Hello, Dreamers! I’d like to announce the Dreaming Crucible’s Holiday Sale! From now until the end of December, the lovingly handcrafted Dreaming Crucible Storytelling Game is $10 plus $2 shipping to anywhere in North America. That’s two dollars savings, or three if you live in Canada or Mexico!
Also, I’ll sign your book with the personal message of your choice!
I know this sale comes at the last minute. So in addition, if you send me a Paypal message with your purchase containing the word “GIFT” then I will Priority Mail the book at no extra charge, IF I mail it between Fri. December 19 and Weds. December 21. You’re on the honor system to only message me “GIFT” if you really need it by Christmas day.
Alternately, if you live in the Portland area and would like to pay no shipping and have it hand delivered, use the second Paypal button and we’ll work something out. Portland area means REALLY Portland area, though; Tigard or Oregon City might be a stretch for instance, and Salem and Canby are right out.
Also keep in mind that if you live around Portland or plan to visit I’d be delighted to arrange a time and get together and play. It’s in playing the Crucible with you that I fulfill its nature and purpose.
Edit: the sale is over. Thanks to everyone who participated!
So we’re playing our final session of Apocalypse World. At least we think it’ll be the last. We’ve all agreed that we’ll either end the game tonight or next session, depending on how things go. And I’m feeling the pressure.
See, I’ve become intensely invested in Burdick’s future. Burdick is my character, a Savvyhead with a greenhouse trying to get the earth to yield a bounty like she used to, rather than the weak, halfhearted crops she produces now. Burdick’s had her hurdles, including clashes with her Hocus brother, Always, who leads his people in a fire and brimstone, will of the gods manner, with ecstatic visions and draconian pronouncements.
Now Always is gone, disillusioned with his leadership and living alone in the woods somewhere. Burdick’s got the Battlebabe Kickskirt at her side, and a gaggle of scared people looking to her for fresh leadership. And the warlord Barbecue has moved in, threatening our territory and our way of life.
Continue reading Finding Burdick
So, I went to GeekGirlCon earlier this month to help Tori Brewster and friends run a Story Games table. And we all had a blast! Some wonderful games played, with friends and strangers both.
But here’s a thing I noticed: TONS of people, including some of our own, when asked if they wanted to play, would ask “how long” and when told something like “2-3 hours,” would frown and go “never mind, I only have an hour.”
See, GGC isn’t a gaming con. It’s a panel and event con. Lots of people giving talks or Q&As in conference rooms on pop-culture and feminist topics, punctuated by the occasional concert or puppet-making session or burlesque.
So with all those other wonderful things going on, people don’t have time to devote their whole afternoon or evening to a game! They wanted to play something that lasts 30-50 minutes, so they could get to the next thing.
I have to admit, I felt a bit disappointed in myself. I felt like I was letting people down. They came to our table, looking for a new and exciting experience at this new and exciting con, and we had to turn them away? Weak sauce! I wish that I and my comrades could have blown each and every one of those eager minds with story games.
But we couldn’t, because our games take hours to play.
Continue reading GeekGirlCon and games in an hour
Last week at the Portland Zine Symposium, my friend Mike Sugarbaker showed up at my table with a tiny pamphlet he’d just made, called “Taking Stories Back: A Mini-Festo.” He put them out on the table as a freebie, and folks grabbed them up as fast as he could staple them! It was incredibly inspiring, and I knew we had something special on our hands. So I asked Mike to do a guest post on the blog based on the original pamphlet. Here it is, adapted and condensed down to the essentials:
Serial fiction is important. Characters are important, and other worlds are important. There’s something magical about visiting another place, a place that might or might not even be possible, time and time again, and seeing how the people who live there are doing.
We knew this generations ago, when we gathered around fires to listen to the storyteller. Now, the fact that there even was a storyteller suggests that different people do get different amounts of skill at telling stories. But that’s not the only reason we gave up responsibility for telling stories to somebody else. We like to be surprised by our stories; we like to feel like they come from someplace else; we like to get them passively instead of working hard at them; and we like to have our senses dazzled. All that is understandable.
Continue reading Guest Post: Taking Stories Back
I tabled at the Portland Zine Symposium last weekend with The Dreaming Crucible. It was the culmination of a year-long anticipation, since I first published the Crucible just one week AFTER the previous year’s Symposium. Sunday from 11 to 4, I sat at a little wooden table, a massive cloud of origami cranes fluttering in my hair, and introduced folks to my little storytelling game. It was fun and eye-opening! Initially I felt a lot of commercial anxiety, as I always do when I table with product—they’re not buying! Man, why aren’t they buying? I hope that person comes back like they said they would; they seemed really interested! Jeez, I’m going to be here for hours and only sell one copy; that works out to two dollars an hour and I might as well just quit self-publishing and work at McDonalds!!!
Continue reading Of Community and Crucibles
I’ve had some experiences recently with explicit sex in roleplaying games that I’d like to explore with you. To start with, I’d like to share a set of short erotic stories written from the fictional events of three roleplaying games I played: respectively, Ben Lehman’s Hot Guys Making Out, Paul Czege’s Bacchanal, and D. Vincent Baker’s Apocalypse World.
Because these stories are so intensely personal, and out of deference to loved ones, I’m presenting these stories in a password-protected PDF. If you’re a friend or blog regular, email me for the password at Storybythethroat AT Gmail DOT com. Adults only, please!
The stories aren’t necessary to understand the post, though. If you don’t read the vignettes, their summaries are:
1) The orphan Gonsalvo and his inscrutable benefactor Honore share a moment of smoldering tension as the lad emerges from his bath.
2) While the Bacchanalia rages in Puteoli, the incestuous twins Appius and Livia make love one last time as a current sweeps them out to sea and they blissfully drown.
3) After the village gardener Burdick discovers her assistant Thuy has been keeping the other gardeners as drugged and brainwashed slaves, she gives the injured Carna a brew to flush the drugs and makes love to him to break Thuy’s hold.
Continue reading Intimate details
My game The Dreaming Crucible has been entered in the Indie RPG Awards, winners to be announced at GenCon Indy August 4-7. I’m excited! The Crucible stands in a pretty august company, but it’s a game I’m proud of—tight, emotionally rich, beautiful, and lovingly handcrafted.
Voting lasts until next Sunday, August 31. Wish me luck! If you’re one of the voting panel, or are able to participate in the People’s Choice awards, please give my game some consideration! I’m especially interested in thoughtful feedback.
At the fabulous Fabricated Realities convention, I played Danielle Lewon’s Kagematsu, which gave me a new perspective romance and gender politics. It messed with my expectations of how a courtship should proceed, and exposed some of my unconscious cultural assumptions.
In this game a female player portrays Kagematsu the wandering ronin, and the male players play peasant women who must entice and woo Kagematsu to convince him to save their village from a dire peril. The women take turns attempting to elicit gestures of affection from Kagematsu, from a stolen glance to a kiss to a roll in the hay to a confession of love, culminating in the promise to aid the village. Whether or not the woman gains the gesture, Kagematsu’s player secretly awards her Love or Pity based onpersonal judgment. Only if Love is high enough will Kagematsu have a chance of defeating the threat.
Continue reading Kagematsu: romance and privilege in old Japan
I attended the Original Practice Shakespeare Festival‘s “Much Adoe About Nothing” in Kenton City Park. I loved it. The cast were a fun and energetic bunch, and the intimacy of our close proximity on the grassy lawn, with the players’ antics spilling freely among the audience, made the whole spectacle a delight.
The most eye-opening part of the production was the “Original Practice” itself. The troupe is dedicated to reviving the actual acting techniques of Shakespeare’s day, when new plays were being written and performed at breakneck pace, and an acting company didn’t have the luxury of extensive rehearsal and meticulous preparation. Instead they carried their lines on scrolls, and charged in with “limited rehearsal; an onstage prompter; fast-paced, energetic acting; and lots of audience interaction.”
OPS Fest recreates that practice, and the result was enthralling. I love live Shakespeare, and I’ve seen some fine performances, but what I experienced at Kenton park on Sunday was like nothing I’d seen before. You might think reading their lines from cue scrolls might render the performances lifeless, but not so! Instead the play crackled with life, brimmed with humanity, and embraced messiness.
Continue reading Shakespeare for all of us
So, I’m a big fan of Character Advocacy in roleplaying games. Advocacy is, simply put, a mode of play where each player (excepting, sometimes, a Gamemaster) has responsibility and authority over a single character, and is tasked to represent the interests of that character in play. It’s important because if, when encountering fictional adversity, the character has no advocate, the outcome can feel flat: triumphs too easily won, tragedies handed down from on high. When we only produce something we all agree to, then nothing can surprise and challenge us. Advocating for a character is a powerful way to ensure that the character’s victories are earned, that their suffering has weight. In short, to ensure that their story matters to us.
So how can you enable that kind of investment in the absence of character advocacy?
Well, I played a wonderful game called Microscope with some friends, including its creator, Ben Robbins. Microscope is a game of epic histories, where players together construct a timeline of large-scale events then zoom in, playing out the individual scenes of the human activity that shaped the course of history. It’s a very top-down, globally thinking game that almost uses the lives of individual characters as pawns in the service of an overarching narrative.
And yet I found that Microscope helped us produce some very affecting, emotionally invested fiction? Why is that?
Continue reading Microscope: zooming in on emotion