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#AprilTTRPGMaker

30. If you were in charge of the ttrpg industry, what would you change?

Being in charge of the ttrpg industry would imply that there really was such a thing as "the ttrpg industry", which would mean a bunch of healthy companies producing cool stuff, rather than one small niche company, a handful of vastly smaller niche companies, and a bunch of small press hobbyists.

In such a fantasy land, I would use my questionable authority to do the following:

  • Everybody uses open licensing.
  • Large companies (there are many in this fantasy land) fund artists to create open licensed art (somewhat like the Eclipse Phase hack packs).
  • Holders of out-of-print or "dead" IP release open licensed versions, even in just text.
  • Companies consider part of their business (even maybe the primary part) as harnessing the creativity of their customers, allowing them to build and share cool stuff they build on top of the companies' product line.
  • More software support for tabletop games, also open source.
  • All of this is magically profitable.

 
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29. Exciting 2019 RPG Trends?


  • The number and diversity of people motivated to bring the games they want to play into the world seems to be increasing, as does the market for such games.
  • The tenor of games Powered by the Apocalypse is changing, pulling the basic core concept in more interesting directions, for very specific purposes.
  • Some of the idiotic "us vs. them" divisions are eroding, along with the insipid personality-cult bullshit that spawned them.
  • The culture of play (that is, actually trying out a bunch of new games and seeing what happens, rather than just theorizing and navel-gazing) is getting stronger.
  • The rise of people watching recordings of actual play (which, I admit, I don't understand) is bringing different voices into the hobby.

 

April TTRPG Maker post 30


#AprilTTRPGMaker
30. If you were in charge of the ttrpg industry, what would you change?
I'm not sure I'm arrogant enough to answer this question with any degree of authority. I mean, the industry isn't a homogeneous organization, or even a consortium; it's a sort of collective silo of companies ranging from WoTC and Paizo down to one person putting out their indie game in PDF because they can't afford a print run. Trying to provide any sort of sweeping generalization just seems to be overreaching. I might suggest an advertising fund, contributed to on an as-able basis, that promotes ttrpgs outside of the existing target groups. We could all use more players, a larger market to divide up amongst us, and if we all chipped in according to our ability, ttrpgs in general might profit from letting people know what's out there. This could be done on a smaller basis, like a consortium of smaller publishers working to let people know there's more to ttrpgs than D&D. I... Show more...
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April TTRPG Maker post 29


#AprilTTRPGMaker
29. Exciting 2019 RPG Trends?
The market and industry have grown wide and deep enough in terms of available and forthcoming product that I'm unable to track it. I've been head-down over my own product lines, trying to get product out and stay in my lane. Once in a while I come up for air and see some cool stuff, but scattered data points do not make a trendline. I'm not the right person for this question.
#AprilTTRPGMaker gaming (x) rpg (x) steampunk (x) ttrpg (x)

 

April TTRPG Maker post 28


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28. What tools help you create?
Deadlines. Nothing like Time tapping its foot impatiently to get one typing.
Oh, you meant software? LibreOffice, ProjectLibre, NixNote.
Physical stuff? A Mead notebook, one of those small fat ones that fits in a jacket pocket and has enough room in the wire spiral to use it as a pen holder. I used to use reporter's notebooks, and still have a couple of blank ones in my desk drawer, but the Mead form factor works better for me. My laptop is a ThinkPad T410i running MX Linux. I dream one day of being able to get a docking station, an external keyboard, and two monitors, but right now I'm having trouble paying the mortgage. Unemployment sucks.
Bills. Those are a great motivator.
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28. What tools help you create?

  • TextMate
  • Illustrator
  • InDesign
  • Python
  • Cheetah3D
  • Eclipse
  • FOP
  • Photoshop
  • Excel
  • Git
  • The Creative Commons Licenses

 
#AprilTTRPGMaker

27. How do you market your work?

Whenever I release something, I post to my blog about it. I try to find some online space relevant to the the contents and post about it there. For example, when releasing Fourth World I found some #Earthdawn and #DungeonWorld groups and forums and posted about it there. I don’t track metrics of how effective (or not) this is.

Mostly, I don’t really market. I, probably naively, assume that anyone who really cares about what I make is subscribed to the RSS feed of my low traffic blog.

(Worth mentioning: on Friendica, if you paste the URL of an RSS feed into the “Add New Contact” box, it will add that feed much like a user. This can be overwhelming for blogs that post a lot, but is very helpful for low-traffic feeds you might not check often.)

 

April TTRPG Maker post 27


#AprilTTRPGMaker
27. How do you market your work?
Mostly by social media and appearances at conventions. As with the old days at FASA, our Marketing budget is the last thing that gets funded, and often by the time the plate gets passed that far down the table, someone's eaten the plate. Earthdawn and Demonworld have well-established reputations and followings, so the fandom generally comes to us. We host our own Discord server, we have a website, we have the usual stuff (FB page, Twitter account). I do a lot of stuff on the Fediverse and MeWe, and am a frequent panelist on Tenkar's Tavern's podcast talk shows. These days, half of what you're marketing isn't your product, it's yourself. You have to build personal engagement and be a part of the gaming community, and then slip in mentions of your product line where you can.
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26. Favorite online community?

The shared geography of real-life communities creates certain dynamics that can’t exist in an online space. So, there really isn’t any online space that is actually a “community”. But even accepting a wider definition, many spaces that claim to be “online communities” aren’t. G+, for example, while easily my favorite social space by far, wasn’t at all a “community”. My current favorite social space, the rpgtable.top Friendica instance, isn’t a “community”. Dumpshock was a community (probably still is, I don’t hang there anymore), as was patternspider.net. The unofficial Exalted wiki was a community that transformed into another community, then disintegrated. I liked all of those. It’s pretty clear that the Gauntlet is really a community at thi... Show more...

 

April TTRPG Maker post 26


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26. Favorite online community?
It would be disingenuous to say it's the one where I'm posting this (https://rpgtable.top), as I'm one of the admins, and we're still building the Friendica instance in terms of participation, so I'll just link-drop instead. I spend much of my time on Discord, on Tenkar's Tavern (where I'm just another game designer among dozens) and on the FASA Official Discord (where I'm the instance owner), and on Mastodon (where I'm just some random person on tabletop.social). Discord tends to be the most active and thus the most engaging for me. I used to be very active on G+ but we all know how that went. I maintain a presence on FB for advertising, which is about all it's good for anyway.
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25. A rad diversity consultant?

Open to suggestions.

 

April TTRPG Maker post 25


#AprilTTRPGMaker
25. A rad diversity consultant?
James Mendez Hodes, @James Mendez Hodes. Seriously, if you haven't read his work on why diversity consultants exist and are needed, go look this guy up. Right now. His work says way more about this topic than I ever could.
#AprilTTRPGMaker @James Mendez Hodes gaming (x) rpg (x) steampunk (x) ttrpg (x)

 

April TTRPG Maker post 24


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24. Favorite RPG thing to create?
A fertile seed. Something another gamer picks up and runs with. A cool idea for a scenario, a clever puzzle, an odd magic item. A thing that someone sees and says, hey, this could be fun, let's use it. Gaming to me is like stage acting - the script is just the guidelines, the work needs to be presented to really exist.
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24. Favorite RPG thing to create?

If you’ve ever seen my explanation of DivNull seeds, it won’t surprise you that the Thing Being Created is of secondary importance to what I’m trying to learn by making it. So, I guess my favorite thing to create is knowledge, training and practice.

 

April TTRPG Maker post 23


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23. Mentoring / being mentored by?
Not really either. I've got a couple of freelance writers I'm working with as line developer, guiding them on producing the kind of writing I want for my product line, but that's more an editorial relationship. I get some guidance on the publishing industry from L. Ross Babcock III, but again that's not really a mentor relationship, he's the boss of the company and I work for him. So no, this type of behavior is missing from my life.
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Mentoring/being mentored by?

No.

 

April TTRPG Maker post 22


#AprilTTRPGMaker
22. How are you working to improve the ttrpg community?
Being a white male, I listen. There are so many voices that need to be heard other than mine. Being more or less cis in appearance, I'm trying to be less so, and be more obviously bi and nonconforming. Being a person with some degree of privilege, I try to use that to open doors for people with less. Being a line developer, I refuse to give voice to the Nazis, the GGs, the actively hateful and the missing stairs and all the anti-inclusive elements that we actually do need to gatekeep out of the hobby, out of the culture, and out of existence. Mostly, it's about sharing the story, making sure that everyone gets a seat at the table, that every player gets their turn in the spotlight, stuff every GM should know and put into practice on a larger scale than we often do.
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22. How are you working to improve the ttrpg community?

I back a ton of Kickstarters and Patreons and such. I back charities like the RPG Creators Relief Fund. I try to evangelize games I like.

Some years back, I stopped buying or supporting game products with male-gazy covers/art. I haven’t missed them. I don’t by games written by pricks. I haven’t missed them, either.

I’d like to support my local gaming stores more, but this has become more and more difficult. I almost never buy hard-copy products anymore. It doesn’t help that one of the larger stores near me has turned into something of a testosterone den. There was a really great store around, but it was nearly an hour away from me, and has since gone out of business.

I try to starve assholes of the attention they seek. When someone puts themselves at risk by accusing someone el... Show more...

 

April TTRPG Maker post 21


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21. What external factors do you struggle with to create?
Money, or the lack of it. Right now, I'm unemployed, have been since 8 March after the company that brought me up to NYC with such great promises dumped me like yesterday's garbage when the client went broke and closed out the contract. Dealing with impending foreclosure and similar large issues (no, I don't have any savings or stocks or whatever white people my age are supposed to have, I'm broke like everybody else) has severely cramped my ability to create. I haven't been able to GM a game session since I got the news at the end of February. I'm on lithium just to be able to cope. But you didn't come here to hear me whinge about my personal problems. There will be gaming material produced. The show must go on. After all, the tickets have already been sold, and nobody gives refunds.
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21. What external factors do you struggle with to create?

I’m assuming this is asking “what external factors make creating difficult”, not “what difficulties do you have creating external factors”.

I’m extremely fortunate that the only factors that get the way of making stuff are finding enough time. Demands of family and work supersede game-making.

I think it is pretty amazing that many of the technical barriers to making a game and getting it out into the world have vanished. Some costs (internet, hardware, software) remain, but are falling.

The horrifying part is that the biggest external factors for a lot of people are social, generally involving some parts of humanity making totally avoidable choices to be shitbags to other parts of humanity.

 

April TTRPG Maker post 20


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20. A game you want to make you think no one would play?
Dynamic Balances, a game mechanic for a classless, no-levels system where instead of static attributes, your character has multiple sliding scales, and moves back and forth along them according to your actions and their consequences. For example, Sensuality is physical awareness, the need for gratification and awareness of the bodily needs of others, knowledge of the physical world, and perception (noticing / being aware of things in the physical world). It moves between Internal and External in terms of where it's focused. To treat your own wounds, you need Internal Sensuality, while to cause someone else a wound in combat, you need External Sensuality. If your Sensuality is focused External, you may not notice your injuries until they start to affect your actions. The game world is similarly focused on shifting balances, keeping things from tipping over, pushing things back the way they need to go (which m... Show more...
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20. A game you want to make that you think no one would play.

Well, I made ’inkadia with the full knowledge that no one would ever play it, not even me.

 
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19. Favorite themes to explore?

Not a theme so much as something that usually leads to a theme: taking as given something in a game system or world, and pushing the idea to get to some other starting point. An example may explain it better. Let's go with the D&D 3.5 wall of iron trick.

I went on about this nearly a decade ago, but you might not be able to read it. Has to do with an alleged "infinite money" scheme, whereby 50gp of magical components are turned into several hundred pounds of iron which, by the book, can be sold for 25gp per pound. Repeat until rich. Naturally, it wouldn't go down like that. But if you follow the reasoning of what would happen all the way down, you pretty quickly reach this conclusion: any society where cheap, permanent conjuring exists functions as a post-scarcity society.

And that leads you to a... Show more...

 

April TTRPG Maker post 19


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19. Favorite themes to explore?
The moral quandary. Ethical dilemmas you can't hack or shoot your way out of, that make people dig into their characters and think about what they'd do. People finding potential within themselves they weren't previously aware of. Consequences. Situations where there isn't necessarily a white hat and a black hat, but people on opposite sides of an issue both with some validity to their argument. Family. Development of relationships. Who are these people when they're not out adventuring? What kind of lives would they lead if left to their own devices?
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18. What are some underlying messages in your work?

My games tend not to be about pushing messages. Messages that are there anyway tend to be things like:


  • Art matters
  • Art is not sacred
  • There is no One True Way
  • All worldviews are wrong
  • Everything wants
  • Power confers neither nobility nor wisdom
  • Heroes aren't

 

April TTRPG Maker post 18


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18. What are some underlying messages in your work?
Actions have consequences. What you do will affect your character and the game world, in ways you did not expect and may not want. The playing field is not level, never has been, and probably never will be, but that doesn't mean you shouldn't fight like hell to make it so. The right person in the right place at the right time can make a difference, choose wisely. A small course correction now will make a big difference down the line. Violence is the easy answer, but rarely the right one; the right answer will often be the hard one. Good people make hard choices and see them through, sometimes at great personal cost but for the benefit of the larger community. Question authority. Challenge the established order. Is there a better way to do things? All people have the right to be themselves and be let alone about it. Don't worry about how you will be remembered - worry about who will be around to remember.
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17. How does your identity influence your work?

I guess I’m supposed to use this response to virtue signal, or something? I dunno. I can say that a somewhat recent change to my identity—becoming a father— “influenced my work” by reducing its volume.

 

April TTRPG Maker post 17


#AprilTTRPGMaker
17. How does your identity influence your work?
The same as everyone else's - while I can attempt to see the world from a different viewpoint, in the end, I'm stuck with 56 years of being white, male, not all that visibly queer (although I've been making an effort to present as more so lately), American, from a working class rising into middle class background. Reading about the concept of "seeing by becoming" is one thing, being able to do it is quite another. I've traveled extensively across my own country, and have been to Denmark, England, Wales, Singapore, and India, but while that has made me aware of gaps in my knowledge of the world, and broadened my view a bit, I can't claim any degree of expertise in those cultures. My work includes a wide spectrum of gender presentations, orientations, and identities, and what is hopefully a reasonable spread of ethnic / cultural identities, but being too poor to afford a diversity consultant for each of the many cultur... Show more...
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16. How does your environment inform your work?

The answer I want to give this question only works by providing examples that I’m not allowed to mention due to agreements I have made. But, maybe that’s as good of an answer to today’s question as any.

 

April TTRPG Maker post 16


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16. How does your environment inform your work?
The current global and local political and social environments drive a good deal of what I present in my game systems. Steampunk is based partly on accelerated technology, often without consideration for the human and ecological costs. The "punk" in the name implies social conflict, and the possibilities for class warfare were every bit as strong in the Gilded Age as they are now. The parallels become obvious, to the point where my challenge is to not belabor them. More immediately, the cities I have lived and worked in over the years have all become part of my settings. The research opportunities of living in New York are vast, and the ethnic neighborhoods should not be overlooked in the process of visiting the big museums. Spending time in Singapore made me realize how little I knew of Asian history, a gap that I have attempted to fill. Artists are sometimes told, draw what you see. I write what's around me.
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15. Favorite tropes to subvert?

Art is orthogonal to commerce.

Killing and looting is heroic.

Reality matters more than perception.

Worlds where magic is real resemble some particular time/place on Earth.

 

April TTRPG Maker post 15


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15. Favorite tropes to subvert?
Top of the list, stereotypical personalities by Profession / Discipline / character class. Earthdawn has a Discipline called the Nethermancer, a magician who works with True Patterns, astral space, spirits, and explores the boundaries between life and death and other states of existence. Traditionally, they're creepy. If you're going up against a Horror, the big nasties of the game, you want one with you, but even then, they're uncomfortable to have around. Always the question of whether their studies of the Elder Gods have driven them mad. In my ongoing Earthdawn campaign, I have a Nethermancer NPC, Rayechka, a dwarf woman of sunny disposition who dresses like a hippie, patchwork peasant skirt, muslin blouse, ankle and wrist bracelets, a flower in her hair and maybe one painted on her face. She firmly believes that it's better to negotiate with the spirits than to command them. She bakes bread to let off stress, lives in a tiny, ch... Show more...
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14. How are your game mechanics and characters intersectional?

Ah. That kind of "intersectional". I have to replace my earlier, better, response to what I originally thought this question was asking.

Given my response on Day 3, you might suspect that being intersectional really isn't a design goal of mine. Sadly, you'd be right. That said, it's not something I avoid either. I tend to write assuming that the reader isn't a white dude and won't necessarily be playing a white dude. My examples feature characters of all stripes. If I ever actually commissioned or used art, it wouldn't have white dudes in it. You know, the easy stuff. Content-wise, I don't feel qualified to tightly focus on intersectionality, so tend to just leave a void, where someone who is could make it work for them in play.

As for game mechanics, apart from maybe safety tools, it's hard to see how they could be intersectional without exhibiting the problem they aim to solve. Maybe something that somehow guaranteed each voice at the table equal time and equal weight?

 
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As is par for the course for me, I've fallen behind. This will be post 8-11

8. Favorite collaborators?

I haven't done much professional work, but Eloy Lasanta gave me a start (and a great education) in the industry, and was very understanding and supportive. I worked with J. Fryer on that one, and have worked with him for years on many PbEMs, and am in awe of his skill, his imagination, and his humility. Writing with him always forces me to up my game, and I love to collaborate with people that help me bring my best.

9. How do your games distribute power among the players?

I've started to get to the point where I'm loving either (a) player-facing games, (b) diceless games, or (c) resource based games. I find that these m... Show more...

 
#AprilTTRPGMaker #TTRPGs #GPlusRPG

As is par for the course for me, I've fallen behind. This will be post 8-11

8. Favorite collaborators?

I haven't done much professional work, but Eloy Lasanta gave me a start (and a great education) in the industry, and was very understanding and supportive. I worked with J. Fryer on that one, and have worked with him for years on many PbEMs, and am in awe of his skill, his imagination, and his humility. Writing with him always forces me to up my game, and I love to collaborate with people that help me bring my best.

9. How do your games distribute power among the players?

I've started to get to the point where I'm loving either (a) player-facing games, (b) diceless games, or (c) resource based games. I find that these m... Show more...

 

April TTRPG Maker post 14


#AprilTTRPGMaker
14. How are your game mechanics and characters intersectional?
The default Human illustration is a female PoC. The sample characters for the Professions are evenly divided male and female, with varying presentation, and spread across the major ethnicities of the British Empire. The character build chapter explicitly calls out gender identity and presentation as a player choice, and notes that there are no game statistic effects of either, but there will be roleplaying and social effects. We included a section on Gilded Age-era prosthetics, and how they actually work (or don't). The London Sourcebook includes a wide variety of characters, ranging across ethnicity, physical ability, gender orientation, identity, and presentation, social class, and background. We spent considerable effort working out a plausible alternate history that gave women the vote substantially earlier than in our own world, with different explanations for each of the nations based on that nat... Show more...
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13. Participate in streamed games?

No.

 

April TTRPG Maker post 13


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13. Participate in streamed games?
I haven't done anything streamed yet, or on a VTT. I've been running games on audio chat clients for a number of years, though. We started with Skype, but then Microsoft bought it and removed a couple of features we'd been using, and the call quality suffered. We moved to Google Hangouts for a while, but then that started having call quality issues, especially for users with low bandwidth. We migrated to Discord a year or two back, and have been very happy with it. I now run all my regular games on private channels on the FASA Discord server. If you're running Earthdawn or 1879, and would like a private channel of your own, let me know.
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12. How to make work inclusive?

Not a direct answer to this question, but adjacent. And more interesting than what I thought I’d be writing today: From Brittney Cooper being interviewed on The TED Radio Hour, in response to the question “why do you think it’s so difficult for white Americans to talk about the past in frank and empathetic way?”:

“…white Americans see themselves as people who work really hard, and they believe in the myth of meritocracy. We’re all indoctrinated into this myth. It’s the American myth, right? You come to this country, you work hard and anything is possible for you. And so, anyone who doesn’t have the things that they say they want, they don’t have them because they ‘didn’t work hard’. And so then, when you have to listen to people of color po... Show more...

 

April TTRPG Maker post 12


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12. How to make work inclusive?
It seems to me that the best way to do this would be as part of an inclusive team. The greater the diversity behind the creative effort, the more likely the end product is to be inclusive. For those of us who do not have a team to work with, and cannot afford to pay ten cents a word for a team of diverse freelancers or thirty dollars an hour for a diversity consultant, the best we can do is go back over our work and try to spot areas where we can be more open, watch for appropriation, and hopefully get at least a few other people to look it over before the work goes out to the public. You should never do the final edit on your own work, after all - this is fundamental to all writing regardless of genre and market. Beyond that, regardless of your background, ability, identification, presentation, and other factors, remember that your viewpoint isn't the only one out there.
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11. Shoutout an underloved creator.

It's always surprised me that you (or, at least, I) don't hear more people mentioning Sarah Newton. Maybe people sing her praises in places I don't frequent. I mean, they must. Her work has won Ennies, after all. But her name isn't dropped in conversations as often as I'd expect. (Can you, for example, name her Ennie-winning game?)

Her Monsters & Magic is still unique among retro-clones, in that it is the only one that immediately motivated me to want to play it.

And, looking at her list of credits now, I hadn't realized she had a hand in a bunch of titles I recognize.

 

April TTRPG Maker post 10


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11. Shoutout an underloved creator.
Kyrinn Eis deserves more attention than she's getting. Her work, that I have read, has been thoughtful, focused more on motivation and consequence than on grand and epic battle. I've gamed with her, and what looked like a typical belowground encounter that in classic gaming would have erupted into a fight with evil tunnel dwelling nonhumans turned out to be a lost work party that we were able to rescue and take back to the surface. Also, anyone who includes a Bibliomancer in their game system gets major props from me. Look her work up, it's worth the effort.
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10: How are your games dismantling colonialism?

On a checklist of privilege, I pretty much check every box, so my job in this area is largely to shut up and listen. Further answering this question would do neither.

 
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9. How do your games distribute power among players?

Not very well. This is an area I need to think harder about. I tend to favor games with a game master role, even though a) I’m not that great of a GM and b) most of the original games I’ve made have been GM-less.

In writing a chapter in Fourth World, I did come across a useful phrase, though: Plurium Interrogationum. This is the idea of asking a question containing assumptions that have to be conceded as true to even answer it, known by a number of other monikers (e.g. “establishing questions”, etc.). It makes for a good in-game method of spreading around narrative authority in a GM’d game.

 

April TTRPG Maker post 10


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10: How are your games dismantling colonialism?
Given that my primary system is a steampunk game set in and around the British Empire during the Gilded Age, that's an especially on-point question. We're not so much dismantling colonialism as directly confronting it. We've already done one adventure from the viewpoint of the native species of the Grosvenor World. They'll get their own sourcebook, in which we'll explore the impact of new colonialism on a previously stable territory and a people who have had no need to unify in hundreds of years. We're in talks to hire a Dalit writer from India to do the Raj sourcebook, so that the story of British-occupied India is told from the native voice. We're looking for a Black writer from the American South to do the Confederacy sourcebook, so that we can tell the story of the post-War nation in the voice of the people it oppresses and abuses. (If you're interested, andrew@fasagames.com) The London sourcebook was drafted by... Show more...
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April TTRPG Maker post 9


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9. How do your games distribute power among players?
To start off, 1879 distributes power between GM and players by defining the need for player agency as greater than the need for GM control. It's the players' story, and while the GM may lay the foundations, it's the players that will build the house. The sections on How To Play for both players and GMs stress the cooperative nature of the game, that opposition provided by the GM is necessary for dramatic conflict but is not competition for the spotlight. Beyond that, the character types are designed so that they don't overlap much, and the examples of play and published adventures are designed so that they require a wide variety of Skills and abilities. This helps ensure that each player will get their turn in the spotlight. Each character type also has social advantages and disadvantages, which are represented mechanically, so that the game reinforces the moving spotlight. Nobody will be good in all situations; agency must be shared for the player team to succeed.
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I'm doing the #AprilTTRPGmaker posts on Twitter, but will try to regularly transfer them over here.
I'm Brie Beau Sheldon (they/he), game designer, editor, journalist, leadership educator, layout & logo artist. I have worked on a variety of games from Firefly: Smuggler's Guide to the Rim to 1879 to my own projects Turn and Let Me Take a Selfie.

I'm a queer, disabled, fluid nonbinary-masc, polyamorous boy with mental illnesses from a small rural town in Southwestern PA. I make games tied to my experiences a lot. Find my stuff at http://briebeau.com, http://briebeau.itch.io, DriveThru, & IPR!

2) I try to design player focused games that emphasize empathy and identity, and I try to design away from violence or by highlighting... Show more...

 
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April TTRPG Maker post 8


#AprilTTRPGMaker
8. Favorite collaborators?
The people I regularly game with. There's no substitute for playtesting. The sandbox campaign of 1879 I'm running has generated more ideas and more usable material for the Grosvenor World sourcebook than the writers who have been working on it.
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7. How to increase accessibility?

I never really thought about accessibility until I saw Jacob Wood's Accessible Guide to RPG Layout. I still don't think about it as much as I probably should, but since that was one of my firsts texts after I started laying out my own games, I keep a lot of it in mind- especially in regards to font choice and colors.