We're DIY D&D. We Do Good Work.

Yoon-Suin is out. This may mean nothing to you. To me it means (in the author's own words):

Tibet, yak ghosts, ogre magi, mangroves, Nepal, Arabian Nights, Sorcery!, Bengal, invertebrates, topaz, squid men, slug people, opiates, slavery, human sacrifice, dark gods, malaise, magic.

I am excited about this because Noisms has been blogging about Yoon-Suin for ages and it was the first DIY D&D setting I saw that did something truly new while maintaining its own feel throughout. Plus having Matthew Adams on the art is kind of a dream come true. This is no Oriental Adventures style pastiche, this is a fever dream of a fantastic pseudo-Asia. And anybody who reads his blog Noisms thinks about mechanics and presentation, too, so the book is going to be useful at the table, not just inspirational. Here's a review that says what I'd say. Here is one describing the contents in detail. Buy it.

This is what I use as the Exotic East in my home game.

This is 100% the kind of book the PROBLEMATIC CONTENT!!! Squad would've trashed had it come out a year ago. But this is the Year of the Goat and they are all gone now, since they fucked up so bad harassing us over 5th edition .

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Fire On The Velvet Horizon is out. This is the insane folk-art D&D that the world needs and is too wretched to deserve. It's by Scrap Princess and False Patrick, and, unlike, Yoon-Suin, it has not been a long time coming. This is a stunning vortex of words and art hot on the heels of their extremely well-received (like: nobody doesn't like it) adventure Deep Carbon Observatory.

They have a fancy expensive book by a major indie publisher coming out soon and you'll be kicking yourself you didn't get these when they were cheap.

This is 100% the kind of book the Oh Noes Not Up To My Precious Precious Indie Font Nazi Standards Squad would've trashed had it come out a year ago. But this is the Year of the Goat and they are all gone now, since they fucked up so bad harassing us over 5th edition.

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And lastly and not leastly, Stacy Dellorfano and Contessa--the people who brought you the best online gaming convention in the world--are organizing events for Gen Con and they have a call for women to come run games.  They've done an amazing job making RPGs less boring ever since they showed up, here's an opportunity to help out.

This is 100% a group of women who have had to weather the Oh No Not Being A Feminist The Right Way! Squad trashing them a year ago. But this is the Year of the Goat and they are all gone now, since they fucked up so bad harassing us over 5th edition.

Anna Kreider Is Actually Terrible

If you can read this Anna Kreider / Wundergeek / Go Make Me A Sandwich blog is harassing me, the women in my group, or both. Again. Here is Mandy describing how and why this happens and what you can do to stop it.

Anna is wrong. I do not know anyone who knows her well enough to say whether she knows when she responds to this (source: here) (April 2012) with this that she is distorting information.

That is: I don't know if she is consciously lying or just unable to tell lie from fact.

Like in today's blog, she claims on the one hand she never attacked us and then immediately links to a page where she falsely accuses me of shit.

"I have from time-to-time written about Zak in an anonymized fashion (i.e. "I have attacked Zak and his game group"), such as my original Gaming as Women post. But in each instance I attempted to file all of the serial numbers off of the incidents, and have always said when doing so that people SHOULD NOT name the person being discussed if they are aware of the circumstances being discussed."

Like not using the words "Zak S" somehow makes it not an attack anymore?

Like the people who harassed me and the women in my group didn't consistently link to her "Rebellious Artist" post as "evidence" we did something wrong?

Anna supported their harassment. Straight up. Every second of her life she didn't erase that post and the false claims in it, she was supporting it more.

Another example:

She goes out of her way to point out that I used her real name. Of course I did--the person I was talking to introduced her into the conversation (out of nowhere) and only used her real name. Her real name was the only name in the conversation. He said he wanted to put a product he disliked to "The Anna Kreider test", I responded (basically, full text linked above) that was kind of like the Phyllis Schlafly test.

Check the link if you think I am lying.

She also denies spreading or supporting the Something Awful libel article in a post where she links to the libel article and two retweets that support the claims in it.

You can't really get more reality-blind than that.

The rest of what she's saying has long ago been debunked. No-one has ever come forward to dispute that.

You don't have to pick who to believe, either. I will answer any question and will provide any evidence if asked. You may ask anonymously here. Anna, on the other hand, has made it a point of pride not to provide evidence.

Or just believe the victim: us.

We didn't back down from pointing out Brandon Morse's rhetoric was bigoted and we're not going to back down from pointing out Anna's is, too. If she wants to apologize for the harm it does and then attack me for pointing it out in the same breath, she has a problem.

So if you want to believe her: that's ok. But know you are believing her because you want to, not because you actually checked anything.

Oh, look, Anna has now redefined "sealioning"
as "disagreeing with Anna"

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Some Leopards

"4."

"5! I go first…"

"Bring it."

"So the wolves charge from both sides toward the middle of the column and attack Hellhammer."

"Wait, all of them?"

"Yes, all of them. That's…5 hits for…22 point of damage…"

"Why are they all attacking me?"

"That's a good question. Try a Bushcraft roll…"

"I can't, I'm dead."

The animals of the Devoured Land are not like ordinary animals. Things are here as the once were and will be again--beasts intrigue like gods and understand our languages, though they generally refuse to speak, as they consider us low-caste, inessential and hideous. They hate dogs with the passion of the betrayed, and horses strike them as preening rubes.

SNOW LEOPARDS

At some point in the last century, a breeding pair of these cats imported from the East and intended for a foppish zoo escaped on the road from Rottingkroner. They have adapted well, and have learned to hunt in packs. The males have crystalline teeth. Females now prize the taste of the hands of Amazons. Honestly, they have no time for the local animals and their bullshit and just want to be left alone and/or eat them.

TYPICAL SNOW LEOPARD 

HD 4 HP 20 Speed Human Armor As leather+shield

Attack

3 attacks per round

-Claw: +4 to hit d4hp

-Bite: +4 to hit d8hp (Only one bite per round)

-If two claw attacks land on the same target in the same round, the leopard may make two more claw attacks on its turn.

(These stats are pretty much AD&D Monster Manual stuff)

-Defense

-Snow Leopards in the Devoured Land cannot be charmed or deceived by Western magic.

-Special

-Stealth: 4 in 6.

TRANSCENDING MASSACRE

Wants her territory free of any lifeform larger than a rabbit. She might negotiate toward this end if there's anything left to negotiate with after her drift's initial (terrifying, strategic) pounce. She has noticed that humans tend to flee when their fingers are removed, and so has learned to target them.

Unusual stats:

HD 6 HP 30 

Attack:

-Finger-bite: +6 to hit d4 hp, target loses one finger per hp of damage--counts as two attacks. These do not come back with ordinary Cure Wounds spells--they require regeneration or the like. (Only one bite per round)

-Special

-Stealth: 3 in 6.

UNFOLDING-AND-IMMANENT-MERCY

Perhaps in response to the echo of an ancestral imperative, the leopards that attend Unfolding-And-Immanent-Mercy strike primarily at merchant caravans.

Unusual stats:

HP 24 

ALL-SHALL-FALL

The cats of All-Shall-Fall's drift come quietly, never revealing their number, widely dispersed. They seek to subtly terrorize and disorient--a leopard may attack once, then flee--or the drift may shadow the party for an hour, at the edge of the lines of sight in every direction, anything to unnerve intruders.

Unusual stats:

HP 24

-Special

-Stealth: 5 in 6.

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Talking To Russians About Very Specific Things

"I love Latin American literature and Russian literature. It never occurred to me that Dostoyevsky was supposed to explain something to me. [Audience chuckles] He’s talking to other Russians about very specific things. But it says something very important to me, and was an enormous education for me."

-Toni Morrison

I can't remember what bismuth is, but I remember this litany from school:

Did you write on the assigned topic?

Did you write for the assigned audience?

There were more and they were stupid, too--these were all gimmes in the standardized writing tests they terrorized and still terrorize American schools with. Go "Dear Grandma, I am writing to tell you about the Slavs…" and you've checked those two off.

The problem with these checklist writing tests is they make writing well seem less like thinking well than it really is.

I want to look at this word "audience".

"Who's your audience?" They say.

"Anyone who gets something out of it" is the instinctive answer--and if we're talking about something for sale it's probably true enough.

"Myself" people say sometimes--which is usually true, until you start explaining something. Like if the audience for this blog entry was just me, I wouldn't bother to attribute that quote to Toni Morrison since I already know she said it. Nobody would ever write anything that started "How To…" if the author was the intended audience. When you truly write for yourself alone, you only write things you're scared you'll forget, or need to write down in order to sort out.

Neither of those answers answers addresses "Audience" in the sense Morrison is talking about in her quote. In that sense, it means:

What are the things you assume your readers already know about and care about before they start reading (or playing)?

What kind of people already know about those things or care about them?

Dostoyevsky wrote things certain Russians could be expected to know about. He let everybody else play catch up and read the footnotes, including Toni Morrison. And she--being a writer--knows why you would do that. (If you don't, here's the rest of what she said. It's an autodownload.)

So while I could say the audience for Vornheim is "Anybody who can get anything out of it" the audience I'm sharing assumptions with is: "People already playing D&D-like RPGs who are-, or would like to be-, comfortable creating original content for their game".

Anxieties that were essentially audience-based have been around as long as there have been RPGs. Right there in the first OD&D book (called "Men & Magic"--audience-baitingly enough) tells you what elf stats are like without telling you what an elf even is first. Assumptions were made.

I go to the trouble to point out what may seem obvious because I think most everything controversial in RPGs is clearer if we look at these things through the lens of disagreements about who the assumed audience for a piece of game writing or game behavior is. People use the word "context"--and use it poorly and vaguely--when maybe they should be saying "audience".

You create content for your players. (And they create it for each other.) That's your audience.

You put that same content on a blog, that's a bigger, but maybe non-overlapping audience.

You put it in a book and sell it, that's a probably-overlapping maybe-bigger maybe-smaller audience.

Then you get that same content discussed as a possible ambassador for the hobby to new initiates on a mass level and that's a whole other audience.

…and I think that a big problem is people have a tendency to talk about those audiences as if they're all the same and all need to be told the same things. They all need to be told the truth, but they don't need to hear the same bits of the truth emphasized. Even with everything internettable, not everything you do needs to represent everything that can be done all the time.

For instance: The fact that girls can play games just like boys can is unequivocally true.

12-year-olds need to be told that. These ladies…

…do not, so we have the freedom to move on to things we don't already know about. When I write game stuff it is--essentially--for them. They are the end-users. So my game stuff is going to be about those other things we don't already know about.

But I'm not really advocating for a position as much as trying to change the way we talk about the positions we take. I don't have any bigger point than: I'd like to see people think about audience a little harder, and talk about different audiences a little more.

Maybe I haven't said very much--but I hope it's the beginning of a conversation.

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My Favorite RPG Covers

Pretty sure this was originally commissioned for something else

(Carcosa)

This was originally the cover of a sci fi novel, I believe, so also cheating

Amazons of the Devoured Land

The Devoured Land

The Devoured Land is distant, unfathomed. They say the cleft peaks are the uneaten half left torn when the first Cannibal God bit the world.  Things there are as things were in the day before all days, when all that is now knew a common tongue and a young, smoother moon hung pearl-like in a black bed of stars yet unborn.

The ice is clearer, the wind sharper, every sound echoes, and all time unravels with a clear and open order. The ancient tolerance with which each contemporary thing regards and gnaws at the thing adjacent in our sensical and passive-aggressive world is here undone, and all struggle is known. The shadow falls across the rock, and the rock despises that. The oldest witch is here, the proudest stag, the most vicious wolf, the fattest hog and most lustful goat, the most avid crow, the most resentful of rats, and worms so lazy they have been here since "here" began.

There are trees that grew in first rain, and horses that have never seen a rider, stones cut by the hand of the first women and recut by thousands after, parasites grown from the guts of the first men, there are fortresses buried since the first battle. It's said time started and will end in this place.

The Amazons

Who says this? The Amazons. But then: they will say anything. To you, anyway. I know because you can read this and I wrote it and I wrote it in a language of cities and so if you can read it you are not one of them. So they will lie to you. Or tell you the truth. Whichever is more likely to frighten you away. If their knives, their war animals, their bacchanals, their cultured exotoxins, their enmity, cuisine, enigmatic gods, complex obstetrics, and internecine warfare have not frightened you first.

These are the daughters of the she-goat and they have chosen another path.

The Frostbitten Moons

The Amazons of the Frostbitten Moon are the major human presence in the area surrounding Mount Hellebor. They are known by the patterns of yellow pigment that stain their skins, made from the venom of a strain of cross adder--to which constant contact and/or low necromancy provides them a contact immunity. They wear jewelry cast from the frozen tears of their foes.

Their current concern is the infiltration of their territory by the Maggot Sisterhood and the Ulvenbrigad.

Jexthoth

Jexthoth is the currently elected warmistress of the Frostbitten Moons, her nails are long and poisonous. Guarded by elk-hunting dogs named Taunter and Taker, she also sleeps on a bed of black snakes which she claims are trained. They aren't really but since she's immune to their venom and you aren't, it kind of doesn't matter. Their leader is named Sermon and, aside from occasionally being thrown at people during raids, he leads a pampered life, with which he should not-, and cannot-, complain.

Cold Banner

The Cold Banner is a secret society within the Frostbitten Moon tribe that carries out targeted assassinations. Each member wears a mask of painted bone. Their esoteric ceremonies are more disturbing than any ritual conceived in the civilized world. 

The Maggot Sisterhood

The Maggot Sisters are burners of churches, slovenly and bold, and notable for both the trained warpigs that serve them and the intricate record of slain foes tattooed on their bodies. By decree of their mad queen, Rindr, they strike first at clerics, nuns, and members of holy orders, ignoring everything to bring them down. Her other eccentric edicts include a policy of stealing or burning wizard spell books and beheading enemies as soon as they fall, mid-battle, rather than leaving the unconscious to attend to nearby allies. If a Maggot Sister kills you, she makes sure she kills you.

Rindr

The mad queen is known for her appetites, as well as her obsession with hidden knowledge. She has led her tribe into the territory of the Frostbitten Moons in search of the entrance to the fabled Dim Fortress, from which she hopes to liberate the ancient wyrm, Nidhoggr, for reasons unknown.

The Ulvenbrigad

Compared to the poisonous Frostbitten Moons and the cleric-mobbing, decapitating Maggot Sisters, military historians and ethnographers might be tempted to consider the Ulvenbrigad the least dangerous of the major factions of Amazon in the Devoured Land if only it weren't for the trained wolves. And the necromancy. Any party of Ulvenbrigad will include at least one spellcaster and at least one wolf. In deference to Belphegor, Master of Beasts, and in exchange for concord with his creatures, the first attempted attack of any Ulvenbrigad sister will always be a bite. They are ruled by Kylesamara and Marakylesa, the lychewives, in consultation with the sacred bastard known as Choard.

They are currently pushing north into the territory of the Frostbitten Moons, hoping to take advantage of the chaos caused by whatever the Maggot Sisterhood has planned.

Kylesamara and Marakylesa

When a powerful witch wishes to extend her life beyond its natural span, she calls for two things: an immaculate, unwilling cleric and a bone saw. Witch and virgin are divided down the middle and the halves are fused to their mismatched twins with baleful arts and catgut. This produces two lychewives--one lyche-sinister one lyche-dexter.

Kylesa was the witch, and Mara the virgin. The Mara halves typically do nothing or scream and beg for  death--being totally physically subservient to their Kylesa halves, who have led the Ulvenbrigad for 400 years.

Choard

The sacred bastard is a wallowing malformed quarter-dead thing fathered on Kylesamara by a drunken king some 80 years ago. Its thrashings and inchoate utterances are interpreted as portents by the lychewives. Maybe they are?

The Thirteen

By far the least organized and most opportunistic of the Amazon clans in the Devoured Land, The Thirteen number only twenty five. More a gang than a clan, they used to number thirteen--but when Malicia Orgen found a way to synthesize a powerful hallucinogenic powder from the scatter-rag lichen, she was made leader--and membership nearly doubled.

They are currently spying on the Maggot Sisterhood, whose presence near Mount Hellebor is both provocative and mysterious.

Malicia Orgen

It is rumored that Orgen has eight eyes scattered across her body. It is certain she has one on her left palm, and an extensively informed curiosity about psychoactive plant life and the uses to which it can be put.

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Thirteen Ways Of Looking At The Terrible Thing You Just Made

When you say a thing is bad, you are usually using it as a shorthand for one of these things.

There are 13 of them.

So, instead of just saying "bad"…maybe say which one you mean next time?

They wanted it to stay up. It didn't.

(1) The Hindenberg

What you really mean:
It Fails to Do What The Author Wanted It To Do
This is a poorly crafted game. People say "broken" a lot here. This also covers things like typos and literal math errors (like the author expects one outcome but it inevitably produces another, things meant to be weak are strong, etc). It is the kind of "bad" where a designer (if they were honest) would agree they missed the mark.

Example:
Mythus
"I co-wrote Mythus with Gary….One of the first things I did when I started playing was to throw out half of the rules we wrote…."
--Dave Newton, co-author of Mythus)

What's a helpful thing to do? 
Show the author saying it does a thing, then demonstrate that it can't, under any circumstances, do that. Then you're right. After that you then might have to prove that that thing is important or outweighs all the good things about the game, but you have proved--at least--a failure of craftmanship.

They were lying

(2) The X-Ray Specs

What you really mean:
It Fails to Do What The Advertising Said It Would Do
People also call this "broken", too. This is a dishonestly made or poorly-tested product.

Example:
Seclusium of Orphone says you can make a Seclusium in half an hour (or an hour? Can't remember. Anyway:) You really can't. If you can I haven't heard anybody say you can. You might say Mythus is this, too, if you assume Dave and Gary knew they'd throw out half the rules they wrote before they played.

What's a helpful thing to do? 
Point out the advertising says one thing and demonstrate it's impossible to do that thing. If the advertising is ambiguous and you're railing against it, you're back at (10).

(3) The Left Handed Scissors

What you really mean:
It's relatively unpopular
Not very many people like it. Often conflated with (4).

Example: 
Torchbearer. All RPGs ever, really.

What's a helpful thing to do?
Explain why anyone should care whether a game is popular or not. I mean: what's wrong with left handed scissors? Left handed people need scissors, too.

(4) The New Coke

What you really mean:
The Thing Is Underperforming in Terms of Popularity
Less people than you'd expect like it, considering everything it had going for it in terms of advertising, licensing etc. More of a big deal than (3) above--but only if somebody claimed it was supposed to make money. If part of the designers' goal was to make lots of money and sell lots of copies (true in the case of Marvel Heroic, not true in the case of many DIY D&D products) then this is a bit of (1), as well.

Example:
Marvel Heroic RPG

What's a helpful thing to do?
Explain why anyone not working for the company should care whether a game is making as much money as somebody expected it to. Are you evaluating the ability of the designer to guess the public taste? Sometimes that's important, sometimes it isn't.

In case you had any doubt, Dave Sim's comics had
loooooong text pieces in the end telling you in the
first person that he's sexist.

(5) The Cerebus

What you really mean:
The Thing Accurately Reveals the Author Is A Douche
The words or images in the RPG reflect attitudes on the behalf of the author that only douchebags have. Games called racist or sexist are often this.

Frequently conflated with:
(6), (7), (11)

Example: Those dumb novelty RPGs people make that just make fun of other peoples' RPGs

What's a helpful thing to do?
Explain how there is no possible way anybody but a douchebag could've written what's on the page . The easiest way is to find some nonfiction piece the author wrote which echoes the bad ideas in the piece. The most tortured and fraught path is to assume that whatever the author depicts it's something they like--that's almost always wrong and very hard to prove. Ask yourself: are you guessing the author of Ghostbusters hates ghosts, or just assuming?

(6)  The Garfield

What you really mean:
The Author Chose To Do Less Than Their Best Work
A variation on 5. The particular douchebaggery in question being the author clearly could've done better. A lot of stereotypes are supported by this kind of bad because stereotypes are easy to write.

Example:
Ruins of Undermountain.

What's a helpful thing to do?
Prove the author knew a better way to do a thing--or grasped that finding it would've been useful--and then show how what's there isn't that.

(7) The Russian Roulette

What you really mean:
Harmful
Literally the world outside the game gets worse because of this game existing. Games called racist or sexist are often this.

Example:
DragonRaid (an '80s Christian D&D alternative), Fate

What's a helpful thing to do?
Prove it with facts. Like DragonRaid for instance made money for some shitstain who had a problem with D&D on Christian grounds, plus maybe granted legitimacy to bigoted attacks on the RPGs that made a lot of peoples' relationship to their hobby (and parents) pretty traumatic when they were young. I'd probably have to do some more research to confirm all this if I really wanted to go after DragonRaid, plus prove that this wasn't balanced out by the fact that it probably introduced people to RPGs who otherwise would've had nothing because their parents were fundamentalists.

If a thing is, objectively, Russian Roulette and will cause harm and the author knows it and agrees with that and puts it out anyway, you have a clear case of (5).

(8) The Offensive Thing

What you really mean:
The Thing Upsets You (When extreme: Triggering)
Games called racist or sexist are often this but it doesn't necessarily mean they are racist or sexist because culture offends people, period. Like any game with gay guys in it will offend someone but whoever it offends doesn't count. People taking offense usually implies they believe it's bad in some other way, too.

Frequently conflated or combined with:
(5), (7)

Example:
Blue Rose--the setting purports to be an egalitarian paradise but sweeps class issues completely under the rug. I'm offended. I have no evidence that the authors were classist (5) or just didn't think through egalitarianism very much (1) or that RPG people became any more classist because of it (7), however. It wasn't exactly a popular game (in which case (3) may have led to it not being (7)).

What's a helpful thing to do?
Make a case for whether the people who are offended are just offended alone (in which case who cares?) or whether the offense might indicate (7) or (5). Here's a thing: are people offended by two guys kissing actually not harmed even though they think they are or are they harmed but who cares because fuck them they suck?

(9) The Bad Influence

What you really mean:
It's A Harmful Influence On Other Games

Example:
Caves of Chaos, most other early adventure modules--companies realized that authors paid by the word could bulk out 5 pages of ideas to 15, 30, 100, or even 200 pages of text and people would buy it. Thus leading to a lot of (10) and arguably (2) and undeniably (6).

What's a helpful thing to do?
Point out how the tendency didn't exist until that thing came along and make a case the new tendency was some kind of bad.

(10) The Thing You Just Don't Like

What you really mean: The Thing Is Not To My Taste

Like the game is broccoli flavored and you hate broccoli.

Example:
Apocalypse World

What's a helpful thing to do?
Describe what kind of person you and/or your group are, what you like, and why that game doesn't do those things or doesn't fit. It's as much about you as it is about the game, acknowledge that, it'll help people who are like you and who aren't decide what to do with the game.

(11) OH GOD NOT ANOTHER...

What you really mean: Not To My Taste Plus It's Part Of A Whole Trend Of Things Not To My Taste (Aka "I'm so sick of these games like…")
You like pizza, this game is a hot dog, plus it seems like every ten seconds there's another hot dog.

Example:
Apocalypse World Engine-games

What's a helpful thing to do?
As (10) plus describe why you think anyone else should care that there are a lot of these games that you don't need to buy (if you are). Are you arguing (9)? Are you arguing that a critical mass of (11)s result in (7)? Are you just sort of irritated at not being a majority? If it helps: you play RPGs, you're not and never will be.

i.e. Are you saying "less of this, please" when the problem could be just as easily solved with "more of that, please"?

(12) The Game For Douchebags

What you really mean: Not To My Taste Plus It's Only To The Taste Of Shitty People
This is like (10) on overdrive: You don't like it and can't think even imagine a worthwhile human being enjoying this thing, nor have any such people come forward.

Example:
Bliss Stage. Maybe it does what it's supposed to and what it advertises and does it to the best of the author's ability and hurts no-one but what it's supposed to do doesn't seem to appeal to anyone who isn't a moron.

What's a helpful thing to do?
Describe what shitty characteristic of a person links to the shitty part of the game. If someone you like is into the game, then you have to revise your opinion. Like so even thought tons of terrible people like Monsterhearts, so does Shoepixie and I like Shoepixie and don't begrudge her entertainment, so I guess that game is ok.

(13) The Chew Toy

What you really mean: One or More Of The Above Plus the Author is a Douche
It has flaws that may or may not be objective. But the author is pretty objectively terrible.

Example: FATE

What's a helpful thing to do?
You can keep calling the game "bad" because the only person it's unfair to is the author and they're a douche. But if someone asks then you need to point out what made you decide the author's a douche.

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So this simplifies life. Most critiques are 10 dressed up with other stuff to make them seem more objective, like

The standard knock against White Wolf is a lot of mechanical (1) with either (10) ("I'm not a goth") or (2) ("I am a goth and it wasn't goth enough").

The 4venger attacks on Old School D&D were a lot of (1) and (2) with, at least on some sides, some (7) leading to (3).

etc.
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