Blog - Page 3 of 11 - Keep on the Heathlands

A Fomorian Horror Among His Gentried Peers

“The horror movie is innately conservative, even reactionary.” – Steven King

A World of Darkness dev introduced me to this quote on Facebook. He went on to explain the theory that the vast majority of horror is designed to make us afraid of the other, the thing that goes bump in the night, or stalks obscure corners of our world that we may one day be foolish enough to invade. This is not the conservatism of our modern politics, but a more fundamental use of the term rooted in the “maintenance of the status quo”. It is only by returning to normalcy that the beasts of the pit can be banished. There is a long history of these stories being used to reinforce societal norms, but there are as many examples of this small ‘c’ conservative format being used by creators who aren’t interested in maintaining any social status quo, but are fascinated by the human relationship to horror.

I’ve pondered this topic for a long time, and it strikes me, as role players, it’s worth understanding these themes in a meaningful way, because it helps us build the kinds of stories we want to tell at our tables. I’ve also found this model of horror illuminates why we are drawn to certain stories and not others. I think the best illustration of this dynamic is the relationship between Changeling: The Dreaming and Changeling: The Lost. I’m a long time fan of Changeling: The Dreaming, and when Changeling: The Lost came out for what is now known as the Chronicles of Darkness I went and dropped full MSRP on it without so much as cracking the cover. I had been jonesing for new Changeling content for years and it was with immeasurable excitement that I opened the book. After reading the text cover to cover I was in full blown Edition Warrior mode. I’ll spare you my barely more than a teenager histrionics, but suffice it to say, I was not a fan of the new game.

What really bothered me though is I WAS, kind of, a fan. There was so much in Changeling: The Lost that I loved and wanted in Dreaming. The kiths were flexible, the magic was more dynamic, the writing maintained a consistency of quality that unfortunately eluded Dreaming for most of the 90’s. I’ve talked with other Dreaming fans for years and hear this same sentiment over and over. The theme is consistently that Lost is a beautiful well done game but just . . . no and no one exactly knows why. Until recently I wasn’t able to find a satisfactory explanation for this feeling. I honestly believe the explanation lies in the Stephen King quote above.

Changeling: The Lost is a quintessential example of the kind of horror King describes above. You play a creature abducted into the Hedge by Chthonic Fae horrors called The Gentry who is subjected to one trauma after another. When you return to the world, either through heroic escape, or your master growing bored and releasing you, your family doesn’t recognize you, and your entire existence is now a perpetual PTSD trigger reminding you that you barely survived. This is systematized to the point where using your own magic can trigger your morality trait, because it reminds you “you are wrong”. This creates stories of desperately wanting to re-establish the status quo of your previous life, but never pulling it off.

Even in the deepest, most interconnected motley of Changelings, there is always a background of “Yeah, we’ve lived through hell and worse together, but if I could go back to normal I’d ditch you all in a hot second and run screaming back to my wife/husband/children/etc”. I don’t know about the supplements, but the core book passes up no opportunity to remind you of this creeping sense of isolation, or that you are always desperately afraid of losing even this shadow of a normalcy should The Gentry return for you. One of the core messages of Lost is, “cherish the phantom normalcy you’ve been gifted because at any moment it could be stolen away. The Gentry remember”.

In contrast, Changeling: The Dreaming is a game that casts the status quo as the greatest horror in the game. You play a primordial creature born of human dreams. As with all World of Darkness games, you do indeed play a monster feeding on humanity in one way or another, but you are a monster because humanity dreamt you into being as a monster. If you make the world a bloody and brutal place it is not because something awful lives in the darkness, it is merely because humans BELIEVE something awful lives in the darkness, and would they believe or care if there were no status quo to shatter in the first place?

Even where the game slips into more Chthonic territory its core premise subverts the conservative nature of more mainstream horror. This is clear when you look at the Fomorians, who walked a path of darkness across the world in the earliest days of creation. The Fomorians now threaten to return to the world, but the fear of “the other” is always subverted by the fact that the darkest of Fae are still summoned by the dreams and fears of humanity, not the other way around. The Evanescence of dark glamour described in the Changeling 20th Anniversary edition originated with the atrocities of humanity, and even the myths of ancient times speak to the fears of humans at the mercy of a capricious world they did not yet understand. They do not speak of the Fomorians coming before the fear of the unknown.

Years after that first reading of Changeling: The Lost, the initial sense of “betrayal” I felt has passed and I see these games as possibly the perfect reflections of each other. In many ways this division assures that everyone has some corner of the Faerie they will love, which I deeply appreciate. If you approach these games with an awareness of these themes you can much more easily cast antagonists and scenarios that double down on, or explicitly subvert the core identities of the games.

Plot Seeds

In The Dreaming, the toxicity of the status quo of humanity, and the status quo of the Seelie court is hinted at throughout the game line, but is not often how the court is played. A story emphasizing those themes, with players who are Seelie opens a lot of narrative potential. Perhaps the most powerful saining magics of the Dark Ages aren’t as lost as everyone thinks, and if your players see the need to tear down oppressive feudal structures, but don’t want to be caught in the role of “the court of nightmares” then you could tell a story of great quests, and complex magics means to redefine the core identities of the courts, or perhaps even sain a new court altogether. There is nothing that compromises the status quo like redefining the basis of identity for your entire species.

On the other side of the Faerie divide Changelings in the Chronicles of Darkness who find themselves allied with a Beast may come to see the Beast’s hunting and the scars it leaves as a lesser form of the sins committed by the Gentry. Not all Beasts “teach their lessons” with equal elegance, and some make no attempt to teach lessons at all, seeking only to feed on the fear of mortals. The existence of Beasts, who exist to subvert the status quo, and Changelings, who are creatures uniquely driven to preserve it creates a dynamic where if you are aware of these themes you can tell truly brutal stories setting family member against family member. I would pity the poor Changeling who finds themselves allied with a Hero seeking to “purge the world of Horror”, but I could easily see how such an ill fated allegiance could emerge.

At the end of the day a solid foundation in genre awareness aids a storyteller running any game. When you find yourself guiding players through the darkest corners of humanity’s narrative canon look closely at what makes your players afraid, and tailor your setting to those fears. Knowing the deepest, broadest themes of any horror game makes it a lot easier to find exactly where those fears come from, and how to tap them.

Against the Darkness

Once upon a time, when the sun fell, we knew only darkness. We sat huddled against the cold in trees and caves imagining the hunters that sought us in the night. Every so often, often enough to justify our fears, they would come. When this happened we would lose someone, sometimes more than one someone. Death and darkness became synonymous.

Over time, all this imagining did us some good. We imagined whether there could be food on the other side of the hill we had never seen. We imagined there were predators where there may or may have been. Those who imagined better survived longer, and bore children who carried the spark of imagination within them.

That spark eventually manifested as fire itself, born from our hands, but first created in our minds. No longer were we bound to spend each night trapped in fear and exhaustion. We brought the sun to earth, and those that once hunted us learned to keep their distance from the flames that lit the night.

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Our imaginations never ceased. Instead, we began to envision things that had never existed, events that had never happened, and places no one had ever seen We had become aware of ourselves as individual minds, but more than that, we realized that we could see ourselves as things we had never been. We carved masks and wore paints, and in the light of the flames (which had burned away the darkness of death) we took on the roles of spirits, heroes, and gods. We danced and we sang because we were free not only from fear, but from the boundaries of our physical forms.

Now the world is lit by light so great that in many places you cannot see the stars. Many still live in fear and darkness, but every day those who live in fear number less than ever before. The stories we tell reach across time and distance to affect lives in ways we will never know. Radio, television, and the internet reach numbers that would take years for any single person to count aloud.

Roleplaying games as we know them are largely a modern invention, created and developed in the last fifty years. As a skill and as an artform we have only begun to scratch the surface of what is possible with this medium. The roots of our hobby run deep, to one of the cores that define us as a species: the power of our imagination.

These games we play show us that we can see ourselves in others. We can take on the personas of other people and see ourselves through them as the hero or the monster, as the villain or the victim. We imagine these other selves of ours enduring experiences we will never have in our mundane lives, the sweet taste of victories we will never win, the utter agony of pains that will never touch us, joys and despairs freed from the chains of physical reality that bind us.

I would never suggest that imagining something is the same as experiencing it. I would say that it can give us an idea of that experience, whatever it is. Imagination can broaden our perception of the world around us and allow us to see more than we have before. It can let us more easily understand the successes and plights of others and try to put ourselves in our (their?) place.

If we are careful not to let this turn to arrogance, our ability to empathize and sympathize grows. We can see our selves in others more clearly, and envision a world that is better than the one in which we live. The stories we tell have origins in one of the collection of traits that allowed us to evolve. If we are compassionate and brave, the stories we tell can help us to go further still.

Escapism and entertainment are not the only uses or purposes of roleplaying games. When we pursue them with the goal of playing to explore, we can touch the first spark of the flames which freed us from death and darkness once more. Just as with fire, this power can burn, and we must treat it with all due care and respect. Every time we do this, we take one powerful step closer to becoming whatever it is we desire to be.

JP Bauer is a gamer who currently lives in the southeastern United States. He thinks roleplaying games are pretty special and wants to play them with you.

A War Of Our Own Interview

First, give me a moment to gush on the idea of A War of Our Own. How do we explain war to those who haven’t faced it? How do we understand the challenges, the decisions, the choices service members have to make? How do we understand the challenges that the civilians on the sidelines face? We can’t send everyone to war, and I’d never want to. We can provide them a glimpse into the realities of war through various forms of media. Movies, TV, music, books, all of these help to convey the Hell of War, but they fail to capture the thinking behind the eyes. What does it mean to carry the M16 and pull the trigger? What does it mean to be a civilian in a war zone with foreign troops ‘invading’ your town? What does it mean to see a conflict unfold before you in a way you cannot stop? LARP allows us to get closer than other media forms, and for that it offers something only VR might be able to eventually capture. So, I’m on board with this idea. I had the chance to shoot Matthew Webb from Jackalope Live Action Studios some questions about A War of Our Own, and he graciously has answered them below.

Matthew, thanks for your time. Tell us a little bit about why you decided to do this project? What are your core goals and expectations?

First off, it’s great to hear about your excitement about the project. Ultimately, this game is not about the soldiers because so many games are about the soldiers. But the people who have to live in the worlds that war, politicians and armies create. What happens to the civilians caught in the middle.

I have been a huge fan of This War of Mine since it was first introduced 3 years ago. I have immense respect for it as showing the messages and realities that a game can convey, while still being a game. Earlier this year, my partner Steve Metze and I decided we wanted to start a live action event studio, to explore the art form and hobby with high-value and high-production one shot events. Steve was a veteran of the Bosnian and Iraq conflicts; and I mentioned This War of Mine as a possibility. It went from there; and really took off when 11-Bit Studios agreed to sponsor us; and when Temple Airsoft was so generous in offering their support and partnership.

It’s impossible to truly convey the cruelty and hardship of living in a war zone unless you actually have experienced it. But our intent with A War of Our Own is to make a LARP that makes people think about the decisions people are having to make around the world right now in places ravaged by war; the choices you have to make about how you are going to survive; and how senseless the world becomes in the shadow of conflict. We want to build empathy for an experience that as safe and secure Westerners, we are so unlikely to experience. We can’t expect anyone to come out of this feeling like they really experienced what it is like to be in a war zone, but we can expect them to come out of it learning about those who have.

There is growing academic literature around simulation of real events and its value as a teaching tool. With that in mind, what made you choose a fictional setting for this game? Does the fictional setting of Calbia allow for something in particular that you wanted to capture?

One of our key principles in this project is respect and being constructive about the cultures and people affected by war. We owe that to them, to act in an educated and honest way. But in a live action game, we have to get dozens of players from a wide variety of backgrounds to play in the same world. We don’t feel comfortable taking 50 or 60 people, mostly Americans with little experience with these parts of the world, and expecting to train them in a few days or hours how to be authentic Ukrainians, Syrians, Croatians, Georgians, Serbs or Bosnians; or anyone else. We don’t want to satirize or simplify the cultures of proud and courageous real people.

A fictional setting frees us from that constraint, and allows us to focus on the core message of the game. Calbia is going to be inspired by several nations and their history, but not a copy of any of them. A fictional setting means we can avoid divisive and contentious politics revolving around these real world places, and hone in on our message without distraction. This is a long-standing tradition in art, especially in the context of war and its realities. One of my favorite classic novels is The Moon is Down by John Steinbeck, which is about the local resistance to an occupying power, but the nations involved are never named; and in short stories like The Upturned Face by Stephen Crane or The Prisoners by Nicolas Travers. Even in This War of Mine, while the situation is modeled after the Siege of Sarajevo, it is set in the fictional city of Pogoren, Graznavia. We don’t want to take sides, but present the universal truths of these sorts of situations. So we’re following this tradition by fictionalizing the setting.

Tell us about the physical props you will be using. I’m guessing you’ll be using airsoft weapons, based on the site? And I see some trailers and other set pieces in your website pictures. Are you going to be using military surplus Humvees and other vehicles as well?

While we are going to be using an airsoft field, the game is not going to use any airsoft weapons. We will be using a collaborative system, so when there is violence, it’s not really a test of skill so much as a dramatic moment playing out. We will be using blank-firing weapons and some prop tools and clubs, but these are props to use when acting out violence you have already agreed upon the outcome of. But very few of the participants will be armed with guns, bullets will be scarce and the situation desperate. A single working loaded gun in this game is a huge deal. And the soldiers on either side will be a force of nature, like a tornado or a flood. There’s no negotiation with the winds of war, only getting out of the path. And sometimes, you just get unlucky and are in the wrong place at the wrong time.

Temple Airsoft has been a great help to us when it comes to props and other effects. They have a collection of military vehicles and converted civilian vehicles which will really help sell the idea of being in a war zone; and they are graciously letting us use them. Along with helping with special effects and pyrotechnics. They do this all the time as a part of their recreational wargaming, and are being wonderful by bringing that skill and experience to creating our immersive experience.

You’ve got a great team; can you tell us a little bit more about them?

We are very lucky to have the expertise we have; and we’re already getting interest from others interested in joining the team.

Steve Metze is one of the sources of creativity and passion behind the project. He’s an officer in the National Guard, and This War of Mine struck a huge chord with him. He’s long wanted to convey the often surreal and heart-breaking realities of countries that are steeped in civil conflict. He’s also an excellent filmmaker, having made a war documentary called Year at Danger about his experiences in Iraq. And a remarkable and imaginative game designer. His latest book is a provocative reversal of the Lovecraft mythos called Unwanted.

Angella Seaman is our wonderful community safety coordinator. She’s had years of experience with managing healthy game communities. And given the subject matter, we want all of our players to be emotionally and physically safe during the event, before and after. She’s a veteran LARPer as well.

Myself, I’ve been running and writing LARPs for over a decade now. I have written several free-form LARP games, one of which I published called Shades. I’m also the lead developer at Incognita Limited, a software company that makes software specifically for supporting live action gaming. I am the creator of the world’s first augmented reality LARP Planetfall and am collaborating on software projects with several other companies in the LARP community, including Ford Ivey’s Legacy Game Systems and Participation Design Agency in Sweden. We will be announcing more team members soon.

Why War Child? What about this particular organization led you to choose to donate to them in particular?

War Child is the charity supported by This War of Mine in their recent DLC, The Little Ones. So it is a great fit for our event. We wanted to run this event, but we weren’t comfortable profiting off the subject matter; and War Child is an incredible charity doing a lot of good in a imperfect world. They provide education and safety to children and families torn apart by war. It is hard to think of a more worthy cause than that. We know that the money we raise will be going to some of the most vulnerable people in this world who really need our help. I’m just hoping we can raise enough to make a difference in their lives.

Are there any final thoughts you’d like to share about the event?

We are floored here at Jackalope at the reaction A War of Our Own has gotten. People are talking about flying from around the country and as far as Sweden to attend. Academic experts on the Balkans and civil strife have offered their input; experienced writers have asked to be involved in the project; and survivors and their families of the Bosnian conflict have even reached out to us. We are hoping to keep the momentum strong and make this a great event that we can repeat. War and refugees, especially children, are a huge issue right now; and we want to help both by encouraging people to think and debate these issues in an informed way; and by giving help those who desperately need it.

I encourage everyone who wants to help to follow us on Facebook or Twitter; or sign up for our mailing list, so we can get the word out and keep growing what is already turning into a vibrant and great community.

DAV20 Dark Ages Companion Review

I’ve been struggling to do this review. Not because of the reason you might think either. Dark Ages Companion is probably one of the best books I’ve read from Onyx Path Publishing. I’ve had to stop every paragraph or two to sketch out notes while reading this book. In the 2 weeks that I’ve been actively trying to get through it, I’ve had, at minimum, 10 chronicle concepts come to mind based on elements presented in this book. This book was developed by Matthew Dawkins, and I can tell you he and his writing staff did nearly everything right.

Lords, Lieges, and Lackeys

Dark Ages Companion: for Vampire: The Masquerade 20^th Dark Ages is broken into eight chapters. The first six are various domains, most which have never been given a full treatment. The final two chapters are rules for building Domains and Dark Ages warfare. The final two chapters are an excellent resource for a storyteller that wants to dive deeply into these elements in their game. The Domain rules remind me of a more streamlined version of the AD&D supplement Birthright, and are effective if you’d like to include some elements of city/domain management in your games. These rules use Pooled Backgrounds as a baseline, and then go deeper. This is an excellent way of utilizing downtime and maturation rules in a way that doesn’t cause large breaks in the story.

Chapter Eight gives some deeper rules on warfare. If you want to be more accurate in your portrayal of various weapons and armor these are the rules for you. If you’d like to keep things cinematic, the core rules for the game still work fine, and you can pepper these details in as you see fit. I’m getting this stuff out of the way first. Great two chapters, but the first six are more exciting.

Plot Hooks Abound

Rome, Bath, Bjarkarey, Constantinople, Mogadishu, and Mangaluru: these are the domains presented in Dark Ages Companion. There are enough plot hooks to construct at least 100 chronicles here. Each chapter provides details on key Cainites, key elements of the domain, and key plots, disagreements, and ways to get your player characters involved. The domains are also connected in subtle ways, with plot hooks linking them to one another sprinkled throughout. This is masterfully done, very little of these connections seem forced, they are nuanced, smart, and really intriguing.

Each domain offers something different in the way of scope. Bjarkarey is small, intimate, and highly aggressive. As is Rome, which offers an interesting counterpoint to Bjarkarey. Constantinople and Bath, both drastically different in size, offer more expansive exploratory plotlines. I haven’t read enough of Mogadishu and Mangaluru yet to say what their full details will be like, but I can say from a quick look that they present a mix of large and small scale plot to throw your players into. Seriously, you’ll have to work hard not to come up with some great story concepts after reading these chapters, they are excellent.

Problems In the Text

There are very few things not to like in this book. One thing I’m not sure of though are the creatures at presented at the end of three chapters. The Black Dog, the Kallikantzaros, and the Pishacha are presented as supernatural opponents which you can utilize in your game. These are local legends related to Bath, Constantinople, and Mangaluru, respectively, but I’m not sure that makes me want to utilize them. For a Vampire game, I’ve always tried to focus on the internal darkness which plagues the Kindred, and I often shy away from ‘monsters’ which to have the PCs encounter and challenge. That isn’t how these are explicitly presented, but they do have a subtle hint of D&D encounters to them. They are there if you think they make sense for your chronicle, use them if you think it will add to your story.

I know a couple of things about Old Norse culture.

The second thing I was frustrated with is a relative historical quibble, and I’m going to explain what bothers me about it. In the chapter on Bjarkarey, there are a few mentions of blood purity and rugged individualism. Neither of these concepts is historically true to Norse culture, at all, and I find their presence here frustrating. The Norse were intensely communitarian, as you would have to be if you lived in some of the most hostile climates in Europe. The concepts of blood purity were developed by the Spanish during the Reconquista (1400’s) and would have been bizarrely strange to the Norse during the 1200’s. As a student of Norse history and a follower of Germanic religious traditions, these elements bother me. They speak to a narrative that far-right elements in society attempt to latch onto, and though they are fleeting in this text, their presence is annoying.

All in all, this is a good chapter on a culture that was still having some inter-cultural conflicts between Pagan cultural holdovers and Christian religious dominance, and it is not badly written. In fact, it’s really well developed and I immediately find myself excusing the things that bother me.

Final Takeaway on Dark Ages Companion

Buy this book. One of my favorite White Wolf books of all time is House of Tremere. I’d give that a 10/10 rating in a heartbeat. Dark Ages Companion is easily a 9/10 book. If you ever plan to play a Dark Ages game of any edition, you should own this book. The art is amazing, the writing is fantastic, and you’ll have a ton of great ideas come to mind while reading it.

How LARP Made Me a Badass at Work

Guest Post from Tara Clapper of The Geek Initiative and Mythbuilders

Few professionals emerge from high school, trade school, or college with the badassery required to act fully confident in their respective field. In any job, you grow as you learn – but you can enhance your confidence and other work-related skills through the magic of LARPing.

Here’s a look at how it’s worked out for me.

LARP Kindled My Interest in Marketing

Following college, I got my professional start in publishing – which was an uncertain field due to its not-so-smooth transition from print to digital. Moonlighting as a freelance writer, I also learned about SEO (search engine optimized) writing and its constant state of evolution.

What tied it together was the opportunity to be a marketer for a LARP. The duct tape budget was mandatory; the marketing budget was meager (and by that I mean $0). I bartered talent and content for tables at conventions and even recruited LARPers on Freecycle.

Most other games didn’t have someone who knew how to seed a new blog and dominate keyword opportunities, but like a veritable marketing badass, I made it happen and began my official journey into a marketing career.

LARP Got Me Hired Four Times

What differentiates me from almost every other job candidate? I’m an avid LARPer, and I’m not afraid to talk about it during my job interviews. In digital marketing and publishing, the right kind of creativity really helps me distinguish myself.

Additionally, my knowledge and enthusiasm about LARP shows that I’m able to speak clearly about what I do. Four prospective employers felt that their team needed my passion – and every time I described LARP and what I learned from it, I got hired.

LARP shows several desirable traits to employers:

Improvisational ability: I’m able to think on my feet
Ongoing desire to learn: I take lessons from LARP and apply them to real life
Continual creativity: LARP’s a vehicle for creative thinking
Problem-solving skills: As my character, I often have to overcome challenges, and I take pleasure in doing so
Team player: Collaboration is the name of the game in LARP, as it’s a necessity for the media’s format as well as character development and progression

LARP also serves as a backup for those pesky interview questions. “Can you remember a time when you handled an emergency?” Not in real life, but one time I totally helped a pregnant dwarf get to the midwife on time.

LARP Makes Me a Badass Leader

Minerva had only a moment to think about the years of preparation under the guidance of her mentor. Presently, she was a mage enrolled in her second year of wizard college. Refusing to hand over the coveted letter, she defied her professor openly before the entire class. In that moment – in doing what was right even though it was against the rules – she knew that the decision to pursue law enforcement was right. This wasn’t only justice, it was leadership.

…And I took that experience to work with me.

This is the narrative of my most immersive and impactful LARP experience to date. As a woman in marketing who often interfaces with people in the tech industry, leadership and confidence are essential – and not always easy to maintain. Through LARP experiences like the one described above, I deliberately practice embodying confident and decisive actions.

This allows me to speak up and lead confidently, whether I’m working with a team of writers or leading a client through the buying process.

Success in this endeavor comes through repetition. That’s how to make a good habit stick.

LARP Makes Me a Badass Marketer

I’m a more effective marketer thanks to LARPing. In marketing, telling a brand’s story and appealing to prospective customers through genuine passion for your work is all the rage. (And for all those people who said an English degree wouldn’t help my career: you were wrong.)

LARP is all about collaborative storytelling, a skill I constantly practice at work and on game. This also means I’m used to reacting to what others give me to work with, and I’m not going to stick to the conventional beginning-middle-end format with every story. LARP helps me help brands stand out.

LARP Makes Me a Badass Colleague

In addition to the collaborative nature of LARPs, these games have helped me focus my passion for advocacy. Often in LARPs, I’ll have to take a stand on a position and convince others of its value. Through my career, I’ve used these skills to advocate for team members, customers, and even fair wages.

Forget Toastmasters: I LARP

Public speaking is an important skill in every field. Like most writers, I’m far more confident in crafting written words than delivering speeches, but public speaking is also a necessity for many marketers. Whether I’m on a podcast, webinar, or speaking live at an event, I lean on my LARP experience to engage the audience effectively.

Specifically, I grew more confident in public speaking by portraying a bard in a monthly fantasy campaign LARP over the course of five years. The bard began as a passive fairy princess and retired as a respected and battle-ready political leader.

Remember that time the inn got attacked in the middle of the bard’s song? That taught me how to deal with the unexpected when there was a technical glitch in my webinar presentation.

I still have a long way to go when it comes to nasty glitches and surprises, and work life doesn’t always go as planned. But thanks to LARP, I’m able to handle it like a badass.

Tara M. Clapper is Managing Editor at Mythbuilders, a game designer, a fan of Marvel’s Thor, and a forever LARPer. She is the founder and senior editor of The Geek Initiative, an online community focused on women in geek culture.

Sidereal Sanctuaries – New Modern Urban Fantasy LARP

We are in the golden age of gaming, and if you ask me, we are on the cusp of a LARP explosion. Blockbuster LARP like New World Magischola, Convention of Thorns, and new moves by Disney to create immersive experiences offer a chance to LARP to almost every person and interest level. And of course, the great LARP systems and game communities that have existed for the last few decades haven’t really gone anywhere either. If you want to LARP, there are more options than ever to do so. Sidereal Sanctuaries is a new modern urban fantasy LARP created by Jessica Karels (founder, Hidden Parlor) and Jason Kobett. Both are LARP veterans and they are bringing a lot of amazing experience with them to their new creation.

Before we discuss the game, I want to highlight they are running an Alpha Playtest in Minnesota on August 6th, and they will be running Alpha play-tests throughout the rest of the year in the Minneapolis-St. Paul area.

Here are 5 key points about the setting and rules.

Technology is broken – something happened at the end of 2012 that forever broke the Internet / digital data transfer / networking. The machines that continue to work aren’t always reliable.

Social progress stagnates (and in some cases goes backwards) – Without the Internet, civil rights activists have a harder time organizing and drawing attention to non-local issues. Most mainstream people, already frazzled by their lives changing, put up blinders towards the problems of those who fall outside their immediate social sphere. Corporations gain a tighter hold on media channels and dictate the narrative (the one that makes the most $).

It’s revealed just how much “history” has been altered – In the fictional setting of Sidereal Sanctuaries, it’s revealed that technology and establishing reality are the results of a deal mankind made with various cosmic forces eons ago. Part of that deal included a clause that said cosmic forces would send out enforcers in the event that mankind didn’t fulfill their end of the bargain. These enforcers (called Remnants) have attempted to fix humanity’s mistakes throughout history. Their reward? – The ones who look most human get remembered/elevated in history and the ones who don’t get hunted and their stories are turned into myths and stories about “monsters”.

The “monsters” are protagonists who just want to exist – In Sidereal Sanctuaries, player-characters are Remnants (the supernatural enforcers I mentioned) who are hunted from the moment that their supernatural side manifests. They congregate in places that are supernaturally protected from non-Remnants (called Sanctuaries) where they learn how to work together (mostly) and how to deal with a mix of both supernatural and mundane issues.

Tethers: This is a concept inspired by Infection from DR, which gives you a certain # of lives, and Humanity from VtM which makes a character appear less “human” as their Humanity rating decreases. In the system being designed, Tether is your lives + merit pool. You can create a plain character and endure more lethal situations, or you can buy up merits and go down in a blaze of glory sooner.

Representation matters to the creators of Sideral Sanctuaries, and they’ve written a great blog post on the topic. This design from the beginning will hopefully encourage players to participate and build the shared experience in an inclusive and holistic way. This idea as a core element is encouraging, and we are going to keep close eyes on this project as it gains legs. Let us know what you think about the concepts presented here!

Presentation and Tropes with ‘Monster Races’ in Fantasy Games

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I just read this article, and it is certainly something to consider. This weekend I ran a D&D game set on the frontier of a jungle. At the heart, my goal was to subvert tropes, and this article got me actively thinking how and if I was successful. Subversion of a trope can be hard to manage without forethought and focus. In the end, I think I cut into some tropes, but I could have done better. I can’t tell you too much about the adventure, because I’m using elements of it in a product in development. I can tell you that I’m seriously considering my presentation of ‘monster races.’

This is something I’ve written about before. In that article, I focused on Goblins, and I’m going to use them as an example again here. As a cultural group, Goblins are fascinating to me, and I think the way they are often used is very frustrating in general. Eberron does a good job of undercutting the traditional colonial/racist way of depicting Goblins. It’s not perfect, but it is a step in a positive direction and I think we should be trying to do better in our games. Other settings are less effective at showcasing Goblinoids as living, breathing, and dynamic sentient people. We’ll just leave it at that, I’m not going to throw any specific shade anywhere right now.

D&D has colonial roots, and racism is a symptom of colonialism. (Or vice-versa, depending on how you suss out the origins of the behavior the terms describe), but that doesn’t mean we cannot use it to examine those things critically. In fact, I think that is a core benefit RPGs can offer us. The entire concept behind Reach-Out Roleplaying Games is to help use games like D&D to explore and understand the impacts othering, racism, sexism, and other systemic prejudices have on people and our interactions with one another.

So, we have two options, as I see it. We can acknowledge the inherent colonialists flaws in D&D and then work to subvert them. Or, we can use them without alteration as a way to start discussion outside of the game setting. The second is harder if you don’t have a group that wants to deconstruct the game and their own feelings and thought processes after a session. I’d make a joke about my surprise at these things, but I’m not. Most people don’t play RPGs for constant self-reflection and internal examination of their own biases and mental constructs…

Before I digress too far down that rabbit hole, let’s talk about subversion of tropes. This is an excellent idea as it is often in the hands of the GM to create the world which these tropes are expressed through. You’ve got the power to subvert tropes as a player as well, but the GM controls the systematic side. That said, everyone at the table has a role in determining, subverting, or reconstructing tropes.

For example. Goblins are murderous creatures that stumble over themselves in a cannibalistic frenzy. This common fantasy RPG trope is based on some elements of Tolkein, and lots of D&D specific history. It references tropes of tribal behavior, particularly from colonial conception of African and Polynesian culture. This isn’t an accurate depiction of those cultures, but we shouldn’t be blind to that influence on the way certain monster races are presented. So, how do we subvert this trope?

The first possible way is to make Goblins part of mainstream society within a setting. What role could they fill that halflings and gnomes do not? Any. Halflings may focus on culinary arts (Tolkein level trope, but let’s roll with it) and Goblins work as crafters and artisans. Their smaller frames make them really good at working in small spaces, so plumbers, construction, or mining are roles that are positive to a society. You can of course also make them farmers, or animal herders and subvert several tropes all at once. Consider the motivations your Goblins have. What do they see as the good life? Is there a Goblin Socrates? Why are they part of the society they are a part of? What do most members of society do? What do the outliers do? What is normalized behavior and what is taboo?

You can also give the trope style Goblins motivation that makes their behavior understandable. Murderous mob of goblins? They are a splinter group of raiders that were ostracized from several goblin towns. Having the players make an alliance with these towns to mutually take the raiders into custody would be an interesting plotline They may not need to be killed and if they are, doing so may anger more goblin’s who are their relatives. Perhaps a second group of ‘murderous’ goblins are simply avenging the deaths of their kin. Looking at Icelandic Saga Feuds, or the Hatfield and McCoy feud it is easy to see how this cycle of revenge can quickly get out of control. In both cases, greater law is often imposed to limit feuding, and it could be an interesting campaign to show the imposition of higher law between groups that have agreed to stop blood feuding.

This may not be going far enough, depending on the group and the scenario you are creating. When developing a setting or a full game, I think we also have to be really cognizant of what we are saying about a culture through our writing. Eberron presents Khorvaire as once being home to a massive Goblin empire. That empire collapsed, and the majority of goblinoids are now living in poverty, or living in nomadic, or rural village life.

Keep in mind too, that rural village life in most D&D worlds is fraught with danger we don’t have in human history. In a lot of cases, Giants, Dragons, and such would have driven most humans to build great cities sooner if they had actually existed. Binding together is sensible in the face of this sort of outside challenge. So, it is understandable that the life of the average goblin in Eberron is one of high mortality, and a fight for survival.

This is edging into trope territory as well, though. This makes Goblins perpetually marginalized in a society where they are generally unwelcome. Again, that can be useful for exploring racism and class issues through an RPG. If that isn’t the purpose for using this trope, we have to again consider what we are hoping to say in setting development? What if Goblins were simply an accepted part of society? In Eberron, we could have them be heirs to Dragonmarks, which would include them in the House system, which could mainstream them.

You could also bring Darguun up to a fairly level playing field with the rest of the Nations of Eberron, pushing back the story of its unification, or even having it have sustained unity from the imperial era. This will either make Goblins more, or less antagonistic, depending on how much inherent nationalism you build into your world.

If you are building a completely new world, you could also do away with the standard Goblin tropes completely. Make them as accepted a part of society as Gnomes or Halflings. If you want to keep an antagonist group in the world, consider flipping the script and having Humans, or Elves be aggressors. You can either have it be a full swap, or try and subvert other tropes while you are flipping the script. The biggest danger here is shifting things and creating or falling into the same tropes with different faces.

What do I want you to take away from this? Try and subvert tropes that emphasize colonial or racist elements in RPGs. When you do so, try and take a holistic view on what your subversion would change in a setting. Be realistic, avoid stereotypes, and recognize you might not get it right. Take criticism, listen, and be prepared to adjust fire at the table too.

I’m interested in hearing how you’ve subverted tropes at your table or in your game. Let’s swap war stories.

Running a Facebook Fan Group for White Wolf Related Games

First, thank you to Chris for offering to do this interview many months ago when I first approached him. I wanted to understand more about what got someone to start a group on Facebook, and in particular why these games. I finally cleared my plate and sent him these questions.

Tell us a little bit about yourself. How did you get into role-playing games?

I’m 39 years old, a husband and a father of three. Some of my hobbies other than RPGs are Brazilian Jujitsu, Mixed Martial Arts and reading book. I’m like ¾ knuckle dragger lol.

I actually got into RPGs in 1999 when I was in the US ARMY. I was on this detail where you have to spend 5 days, 15 hours each, walking through the desert picking up trash. A guy who was also on the detail started talking to me and I mentioned I was a fan of Anne Rice. He told me about Dark Ages: Vampire and a few weeks later he started running a game. We ended up getting deployed to Bosnia a few months later and right before we left I was at a bookstore and saw the Vampire: The Masquerade book.

I ended up picking it up and ran a game in Bosnia that was a straight up katana, trench coats, and Uzis for everyone type game. During all that though I was buying books online and having them shipped and I read one book that changed my perspective of Vampire: The Masquerade forever, Ghouls: Fatal Addiction.

After Bosnia I was stationed at another base and decided to run a grown up Vampire game, and ran Twin Cities by Night the first time. I soon though found myself taking on too many players and was starting to feel the dreaded burnout. Then one day I realized my 40 plus collection of books had been stolen. I was relived and never played a RPG again until 15 years later.

Fast forward to the spring of 2016 and I am cutting weight for a Brazilian Jujitsu and I am miserable. For those of you who don’t know, it’s pretty much eating like a rabbit and trying to ride the border between malnourished and lean for maximum weight/strength effect when competing. For some reason Vampire popped into my head and I ordered the horrible Vampire: Clan Novel Anthology there and ended up deciding I wanted to run Twin Cities by Night again and the rest is history. In summary, I am a RPG poser.

You run a few games on YouTube, and they are good. Tell us about why you decided to stream your games. What were you thinking there?

Why, thank you man, that honestly means a lot! At first I was just uploading it to YouTube so that the players and I had somewhere to rewatch our sessions, but eventually I really wanted to see if I could get some feedback, negative or positive, that could help me be a better storyteller. So, for the lack of a better term, I said F-it and started posting them on Reddit, Facebook, and the Onyx Path forums.

To be honest though, now it’s to the point here I want to share my stories, and if someone enjoys them that’s awesome, if someone has some constructive feedback that’s even more awesome, and if someone says no thank you and passes I can dig that. As I said earlier I have a knuckle dragger side to me, and before I was able to balance that out with working at getting my Master’s Degree but once I was done with school in 2016 I realized RPGing and the YouTube channel filled that hole. It is a healthy creative outlet and a blast to do it with some pals.

Ok, we know why you are playing RPGs, we know why you are streaming games, but tell us a little bit about why you decided to create a Facebook fan page.

Man, I love that Facebook page, seriously, it has a special place in my heart. As a content creator myself I have experienced firsthand how damn hard it is to get your stuff noticed. In forums and Facebook pages it is very easy for media to get drowned out by posts asking what Thaumaturgy Lure of Flames 7 and what dual bladed katanas could do against Caine (I jest, I jest…..kind of). So I started a Reddit post in the WhiteWolfRPG forum, but found that was so damn hard to do. I mean I was literally scouring the web and posting stuff I found.

I felt like a dang collector. So one day I shot Slavek, a player in games on our channel and the one poor soul who has to hear all my ideas and give me honest feedback, and tell him my idea for a Facebook group that would be like the Netflix for White Wolf RPGs. He said he was down to try it. At first I was sharing stuff I found on YouTube and other sites, but eventually my thick head thought “Why not invite these people to share themselves”. The rest, good sir, is history, and matter of fact you were one of the people I asked.

Do you find the group hard to manage? What are the good parts, and the bad parts?

Actually the group is rather easy to manage. It now seems to have a lot of content creators who share stuff and I am still scouring YouTube and inviting creators. The good part is to see how much content there is and seeing people connect with an audience and vice versa. Shit man, I see some big names in the scene are members of our group and are liking stuff posted. That’s rad! Bad parts, there aren’t really any but the one thing is when people don’t read the rules and get angry when I tell them the group is for sharing and viewing media.

Where do you see your group going?

I honestly don’t know, but I would say I am still surprised it is growing constantly. Who knows, but I am sure very awesome places! Positive thoughts!

Thanks again Chris for answering these questions for us. I really appreciate it, and I’m sure our readers appreciated it too.

Spring Again At Last: The Return of Changeling: The Dreaming

Now out for public consumption!

When most people describe the World of Darkness the first thing that tends to come up is gritty street wars fought between the undead and other horrors of the night. Sometimes that includes hyper violent Garou burning with deep bloody passions trying desperately to stop creeping death from consuming mother Earth, or Nephandi seeking to corrupt all they touch. However, for some, the World of Darkness is very different.

Underlying the horrors of the first 4 WoD titles is the hidden chimerical world of Changeling: The Dreaming. When I started gaming in my mid-teens, I lived in a town where Changeling was so popular, our local LARP crew built home brew Mind’s Eye Theatre rules because they couldn’t wait for Shining Host to dive into the capricious machinations of the fae.

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When I left my early gaming bubbles I was surprised to discover that Changeling is not the universally loved game I was familiar with. I have heard from more than a few people that Changeling is a fine game, but it doesn’t belong in the World of Darkness. So when the Changeling: The Dreaming 20th Anniversary Kickstarter succeeded with flying colors I was excited, not only that Changeling might have another life, but that with a 20th Anniversary edition the full scope of tragedy and horror Changeling represents might be brought into focus for a wider swath of players.

In many ways, the writers for C20 faced greater challenges than previous 20th Anniversary developers. Changeling never got a Revised edition, but unlike the other games in the World of Darkness, Changeling changed focus and central themes more than once during its life. There are several corners of the world that haven’t received any meaningful attention since 1st edition. The result was almost every Changeling book broke new ground, creating a much broader array of content than the line’s relatively modest word count would indicate, with several concepts and rules that were woefully out of date.

Themes

C20 tackled this challenge head on, and accomplished transforming one of the most diverse and honestly inconsistent games in the World of Darkness into a poignant, modern role playing experience. The greatest testament to this accomplishment is the sheer number of WoD fan posts I’ve seen talking about how they didn’t like CtD, but they are loving C20.

Changeling is 1 part politics, 1 part Cthonic horror, 3 parts psychological tragedy built on a pathological fear of death and loss, and some indeterminate amount of whimsy and wonder which serves more than anything to bring the first three elements into deep and painful contrast. C20 is the first Changeling book that captures every emanation of that often indescribable, unshaped mass and weaves it into a coherent whole.

Woo Hoo by Lydia Burris (http://www.lydiaburris.com)

Rules

While the thematic cohesion is a huge win, C20’s greatest accomplishment is tackling the often misunderstood rules system of Changeling. This is done, not only by tying it up into a much more balanced and manageable package, but actually expanding on the system with the concept of Unleashing. Changelings from previous editions were powerful, but deeply limited in how they could apply that power.

With the new magic rules, they now feel much more like the fae of myth and legend, able to wield the raw force of creation, but with often unpredictable and occasionally terrifying results. I have run and played in con games that used the early version of Unleashing shared during the Kickstarter and it adds a satisfying and mythic scale to the game. Beyond Unleashing, the Arts and Realms received an extensive cleanup. They were expanded in some areas, and minimized in others, resulting in a far more coherent and thematically engaging whole.

Storytelling Banality

C20 also borrows a page from modern narrative systems and builds explicit systems around your character’s emotional relationship to the world. This emphasizes the omnipresent threat of banality. In previous editions of the game, characters had a toxic (but often generic) relationship with banality. Now when you build a character, you select a variety of banality triggers, including a trigger that is unique to your character called your antithesis.

This trigger is something the rest of your motley may find to be a minor nuisance, or in extreme cases may even garner glamour from. To you, it is the epitome of the creeping death of the coming winter. Some of the trigger dynamics could stand to be broader than they currently are, including the seeming triggers, which feel entirely too specific to me and are occasionally inappropriate for Thallain or Gallain characters, but the overall system adds a deeply personal relationship to banality that meaningfully enriches the game.

Changes in the World

There are several other accomplishments in this edition including the expansion of the Thallain, the reworking of the Dauntain and the Autumn People, and actually wrangling Hsien Alchemy into what feels like a sleek approachable magic system. While I would love to expound on all of the edition’s strengths it would paint an unbalanced picture of the text as a whole. Much like the systems, C20 takes an often radical approach to the backstory of Changeling, and dramatically changes the canon in several areas. Some of those changes were sorely needed, such as the reframing of House Leanhaun, which changes them from arguably more evil than the Baali or Nephandi,to deeply parasitic, but playable. However, some of the changes to the canon feel unnecessary, and more problematically aren’t always well explained.

The flavor section reframes the Sidhe as being split between the Autumn Sidhe who stayed behind during the Shattering and undertook the Changeling Way, and the Arcadian Sidhe. The Arcadian Sidhe came back with the Resurgence and refused to soil their souls by fully bonding with humans. Effectively this was performed as a more violent and incomplete form of the Changeling Way where they displaced a human soul and took its place.

The Autumn Sidhe

Occasionally the text reads as though only House Scatthach and Liam took part in the Changeling Way, sometimes it frames the Autumn Sidhe in generic terminology that could be read to imply Sidhe from any house might have gone through the Changeling Way. In the House section intro, Liam is listed as a returning House, and only Scatthach is listed as having stayed behind, and then in some of the house writeups there are subtle references to other Sidhe who stayed behind, but often in ambiguous language. The final result is honestly confusing.

During an exchange on Facebook, one of the C20 writers confirmed that any Sidhe that stayed behind became an Autumn Sidhe, which clarified things a bit, but ultimately those sorts of exchanges shouldn’t be necessary. A few explicit sentences in the Autumn Sidhe two page spread would go a long way towards providing clarity on this point. This change also wipes out broad swaths of story centering on the tragedy of the Sidhe who died in the years after the shattering because they were either trapped or chose to stay behind.

I love the addition of the Autumn Sidhe as a general concept, but less absolute framing about how all Sidhe who stayed behind became Autumn Sidhe, and all the Sidhe who returned refused to go through the Changeling Way would have cut off far less existing canon, and created messier, but more diverse plot hooks.

History Convoluted?

While the confusion about the Arcadian/Autumn Sidhe is definitely the most pronounced example of muddled narrative, there were several other smaller moments in the setting and history section that didn’t make a lot of sense, and occasionally even seemed to contradict material that appears elsewhere in the book. There is a lot to love in the C20 setting material. The conflict between the Tuatha and the Fomorians is far more dynamic than I remember in previous texts.

The role Christianity played in transforming the stories about the fae is included, which is something I’ve wanted to see in the game for a long time, but the history and setting content in C20 is best read with a strong eye towards the golden rule, especially if you have any investment in existing canon.

I’ve talked about the good and the bad of the edition’s treatment of Arcadian fae, but then there is my favorite and arguably the messiest part of Changeling, the Gallain. The Gallain are fae who are not a central part of Arcadian society. While there are a few European faeries who are considered Gallain, the term generally refers to non European faeries. Changeling has traditionally framed these spirits as either not being part of the Dreaming, such as the Asian Hsien, or in the case of the Nunnehi and Menehune, as being cut off from the Dreaming due to acts of genocide and violence committed against their dreamers. I’ve never been terribly comfortable with this framing, but I knew the writers wouldn’t have the leeway to dramatically change the way these groups functioned, but I was really hoping for a few more inclusive tweaks to the status quo.

Sprites Dance by Lydia Burris (http://www.lydiaburris.com)

Who is a part of Whom?

Occasionally the approach to non-European Changelings went above and beyond my expectations. The introduction of non-European Thallain gave the Nunnehi and Menehune a much more robust representation in the setting, but also occasionally drifted toward centering the Gallain around European stories more strongly than previous editions. The most pronounced instance of this is changing the Higher Hunting Grounds from being the Nunnehi Dreaming, which is invoked in the Changeling Player’s Guide as an equal but separate place from Arcadia, to being the Nunnehi’s home in Arcadia. On the surface this is a small change, but it recontextualizes the Nunnehi in a way that intentionally or not makes them a part of something fundamentally rooted in European mythology. The other examples of moving towards an even more European centering narrative are less blatant, but I honestly hope they are rectified in future texts.

Overall, C20 brings Changeling into the 21st century. It is a deeply innovative take on the Storyteller System, and provides a more robust foundation to build a future line on than the game has ever enjoyed. It has done a huge service to the game by inspiring more fans to consider including Changeling in their personal World of Darkness. What C20 needs more than anything else is a full game line. It needs Gallain stories written by authors who have lived the truth of the myths being invoked, and full text expansion on the concepts that were completely reinvented for C20. This book is a monumental achievement, and it would be a tragedy of Arthurian proportions if this resurgence isn’t followed by a lasting and inspired spring of new material.

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Five Hidden Benefits of LARP: Creative Outlets

Ask people why they LARP, and they usually answer roughly the same. The most common answer is their own form of “because it’s fun” or “because my friends do it” and both of those answers are great. Did you know there are actual benefits to LARPing in addition? Examining LARP shows there are many benefits to it that are hidden just beneath the surface. In this series of articles five of these hidden benefits will be expanded upon and detailed. For more information check out the other articles on Education, Networking, Health, and Social Skills.

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LARP can help you express your creativity and help foster creativity in others. By putting together your costume, you learn ways to express yourself through clothing and makeup. LARP can inspire art and creative writing about your character’s situation. LARP can even inspire creativity in people who don’t LARP!

Creative Expression Through Costume

Credit: Anna Sharpton — Four of my own characters, all very different!

In the above picture, the common theme is that I am the player, and that is it. Each character has their own style of dress, makeup, hair and accessories. Different characters let me experience the different styles I present for a few hours in a non permanent way. Through these characters I have a creative outlet for trying new styles. I can get brave and try new styles and figure out what I like. Before I started playing the character in the bottom right, I couldn’t draw a good cat eye. Now I can do one well enough that I would wear it out in public. I’ve been able to creatively experiment with my appearance and enjoy myself because of LARP. Never in my life would I wear something like the bottom left or top right in public, but I can play with it at LARP and enjoy myself.

Sometimes I will even experiment at home with my look for LARP if I’m feeling creative. The expression has even gained me new topics to talk about with friends who also like makeup and body paint. It can even help spread creativity outside of LARP too! By commissioning costumes and asking friends for makeup help, you spread the creative process around. The artist or friend you ask for help may even end up liking the style you request and exploring it more on their own, which is a win for everyone.

Creative Expression Through Art

LARP also offers many creative outlets to be found in the creation of art, props, and writing. Those guns (lovingly painted for me) were just regular NERF guns that were painted to match the style and aesthetic of my character in that game. Many artistic friends of mine will draw their characters for fun. Through commissions they will also draw other’s characters and that can really help to get the creative juice flowing. I (and many of my friends) also write small fictional works involving our characters.

They focus on many subject matters and can be either dramatic retelling of game events or ‘off-screen’ events. Many of them are of stories that work best on paper, such as dream sequences, internal monologues, or backstory reveals. Having the expression outlet of creative writing is one of the things that inspired me to begin writing for KotH, so I can certainly say it is a benefit.

Final Thoughts

This series of articles has been extremely fun for me to write. I’ve touched on so many things that LARP can help you do, and there is still so much more that I haven’t even covered. From educating yourself, to gaining valuable contacts, to improving your health, to gaining social skills, to exercising your creativity, there are so many wonderful things that LARP can help you with. I hope you all have had as much fun reading this series as I have had writing it. Now if you’ll excuse me I’m going to take a break from writing about LARP to actually go do it. See you in character!

Be sure to check out the other articles on Education, Networking, Health, and Social Skills for more ways that LARP can benefit you!

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Anna uses she/her pronouns, is an avid LARPer, and on weekend when she isn’t being a vampire or werewolf she treks out to the woods to beat up her friends with assorted plumbing supplies and birdseed. Outside of LARP Anna is a feminist and part of the LGBTQ* community, console gamer, and is the proud owner of two loving cats with three eyes between them. She can be found on Twitter and on Facebook.