Author: Frax

Safety Marks

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In the course of writing, playtesting and now publishing Bite Marks I’ve been thinking and reading a lot about safety tools. The conversation has expanded so much since I started role-playing 29 years ago and I love how people are thinking about play culture, baking safety into mechanical design and normalising the use of safety tools and putting more conscious effort into looking out for each other. The idea that we are still only at the start of this journey is really exciting to me – I am eagerly looking forward to the next iteration of safety tools.

Just recently I was in the process of prepping a game of Bite Marks when I realised that in addition to all the stuff written in the book about safety there is something else I do without realising it – I figured I’d write a post about that.

Like many people I use the three most comment safety tools in my games and my play. The first thing you do in Bite Marks (and all my games) is create a list of banned items via anonymous channels as necessary. This is like an anonymous version of Lines and Veils as created by Ron Edwards. I also encourage the use of the X-card by John Stavropolous and Script Change by Beau Sheldon.

But I also consider what aspects of the specific game I’m playing are particularly safety relevant and then discuss them up front. I point them out with a big red hand. For Bite Marks there are three particular aspects of the game and system which may cause tension for players. Before a game I explain those aspects in more detail and talk through the ways in which those elements will work and the ways in which they will NOT work. Below is a blow by blow account of how I do that for Bite Marks and the three elements I highlight.

Bite Marks Example:

Player v Player

“Bite Marks has a player v. player element but not in the sense that the players will be trying to back stab each other. Player v. player conjures up a lot of different images – most of which probably don’t quite fit the Bite Marks setting. In Bite Marks, players can dominate or scrap with each other, they can force each other to reveal their feelings… but they are all on the same team. They are working to the same goal, they don’t have secret agendas that have the players competing with each other. This means the game has all the trappings of player v. player but the game play is really different.”

I always point this out so that the players don’t just see all the Moves they can use on each other and assume this is a game about screwing each other over.

Domination

“In Bite Marks there is a Move called Dominate. This *can* in some circumstances allow one player character to give orders to and mentally dominate another player character into taking an action they do not want to take. That is deliberate because it is about struggling with your werewolf nature, and your werewolf nature wants to take orders from those with a higher status. You might feel uncomfortable about being forced to take an action you don’t want to take – that is cool, your character probably feels the same way so channel it into playing them.

The move reflects how you are conditioned to obey, it isn’t about someone changing how you think and feel about the act.

This means that if someone makes a successful dominate move on you, then, when you have completed the thing you were dominated to do you are at liberty to row with them about it, blame them and have it change how you see them or even whether you will ever trust them again. In fact, it is encouraged that you do just that!”

Dominate takes away some player and some character agency and it is definitely going to lead to uncomfortable situations. So, by stating this all clearly up front (instead of finding out halfway through a session) people can choose how they want to engage with it; or whether this is not a game they want to play at all before the session starts!

Give In to the Wolf

“In Bite Marks there is a move called “Give In to the Wolf”. This Move gives you a big boost to your powers but if you roll a fail the MC will take over your character. This move takes away player and character agency completely. The Wolf is out of control and they are going to do something bad that your character will take the fall for. You can choose whether or not to use the Move, in fact if you don’t want to use the Move because you are scared of losing control I’d suggest playing into it and making it a feature of your character!

Dominate and Give into the Wolf are STILL subject to all the other safety rules, you can’t use it in relation to material which is Banned, people can and should use the X-card and Script Change tools as they wish to (and there is an additional rule in the game text that you can never use these Moves to get around consent in sexual situations – it just doesn’t work).”

I explain these issues at the start of any game (whether in person or ahead of time in an email or similar. A big part of the reason I’ve written this blog post is so that you can cut and paste this wording and use it in your own Bite Marks pre-session prep if you like.

Identifying which parts of a game world, or system might need some extra explanation and framing is a judgment call. I would say that mechanics touching on consent, anything which is a bit surprising or deals with vulnerability and oppression are good places to look for mechanics and background that you need to put front and centre in this way. Games which have themes of e.g.: horror, sex and/or oppression as a core part of their setting are also good candidates for a pre-game explanation. In a Monsterhearts game I might talk about Darkest Self and ‘Turn Someone On’ and Sex Moves, explaining in more detail how they will work, how they will be framed in the game and how to lean into playing them. In any Lovecraftian game I’ll give a briefing on racism and portrayals of mental health. Don’t forget that a lot of historical-style games will come with various forms of oppression baked into the setting which privileged players and groups won’t immediately recognise.

In a convention or game pitching situation you won’t have a lot of time to get into details – so it is worth highlighting the presence of anything safety relevant and then as soon as you have a settled player group you can do a rundown of the safety tools you want to use and go into any extra detail you need to mention. Part of your explanation will also depend on who you are playing with and how well you know them. Personally I’ll skip some bits of the briefing for people who have played Bite Marks before and are familiar with my three ‘red hand topics’ – but I will always stress and restate what safety tools we are using. I would more explicit running Bite Marks at the convention with a table of strangers especially if I know some of them have played Vampire the Masquerade which has a different way of using a dominate-like power.

Ultimately this is all about making sure that everyone is on the same page with the game and giving people the option to leave before the game starts if they don’t want to play with those mechanics or background.

In terms of other safety tools I think that tabletop RPGs could learn a great deal from LARP in how we approach debriefing after the end of a session or campaign and this resource compiled by Kienna Shaw and Lauren Bryant-Monk is also a fantastic compendium of safety techniques and goes into much more detail and explanation of the ones I’ve mention above.

If you are a UK lawyer one early principle you learn is called Denning’s Red Hand Rule. This rule states that the more unusual a contract clause is the more attention you need to bring to it. Lord Denning suggested in a judgment that some clauses might only be valid if they were written in red ink with a red hand pointing to them. I apply this principle to the games I run. What mechanics, what themes should be written in red in with a red hand pointing to them. Set expectations early, alongside your preferred safety tools. As a GM you will (probably) have a lot more information about a game than the players. So it is your job to identify land mines before people step on them and then point them out… with a red hand.

This blog post is funded by the Black Armada Patreon! Thank you so much crewmates 🙂

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Getting from an idea to a first draft.

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This is a companion piece to Josh’s blog about curating ideas.  My method of curation is slightly different to his; but I wanted to talk first about my process getting from a game idea to a first draft. 

Full disclosure… I am an incorrigible consumer of productivity systems and books about ‘getting creative work done’.  I love reading about how other people ‘get shit done’ so I can constantly refine my own methods.  If there is a book about creative productivity, then the chances are, I’ve got it.  Not all systems work for me (not all systems work at all!) but there are two things that I use pretty much constantly to support me in getting from idea to first draft. 

Firstly, I keep a bullet journal.  I’ve been doing it for a couple of years now and it is really valuable to me.  I don’t have one of those pretty artful bullet journals that look adorable and perfect.  I have a boring A5 notebook and a couple of pens that are comfortable to write with and I scribble in it.  But I use it every single day. And I put everything in it: I log my goals, lists of the games I want to write, plans for my kids birthday parties or the vegetable garden, design notes, daily gratitudes, I sketch out rough weekly diary spreads, long lists of things to do and notes on my life.  I put it all in one book where I can regularly reflect on it.  I mix up all my game notes, with everything else and I organise it using the bullet journal method.   

This means that I have one physical book that is with me all the time; a book I’m checking and reviewing several times a day.  Games and ideas don’t get shoved in a folder and forgotten about – as I leaf through my book they are there reminding me and poking at me to get them written. Those ideas sit in the middle of the sprawl of my life allowing me to make connections I would never have otherwise seen. The bullet journal system gives me confidence that nothing will be forgotten, and that in turn allows my brain precious breathing space. 
 
If you’ve been put off bullet journalling because you can’t or don’t want to spend hours drawing instagram-worthy spreads then do not fear! That isn’t the core of bullet journalling and ignore all that stuff and just write in a scrappy ballpoint pen. 

Why not use something like Evernote or some app?  On a personal level I love the tactile nature of a physical book. I love that it is dog-eared, covered in scribbles and notes and stickers and that it looks used.  I enjoy having a tangible artifact of my life in that way.  

But there are advantages to me outside this much more personal preference. The main one is that there are no distractions.  It is just me and the paper. There are no email alerts, no temptations to check social media and no getting sucked into a rabbit hole of TV tropes or and then forgetting why I’m here.  It is a clean room for me to sketch out ideas and log the little pieces of insight as they strike me. 

But that is only half the story.   

Getting from that book to a first draft is a different beast entirely, it is something that requires time and time is hard for many of us.  This is where I will give my one and only recommendation for a creative, productivity book – ‘Growing Gills by Jessica Abel’.  This book has lots of really good insights and support but one killer technique was life changing for me.   

The technique is this: for 2 weeks you write down everything you do in a day in 15 min increments.  It sounds nightmarish, I know.  But I honestly did that.  I have a job, two kids and various other commitments and I did my two weeks of logging every 15 mins. This process forced me to confront a couple of things.  First, I ended up with hard data on where I spent your time and when it was being spent.  I knew roughly how much much tv watching and internet surfing I was doing but after two weeks I knew precisely.  No hiding. But  I also knew that the 10 mins I spent standing at a bus stop checking my phone on a Thursday morning couldn’t really have been used any other way.  But the clear block of 2 hours I spent surfing the internet on a Friday evening could have been spent writing. 

This gets you to the second thing. 

Where do I really want to spend the precious time I have?

As I said before, I have a job, two kids, hobbies and a vegetable garden.  Up until about 6 months ago I had precious little writing time.  So, I got really clear on my priorities.  Sometimes I really did need do nothing but watch You Tube and surf Pinterest for an evening. Maybe I was exhausted, maybe my mental health wasn’t that great and I needed to check out for a bit.  But other times I decided that I wanted to write more than I needed to check out. I could see from the data where I had timeslots that I could spend on writing and then I wrote a date and a time in my diary (which is in my bullet journal) and treated it like any other appointment. 

So that is what I do.  I put time aside for writing and make it a priority – but I make it a priority based on having a really deep understanding of my habits, my schedule, my needs and desires.  In the early days that time slot was only 1 or 2 hours a week (remember I have young kids!) but that 1 hour a week was a lot better than the 8 potential hours a week that never happened for me. 

I guess this is a pretty boring blog post.  It is like when people ask ‘how did you get fit’ and the answer is – I exercised a bit and ate more vegetables. 

How I turn an idea into a game is really boring – I write down all my ideas in my journal (the same one I write everything else in), I organise my journal so it is easy to find information again.  Then I’m ruthlessly honest with myself about what time I can put aside for writing and I diarise it as an appointment in my journal. Then I turn up with my journal and my laptop and I do the writing.  I do it even if I’d rather knit and watch Netflix.  I do it whether or not I feel inspired. 
 
And then I end up with a first draft ready for lots of shredding and rewriting. 

This article is supported through the Black Armada Patreon

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48 hours left to back Bite Me! on Kickstarter

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Update: Please note that Bite Me was renamed to Bite Marks, after the campaign closed. The game can now be pre-ordered from Backerkit.

We have been running a Kickstarter for Bite Me! – a game of werewolf pack dynamics here: https://www.kickstarter.com/projects/blackarmada/bite-me-a-game-of-werewolf-pack-dynamics and we are down to the last 48 hours.

Vincent Sammy is illustrating the game … gorgeous.

As you know I love Werewolves and werewolf packs especially and this is a labour of love which I’ve talked about before on the blog.  I wanted a game which combined all the tropes of Werewolves like control, domination and hyper-violence and used that to fuel messy relationships and explore pack dynamics.  This is that game.

The campaign is funded and we have hit the first stretch goal but I really would love to get to the stretch goals by Whitney Delaglio, Kelley Armstrong and Paul Czege if we can.

If you’ve backed or shared already then thank you so much and if you have been thinking about it then there is 48 hours to make your move!

Bite Me! is coming to Kickstarter – Get on the Mailing List Here!

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Update: Please note that Bite Me was renamed to Bite Marks, after the campaign closed. The game can now be pre-ordered from Backerkit.

The Bite Me! Kickstarter is getting closer and closer, practically snapping at our heels over here at Black Armada.

Bite Me! is a Powered by the Apocalypse Game of werewolf packs and it is a full throated emotional howl into these cold Winter nights.

If you want to know the instant the kickstarter emerges naked and bloody into the world then sign up to our mailing list here:

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Bite Me! Update – Congratulations It’s a PBTA Hack!?

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Update: Please note that Bite Me was renamed to Bite Marks, after the campaign closed. The game can now be pre-ordered from Backerkit.

I am in full swing playtesting Bite Me! my Powered by the Apocalypse Game of Werewolf Pack dynamics.

About a year ago (despite all my complaints that I was bored of PBTA hacks!) I decided to write Bite Me! as a PBTA hack. Yeah, I know. But I really wanted the ability to sharply focus the gameplay on some specific elements of genre and PBTA is a solid template for doing that. So over a year later, I’ve got a basic game written, completed 2 one shot playtests and I’m in the middle of a 10 week long campaign playtest.

The core of the game starts with Moves and Playbooks/Skins as you would expect. But I really wanted to create a situation which cycles through two modes of play. Firstly the aggressive, domination riddled, toxic masculine play where things are feral and always on the brink of chaos and secondly, a close, tightly knit, emotionally close family.

The first environment creates the events and issues which will fuel the heartfelt conversations in the second. Behave badly, react with extreme violence to extreme events and then expect to get challenged on it by people whose opinion you care the most about. I feel that games need a more direct and mechanised link between character’s emoting and giving them something to emote about – this is what Bite Me! is squarely aiming at.

Nightwitches by Jason Morningstar has a similar (ish) mechanic with the Night and Day play styles. But I wanted something more organic and slightly less formal to mimic the ebb and flow of the pack relationships. So instead of separating the play into different formats I’m using a points mechanic – you get to spend points on taking powerful and tempting actions, in order to get points you have to call people on their behaviour, you have to express opinions and be vulnerable about your emotions. In fact before a big action scene (in which you’ll need some tasty points to spend) you’ll definitely want to clear the air with a big ‘ol secret revealing row.

So far this loop has playtested really well and I’m extremely pleased with the results. It has also helped me put into words how I feel about secrets at the table – something that will form core player advice for the game: “The point of a secret is to throw it in someone’s face in the most dramatic moment.”

Once the campaign playtest is finished I need to do the really hard bit. Write the MCing guidance. In a MC’d game guidance on doing it well is one of the most important and most overlooked sections in a traditional rulebook. Writing really clear, practical and specific guidance for MCing my games is vital because if anyone else is going to replicate the game in my mind I have to get it down on paper. That is the difficult bit, because there is always something you are doing when you run your own games that you don’t realise you are doing.

I’m hoping to get the next draft finished by the end of Autumn 2017 and release it into the wild for some external playtesting after that.

Lovecraftesque – Behind the Scenes of a Kickstarter

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We’ve been hard at work prepping to kickstart Lovecraftesque.  Exciting times!

Although we’ve both been gaming and designing for a long time we’ve never undertaken a project to make our games available to other people for cold hard cash.  It has been an incredible experience and one we are still living moment by moment.

It even included an instructive interlude last week when this modest website got hacked.

We are about a week or so off our Kickstarter launch so now seems like a good time to do a quick update about where we are, some news about our layout artist and artist and some behind the scenes bits.

Firstly I want to share our cover art by Robin Scott which is gorgeous and better in every way than we could have imagined.

cover

Robin is an amazingly talented person bringing an incredible level of detail to her pieces.  That firelight on snow effect in the cover, want to know how that happens, how the shadows are just right…

Robin built a model!

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Secondly I want to give a heartfelt thanks to our layout artist Nathan Paoletta.  Not only has he done a great job on our sample pages but he has been exceptionally generous in sharing his knowledge about kickstarting generally and various printing options.  We have learned a great deal just from him and I hope we get the chance to give back to newbie game designers in the same way. Here is a sneaky peak of his layout.

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We are so excited that this is the level of detail and finesse going into the artwork for our game.  Also you have no idea how grown up it feels to commission art… serious proper adulting happening over here.

Next is a couple of photos we took at our video shoot. We are lucky enough to have a great video guy for a friend who helped us sort it out.  We cleared out our dining room for a morning to set everything up and had to hang a makeshift ‘autocue’ off the camera rig with a coat hanger.

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Lastly, if you’ve ever met me in real life, no doubt you will watch the video surprised at how tall I’ve grown.

Such is the trickery of video…

 

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Kickstarting has been a totally different experience to simply writing and playing games.  There are finances to work out (so many hidden costs and risks to factor in – Kickstarter fees, shipping, Kickstarter processing fees, international shipping, EU VAT, US Sales Tax and even currency fluctuations). There is a video to shoot, art direction to provide, layout proofs to review, stretch goal writers to approach (we have a total dream team lined up, I can’t wait to tell you about it!) project plans to create and enact and then the thorny problem of how to get the word out there and hope that enough kind people have it in their hearts to back us!

It has dawned on me that running a Kickstarter (even an unsuccessful one) requires you to get familiar with a whole load of new skills which go well beyond writing, playing and running games.  Obviously I really hope we fund, but even if we don’t I feel like our skills have taken this amazing leap forward.  Either way my respect for people who do crowd funding projects is immense, these people aren’t just game designers, they are totally multi-talented, and in ways I probably have yet to discover.

We’ll be announcing the Kickstarter launch really soon so check back on the blog or follow us on G+ to find out when.

Approaching the Problematic: Lovecraft and Me

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It is important to be honest when something you love is problematic.

I love Lovecraft’s work and at the same time I hate his worldview.

I will not try to excuse the fact he was a bigoted racist nor that his outdated ideas about women, sex and mental health were hurtful and damaging. (If you are scratching your head thinking “what, Lovecraft, a racist – I would recommend this excellent article here by Nnedi Okorafor about Lovecraft and racism. ) And yet I’m co-writing and soon to be publishing Lovecraftesque, a game inspired by Lovecraft.

I’ve really grappled with this game on a personal level. Ever since reading Graham Walmsley’s excellent “Stealing Cthulhu” it has been clear that Lovecraft gaming needed a GMful Story Game variant. Not just needed, but the source material was perfectly set up to create such a game. As Graham reminds us Lovecraft’s stories are (almost) always about a lone protagonist uncovering something terrifying and being powerless to affect it. It also allowed Josh and I to experiment with writing a system for a satisfying investigative game which is no-prep, consistent and co-created. I think we’ve done a great job with that.

What draws me to Lovecraft is his fusion of the style and motifs of Gothic Horror with concepts that are pure science fiction. He creates a compelling and detailed universe which he then ruthlessly refers to again and again. Barely a story goes by without mention of the Necronomican or similar fan nods. But, and this is a big but… Lovecraft’s worldview is abhorrent and it leaks into his stories like bad guttering. Nasty remarks about people of colour in The Horror at Red Hook, parables against intermarriage and obsession with racial purity in The Shadow over Innsmouth and The Facts Concerning the Late Arthur Jermyn and parables against immigration in The Street.

I struggle with it and I have every sympathy for those who do not wish to expend their energy on trying to reconcile with Lovecraft. Similarly the casual bigotry towards mental health problems, the ready slur that someone cannot be trusted because they are ‘mad’ is a constant feature.

This is not to say – “poor Becky, it is so hard for her”.  More that I don’t feel I should be writing or pseudo-promoting Lovecraft without an attempt to make the material more inclusive.  Without owning that something I like is problematic and challenging.  In particular I believe strongly that if you don’t look at his work critically then you are doomed to perpetuate and even expand on his racism – albeit unconsciously.  I don’t want to end up in that space.

 

That is why it was essential to Josh and I that, in undertaking this game, we took a long hard look at unpacking the problems with Lovecraft and writing game guidance on how the players can approach it at the table. I believe it is possible to have a satisfying game which feels like Lovecraft without the racism and by using a more inclusive and more sensitive approach to mental health. We have done a lot of thinking and listening and asking for help on these issues over the last few months – so many wonderful people in G+ have been generous in listening and helping us expose the problems and think about how to tackle them. Thank you everyone!

So here are a couple of the things we have incorporated into the game so far (more is coming!):

1. Firstly (and this applies to so many things!) get active consent. Have a discussion with your players, ask them what they are comfortable with and what they don’t want in the game. Don’t make any assumptions. Just because there was lots of racism in society in the Victorian age ( and you could insert any number of alternative settings here) doesn’t mean that people want to play through it. I can love the feel of Victoriana without wanting to play the detailed racism and sexism. If anyone at your gaming table has any issues with bringing racism etc. into the game (and I can guarantee you I would be one of those people!) then don’t do it.

If you are running a game for strangers who may not be comfortable with telling the table they want to keep sexism or homophobia out of a game then consider taking the lead and banning it anyway. Personally, I don’t know of a single game which was enhanced by casual thoughtless bigotry (unless the point of the game is to call it out and deal with it) but I’ve definitely played in games which were wrecked by it.

2. Secondly, getting consent sometimes goes beyond who is at the table – but where you are and whether you can be overheard. Are you at a Con or other public space? Does having racism, sexism and mental health bigotry in your game mean that passers by are going to get a dose of ‘surprise race hate’ they weren’t expecting. You probably don’t mean it like that – but in our community we have a responsibility to look out for each other.

Given the subject matter of Lovecraft I feel we have an extra duty to be better, to actively care more for each other.

Lovecraftesque will have sections dealing with both Racism and Mental Health in the game text and beautifully diverse artwork. If we can we are hoping to go into these in more detail in stretch goals… but that will depend on you backing us!

So watch this space!

For more resources on this check out:

Deeper in the Game blog by Chris Chin

Orientalism and Exoticism: How Good Intentions Go Astray by Mo Holkar

Mental Illness: Not a Flavour, Not and Excuse by Shoshana Kessock

Book Review: Impro by Keith Johnstone

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A long time ago I asked on Story Games for people to recommend their top books about role-playing… which were not actually books about role-playing.  Simply any books which had rich ideas which could enhance the hobby.  I asked the question because at the time I was doing an MBA and my major area of interest was (and is) organisational culture.  I have used quite a few techniques and theories regarding organisational culture in my role-playing and I was sure that there would be other  disciplines out there which might have similar insights.

I got a fantastic list of books and now my MBA is in the bag I’m making the time to read some of them.  Starting with Impro.

It seems obvious that books about acting might hold some vital lessons for Role-Players but Impro has particular relevance to story games and GM-less story games in general. Admiral Rabalias has already written here about how common problems in improvisational acting are also common in GM-less RPGs.

I would go further than Admiral Rabalias. I think that as traditional role-players coming into GM-less games we have to learn an entirely new way of thinking about improvisation.  There is a temptation to assume we know it all – after all “we never have a script we improvise all the time”.  But in a traditional game this is only true in a very narrow sense – in a traditional game it is very clear who has creative control over which sections of the game, players improvise their character’s thoughts, conversation and actions but by constantly bouncing off the content created by the GM.  In fact much player improvisation is interrupted by the need to ask question of the GM e.g. “Where is the red wizard in relation to the windows?” “Is there a door in here?” Many GM-less games have techniques for dividing up creative control and this always puts a greater burden on the players than traditional games.  Therefore problems such as a player’s creativity drying up or a lack of confidence often leads to the classic improv problems of blocking and wimping become more acute.

I think we need to starting using and practising improvisational techniques more widely and writing them into our games.

Impro is a great sources for ideas and exercises on improvisation.

But to the book review itself:

I shall be honest and say that the personality of the author is very strong and quite ego-centric.  Indeed the entire first chapter is auto-biographical.  I don’t think I would want to work with the author in real life but if you like his style then you will enjoy this section, if you don’t like it then the other sections are interesting enough to persevere.

It is easy and quick to read with lots of clear examples and good suggestions for easy exercises you could use in a gaming group of almost any size.

The book has 4 main sections about 4 different ways and theories concerning improvisation.  Briefly these are:

1. Status – how feeling stuck in an improvisation can be unlocked by deciding on whether you are playing high or low status – especially in relation to the people you are playing with. I think this could

2. Spontaneity – This chapter goes into more detail about what blocking is, how to recognise it and and how to stop it.

3. Narrative Skills – This section is about making up stories and perhaps more interesting to the role-player, drawing stories out of people who think they can’t make them up.  It explores techniques which revolve around asking smaller questions to build up a story as it is often easier to make up lots of little facts and weave them into one narrative than create one seamless entirely improvised story.  This is not dissimilar to some traditional GMing roles, where the players ask clarifying questions about the scenarios such as “Where is the red wizard in relation to the windows?”.  However it made me think that we could use these techniques of asking questions about small details to help players who might be floundering a bit in GM-less games. The technique breaks down the amount of stuff players have to invent into small manageable chunks. Some GM-less games have codified systems for this such as Durance which is very helpful but it could be used more widely.

4. Masks and Trance – this was a very odd chapter, it was semi-spiritual and it really read like the author had half an idea, had jumped to some odd conclusions and didn’t really know what they were trying to say.  I think that there might be some parallels here with bleed but nothing terribly helpful is drawn out other than that masks might help people to establish characters and bleed.

In conclusion: There are a lot of useful tips and ideas in the book and also some half-baked, unhelpful pseudo-spiritual ideas.  I would recommend people read the chapters on status, spontaneity and narrative skills for the most useful bit and ignore the auto-biography and the chapter on Masks.

I shall trying out some of these exercises with my gaming groups and writing variations on them for some of the games I am currently designing. I’ll update if anything interesting happens in those sessions!

40 Days of Role-Playing

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They say it takes 40 days to form a new habit.  *They* also say 21 days, 1000 days and a lot inbetween.  But 40 Days sounds like long enough to be challenging, but short enough to be manageable.

Inspired by the 40 Days of Dating project I got to wondering what I would like to do for 40 days solid (and be public about doing it).  Well obviously the answer is role playing and I got to thinking how I would also like to spend 40 days creating and role-playing in a shared world. So along with with Admiral Rabalias and Black Rat I will be committing to a tweets worth of role-playing related content every day for 40 days from 7th September 2013.  We will be running the project over on G+ in a specially created community here.

We have drawn inspiration from games like Microscope and Archipelago II for a shared world creation system but also left ideas for character creation and scenes fluid to allow us to experiment with the format.  I have no doubt we will be using the opportunity to micro play test bits of system we have been toying with for a while. I can’t say a great deal more as we haven’t formally started yet but there are already a few posts up discussing rules and admin.

The one thing I can say is that we have chosen a genre of Star-Spanning Cyberpunk.

Please drop by, have a look at the project and read the post on public participation here.

A tweet might not seem very much and I am hoping I’ll write a lot more than that but at the moment my days are erratic, sometimes I have lots of time and sometime my laptop gets soaked in baby vomit and I have to let it dry out.

How to GM a GMless Game?

Frax 2 Comments

Ok, so this is a deliberately misleading title and could probably be more accurately described as how to facilitate a GMless Prepless game.

Originally I was skeptical of GMless, Prepless games but there are so many great examples of how to share creative control (e.g. Fiasco, The Trouble with Rose, Witch, 1001 Nights and A Taste for Murder) that I am far from worried that a GMless game world will feel flat and paper thin.  However I have noticed there is another aspect of GMless games which needs to be discussed more openly. This is the problem of “mental responsibility”.  Mental responsibility is the phrase I’ve coined to refer to many things in life such as who notices when the toilet roll is about to run out and ensures it is replaced before disaster strikes.

 
Mental responsibility for ensuring a game runs smoothly in GMed games is obvious, it rests with the GM.  The GM ensures a session is organised, that people know what to expect from the game, what dice (or not) they may need and it is the GM, ultimately, who takes responsibility for pacing the game.

 
There is no such obvious role in most GMless, Prepless games and there needs to be.  Just because the creativity is more equally divided up between the players doesn’t mean there isn’t a need for someone to take mental responsibility for the following things:

 
1. ensuring everyone understands the rules;
2. taking everyone though character and/or game world creation and answering questions;
3. noticing when pacing slips or rules are not being used properly and steps in to correct it;
4. actively setting an example of keeping people to a particular tone or ambiance in the game; and
5. noticing when one player is not getting sufficient screen time and bringing them back into the game.

(I am sure this is not an exhaustive list)

This doesn’t mean that you need to do all these things, just take responsibility for making sure they happen i.e. getting someone else to explain the rules.

If I introduce a GMless game to my gaming group then I always ensure I have read the rules, got the right amount of dice, dominos, character sheets and props and then manage the game to ensure it happens according to an agreed vision and in a way which maximises everyone’s fun.

Ultimately this comes down to the old and boring idea that things work more smoothly when one person is actively co-ordinating them. Unfortunately this means that someone has to do all the boring administrative work without getting the cherry of the creative control a GM enjoys. But I don’t think it is really that much of a hardship as you still get to play in a fun game – just one you have put slightly more work into than everyone else.

So my advice for GMless Prepless games is that GMless doesn’t mean rudderless or a total free for all.  GMless means no one person has overall creative control – but you still need to a pick a facilitator to carry out the background tasks which make a game happen smoothly.

My rule of thumb  – if you propose the game then you run it, where running means either GMing or facilitating.

 
This stuff might sound obvious but I have seen even the best written GMless Prepless games flounder without someone taking responsibility for getting it right. It is easy to assume someone else has taken on that role when they haven’t.