RPG's Archives - Keep on the Heathlands

Why We Game

I have a friend of mine who games because he’s a born storyteller. He’s one of the smartest people I know and while he’s sadly fallen into the trap of many smart people, the need to be right or at least never appear wrong, he’s at all times an insightful and thoughtful human being. He inspires me to think.

I have a friend of mine who games because it’s a world he controls. He’s been given the short stick his entire life; his body betrays him, his parents were demanding and never supportive, and he’s struggled for everything he’s got with never a complaint. He inspires me to endure.

I have a friend of mine who games because he wishes he were an anime character. He dismisses his body and thinks little of tradition of any kind. He wishes to live in a world of wacky comedic situations, resilient heros, big eye ladies, and the rule of cool. He inspires me to find my joy.

They, and we, all game for so many different reasons; we’re complicated creatures, we humans. Why? Why is gaming something that’s become not just a release and a community for those who don’t quite fit elsewhere but a mainstream product? The ever increasing popularity of all types and kinds of gaming, from classic board games to hundred million dollar video games begs the question. Why? Are we humans pre-programmed for games? Are we so in love with our evolutionary advantages of planning, foresight, insight, and reason that we must create additional worlds to exercise them?

My own experiences make me think the low hanging fruit of escapism gaming comes from mental health needs, the change of our society from struggle to ease, and the dissatisfaction of humanity in this age of refined higher education requiring frontiers.

Dungeons and Dragons was developed in the mid-60’s during a time of changing attitudes and life-styles. I know, I know, the same could be said of just about any decade or era in American history. But let’s break down some numbers? Yeah, you love numbers. The 1950’s and 60’s were a time of rapid infrastructure construction and massive population boom. Immigration saw over 36 million immigrants enter the country during those two decades and a birth rate that started at 22+ per thousand in 1950; the immigration numbers wouldn’t be matched again until the mid-90’s through the late 2000’s while the birth rate has never been matched since. However, by the end of 1970 immigration had dropped off by ~20% and births per thousand had dropped to 16. The exhaustive construction continued on into the late 70’s and created an infrastructure and population support that lasted well into the 2000’s before upgrades became a necessity; also, they are still needed but, you know, politics, am I right? We transition from the loud car with a family of seven covered in dust trekking across the midwest to a population of city dwellers purchasing food at the market and sitting at home watching television.

That, in my opinion, is when the Itch started. You know the Itch. It’s the thing that makes you want to scream at your boss when they say conference calls are really important to the success of the company and your personal phone call about your kid getting into a fight at school should take a back seat. It’s the feeling that there’s a horizon to explore, a frontier to conquer, even though you can’t find one. The Itch is the response of a primarily primitive lizard and monkey descended neural chemistry reacting to a living standard so high no human being in history could comprehend it. Maybe royalty. Yes, you live like an ancient king, even in your crappy apartment with your two cats, you enjoy a quality of life they simply lacked the mental tools to conceive of.

The Itch, albeit in a undeveloped state at the time, combined with his own love of games lead Gary Gygax to write that first draft of Dungeons and Dragons. As the Itch has grown in complexity with our own increasingly domesticated lifestyles so too has our own need for escapism, for that feel of new horizons, of adventure, and most importantly, that feeling that a person can make their own destiny, build it with their own hands that frankly is sorely lacking in modern society; the feeling of achievement. Ever wonder why Microsoft called them Achievements? They’re not dumb and they didn’t pick it at random. They want you to feel exactly that, achievement, when that shiny little icon appears on your screen accompanied by the happy little tone. What better way to get players to feel what you want them to then to tell them what the feeling they need to feel is?

We wear masks, different masks for different people. It’s a survival mechanism that every human uses but only those of us treading darkness have become it’s masters. We switch between the lying faces and the lying mouths from one social group to another like a dashing squirrel. We leap through the front door, land, taking in the environment, the people, pull up the right face for them. Then we skitter from room to room, switching between always on the move to avoid long conversation to hiding in the shadows, behind a cluster of people, or in a difficult to reach corner of the room.

We’re home, cold coffee sits on the desk, the steam long since passing up into the air and gone into memory. We hear the door open and put on a face, a mask, that at least gives the impression that you’re engaged with what’s around you. That you haven’t been staring at the screen, sitting in your chair, maybe your hand is actually on the mouse of the keyboard but you haven’t clicked or typed in tens of minutes. It isn’t until you hear the keys in the door that you rouse yourself and open something, anything, just to look like you’re engaged with what is there. You choose this, instead of engaging with the whirlwind in your mind, the endless spin cycle of terrible thoughts, worries, and choices.

You don’t hate your family at the holiday party, you don’t even dislike them. You just can’t seem to really understand why they’re so happy about a new suit your uncle bought. Everyone looks at you expecting a similar response and you give them what they expect. The disingenuous words coming easily after all this time. A master of faking happy, of faking “ok”, has made you and me an expert at tricking the normal people into thinking that we really are, maybe not as much as they, but close enough.

These moments are becoming increasingly common and until we have a method, an ethic, a lifestyle in the real world that compensates for the disappearing horizon we will ever turn to escapism and all the wonder, imagination, and stories that come with such a life. Gaming isn’t a cure for the veil of depression that seems to be spreading across the land but it is a treatment and like all treatments for all ailments we need to watch it, support it, and be aware of the impact and role that gaming plays in our world. Don’t dismiss this hobby out of turn, it can and has lifted up many from a dark well. I include myself in that category. This past year saw me diagnosed with depression with manic tendencies and anxiety centered around attention and crowds. Gaming became both the distraction it’s always been but also a life line. A light in my darkness that saw me through another bad day.

Good luck and good night.

Session Zero and Character Creation in The Burning Wheel

This is our second article in our series on The Burning Wheel, find the first here.

Character Burner

The Big Picture and the current situation

Before characters are created and the game officially begins, you need to discuss content and expectations. This discussion goes back to a part of the social contract. This will help your group create thematically appropriate characters and allow all player voices to be heard.

What is The Big Picture and what do we mean by “the current situation”? Let’s look at LoTR as an example.

The Big Picture could be: “An evil necromancer is building an army to take over the world.” The current situation could be stated like this: “The Necromancer’s Favored Ring has come into possession of the party. You must take the ring to the Necromancer’s Forge and destroy it.” These two things allow for easier player buy-in. Which, as I have stated in my Social Contract series, is very important to any game.

This a purpose of session zero; to iron out such details and help the GM and the players understand what type of game they will be playing. For the GM it also allows them to tailor the world to their PC’s. It also allows PCs to temper their understanding of the type of game being run. That’s a lot of jargon, so let’s break this down step by step.

These steps are where (I think) Burning Wheel feels heavy to new players. I will not sugar coat it, it is heavy and involved and will take a full session. There will be many flips throughout the book for reference and looking things up. I will tell you this as well: It. Is. Worth. It. I mean it.

The other big portion of session zero is character creation. Through character creation, you will be discussing plot and what you want out of the story being told. Also, within character creation, you will learn the basic mechanics of the game. In a well run Burning Wheel session zero all players are engaged at all times. A great Burning Wheel GM will ensure that this carries on once the game starts.

Burning Wheel has a character burning workbook that you can use. In fact I highly recommend you do so. I have played in three Burning Wheel chronicles and I use it every time.

Lifepaths

When burning a character your decision points are called Lifepaths. A typical Burning Wheel game will have around 4 Lifepaths. The main book includes the following Lifepaths:

Lifepaths of Dwarves
Lifepaths of Elves
Lifepaths of Men
Lifepaths of Orcs

Each includes multiple settings. For example, The Lifepaths of Man includes the noble court setting, peasant setting, sailor setting and many more. Each provides stats, including any prerequisites for taking that path, how many years your character spent in character doing that path, the skills taught to those on that path, and lead-outs to other paths, among other things.

Conclusion

This is only the surface of what Burning Wheel offers as a game. These are my experiences, but I’m sold by the game.

Pros:

Cheap. All you need is the Burning Wheel Gold which costs $35. In fact here is a link to order it directly from the Burning Wheel HQ. Burning Wheel webstore.
Uses d6’s. No other dice needed.
Very active community on both Reddit and elsewhere on the interwebs.

Cons:

Is heavy on the front end and can take some time to fully grasp certain game concepts.
Is tailored to the fantasy genre. Tolkien-esque fantasy. While I don’t see that as a con, some might.
No PDF’s. The books are not in PDF form. Buy the physical product. With the exception of the character workbook, character sheet, reference chats and some pre-made scenarios, no full copy of the book has been made available by Luke and none is ever planned.

Give Burning Wheel a chance. It is my favorite fantasy setting – hands down. As always please leave feedback or questions. Thanks for reading. If you’d like to learn more, let us know and we can plan more articles.

Scott is a true analog gamer doing everything from pen and paper RPG’s to board games and everything in-between. He started out with Advanced D&D 2nd edition at the age of 10. From there he likes all genres and types, from the well known big names to smaller indie print publishers. Scott is Vice-President of The Wrecking Crew

*Note, all opinions are the opinions of their respective Authors and may not represent the opinion of the Editor or any other Author of Keep On the Heathlands.

Looking for a Jumpstart for your Vampire: The Masquerade Game? Check Out Dark New England: Five Chronicle Jumpstarts on the Storytellers Vault!

Burning Wheel: The Intimidating Game That is Not Actually Intimidating

Introduction

Hello there, please come in and sit. I understand your teacher has found time for you to learn the secrets of the Wheel. Don’t let this large tomb scare you. I promise it’s not as intimidating as it looks. Please pull up a seat, grab your paper, ink, and quill and I shall educate you all about the Burning Wheel.

We shall begin at the beginning as a history of a subject helps us understand it and makes us less likely to repeat past transgressions. From there we shall take a short walk around the Hub of the Wheel which will explain the draw of this tomb. Then we shall pack our faithful steeds and travel the lands and see the different types of characters one can meet.

You don’t have a faithful steed? No worries, I can supply one.

Huge Discounts on your Favorite RPGs @ DriveThruRPG.com “

Along the path you will see the many styles and Paths that Life can take for the denizens of our world. Along with this will be the List of Traits and Skills that these different people use in their daily lives.

Past these areas, we will arrive at the Rim of the Wheel. This is where lesser known and utilized knowledge can be found. It is still good to know and have an understanding of, even if one may never have need of it.

Finally, upon returning here, we will conclude our journey with a celebratory toast and good food. After all traveling and learning can make one hungry, can they not?

History

pasted image 0 1

Created by Luke Crane, The Burning Wheel is held in high esteem within many RPG circles. The Burning Wheel was first released in 2002 as two volumes: The Burning Wheel Fantasy Roleplaying System and The Burning Wheel Character burner. At the time, its approach to fantasy fiction in a pen and paper RPG setting was fresh. It put character at the forefront of the story in ways that hadn’t been done before. Through the Beliefs and Intents System players are constantly working toward goals and experience challenges to overcome along the way. Such a mechanic has shown up in numerous other games since, from Apocalypse world with the History stat, to Onyx Path’s Storyteller System and its Aspirations mechanic.

Later these two volumes were published with a crisper system in the Burning Wheel Gold Edition book.

The Burning Wheel is inspired by the settings and themes from fantasy fiction’s biggest names, Tolkien, Ursula K. Le Guinn, and Stephen Donaldson. As mentioned in the beginning of the Gold edition, the game is also heavily influenced by the historical accounts of Barbara Tuchman and Desmond Seward. This helps to create a vibrant, yet dirty and complicated world. A world that is not listed in the rulebook, per se.

The “world” is created via interaction between the GM and her players. Be this law, beliefs, or otherwise, the world is developed through GM and player discussion. This was intentional. Players and GM’s are treated with a high level of respect out the gate by clearly stating that any world the authors could create and put into the book would pale in comparison to what the players can generate.

Getting things done: Dice, Difficulty, and Obstacle

Like any RPG, Burning Wheel uses dice as a resolution mechanic. Nothing new there. It uses standard six-sided dice. Again nothing too foreign. It’s approach to how the dice are used and the way tests are marked is a bit different. So let’s look at that.

The Spokes of the Wheel

One of the most important concepts to The Burning Wheel is an idea called ‘Intent and Task’. When a player wants to accomplish an action, the GM should ask directly, “What is your Intent? What do you want to see happen?” Based on the player’s response, the task should become clear. “I kill him” is an appropriate intent. The GM then needs to pull out a little more information to get to the task. “I strangle him with my bare hands” or “I stab him with my knife” would imply a brawling or knife test.

As the above examples show once a character’s intent has been stated, the GM can apply the proper task. Along with determining the difficulty of the task known as the obstacle, this sets up the ability to roll the dice and determine the outcome of the role. Let’s look at an example.

Here is how a skill could appear on your character sheet:

Inconspicuous B3

Let’s break this down. The first part is the skill name: Inconspicuous. The second: the shade of the skill. Skills are broken down into three different shades. These are Black, Grey, and White. The shade of your skill determines what number on a d6 is a success.

Black: 4 and up

Grey: 3 and up

White: 2 and up

It should be noted, that grey and white shades are advanced aspects and come into play rarely.

Finally, the number 3 tells us how many dice to roll.

Determining the number of successes we need depends on the task and is decided by the GM. The difficulty is referred to as The Obstacle, often shortened to ob. The higher the obstable, the more difficult the task. So let’s look at an example.

I want to sneak up and take out a guard. Not kill them, just get past them unnoticed and out of the city walls. (note the intent here: sneak up and take out a guard, but not kill them.)

Credit to ryanmcguire on PIXABAY

The GM decides this is a risky act, which is considered an obstacle 4 task So ze announces that getting passed the guard unnoticed would be an ob 4 Inconspicuous test. We would roll 3d6 and be looking for 4-6 on the dice. If we get 4 successes then we succeed.

But how can we get 4 successes if we only have 3 dice? There are three answers to that question:

You get help from other players. Each player can assist with one applicable skill agreed on by the GM. When they do you receive 1 additional die to your roll.
You can spend Artha. Artha is made of three pools. Fate and Persona can be spent to assist rolls and are used for different purposes. Fate can be spent after a roll has been made. When spending a point of Fate any die that comes up as a 6 can be re-rolled to get more successes, which are called open-ended rolls.

Persona allows you to add 1 die to your roll for each point you spend.

You don’t. You fail, which is a good thing.

Now, why would you CHOOSE to fail? Because in Burning Wheel you have to accrue a certain number of tests to increase your statistics. There are three different types of tests that help to increase a stat. These are routine, difficult, and challenging. To increase your number from b3 to b4 requires a certain number of each type of tests. The test type (routine, difficult, or challenging) depends on how many dice you are rolling. At some point, if you want to advance, you HAVE to attempt an action that will fail.

This is part of why I love Burning Wheel. The system rewards failure. In fact, you HAVE to fail in order to progress and improve your skills and stats. Now, I know failure(, in most games,) is not fun and most of the time that uncertainty is scary. That’s fine because the GM must tell you what will happen if you fail BEFORE you roll the dice. That way you can decide if you want to actually do the task. So let’s look back at our example:

GM: In order to sneak past the guard will be an ob 4 test as the guard is attentive and alert. If you pass you tell me how you sneak past them unnoticed. If you fail the guard will stop you and will send you to the dungeon.

You now know exactly what will happen. No surprises. No guesswork. If you pass you get to narrate the action as you see it unfold. If you fail the GM has told you EXACTLY what will happen. This is player agency at its finest. It allows the players to shape the story in their own words because know the effect that their actions will have on the story. At my table, we embrace failure because failure gives way to interesting situations, which gives way to plot.

Burning Wheel stresses another important thing to remember: don’t always roll dice. You only roll dice when there is an unsure element in a scene. In fact, there is a rule: “Say yes or roll the dice.” Conflict in Burning Wheel is multi-faceted.There can be fighting, duels of wits, and many other forms of conflict. (Much like life.) However, if an action is not important or inconsequential to the story simply say yes and get back on track.

In our Next Article, We’ll Discuss Session Zero and Character Creation in The Burning Wheel

*Note, all opinions are the opinions of their respective Authors and may not represent the opinion of the Editor or any other Author of Keep On the Heathlands.

Actually, It’s About Ethics in Media Consumption

“

Anyone who has ever been part of a subculture knows the bright red sting of controversy. Sometimes the controversy is low stakes like the general fan rejection of Dungeons & Dragons 4th edition. Sometimes controversies go to the core of a community’s values like the ongoing controversy about whitewashing in Hollywood, and more specifically, to the likely interests of this blog’s readers, the continuing whitewashing of Asian characters by Marvel comics.

Boycotts

Over the years I’ve seen a number of calls for boycotts over these types of issues, and I’ve wondered how useful this tactic is. Recently, I’ve heard similar calls within the role-playing community over a variety of events that have been litigated enough in the public square that I’d rather not discuss them here, but I do think it’s worth talking about the broader concept of “boycotting” work, especially work in a tightly integrated media landscape like the role-playing industry.

While many people find the idea of a dramatic boycott satisfying, how we make day to day media consumption choices within our hobby and why those choices may or may not have an impact on the industry has the potential to be a much more productive conversation. Think of it like going on a binge diet, or trying to make long term adjustments to the way you promote health through food choices. Binge diets do more harm than good, but holistically training yourself to eat in a healthy manner one step at a time is a path to healthy consumption habits. The same thing applies to the commercial choices we make.

Does that work for RPGs?

Role-playing games are unusual media beasts in a lot of ways. With the exception of Dungeons and Dragons, which is in the hands of a wholly owned subsidiary of Hasbro, RPGs are generally produced by small companies, and in many cases aren’t produced by their IP owners. The majority of new White Wolf games are produced by Onyx Path Studios, or By Night Studios. Chill is produced under license by Growling Door Games. Shadowrun is produced under license by Catalyst Studios. While there are also plenty of titles being produced that aren’t under license, several of the biggest names in RPGs are developed in this manner. This complicates any situation where you want to use your economic activity to influence the behavior of a corporation, because it often puts you in a position where you may well be punishing a company you feel behaves in an exemplary manner for the behavior of an only vaguely involved IP owner.

So first let’s address the elephant in the room. Trying to influence companies through consumption patterns gets a really bad rap because in many cases it’s a lost cause. Ethical consumption is all too often reduced to a marketing opportunity. Free Range and/or Pasture Raised chicken, Fair Trade Coffee and Chocolate, and any variety of attempts to patronize kinder, gentler, more labor friendly corporations tend to fall apart upon particularly close inspection. It takes such massive bad press to impact the bottom line of most big companies that being seen as ethical is at best a matter of appearance and branding for most companies. So the question becomes, why bother?

Ethics?

Setting aside the issues with ethical consumption of non-media products, and even ethical consumption of AAA media, the situation is a little bit different in the world of the RPG. No matter what behavior you want to promote in the industry, it’s fair to say our dollars count for a lot more to a company selling a product like Numenera that had a mere 4,658 backers on its original Kickstarter, or even moreso, a game like Chill that had 793 backers on its original Kickstarter, than Kellog or Dell. Losing a handful of customers hits most RPG producers in a way it just doesn’t hit the other companies we tend to give our money.

The impact of of our economic choices is amplified for those of us who choose to run games, as opposed to just play in them. I’m going to be dropping cash on Exalted Charm cards in the near future because a close friend of mine chose to run Exalted and I want to have those cards during game. So, he has effectively made a sale for OPP without spending any money by running that game, and some of my fellow players may follow suit once my cards arrive. The question that has been nagging at the back of my mind is, given the influence we have, what choices will have the most positive impact on our hobby, and how should we interact with those who make different decisions?

Making a Difference

The first question is in many ways easier to answer, though it is far from simple. The most significant way we can make a difference with the gaming money we spend is by focusing on supporting the creators and narratives we want to see flourish in the world. Unlike consumption of things like food where we may or may not have the economic affluence to afford the most “ethical” options out there, the money we spend on RPGs is by its very nature disposable and we are not lessened by devoting some of that money to more experimental and inclusive media. That might mean supporting something entirely new but somewhat traditional, like Ehdrighor because it dramatically expands the potential of big book role playing games, it might be supporting something completely experimental like Bluebeard’s Bride, or it might be supporting a company producing for an established product line telling inclusive stories in a more nuanced way than their lines have been known for in the past. Conscious engagement with these choices help us shape the gaming industry we will enjoy in the future, albeit in small ways.

The other question I posed above is a more difficult one to tackle. In the past couple months I’ve seen several people upset at events in our community make personal decisions about who they would and would not give their money to and then openly shame others for making different choices. Often those different choices were well thought out, and a reflection of different ethical priorities. These choices were not based on willful ignorance or ethical laziness, and even if they were I have yet to see shaming someone for not sharing one’s values change a mind or even inspire greater thoughtfulness on an issue. I feel that as our hobby grows there is a vital place for discussing our values and who we want to be as a community. While we will never be a monolith, that discourse is a vital part the growth of any community, and with events like the inclusion of game writers in the SFWA, and White Wolf pushing to produce more mainstream World of Darkness related media there is no question that we are growing. We can expect to face several of the same problems other fandoms have struggled with as they have moved out of obscurity and farther into the mainstream.

Balancing Act

As that happens, it is important to engage with other fans who are thinking about these dynamics in good faith in the spirit of discourse, and not as though they are an enemy. Many people make an unfortunately meager livelihood producing the games we all love so much, and part of our ethical calculus should be the collateral damage of saying we’re going to pull back from supporting a given IP owner and every company that licenses from them. Some people will care more about drawing a line in the sand based on corporate actions, others will care much more deeply about that collateral damage, and neither group is necessarily wrong. If we choose to try to effect change through the media we consume then we should try to be aware of the good and ill caused by all our choices, and recognize that the choice to try to effect change through consumption is imperfect, and opinions on its validity will vary. We should all go forth and be ready to be the change we want in the world, but know our view on that process is not a monolith, much like our community.

Dark, Deep, and Scary: Horror Games

“

What’s Wrong With Horror?

Dark horror games often have tropes, concepts, and downright terrible elements that make them rife for abuse by the wrong people. At the same time, games that are willing to address and be open about addressing injustices in our world, through the horror lens, often have created the most inclusive communities in our hobby. These two elements coexist uncomfortably in the same space.

Horror makes us uncomfortable, and that can be an amazing tool to help wake us to systemic problems in society. The recent movie Get Out is a great example of this. This movie is about the visceral fear that many Black members of American society experience in all-white spaces. Some may wish to dismiss that fear, but that will not eliminate it. This method of entertainment allows us to to understand experiences in a way that simply telling may not effectively communicate. Horror games allow us a similar window. For the time in-game, you are living the experience of your character and this can be eye-opening. It can teach through immersive simulation.

Investment

Years ago, Piers Anthony wrote a book called Killobyte, which has a segment that occurs in a digital recreation of Beirut. At the time of writing, Beirut was in the middle of a 15 year civil war which ripped apart society. The characters in the book are stuck in various VR simulations of different worlds. One of them is this digital recreation of Beirut. The players of this game have become invested in their various roles in their simulation. They empathize strongly with the real struggles of the people they are portraying, and even some that empathy bleeds over into the real world.

RPGs may not be Virtual Reality worlds, but they are shared imaginative experiences that allow us to empathize and experience the lives of others. We can experience bleed, having actual emotional and intellectual reactions from our experiences in-character impact us out-of-character. The danger inherent are those players and game masters who use this capacity to abuse, harass, or ignore the real experiences of those they are gaming with. Or, to perpetuate behavior that negatively impacts members of various communities in and out of game spaces.

My Table

We often hear, “it’s my table, don’t tell me what is ok or not ok at my table.” Which, on the surface, is a fair argument. However, if you have 5-6 players and a GM who play to stereotypes, your behavior around that table becomes normalized. If you allow for players to portray stereotypes, they will begin to reinforce those stereotypes in their mind. If you encourage your players to dig deeper and understand the people they are representing, they will either begin to recognize their common connection, or choose not to portray that character’s background because they recognize they are missing some shared experience to connect over. Both appear to be valid learning experiences. Stereotypes and prejudice can be elements of game worlds, but we must endeavor to recognize when we are using them. We must also be able to recognize when they are harming people at or outside of our tables.

Horror games often include violence, abuse, harassment, stereotypes, racism, sexism, body dysmorphia, and many other elements. These elements are present because they are things that scare us as humans. Some people are more impacted by these things than others. Some of these players will enjoy other elements of these games, but will ask not to focus on things that remind them of experiences that were traumatic for them in real life. We need to listen to our players, talk to them, and encourage an open dialogue about what game elements are appropriate for the entire table to investigate.

Some Still Don’t Care

There are some people that will refuse to care about moderating these concerns. They will run scenes with sexual assault without care. They will ignore the triggers of their players and will act abusively if called out on their behavior. If you are reading this article then I’m hoping you are not this type of person, but if you are, let’s talk real quick. By acting like this, you are not being cool, edgy, or artistic. You are making it harder to convince people that horror games are a powerful, beneficial, and fun experience.

There is a fine line between pushing boundaries and negatively impacting people. Talking to your players will help you to modulate that. If you don’t care, then don’t be surprised when people stop playing your games. Don’t be surprised when people that care about player investment and consent disagree with you online and work to limit your involvement in our communities.

It is possible to play horror games and care about consent, investment, and player care. Really. It is possible to ‘tell the story you want to tell’ and do these things. It is possible to scare your players, to make them question what it means to be a monster or human, and to care about your players. It is possible to have your player’s characters breakdown, cry, experience loss, it is possible to have bleed during these events, and it is possible to care about your player’s needs at the same time. I would argue, that is is possible to invest even more of oneself, if you know that your thoughts, expectations, and triggers were taken into account during the creation process of the game.

Moving Forward

It is also possible to fail at doing so, and not lose your players in the future by acknowledging your missteps. During play, elements may come up that you couldn’t account for. Nothing will hurt your game if you stop, talk through what happened, and move forward. If there were a single underlying piece of advice to offer any gaming group? Talk, talk a lot, if something seems off, wrong, or even perfectly right, talk about it. You should talk about the good, the bad, the ugly, and then work together to get more of the good.

Don’t be afraid to write horror games, run horror games, or play in horror games. The issue isn’t horror.

Here are is a short list of horror type games I’d recommend checking out. There are dozens more, some that are better than others.

Urban Shadows
Call of Cthulhu

World of Darkness
Several from Savage Worlds

Josh is the administrator of the Inclusive Gaming Network, and the owner of this site.

*Note, all opinions are the opinions of their respective Authors and may not represent the opinion of the Editor or any other Author of Keep On the Heathlands

LARPers of Color – Malcom Harris

Welcome to our 5th interview in the series: LARPers of Color. You can find the other articles here, here, here, and here.

Can you tell us how you got into the hobby? Do you have a preference for a particular form of LARP (parlor, Boffer, etc.) What LARPs are you currently involved with? How long have you been LARPing?

My friend Sean come over to my house to tell me about its awesome game he just got into. I head over to his house to see what it’s all about. He introduces me to some people I don’t know and we start swinging boffer swords… and I’m hooked. I like LARPs with a bit of combat. But I’ll give anything a try. I’m currently In Amtgard (The LARP) my friend introduced me to all those years ago.

I’ve been LARPing since 1989 so…29 years.

Have you ever been the LARP administrator of any sort (storyteller, Game master, etc.)? If so, can you speak to that experience some?

Yes. I’m currently Duke of one of the local Amtgard chapters, I created, ran and helped organized the MACHO larps in the nineties and I’ve had numerous roles in Amtgard in the past.

LARP administration is for me is all about customer service, be it with those involved in other parts of LARP administration, players or mundanes. It’s your job to make sure everything runs smoothly and everyone’s ideas and grievances are fairly evaluated.

In your opinion, what can LARPers do as a community to be more inclusive?

Wow, the big one.

Those players need to stop being afraid to reach out to people who do not look like them. People assume people of color and females don’t have interest and Larps and tend to ignore them when they are spectators. I’ve seen it happen. Engage everyone and you’ll be surprised.

Also write Larps to be more culturally inclusive or culturally neutral as to give everyone a something to connect with in the LARP or give them a chance to brand the LARP in a way they want.

Is there anything you’ve seen in LARP that you wish you would never see happen again?

Sexist and racist art in rules. None of that please. Also biased opinions being taken as gospel because of who said it.

If you could add one thing to the LARPs you were involved in, what would it be?

For MACHO, longevity, I wish I would have stuck with it more.

For Amtgard, Embracing the RP in LARP. Swinging padded sticks has been pushed to the front by vocal members of the organization. Those who RP have been marginalized in some places. that needs to change.

You are a knight in Amtgard, can you tell us a little bit about that experience?

In Amtgard Knighthood is awarded for excellence and the ability to teach and promote one of what I call the for virtues of Amtgard, Leadership, Service, Artistry and Combat) I’m a service knight (Flame Knight) and it’s a very interesting situation. It’s one that grants a certain amount of prestige, but demands at all time service.As a knight it becomes your job to be a positive example, to uphold your virtue (in my case service) and the others as needed.

Thanks to the internet, I’m the most visible African American knight in the game. African American players and players of colors come to me asking for advice and validation in what they do in game, me , for them I also have to be an example. On the other end of the spectrum and I found it odd when it was first told,i’m , for a lot of people the first African American they feel they have something in common with, alto that’s less of an issue now then it was twenty years ago.

How Not To Be That Gamer: Five Easy Tips

Remember back in the mists of time when you were just learning to play a game, hunched over a table at your Friendly Local Game Store? Trying to absorb the reams of information your friend was pouring into your brain? When you didn’t know what a con save was, or a bluff check, or a dump stat? Maybe this is the first time you had ever learned that dice came with more than six sides, or that there was more than one LOTR-type elf.

Remember when the know-it-all world-weary grognard ambled by and told you everything your friend was telling you was wrong and there is Only One True Way/Edition/Faction? Remember the crushing look of defeat on your friend’s face, and how that one person soured your affection towards the game?

Remember when you really, really wished you could jump in the TARDIS, distract yourself with a phone call, take your own place at the table, and tell that person to take a flying leap into the Pit of Despair?

That happened to some people near and dear to me this week – and someone needs to bring this up, so we as a community can stop this travesty from happening. New players are the lifeblood of our culture, and we have GOT to stop inflicting our own pet peeves and biases on new people, so they can enjoy developing their own.

Here’s a brief checklist of how not to be *That* Gamer:

Point the First: If you see someone explaining a game to someone else, and the party of the second part looks confused – mind your own damn business. Let the person doing the explaining do the talking, unless you know them. In that case, ASK IF YOU CAN HELP. Do not, repeat, do not, just assume that everyone wants to hear your opinions.

The one caveat to this follows: If it is a game you love, if there is a natural break in the conversation (Point the Second will address this), you can politely say “Oh, you’re talking about Warbling Mongooses! I love that game! It’s really fun. Welcome to the community. I’m *Name*. Let me know if you’d like a game or if you have any questions.” Then walk away unless invited to comment more – but wait for the invitation.

And for the love of spice, remember to introduce yourself. There’s nothing worse than being approached by a random person that you will likely run into again, but you can only remember them as “that guy in the Metroid T-shirt” or “that lady with the purple hair”.

If you mention this game, and I can hear you… I’ll probably say how much I love it. It’s an awesome game.

Point the Second: Do not interrupt someone explaining a game to a new person, particularly if your interruption involves some obscure bit of trivia that is not relevant. This creates a lot of confusion and, frankly, makes you look like an ass.

Example: “Oh, Warbling Mongooses? You know, in the second errata of the third edition, they ruled that female mongooses can only warble in the contralto register on the second Thursday of a month without an R in it.”

If there is a natural lull in the conversation, you can politely (that word again, I know) ask if you can contribute something to the explanation. Be prepared to accept “no” as an answer.

“Hey, I heard you guys talking about Warbling Mongooses. New player? That’s great. You’re lucky to be starting now, the rules are so much simpler after the second edition – no more twelve hour game sessions! After you’ve learned the basics, let me know if you’d like to play a game or two. Always glad to meet new people.”

Be positive or be silent.

Point the Third: So, the grizzled veteran (GV) and the eager young convert (EYC) are sitting at the FLGS table, playing a hand of Warbling Mongooses – and the new person looks like they are getting the hang of it. DO NOT walk up to the table and start pointing out how the new person (or the veteran, for that matter) are playing it wrong.

WRONG:

GV: Plays a contralto Warbler during a half-moon phase.

EYC: Plays a contratenor Warbler during the same half-moon phase (illegal move).

You: (as GV is opening their mouth to correct their student) Oh hey, you can’t play that, it’s the wrong phase. Contratenors can only be played during waxing crescent. You shouldn’t be playing contratenors anyway. Mezzosopranos are so much better! I’ve got a wicked Mezzosoprano deck that just beats faces all day long. Oh, by the way, if you play that baritone in the next move and follow it up with a second tenor, you’ll win in the next turn.

RIGHT:
GV: Plays a contralto Warbler during a half-moon phase.

EYC: Plays a contratenor Warbler during the same half-moon phase (illegal move).

You: *silence*

GV: No, wait, you can’t play that during this phase. See the moon phase icon on the card? You have to match that to the indicator on the table.

EYC: Oh, right. Yeah. My bad.

*Game continues*

Most people learn best from one source at a time. If you aren’t that source, wait until you are asked for assistance or a natural break in the game to add a comment. No one likes to be told how to win – part of the joy of gaming is figuring out your own win conditions.

Point the Fourth: So the EYC has become a convert to Warbling Mongooses, and you see them playing with their GV mentor. They are doing okay but still making some mistakes, maybe not playing with an optimal deck. You are at your FLGS and see them playing. You approach the table, and:

“Dude, that deck sucks, and contratenors are always weak against basses and contraltos. You should be playing mezzosopranos and second bass against that match up. Have you seen my deck? I’ve put like $1,000 and ten years into my deck! It kicks so much ass! Make this play and this play and this play and you’ll win right now.” *

*Change the subject of the sentence (sub a particular faction of minis in a popular war game in for the Mongooses) and this is a faithful transcription of what I heard. I wish I was exaggerating.

Shut up. Shut up right now. Do not pass go, do not collect $200, and do not use your love for a hobby as a brandishing weapon about how much disposable income and free time you have. Go home and rethink your life if you think this kind of behavior is even marginally acceptable.

Repeat after me: Everyone was new once. Everyone was new once. Everyone was new once.

Instead, after the game is over, you can walk up to the table, introduce yourself, and offer to help.

“Hey, I’m *Name*. Saw you were playing Mongooses and having a little bit of trouble – that was a tough match. I’ve been playing for forever and I might have some extra cards that could help you out. Interested?”

Again, be prepared to accept “no, thank you” as an answer. Sometimes people don’t want help. It’s not your place to ram it down their throats. That being said, I have never seen a sincere offer turned down. Often, the new player will ask the person making the offer for advice or suggestions. Voila, there’s a bit of camaraderie to add to the community. Good for you. You get a gold star and/or a cookie.

For new players that tend to be a bit on the defensive side (like me): This is the time where you get to mind your manners as well. If someone is legitimately offering to help you, not trying to wave their more-gamer-than-thou card in your face, the least you can do is give them a polite answer.

Point the Fifth: Thou shalt not condemn anyone’s choice of faction – or means of choosing a faction – especially when they are just getting started! There’s no faster way to crush a tendril of interest than to be told everything they find intriguing is bad or stupid.

We’ve all heard of the, poorly named, “girlfriend method” – where the person picks their faction (or equivalent, say, their Commander for M:tG) based on what they think is pretty.

There’s not a damn thing wrong with this. In fact, my gaming mentor specifically mentions this method to all people he introduces to his gaming drug of choice. It’s simple logic: you’re going to have to be looking at them while you are playing them, so you might as well choose something you find aesthetically pleasing.

Most people get into a game by choosing a faction they loved (or one that was handed to them), using it to learn the game, and then upgrading to a “stronger” faction when/if they decide to become a more competitive player. For example, I learned to play Commander using a prebuilt 2013 Commander deck that I would never willingly choose to play again. Now I’ve built my own and I love it, despite its flaws.

They may never progress beyond a casual player, but they at least will enjoy looking at the models/cards they have chosen. If they ask for advice, and they might, especially if their mentor/teacher shows that your opinion is worth listening to – then you can provide your opinions in a constructive way. “I really love playing contraltos/sopranos, because I love tricksy combos, but if you want a more aggressive, straightforward deck, you might want to look at…”

No one, and I mean no one, decides to walk into a game store and become a world-champion player of anything the first time they play it. Let the neophytes choose their doom in whatever manner they choose. It’s no skin off your nose.

Bonus Point the Sixth: Compliment a game well played, or a clever play, or a well-painted miniature, or a cool playmat. Say something nice to a new player; don’t cross the creeper line. When you are meeting a new player for the first time, be friendly, offer a compliment, but nothing you wouldn’t say to a stranger on the street.

For those of you in the socially awkward demographic, an example:

“That’s an awesome *insert fandom* T-shirt/hat/lanyard/patch!” “That’s a really pretty playmat!” “I haven’t seen that variant of that model before – that’s cool!”

These are okay. Any comments on a gamer’s appearance that you wouldn’t say in front of a judge are NOT okay. Just keep that simple rule in mind and you’ll likely stay out of trouble.

Also, as a side note: remember and respect personal space. You’re at a FLGS, not squeezed on a Tokyo subway. Give people room to breathe and to not feel like you are cornering them or pinning them against a table. Be aware of your presence.

I know this sounds like a lot of “mind your own business”, and that sounds antisocial. It’s not, really. You want new players to feel comfortable in your gaming locale of choice, and it can be intimidating as hell to be in an unfamiliar place surrounded by strangers. If that new player walks into a store to laughter and people having fun, gets greeted by smiles and open acceptance – well, a good first impression works wonders, as they say.

Remember, everyone was new once. We should always be open to inviting new people into our hobbies and our gaming dens – and we need to police our own. If an LGS isn’t welcoming to new players, or tolerates behavior that ostracizes players, vote with your feet and your dollars and go somewhere else. We are all responsible for our community and the members within it.

May all your 20’s be natural,

Georgia

Georgia is a writer, editor, gamer, and mad culinary priestess who masquerades as a courier and personal cook while her plans for world domination slowly come together. She lives in Tacoma, Washington, with her husband and Feline Overlords. She can be reached through Facebook at In Exquisite Detail or on Twitter at @feraldruidftw.

Crash Course in Terminology for LGBTQ People and Characters: 5 Things To Keep In Mind

Article is Reposted from High Level Games and Posted to Keep on the Heathlands with permission from the Author.

inclusivity

Since HLG is interested in promoting ways in which we can make gaming experiences more inclusive for all players, I’m here to teach you a thing or two about how to do that for LGBTQ folks. Step one is familiarizing yourself with terminology that’s often used to describe gender and sexual orientation. As I’m sure you’re aware, using the “wrong” terminology for a group of people can be quite embarrassing if you’re the one making the faux pas, and cringe-worthy if you’re a witness (think of grandma still referring to Asian people as “Orientals”), and pretty hurtful if you’re a member of a marginalized group.

Intentionally or unintentionally using the wrong terminology for a person in casual conversation is called a “micro-aggression” – it still causes harm, but is less severe than, say, housing discrimination. However, a steady stream of micro-aggressions combined with the threat or lived experience of physical harm is like “very small drops of acid falling on a stone” (Brown, 2008). Each drop may not do much harm on its own, but further weakens the integrity of the stone to the next drop. Micro-aggressions also exacerbate pre-existing mental health problems in marginalized groups; and as many studies (Haas, et al., 2011; Mustanski, et al., 2010; Almeida, et al., 2008; Bostwick, et al., 2014) have shown, LGBTQ folks have higher rates of traumatic experiences (e.g. sexual assault, physical violence, other forms of discrimination) and mental health problems than heterosexual, cisgender people.

So if you care about your LGBTQ players, perpetuating micro-aggressions at your table is probably not the cool thing to do. If you don’t, then perhaps go find another article. If you’re writing LGBTQ characters, you want them to be believable, which means getting into their fictional headspace. But, the situation in the LGBTQ community is pretty much a minefield when it comes to terminology. So here’s a fancy-pants guide from your resident queer lady gamer based off of American Psychological Association guidelines to help you through! Note: even after reading this article, you will probably mess some things up. The best course of action in this scenario is to make a brief apology and move on.

1). Use Whatever Terms and Pronouns Your Player Asks You to Use For Them.
If you’re writing a character, it’s probably best for you to use the “non-controversial” terms to describe them, especially if there’s someone at the table who’s LGBTQ. Read: don’t use queer or other “reclaimed slurs” as labels for your NPCs/PCs if you’re not of that persuasion in real life and LGBTQ players at the table haven’t indicated whether they’re cool with those terms or not. Having storylines around changing someone’s sexual orientation without their consent using magic (I’m looking at you, Fire Emblem), or including tropey “predatory LGBTQ” characters probably isn’t the best idea if your goal is to not perpetuate societal harms against LGBTQ folks in your games.

2). Dat Acronym:
LGBTQ stands for “Lesbian, gay, bisexual, transgender, and queer” but there have been some pushes to change it around quite a bit (either by making it a double “Q” to separately denote queer and questioning, an “I” for intersex, a double “A” for asexual and agender, and a “P” for pansexual). I affectionately refer to it as alphabet soup for this reason. Personally, I think it’s fine as it stands, because transgender and queer are umbrella terms & encompass what people want to add. But, if you see the expanded version(s), now you know what these terms stand for.

3). Gender Stuff:
Now that we’ve covered what each thing in the acronym stands for, we’ll unpack the gender stuff. Transgender, like I said before, is an umbrella term, and encompasses people who don’t identify with the sex they were assigned at birth. So brief review; sex and gender are two separate, but related, things. Sex or “biological sex” usually refers to chromosomes, primary and secondary sex characteristics, and gender is the set of societal expectations for behavior that we place on people based on their perceived sex. People whose gender identity matches up with the “biological sex” they were assigned at birth are known as “cisgender,” from the Latin “on this side of”; those whose gender does not match with their biological sex are called “transgender.” These are often abbreviated as “cis” and “trans.”

However, things with sex are not as cut and dry as you think they are! Occasionally, people are born with “ambiguous” sex; that is, they might have chromosomes of one sex, but the primary sex characteristics of the opposite sex. These people are known as “intersex.” Even among non-intersex people, the things that “make” us one sex or the other can vary greatly; women with polycystic ovarian syndrome have elevated androgen or “male” hormone levels but we still consider them “women.” The transgender umbrella encompasses people who want to pursue medical sex reassignment (sometimes these folks are called transsexual, but, this can be a loaded term for some), people who don’t identify with any gender (also known as agender), and people whose gender identity fluctuates (genderqueer or genderfluid). Side note: use of the singular “they” is now back in vogue (shout-out to the OG Bard, Shakespeare for the use of this); if you’re not sure of someone’s preferred pronouns you can always refer to them by the singular “they” to avoid misgendering them.

4). Sexuality Stuff:
The term “lesbian” refers to women (both cis and trans) who are exclusively attracted to women. “Gay” refers to men, (both cis and trans) who are exclusively attracted to men. Gay is also sometimes used by non-heterosexual women to describe themselves, but this use is less common. Homosexual is a bit of a loaded term because the APA used this term to define same-sex attraction as a mental illness. Some folks don’t have a problem with it and others do. Ask your players what they’re comfortable with, particularly if their character shares their real-life sexuality.

“Bisexual” (with bi meaning two) refers to people of any gender who are attracted to both men and women, but not every bisexual person experiences attraction as a 50-50 split; some bisexual folks prefer women 90% of the time and men 10% and anywhere in between. “Pansexual” (with pan meaning all) refers to people who form romantic attraction regardless of gender; and developed as kind of a political response to criticisms of “bisexual” assuming that there are only two genders/being transphobic. Some bi folks just say that for them, bi means “two or more” genders. “Queer” is a loaded term for older folks in particular because it was the slur of choice during the early days of the LGBTQ rights movement. Younger folks are using this former slur as an umbrella term to encompass anyone who is not exclusively heterosexual/straight, people who don’t like labels, and people who are still figuring things out but know that they’re definitely not straight.

5). Ice-Cream Analogy:
“Asexual,” like transgender, it’s an umbrella term (also abbreviated as ace). If you think of sexual orientation as sexual preference, think of asexuality as sexual appetite. Or, in ice-cream analogy terms; I have preferences for mint chocolate chip and cookie dough ice cream, but will actively pursue eating ice cream in general because I have a stupid strong sweet tooth. Other people may not have an appetite to pursue eating ice cream, but if it’s offered to them, they’ll eat it. Some people will eat ice cream under certain conditions (must have rainbow jimmies or all bets are off), and some just don’t like ice cream at all. Some asexual folks do not experience romantic or sexual attraction to anyone, regardless of gender. Other asexual folks may experience romantic attraction to other people, but not sexual attraction. Some asexual folks might only experience sexual attraction once they’re in a committed relationship. Most of these identities are called gray or demi-asexuality (demi meaning partial). There’s heated debate on whether or not to include asexual as part of the LGBTQ acronym but that’s a can of worms I’m not going to open.

So there you have it! Your crash course is complete and now you can go off into the world armed with your SHINY NEW KNOWLEDGE!

FancyDuckie is a 20-something researcher by daylight, and mahou shoujo cosplayer by moonlight! She’s also known to play murder hobo elven clerics with a penchant for shanking twice a week. Also known as “science girlfriend” of The Heavy Metal GM. When she’s not chained to her sewing machine or doing other nerdy stuff, she enjoys watching ballet, musical theatre, pro hockey, and playing with any critter that will tolerate her presence. You can find her on Twitter, Tumblr, ACParadise, Facebook, Instagram, & WordPress.

Citations:
Almeida, J., Johnson, R.M., Corless, H.L., Molnar, B.E. & Azrael, D. (2008). Emotional

distress among LGBT youth: The influence of perceived discrimination based on sexual orientation. Journal of Youth Adolescence, 38, 1001-1014.

American Psychological Association (2012). Guidelines for psychological practice with
lesbian, gay, and bisexual clients. American Psychologist, 67(1), 10-42. doi:
10.1037/a0024659

American Psychological Association (2015). Guidelines for psychological practice with
transgender and gender non-conforming people. American Psychologist, 70(9),
832-864. doi: 4 http://dx.doi.org/10.1037/a0039906

Bostwick, W. B., Boyd, C. J., Hughes, T. L., & West, B. (2014). Discrimination and
mental health among lesbian, gay, and bisexual adults in the United States. American Journal of Orthopsychiatry, 84(1), 35-45.

Brown, L. S. (2008). Cultural competence in trauma therapy: Beyond the flashback.
American Psychological Association: Washington, D. C.

Haas, A. P., Eliason, M., Mays, V. M., Mathy, R. M., Cochran, S. D., D’Augelli, A. R.,
& … Clayton, P. J. (2011). Suicide and suicide risk in lesbian, gay, bisexual, and transgender populations: Review and recommendations. Journal Of Homosexuality, 58(1), 10-51. doi:10.1080/00918369.2011.534038

Mustanski, B. S., Garofalo, R., & Emerson, E. M. (2010). Mental health disorders,
psychological distress, and suicidality in a diverse sample of lesbian, gay, bisexual, and transgender youths. American Journal Of Public Health,100(12), 2426-2432. doi:10.2105/AJPH.2009.178319

Weather Engine – Worldbuilding 1

Previously we’ve spent some time together talking at a high level about being a godling in a technological universe. Now let’s look at just being Gawd and creating your own world to run or play your game in. The art of world creation isn’t easy or for the faint of heart. Sure, any fella out there can throw together some two-bit town with a single road and a donkey but I’m talking about real world building. They always say write what you know and so I’ll be approaching this from the angle of how I build a setting. Please note that my method may not fit you or the type of world you want to create. That’s ok; if any of this is useful than I’ve succeeded at my job..err..position…no…favor for a friend? Whatever this gig is.

weathermh47

I’m going to convince you that weather is the most important element of your world building. Weather drives so much about a place, and a people, and it’s always my starting position for world building. Is it rainy or dry? Is it neutral? Are there the usual four seasons? Any of them particularly long? If the land is windy all the time the trees will be short and twisted, shrubs and tough grass will cover the land. If it’s a long winter you’ll have fast growing plants and animals adapted for cold more than heat. The weather can also drive how technologically advanced a people can be. A land where nothing grows like Arctic tundra or desert dunes will encourage a people towards hunting and nomadic life-styles with an emphasis on weapon and travel technologies. While a land with sunny days and green lush land with plenty of water will develop farming and fortification technologies.

From Weather we can draw direct connections to technological orientation but we can also draw direct lines to diet based on the kinds of animals and plants to be found in an environment with those weather patterns. A desert dwelling people are some of the heaviest users of spice for their foods as what they’re consuming tends toward bland and they have the right environment for growing many of these spices at the edges of said desert. If you wished to dive deep you could take a look at the types of spices used in various environments and use those flavors to, ahem, flavor your flavor text. A people’s diet can also inform things like average height and weight with heavier meat filled diets lending people height and weight while a primarily vegetarian people would be shorter and sparser of frame.

fuji

Weather and food connect directly to clothing choices and the materials to make those clothes. This also informs what kind of armor they likely favor, weaponry preferences, and even the type of building materials and designs they favor. An area like Japan, a hilly forested island doesn’t lend itself towards large herds of animals, nor are large herds of animals the most efficient ratio of land use to calories, so an agrarian society with very little red meat creates a population of shorter and smaller framed people. As a place with few mineral resources the use of plant materials for construction, clothing, armor, etc. becomes the next logical step. These lines of thought can be very sparse, a sketch of a region and its people, to help a GM add a little character to a small village. They can also be very complicated interconnected webs, the decision is completely up to you.

An important note to remember, culture; the culmination of spiritual, religious, superstitious, entertainment, and traditional practices; is not the same as what we’ve laid out so far. A culture is certainly influenced by region, weather, and environment but is equally affected by interactions with other cultures, politics, and the murky origins of a people’s faith. That’s right, religion conversation, full steam ahead!

key-compa

The spirituality of a nation grows out of a desire to explain things and to some extent to tell stories. A father tells his son how those bright lights in the sky make the shape of a horse and comes with up some tale to entertain the lad. He tells his son, then onto the next son, and the next until it becomes a corner of spirituality. The gods put the first horse into the sky to pull the night behind him as he gallops across. This tale grows and either finds it way into a manuscript on the origins of the names of the constellations or as part of a religion; the steed of Zaphaeus, archangel of wrath of the creator god Eloi!

Religion and to a lesser extent spirituality is where we can really see formalized politics developing. Imagine a tribe, stone age, barely getting by. They’re led by the strongest male who is either great at hunting or great getting others motivated to hunt. As spirituality develops, a separate position of power forms in the group; the shaman. Or medicine man, priest, magus, seer, etc. This creates two positions of influence in a group that previously had only one. The first formalized politics form. Just as religious practices can severely alter a nation; for example, a land with miles and miles of coast with a religious proscription against eating shellfish, due to them eating carrion; so can political upheavals and power shifts.

industrial-rev

Once a nation passes a technological threshold, say late medieval to early renaissance, weather loses impact as a driving societal force. There are obviously exceptions for extreme circumstances and some environments discourage ever reaching that technological level naturally. A desert, for example, does not encourage cities nor generally produces the food resources necessary for a large idle population, which is a must for a nation to innovate, technologically speaking.

There’s a barrier between survival level culture and knowledge and the level beyond with idle urban populations and farms producing far more than they can consume. Some environments actively assist crossing this barrier in the case of temperate, plains, and deciduous forests. Others can actively oppose such development such as deserts, rain forests, and heavily mountainous terrain. As an additional note I understand that terrain doesn’t actively oppose or assist anything; just a word choice people, put away the literary knives.

Exotic environment can be treated much the same way; frozen glaciers, deserts made of glass, underground tunnels, floating islands, and undersea kingdoms can all be sketched out and then filled out using the same ideas. Let’s take a look at an undersea kingdom.

Weather is non-stop rain. Did you hear the drum and cymbal in the background? No? Fine then. An undersea kingdom has very limited “weather”; but there are consistent weather like effects. The tides would act like a highway system creating the option for extensive trade networks and/or expansive kingdoms. The diet would be exclusively fish, crustacean, and some plant matter. While fish scales would be useful for little more than ornamentation, the hides of sharks and cloth made of kelp would be common materials for clothing. There would be no concept of fire and little to no metal or wood working.

atlantis

Unless of course this nation bordered land and the people were amphibious. The population wouldn’t be afraid of the dark and be would very resistant to cold and pressure. The artifacts of the surface world would have variable value determined by how isolated this undersea nation is. The spear would be the most popular weapon, anything else would be slowed on a swing by the water and not very effective.

In one paragraph I’ve shaped an undersea culture and I did so by establishing my weather, an interesting incidental effect of that weather, the type of animal and the type of plant most often eaten, what they would make clothes out of, a scarce resource, a common resource, a note on the psychology, and the popular weapon of choice. In nine words; undersea, tides, fish, kelp, metal, wood, dark, cold, and spear we can create a skeleton to remind the GM of the kind of people these are and the place they inhabit. A description is a powerful tool for creating a mood or enforcing a theme and world creation is all about the description and more specifically the description words.

As a final note; always remember that while national borders can and do influence people and segregate cultures it’s the land, the place, the world these nations rose out of that are the start point and the land is a result of the weather. Weather begets land, land begets resources, resources begets technology, and all of them combine mark a culture. Good luck, and may Eloi watch over you.

Justin has been playing, running, and designing games since he was 14. He enjoys reading, writing, eating, and sleeping. He also enjoys a good think but not too often as he’s very heat sensitive and doesn’t want his brain to boil over.

*Note, all opinions are the opinions of their respective Authors and may not represent the opinion of the Editor or any other Author of Keep On the Heathlands.

SUPPORTING INCLUSIVITY IN GAMING

Last Thursday I received my advance PDF of Mind’s Eye Theatre Werewolf: The Apocalypse, this post was informed by some preliminary reading of that book which made me happy with some of what the writers addressed. The rest of this post will not exclusively be about By Night Studios, but I want to call them out for moving things in the right direction and striving to be one of the more inclusive gaming companies on the market. I think this comes from the form of gaming in question. In some ways, LARP is an atmosphere where inclusivity, and safety, are much more present. You have larger groups, and often groups engaged in physical storytelling.

I got asked the other day what inclusivity in gaming means to me.

Inclusivity means having a game world that reflects reality in its diversity. Inclusivity means an openness to thought, to writing, to characters that walk a spectrum of identities. Inclusivity means a game culture that welcomes players and encourages them to engage in world building in a self-reflective way, but also in a way that acknowledges a plurality of vision about the purpose of gaming. Inclusivity means trying to find a way to engage, support, and empower any player that walks through the door, if their goal is to support the collaborative process.

Storytelling and gaming are essential elements of our being. When I engage in stories that challenge my perceptions, that encourage me to think, to expand, to reflect, that is what I search for. I want everyone to have that chance, to be included if they want to be included. I want anyone that picks up a book I write, or a plays a game I play, to feel like they could make that their core pastime. Collaboration requires maneuvering with, and for people. Inclusivity embraces that challenge with the goal of trying to open the door so that all people, voices, and thoughts are heard, considered, and added to the collective memory, the shared myth.

Inclusivity in gaming is a process that can start from the ground up, or, from the top down. What, in this case, do I mean by top down? I’m talking about from the game company themselves. From choosing writers, to tapping artists, all the way up to developers, a desire for and a strong commitment to inclusivity impacts their games in ways that ripple throughout their fan communities. That isn’t to say the job of inclusivity is only on the developer side, but they have a role to play. (hah, no pun was intended but I’m going to keep it now I’ve noticed it)

Actions both subtle and obvious help to encourage an atmosphere of inclusion in a game. Let’s run through a few of them.

PRONOUN USAGE: White Wolf was one of the first companies to use the female pronoun in their books. This is one of those subtle decisions that can have a huge impact. Having she sets the tone that women, just as much as men, can be the standard gender for roles in the World of Darkness. That was 1991, and a pretty big deal in that day and age. Today using she is less trendsetting, and is still powerful. At the same time, using gender neutral and gender ambiguous pronouns can indicate an attitude of acceptance of all gender identities, both for players and for characters. If reading through a book and a signature character is a 3-dimensional figure who happens to be gender queer as part of their identity, it represents some of the diversity within our world.

SAFETY AND CONSENT RULES/STANDARDS: Consent is an important part of the social contract of gaming. Players consent to sit around your table, or embody characters in LARP, and they need to continually be provided the option to opt-in or out of story elements that could hurt them as players. By Night Studios is doing well in this department, in the MET Vampire book this concept is treated with respect and given decent coverage. In Werewolf? They’ve done even better, pages 19-20 cover several concepts that are essential to supporting player safety and encouraging behavior that ensures it. They discuss Bleed, Personal Responsibility, Sportsmanship, and techniques of storytelling that support player comfort like Fade to Black and Time Stops. For those of us who have been around the LARP world for a while we’ve seen a lot of discussion on these things, and it is essential to have them front in center in a game book.

kadira — Kadira by Bryan Sime: From Ki Khanga

REPRESENTATIVE IMAGES: Recently Wizards of the Coast received some soft praise for having one of their signature characters be a black woman. This is good, and needs to continue. What is also praise worthy is that the character is wearing, basically, sensible armor. There is also the awesome new game, Ki Khanga which is set in a fantasy world based on Africa. Games like this, and games that incorporate honest representation are part of the process to make games more inclusive. Representation matters, just as with gender, characters with similar looks and ethnic identities to players help to give them role models. They also give players with different identities a chance to see awesome characters that do not look like them, which I believe has an impact on how people are seen in one’s day to day life as well.

SUPPORT FOR PLAYERS WITH DISABILITIES: This I feel, is at times the area that we have the most opportunity for growth and development of new strategies for support. One of the concerns I’ve had with the newer White Wolf books is their size. These books are 500, 600, 700 pages long in one volume. I struggle to hold him in my hands and this is due to a very moderate problem with grip, probably caused from my military service. Thankfully I have pdfs and other electronic versions of these books I can read as well, but it would be amazing to have some other technology to support our gamers with other disability concerns. Some of this is built into our new devices, but that only goes so far. I’d like to hear some feedback on what sort of devices, support, or ideas could help in this area.

Here is my take-away. We are doing better as a community, partly due to the benefit of Kickstarter and other forms of crowd-funding that allow for smaller projects to get off the ground. We can do better, though. That should not be taken as a critique, just a fact, we can always do better, we can always work to be compassionate and supportive and inclusive and we should always strive to be so. What games do you think are the most inclusive? How do you ensure a sense of inclusivity in the games you create or the games you play?

Josh is the Admin@KeepontheHeathlands

*Note, all opinions are the opinions of their respective Authors and may not represent the opinion of any other Author of Keep On the Heathlands.