and adding tension.
At the time of me typing this the game is too easy, and I’ll have to tweak things a little bit to better reflect the dangers of travel through the wilderness. The dice mechanic is similar when fording rivers, technically it’s possible to get through river obstacles without issue, but it’s highly unlikely. Basically I wanted to have the mechanics reflect two things, that you are experts of travelling through this wilderness, but despite that, it can still kill you. This is important to get right because future games will be difficult but for different reasons. I want there to be a strong contrast between how things were tough “back in the day” versus modern day, but keeping it clear that both times were rough.
Beau: The timeline of Crow Island seems very significant! Designing your own universe sounds like a big task, but what are the best parts of making something so big but accessed in individual play experiences?
Jan: It’s really nice to be able to zoom in on something in your Universe and have people pay attention to it on a deeper level. Originally this was all going to be a sprawling science fantasy novel series, with endless lore and backstory. That felt too tedious to subject readers to, even if I enjoy that sort of thing myself I don’t have the writing chops to deliver that kind of content in an enjoyable way. Anything I wrote sounded like a history text book and I wanted something immersive. Breaking the Universe up into separate experiences allows me to share a lot more about a particular part of it without worrying about people getting bored. It’s also really enjoyable to have a Universe just sitting there to think of like a sandbox. Anytime I’m feeling blocked on progress in a game, I can just hop into the Crow Island Universe timeline or map and find a new thread to pull.
The World Map for Crow Island by Jan Martin.
Beau: The experiences of your people are valuable, & it’s really awesome how you’ve reflected them in this game. Are there any unique challenges to designing a pre-Colonialism game?
Jan: Absolutely, there’s all kinds of worries about depicting things accurately and not viewing the past through a modern lens. Originally this game was about North America and an alternate-history where Indigenous Nations drove off Colonial forces. The more I worked on it through that lens, the more I started to feel guilty. Sometimes I will talk out loud to my ancestors and ask them about what I’m doing, they never answer me, but, just the act of asking about it gets me to think of it through their mindset. The more I thought about that the more I realized I wasn’t being fair to my ancestors, assuming I or anyone could have done anything differently to predict or avoid what happened.
As a result I ended up re-writing about 40k words or so of my “Universe Bible”, and changed it from an alternate history project, to an entirely unique Universe of its own without any of the trappings of our current history. I don’t think anyone would have taken issue with my game the way it was, but for me personally it just didn’t feel right anymore and I had to change gears. That same thing happens continually throughout this process. I’ll have some idea for the world, game, or story in this Universe and the more I talk it over with my ancestors, the more I come to realize things have to change. It’s an extra layer in the process that has no clear answers.
Unlike many problems we face in the game design process, some of the questions I arrive at I can’t look up online or even find the answers from my Elders, because we don’t know anymore. The Mi’kmaq were some of the first Indigenous peoples to meet Colonial forces and as such we’ve been subjected to the ongoing effects of their occupation since the start. So many of our practices, so much of our language, is just gone. Often the best we can do is speculate. That complicates things even further, I obviously don’t want to offend anyone living or misrepresent our culture. But more than that, I don’t want to offend my ancestors, the people who actually lived in the time periods I’m romanticizing in my games.
Beau: In playing Crow Island funeral // PROCESSION, players encounter a lot of dangers. How did you design the game to balance those dangers while still keeping players hopeful of reaching the end of their journey?
Jan: Working out mechanics is a slow process for me, especially the math side of things. Any semblance of balance the game has right now I owe to keeping the math simple. Well to be honest it’s not super balanced right now, I thought it was, but I didn’t account for my own terrible luck. I balanced everything by playtesting it myself, and historically I’m an abysmal dice roller. In games where rolling a 1 is a failure, I roll lots of 1’s.
In games where rolling a 1 is a failure *and* you get XP for it, I never roll 1’s. So in my personal playtests, the balance felt right. I lost a couple times, and most other playthroughs I barely scraped by or had some a series of close calls. But then, all the feedback I’ve received so far from playtesters has been the opposite, that outside of a few terrible run-ins with a river, for the most part they managed to cruise through the game without any problems. Balance will be an ongoing thing.
In the next update I’ll have tweaked the math a little bit to try and increase the difficulty to be more in line with my original vision. I don’t know what will happen after that, if people playtesting say it’s much harder but they’re not having fun anymore, I’ll tweak again. I want to make sure I don’t let my vision get in the way of an enjoyable experience and I’m lucky to have some people sending me this valuable feedback so I’m taking it to heart.
The Choose a Role card for Crow Island by Jan Martin.
Beau: I find the visual design of Crow Island funeral // PROCESSION approachable & really gorgeous! What was your perspective on how to present the game to your audience, & how did you work to implement it?
Jan: I wanted to capture the same sort of feeling and vibe I got from the original Oregon Trail games I played as a kid on school computers. Everything was pretty stripped down in the version I played, but it really captured the vibe of going on a road trip. To pull that off I wanted to go for really simple graphics, something like you might see on a sign at a National Park. It felt right to go a little more cartoony than that, but that was my launching point.
Beau: It’s remarkable how complex of an approach to your design choices you have, including in how you involve & respect the experiences of your ancestors. What about this medium, games, makes it well suited to telling stories that reflect those experiences?
Jan: Games are one of the best mediums to tell stories that have experiences you want to communicate in a more interactive way. It can help make the gravity of a situation meaningful in a fun way. In Crow Island funeral // PROCESSION I could have written the game as a story, but in the story they succeed in making it to the City of Seven Nations and that’s that. I wanted to have this section of the overall story play out as a game because it underlines the importance of surviving the trip in a way that a short story couldn’t do on its own. Being able to fail, actually fail and lose and not make it at all, would have huge implications in the universe. There’s no telling how the future would have unfolded if that group didn’t survive the trek to the City of Seven Nations.
In later installations of this game world, people will see that importance in a new light. It’s a small thing, but having “lived” in the footsteps of people in this world I think will lend that gravity I mentioned to how things went. I don’t mind spoiling it, but essentially the discovery of Spirit Magic hinged on the body of the Chief being examined at the City of Seven Nations. It’s a hugely important detail, and players being able to fail at carrying out that detail gives more life to the words than I think I could pull off with a story alone.
Today on approachable theory we’re talking about meta accessibility tools, and we’re going to start by breaking down what I mean by that term. Read more!
Today on approachable theory we’re talking about meta accessibility tools, and we’re going to start by breaking down what I mean by that term.
Today I have an interview with Connor Alexander about Coyote & Crow, which is currently on Kickstarter! This game sounds so incredible and is something I have hoped to see in games – a sci-fi fantasy game that’s about an America that was never colonized by white settlers. I feel like this is a really major project and I hope you enjoy learning about it, like I did!
Today I have an interview with Connor Alexander about Coyote & Crow, which is currently on Kickstarter! This game sounds so incredible and is something I have hoped to see in games – a sci-fi fantasy game that’s about an America that was never colonized by white settlers. I feel like this is a really major project and I hope you enjoy learning about it, like I did!
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I’m excited for the opportunity to interview you about Coyote & Crow! It has been very successful on Kickstarter thus far, but I’d love to know more about you and the project. Can you tell me a little about yourself and how you came to work on the game?
Hi Beau! Really excited to chat with you. Thanks for taking the time. I’ve been a gamer my whole life, but I only started working in the hobby game industry in 2014. Pretty quickly I began to notice the representation gap in both presentation and in creative teams. The gap in the game industry seemed to mirror most of the rest of media and pop culture, which surprised me a little at first. Doing something about it didn’t occur to me until I was chatting with a Native representation consultant and they said something to the effect of, ‘even when they do representation accurately, it’s almost always through a colonial lens’. That really stuck with me. Then I saw the trailer for the video game Greedfall and I knew I had to take some kind of action.
I feel so very privileged that I have a steady job in the game industry and had access to many experienced voices who were willing to give me advice. I’m just a working stiff so it was really tempting to create a proposal and try to just sell the idea off to another publisher and let them run with it. In the end though, I felt that there were too many ways that the project could lose integrity along the way. Once I decided to tackle it myself, it became about team building. And that’s where the game began to become something much bigger and more important.
It’s pretty clear there’s a lot that makes this game unique and intriguing. How would you approach a new player to pitch the idea of the game to them, and are there any things players should know starting out?
That’s actually been one of our biggest hurdles. There’s almost no comparative media out there. When you talk about classic fantasy, even non-gamer audiences know Game of Thrones and Lord of the RIngs. Traditional sci-fi and cyberpunk also calls up a dozen properties and tropes. That cultural shorthand is embedded deeply in our collective conscience. On the one hand, you have to battle all of the negative stereotypes and assumptions non-Natives have. On the other, you have to create a world that’s both exciting and challenging to Natives, but also speaks to an incredibly broad array of Native cultures and traditions in a way that’s inclusive while not appropriative. It’s an extremely narrow ledge.
So to answer your question, when speaking to someone about it for the first time, I try to put them in the mindset of when they first read about Wakanda in the Marvel Universe or when they first played Horizon Zero Dawn. Not the cultural specifics of those worlds, but the idea of shifting your perspective of what could be. Once they’re in that headspace, I usually ask folks to picture what our continent would look like if Europeans or any other colonial forces had ever set foot here. And not at the point of contact 500 years ago, but in the future. From there, I usually can start filling their heads with all of the little details that make this world feel lived in. And while our game has a speculative future with fantasy elements to it, we made it a point to build a world that has a lot of potential grounded in reality.
As for things players should know starting out, there’s a big one that many folks have mentioned. I’ve heard so many variations on ‘I want to play but I’m worried I’ll do or say something insensitive’. I love that so many have asked that. It means there’s progress being made. But we are designing the game so that non-Natives can jump into this and play without worry. There’s a section at the beginning on how to approach the book and what to avoid. And throughout the book we give explanations for words and phrases and additional context for certain concepts or rules. On the flip side, we have specific things we call out where we indicate that Natives can add on or tweak a rule to help it fit their tribal specific customs or context.
That’s all really useful to know! You have a great team with a lot of varied experiences. What is the process like for deciding which ideas for mechanics or content goes into the final product? How do you ensure the most voices are heard?
That’s actually one of the most rewarding portions of development for me. I created the broad parameters of the game and set the stage. Once we had an initial draft, I invited everyone on the team to comment on it and if they felt strongly about a section or a concept, invited them to have a chat with me about either doing edits or re-writes. Nothing in the book is so sacred it can’t be changed. If someone on the team has a brilliant idea, I want it in. As long as the idea doesn’t derail the core concepts or conceits of the game or cause internal inconsistencies, I’m on board. It’s led to some really vibrant discussions and concepts I never would have thought of on my own.
We’re certainly in the ‘kill your darlings’ stage of development and with that comes the pain of seeing some of your initial ideas break in play testing. From a personal standpoint that stings, of course. As the game development progresses, it’s like I built the framework of a house and I’m seeing people add walls and paint and windows. The more work they do, the more mine becomes invisible. But that’s fine. I never wanted this game to be some sort of statement about me personally. From the start I knew this project would be better thematically and mechanically if we had a chorus of voices.
You’ve shared a lot of cool stuff on the Kickstarter page, but I would love to know more! What are some of the exciting things we can expect from the game, the kind of things that really make you want to share with others?
For me, it’s the little details that make a world feel lived in. A perfect example is the underground transit system of Cahokia. It was built originally as a system of tunnels to keep people warm and safe during the brutal winters. As we thought about it practically, we saw flaws. How would this be lit? Keeping fires going in enclosed tunnels would be difficult for so many reasons. Our answer was one that I think is equal parts inspired and reasonable. The people of this world eventually grew their light sources through cultivation of bioluminescent fungi along the walls and ceiling of the tunnels. The effect is that in this future the interior ceilings and walls of these tunnels and the magnetic levitation rail transit system all glow green and blue and purple. While having a living ceiling as a light source is a cool image, I like to also think that it represents a different way of problem solving. We’re working hard to fit as many of those kinds of thoughtful ideas as we can into the book.
We’ve also got bigger ideas that we at least want to set up. I’ve always been a fan of storylines in games that involve shadowy organizations or grand conspiracies. Mystery in TTRPGs is one of my favorite hooks. So we have lots of story prompts and adversaries that are based around those kinds of adventures. It also leaves lots of room for Story Guides to build out around their own concepts.
What led to the decision to make this a game that focused on sci-fi fantasy vibes and encourage the specific style of play (which seems unique) that you did?
That’s a great question. I don’t think there’s a way to answer that without addressing my own personal tastes, so I hope I don’t come off as self-absorbed. I grew up on original Star Trek, Star Wars and authors like Ray Bradbury. Stories that were full of forward thinking and hope. In contrast, my Native heritage always felt grounded in now, in today. It was a very personal and not always a happy part of my relationship with my father and our family.
But in the last decade, we’ve seen some media that has started to meet somewhere in the middle of those two points. It’s not all utopia and hope or escapist fantasy, but it’s also not grim and dirty reality. Shows like the Expanse, newer Star Trek, video games like Horizon Zero Dawn and tabletop games like Android Netrunner were all able to put fresh spins and new perspectives on some of those old concepts, while also highlighting diversity and representation in a way that didn’t feel obligatory.
When I knew I wanted that kind of feeling for Coyote and Crow, it just became a process of elimination. I didn’t want just fantasy because too often non-Natives exoticize Native Americans and that setting is just too ripe for them to abuse, even if it was told well. And pure science fiction doesn’t leave as much room for the subjective and the immaterial that I wanted to make sure spoke to so many Native beliefs across tribes.
I wanted it set in the future because I wanted Natives to see this as a hopeful view of what could have been and maybe some things that might still be, but it had to be built on a different past because I wanted it very clear to everyone that this was a world that colonists and specifically Europeans, had no part in building.
It was also important that the core mechanics offer combat as an option and not the default. Most fantasy games are geared toward going somewhere unfamiliar, killing everything there and then measuring your success based on how much you looted. That sort of storytelling is really limited. For me, the best stories are about building bridges, righting wrongs, finding equilibrium in the middle of chaos and optimizing your gifts in ways that benefit as many as possible, not just yourself. I’m really hoping that Coyote and Crow becomes the launching pad for those kinds of stories.
Amazing! So much good stuff here. I just have one last question to finish this off. As you’ve worked on the design and playtesting for Coyote & Crow, what are some experiences that stand out and excite you for the game and for players to enjoy? What lasting impact do you hope for?
That’s actually a long list. The first time we did a playtest and one of the players got to experience the exploding dice mechanic and they were so thrilled. I knew I was on to something when I saw that look of joy and excitement. Another great moment was when my Native group of playtesters got to meet the supernatural entity that we were using in our adventure (and appears in the one shot that’s in the book). That feeling like we were all playing something that was “ours” was palpable and deeply gratifying.
Since I’ve passed along some of the play testing to our team, I’ve heard some incredible stories from our Story Guide. They said one group just decided to completely cozy up and become friends with a group we’d originally written as sort of adversarial. That was great! As much as I love writing stories and being a Story Guide, having players take it down their own path is always such a treat. Most of my own personal favorite RPG stories over the years usually involve some amount of deviating from the gamemasters plans.
Which leads me to the second part of your question. The lasting impact that I’m hoping for is that people, Native and otherwise, find themselves exploring the world we’ve built and feel inspired to tell new stories and new kinds of stories. I’m a firm believer in storytelling and the power of it. It has the power to unify, to heal, to inspire. My greatest wish is that Coyote & Crow does what all of the best science fiction does, which is to bring some hope to our real lives by giving us a thought provoking world to temporarily escape to. If I can do that for some folks, especially my Native cousins out there, then I’ve succeeded.
Today I have an interview with Dominique Dickey about their project, Tomorrow on Revelation III, which is currently on Kickstarter! This project seems really amazing and explores a lot of complex themes, so I hope you enjoy hearing about it! Check it out!
Today I have an interview with Dominique Dickey about their project, Tomorrow on Revelation III, which is currently on Kickstarter! This project seems really amazing and explores a lot of complex themes, so I hope you enjoy hearing about it! Check it out!
I’m excited for the opportunity to interview you about Tomorrow on Revelation III, which you’re launching on Kickstarter. It sounds fascinating! Before we talk in detail about the game, can you tell me a little about yourself and how you came to be designing this project?
DD: I’m Dominique Dickey! I’m a writer, editor, and consultant. I’ve previously worked as a freelancer on projects such as Thirsty Sword Lesbians, Sea of Legends, Lost Roads, and Pathfinder Lost Omens. You can also find my rpg TRIAL on itch.io: it’s a narrative game that explores race and the criminal justice system via the story of a murder trial, and was my first foray into games as a mechanism of social change.
Last summer, I had the idea for a game about farmers avoiding becoming obsolete on a space station. I was interested in themes of capitalism and finding meaning outside of labor. I also wanted to design a game about community-driven social change, and find a way to represent that change through game mechanics.
I spoke to my dear friend Charles Linton and realized that my initial premise was more suited for a one-shot than a campaign, as resolving the problem (making sure the space farmers had rights and protections) would break the game (by obliterating a core aspect of the setting). I also didn’t want it to become a game about making oneself necessary to the capitalist machine: what if the farmers’ profession actually does become obsolete, but they find value outside of their labor? The way I initially envisioned the game would not allow players to answer that question, or others like it.
From those discussions with Charlie, the game shifted to be about a group of people on a heavily stratified space station, all with different backgrounds and levels of privilege, working together to improve their collective circumstances. I was really excited by the idea of developing the eponymous station and its stratifications—this was my first time writing a game with a super concrete setting, and I wanted to create a rich and generative sandbox for players and GMs to enjoy.
This week is the final installment of my #33in28 series of solo roleplaying game reviews that I wanted to do for my birthday month. This post is a little late, but the final reviews took me longer than intended in the wake of some trauma and grief. I think that there are a lot of great games in this bunch though, so check them out!
This week is the final installment of my #33in28 series of solo roleplaying game reviews that I wanted to do for my birthday month. This post is a little late, but the final reviews took me longer than intended in the wake of some trauma and grief. I think that there are a lot of great games in this bunch though, so check them out!
Right now on Kickstarter for #ZineQuest3, there is a solo dexterity based role-playing game funding called LAY ON HANDS. It doesn’t have many days left to go, but I was fortunate enough to get a copy of an early draft to preview on Thoughty. This game is smart and looks great already; the idea of having to draw in a maze as a way to test your character’s skills and trying to rack up as many points as possible until the coin stops spinning is just something that I have never seen before.
Genre Tags: solo, lonely, journaling, post-apocalyptic, coins, drawing, art Replayable? Yes! Actual Play Available? None yet available Length: Short to Medium, (Journaling Optional)
The Gardener is Dead is a ghostly storytelling game by Ginger (@inkyginge). The game is currently on Kickstarter and doing well, and I think it deserves a little extra attention! I reviewed a draft version of the game provided to me by Ginger, so there is a chance something will change by the final version. That being said, this game uses at least 1 six-sided die, a deck of playing cards, paper, pencils, and tokens (pieces of paper or index cards will do). It’s intended for anywhere from one to four players, but I’m looking at it as a journaling game.
Genre Tags: solo, multi-player, lonely, journaling, death, loss, nature, cards, dice, plants Replayable? Yes! Actual Play Available? Many examples in text Length: Short,2-3 hours, Journaling (At your own pace)
Hi all! This is the week three set of my #33in28 reviews! The final post will go up on Sunday of next week. This week I’m covering a lot of self-care and meta type games like Ego and soulQUEST, but don’t worry, there’s still time to get Lost in the Deep. Enjoy!
Hi all! This is the week three set of my #33in28 reviews! The final post will go up on Sunday of next week. This week I’m covering a lot of self-care and meta type games like Ego and soulQUEST, but don’t worry, there’s still time to get Lost in the Deep. Enjoy!
This is the second week’s installment of #33in28, my birthday celebration reviewing 33 solo games in 28 days! Today I’m featuring Bear, Morning Phase, Operation Cat Chat, and more! Check out these awesome games through my reviews and make sure to click through on their itchio links to find out more and buy your favorites! I want to point out with this post that every single one of these games could be priced far more and still be more than worth it, so *please consider tipping if you buy!*
Hi all! This is the second week’s installment of #33in28, my birthday celebration reviewing 33 solo games in 28 days! Today I’m featuring Bear, Morning Phase, Operation Cat Chat, and more! Check out these awesome games through my reviews and make sure to click through on their itchio links to find out more and buy your favorites! I want to point out with this post that every single one of these games could be priced far more and still be more than worth it, so *please consider tipping if you buy!*
