Wednesday, July 11, 2018
Sunday, July 8, 2018
You are a team of co-workers. Decide together:
- What is your workplace?
- What big project is the boss breathing down your neck about?
- How is your workplace catastrophically unsafe?
Individually, name your character and decide:
- What is my role on the team? (coordinator, expert, grunt, caretaker, gofer)
- Why do I keep messing up? (lazy, greedy, incompetent, dishonest, arrogant)
Take turns framing scenes starring your character. Everyone else plays their parts and NPCs, as needed. Each scene should lead to a point where one character (not necessarily yours) must risk their safety to move forward with the project. That character's player chooses:
1. Accept the injury. Don't tell the boss.
2. Report the unsafe condition. Tell the other players what new safety rule the boss has imposed. The other players decide how the workspace will be altered to comply with this rule, in a way that makes the workplace less safe and less efficient overall.
The game ends when either:
1. The project is completed. The team is congratulated by the boss for a job well done, and for their good safety record.
2. One character accumulates three injuries. The team is reprimanded and the project is given to another team.
You can also check out last year's entry, Micro Kittens:
You are a kitten who wants to get adopted from the Humane Society. Pick a description of why you should be adopted (fluffy, cuddly, playful, tiny, polydactyl) and a description of why you haven’t been adopted yet (dirty, skittish, old, aggressive, sick).
Roll 5d6. Keep them -- this is your pool. Pick someone to be the active player. When you’re the active player, frame a scene in which you act. Other players portray other characters in the scene. When you do something ADORABLE in one of the categories below, place a die next to it, as long as it’s different in number from the other dice already there. If you act according to one of your descriptions in this scene, you may re-roll one die from your pool before selecting one to place.
The player to your right invents a complication based on your die’s number as follows:
1: Someone gets hurt
2: Someone gets in trouble
3: Something gets lost
4: Something breaks
5: Someone new arrives
6: Something brings bad news
The player to your left now becomes the active player.
When you have done four adorable things, tell who adopted you.
Saturday, June 30, 2018
The three games I'm currently working on are:
* Catpocalypse World: Cats surviving after the human apocalypse
* Get Ready 2 Rock: A band on tour getting themselves in trouble
* Admiral Earth: The Earth Team uses the powers of nature to battle eco-villains and summon the planet's greatest defender, Admiral Earth
All three games are rooted in the Apocalypse Engine to various degrees. In particular, all three adopt the "moves" structure -- when a character does particular actions, then you are given a description or list of the sorts of things that might happen in the story. Most moves involve the application of a randomizer (dice roll or card draw) plus modifiers to select between good, compromised, or bad menus of outcomes. A very large percentage of the design work on these games involves writing, testing, and re-writing moves.
The important distinction I'm trying to keep in mind is between what I'm calling success mechanics and story mechanics (or success moves versus story moves, since I'm focused on writing "moves" in an Apocalypse Engine context). Success moves clearly separate the role of the GM and the player. The player inhabits and controls the character, while the GM is fully in charge of the rest of the world. Like real people acting in the real world, characters then encounter situations where the outcomes of their actions are uncertain -- they don't know whether their skills will be adequate to overcome the challenge posed by the outside world, and whether luck will favor them in executing their plan. Success mechanics step in to give us rulings on these outcomes, usually with the application of some randomizer (e.g. dice or cards) to represent the character's uncertainty. The result of the mechanic tells us whether the character succeeds in overcoming the world's barriers or not. The nature of those barriers, and the sorts of outcomes available from overcoming them, rest in the GM's hands (albeit sometimes with their own mechanics and randomizers). Games that are heavily investigative ("solve the mystery") tend to rely heavily on success mechanics. The GM has already decided what the truth behind the mystery is, and so the real question to be decided at the table is whether different strategies by the characters succeed at uncovering clues and piecing them together.
Story moves, on the other hand, put the GM and players both in the role of storytellers crafting a story about the characters and their world. While players may have primary responsibility for choosing their character's actions, the question faced by the player in acting is not "am I good enough (and lucky enough) to succeed at this?" but rather "where does the story go when I try this?" That is, does the overall story go in a direction favorable or unfavorable to the character. This question goes beyond just the things under the character's direct control, potentially reaching into any aspect of the world not yet made canon by appearing in the story. An investigative game in a story mechanics context would give the players control over how the mystery unfolds and perhaps even what the real story behind it is. I specifically like the structure of "moves" (as opposed to the "skill checks" that appear in many games) for story mechanics because it creates the opportunity to give specific narrative prompts for how the story proceeds.
There is definite overlap between the two -- succeeding at one's intended task is one obvious way that the story can go in a direction favorable to the character, and vice-versa for failing at it. But thinking in terms of story moves opens up new possibilities.
For example: say you have a move that applies when a character hacks a computer system, and one of the characters in the game hacks into the villain's email to find incriminating information. In a success mechanic context, the GM will have already decided what kind of incriminating information is potentially available. The question to be answered by the mechanics is, is the character a good enough hacker to get some or all of that information? In a story mechanics context, the question to be answered by the mechanics pertains (or at least may pertain) to the content of the emails themselves as well. A poor result from the randomizer may mean that the information in the emails turns out to incriminate an ally rather than the villain, because uncovering that is one way for the story to go poorly for the hacker character (despite being a "success" in the sense that their skills were adequate to access the computer system).
Another example: my current favorite basic (i.e. available to all player characters) move in Catpocalypse World is called "You Meant To Do That." The inspiration, of course, is the way cats can fall off of something or otherwise have a total wipeout, then pick themselves up as if everything is going just according to plan. This is such a distinctive cat behavior that I knew there had to be a move about it in a game featuring cats. Originally, this move was called "I Meant To Do That," and its structure heavily drew on the "Keep Your Cool" move in Monsterhearts. The question to be answered was, when pulling off a stunt, do you draw negative attention and look foolish, or do you convince others that you're still in control. I realized that I had written it as very much a success move, deciding whether the character was successful at keeping their cool in the face of obstacles like nervous tics and other characters' perceptiveness. But I saw an opportunity to turn it into a more story-focused move*. The new text reads:
You Meant To Do That: When someone has seemed to fail at something but you wish they had succeeded, roll [2d6] + the same attitude [stat] they took (but using your own bonuses etc.). On a 10+, explain how their apparent failure actually created a great opportunity or accomplished something useful, and they take +1 to taking advantage of it. On a 7-9, your confidence gives them +1 to extricating themself from the mess they made.
The new mechanic gets away from the idea of a character succeeding or failing at some action they're taking in the context of obstacles in the world. Instead, it gives the player a chance to re-write the next step of the story, pointing out how an apparent failure could actually turn out for the best, perhaps in a way anticipated by neither the target character nor the GM.
I don't intend for all of my moves to be quite as meta as "You Meant To Do That," but it illustrates my approach. When writing prompts for outcomes, I want to ask myself not "what would it look like for a character to succeed/fail at this?" but rather "what would it look like for the story to go in a direction favorable/unfavorable to this character?"
*As well as using this move to cover the need for a "helping" mechanic, which was open after I removed the very Monsterhearts-ish strings mechanic that didn't fit the game's approach.
Sunday, March 12, 2017
The band was traveling by dogsled to a big music festival in Fairbanks, Alaska. They stopped for the night at a Canada's Greatest Motel location in the remote not-even-a-village of McConnell's Crossing. The whole band had to share a single room because the rest of the motel had been reserved by their rivals, Blond Riot, who soon arrived in their reindeer-drawn sleigh.
Blond Riot is only "pretty good," though that makes them better and more popular than Sleeping Ginger. Ed overheard Blond Riot's roadies grousing about how the band acquired fancy $8000 amps, but isn't good enough to hear the difference between that and lower-quality $4000 amps. Sleeping Ginger hatched a plot to trade the roadies their lower-quality amps plus $4000 to get the better amps from Blond Riot. But first they needed to get the money, since between them they only had $200.
Ricky used his charm to convince Marlene, the receptionist at the motel, to call corporate HQ and make a deal that Sleeping Ginger would write a version of one of its songs that was about the motel chain and play it on stage, in exchange for $3800. Meanwhile, Drax and Sir Clemens called a mysterious phone number they found written in the hotel attractions guide to arrange a drug deal with "Randy," who wanted to meet them at the old dock on Black Lake. Though Sir Clemens' drug habit breaks the heart of his father (and the band's manager) Cecil, the two set off into the dark woods to meet Randy. After performing a wild rock'n'roll stunt that left Drax up to his waist in cold water, Randy agreed to sell them $1000 worth of Extasy for only $100. On their way back to the motel, the band members ran into a couple members of Blond Riot, who were also aiming to score some drugs from Randy. Randy -- who had sold his entire stash to Drax and Sir Clemens -- used his satellite phone to call the police. Luckily the members of Sleeping Ginger were able to hide their drugs in a hollow tree, and the police didn't find anything on them. The members of Blond Riot and Randy hitched a ride back to town with the police. When Drax and Sir Clemens got back, they broke the door handle on one of the Blond Riot rooms, to delay them in the morning.
The next morning, Sleeping Ginger headed out on the road. Around midday, they reached the border checkpoint. Fearing that they would be caught bringing drugs into the USA, the band exploited their celebrity to get Charles the border guard -- a huge Sleeping Ginger fan -- to just wave them on through. That night, Sleeping Ginger had to camp at a National Forest since there were no motels in this remote area of Alaska. And wouldn't you know it, Blond Riot arrived at the same campground hours later. Since the members of Blond Riot were clearly frazzled from their day's adventures, they were willing to buy the extasy for $1500. While Blond Riot lay in their tent getting high, Sleeping Ginger decided to prank them by building a bunch of threatening snowmen around their tent.
The next day the band arrived in Fairbanks. After checking in at the festival HQ, Ricky and Widowmaker headed to a local coffee shop to meet Heather, the head of advertising and PR for Canada's Greatest Motels. While waiting for Heather, they were met by Charles. He told them that he had been fired from his job as a border guard for letting them through without checking their passports or inspecting their vehicle. Border Patrol was now on the hunt for Sleeping Ginger. Moreover, the Forest Service was also after them, because to make their snowmen they had pulled branches off of an endangered tree.
Meanwhile, Drax and Sir Clemens decided to try to sabotage their amps, so that when they traded them to Blond Riot, they would sound bad. However, they mostly succeeded in breaking the amps and electrocuting themselves. They took the amps to a local repair shop, and paid a premium to get them repaired quickly. Then they made their deal with the roadies for Blond Riot, swapping amps along with $4000.
Charles helped the band get in touch with his former supervisor, Officer Ramirez. She didn't buy the band's excuse that, coming from a remote part of Canada, they didn't know that you had to show your passport to enter the US. However, she told them that if they played a song about the importance of conserving endangered species, the Forest Service might both forgive their damage to the tree, and sponsor their application for a visa so that they could be in the country legally*.
The next day, Sleeping Ginger had their big show. Not only did they perform a brilliant song for the Forest Service, they also held up their end of the bargain with Canada's Greatest Motels, and won over a bunch of Blond Riot fans.
*Yes, I know this is not how US immigration law works.
Sunday, July 31, 2016
Friday, June 10, 2016
- Thursday 4-6 pm
- Friday 4-6 pm
- Saturday 12-2 pm
We also have a slot at Indie Games on Demand in the Hyatt Fairfield room, starting at 9 am on Saturday.
Laser Kittens won't be quite ready to sell at the dealer's hall at Origins, but you can preorder it through Backerkit if you missed our Kickstarter. We'll have our other two games, Bunny Money Gunny and The Fool's Journey, for sale, alongside a bunch of other awesome games at the Indie Game Developer Network booth. Come on by!
Monday, February 1, 2016
Laser Kittens is a cooperative storytelling game suitable for everyone from pre-teens to adults. Using two standard decks of playing cards, you'll bid for control of the story. Players take turns being Class Captain, setting the scene and controlling any NPCs while the other players narrate the actions of their kittens. When your laser goes off, you never know if it will do something amazing or backfire terribly, creating kitten chaos. The fun is in seeing what happens!
When you back Laser Kittens you can get a PDF and audio versions of the rulebook, or a softcover physical copy (100 pages, 6x9 inches). At higher pledge levels, you can get your cat included as an NPC, or even have our artist (Cynthia Lee) incorporate your cat into the book's illustrations. Back Laser Kittens today!