Gameable Culture: What I am.

Gameable Culture: What I am.

Last post we discussed getting culture up front in a game.  We started building a cultural framework.  Before I go further, I want to address some great points that came up from that article.

Aren’t these vague/non-nuanced statements going to lead to the type of stereotyping/noble savage stuff that people don’t seem to want?

It can.  There’s always a danger that someone can get it wrong, but why I don’t worry so much about that is I’m using those statements to create white space   I explicitly don’t want explanations of why the culture does the things we stated that they did because that’s what I hope the players/GM at the table will answer.  Why do the Kitan go through obstacles and never around? That’s a good question, and I would want people at my table to work that out. Leaving space to fill works on two levels. On the first we create player/GM investment in the setting.  On the next level we are pushing people to flesh out towards their own sensibilities.  This means the death of canon, but I kinda feel like cannon should be dead in an RPG context, so I can live with that.

Ultimately I think the best RPG source material has ample white space and gets to the provocative bits to inspire players.

Is it really culture that you want to address?  Do you mean history?

I don’t mean history because history is what happened in the past.  Culture embeds history, custom, and belief in the now. History is great and important, but history tends to be about stringing together events.  Culture is about people, and I think people are at the hearts of stories. If we can make our stories more people-centric, wew can make stories that vary wildly from the norm but that still find congruence in the commonality of human experience.

 

So, having addressed that, I want to look at the next step.  Let’s look at the traits and characteristics our fictional cultures value. For this step we are coming up with ten adjectives that someone from that culture would expect and would like attached to themselves.  It’s key to think of it as members of the culture describing one another positively, and not someone from outside  slapping these labels on the culture.

I’ll start:

A Kitani is….

  • Brave
  • Defiant
  • Brash
  • Forthright
  • Quiet
  • Charismatic
  • Clean
  • Honorable
  • Tough
  • Relentless

If you participated last time, feel free to follow up (maybe copy/paste your entry from the first step).  If you’re interested in hopping in, go back to the previous post and include those steps first, then take these steps.

Gameable Culture: Where I’m From

Gameable Culture: Where I’m From

We’ve done a lot of talking about different cultures and diversity this month.  One thing we haven’t discussed though is what does culture mean in a game?  Culture is a context that defines the socieities that characters come from,  exist in, and deal with.  Going a little deeper, culture is a context from wherein decisions are made.  The culture we’ve grown up in informs the decisions we make (even if we disagree with our culture of origin, that disagreement still defines us), as does the cultures we encounter or deal with.  Customs, beliefs and behavior all come into play.

I’ve often heard that D&D and general fantasy has “no” culture, but that’s not true.  There is a default European -influenced culture that we’ve accepted as the default. One way we can fail to make games set in other cultures uninteresting is to not realize that “standard” fantasy comes from an actual viewpoint. When we fail to realize this, we can build settings with many different trappings that still remain culturally different.  If I am raiding dungeons and taking loot, does it matter if I am going this in Greyhawk or Nubia?

Once we’ve marked the boundaries of mainstream fantasy, we then are confronted with what I think is the most difficult part in relaying culture in an immediate but still real sense to players.  I think the proliferation of status quo settings (derivations on Tolkien-based work) in part is because delivering a variation on the default culture is easier than delivering a culture “from scratch”.  There is so much explaining that you don’t have to do because the status quo culture is so well supported and defined.  You can describe things with only a few words and audiences can reasonably be expected to fill those gaps in their imagination.

We don’t have that with cultures that stray from the norm. To build new worlds for players, we have to not only present the cultures, we have to educate the players on the significance of cultural elements and the cultural context in which they exist.  Gameable culture is the term that I use to discuss the act of delivering culture through the playing of the game.  It’s just not reasonable to expect people to read 50 pages of background just to play a game, so our mechanics need to bring culture to them.

I’ve been building tools and experiments to find useful patterns for creating such cultures.  I shared the following on G+ a while ago, and am sharing it here as well. I have a followup to this, but try out what I’ve got for now.  I’m curious to see what you come up with!

Where I’m From

I want you to make up a fictional culture, and say five things in about five sentences that people from that place do. The important thing is not to tell us what they value or believe.  The actions you use should show us what that culture believes and values by inference (hello there fruitful void!). Speak as that group: “We do X”, “We never do Y”, etc.

After your five things, then give us three archetypes that might emerge from that place.  Keep it succinct – the typical adjective noun works (Vengeful Wanderer) here, as do bold honorifics (Keeper of the Flames). These archetypes can affirm or reject the norms you just established. If it helps, you can make a “personality” that might come out of there, and describe what sort of person he is (succintly).

For Bonus points, make one of your five things about a culture already referenced (“Culture Y worships the same gods as Culture X”) is good mojo.

I will start:

Kitan
* We never use any tool more complicated than abacus.
* We always take the simplest method of achieving our short term goals if given an option.
* We solve our problems through physical might.
* We go through obstacles, never around.
* We observe the natural order closely and live in tune with it.

Archetypes
Scholar of the Wild, Berserker King, Gruff Woodsman.

Remember: one entry per post, and try to space out multiple posts!

 

Three Dog Night: Congolese Folklore

Three Dog Night: Congolese Folklore

As I endeavor to get my feet wet in African culture and history, one recurring theme keeps (metaphorically) stepping forward and glaring at me – understanding African history from an African perspective. Put in other words and quoting from my third Ethiopia history post, “tell the stories the people you’re talking about want told.”  This is of course easier said than done and I don’t mean to claim any sort of mastery over the concept but few things worth doing are easy.

As a Euro-originated culture, we like to focus on the grand movements of history. We pay homage to the leaders of nations and their wars. We think of “important” history as a linear string of causal events. We teach our children first and foremost the dates when things happened and who the major players were. Interpreting history – learning wisdom from it – is secondary to the facts and perhaps considered a more advanced skill. One reason (among several) that African history can be so hard to get a hold of is that we in the West (North?) are looking for information the native peoples weren’t as excited about and completely ignoring the history they tell each other all the time – folktales. From the African perspective, we have it all backward. The stories themselves as cultural touchstones and the lessons they teach are what is important; the facts and people less so.  Imagine our confusion if modern African scholars showed up here in the U.S. looking to study us but rather than opening textbooks the way we would prepare for, they hit up TVTropes!

Thus while I do still plan on doing some little report post on the history of the Congo, I feel like it’s maybe more appropriate to show some Congolese folktales instead and how they can be bits of gameable culture for us to draw on. Since these folktales are so often oral traditions and not always easy to track down in English, we need to feel comfortable relying on our own “unofficial sources” for information. (Remember what I said about Africa and decentralization?) Today’s story is from Melvin Burgess – someone who went to the Congo a couple years back and put up a blog recounting stories he heard. I will abridge the story below and encourage you to read the long account here.

A man and his wife own three dogs – two large strong dogs and one small weak one. The man went to pick some special fruit for his pregnant wife and ended up accidentally harvesting from a village of witches. The witches capture the couple and are going to eat them. In his desperation, the man calls out for their dogs to come save them.  The dogs hear from their home village, break out of their chains and come running to help. The two big strong dogs are obviously a threat and are held up by the witches while the little weak one sneaks through and bites the witch chef’s toe, allowing the couple to run away in the ensuing fight. The big dogs kill most of the witches, but it’s again the little dog who saves the day by finding the last hiding witch. From that day on, everyone in the couple’s village could get all the fruit they needed.

Let’s find some games in here. First, there’s the perspective of the dogs. I could have sworn there was a “Dog: the RPG” game somewhere, but I couldn’t find it. What I did find was It’s a Dog’s Life and John Wick’s Cat RPG (the latter courtesy of Filamena Young).  Brave animals on a mission to save their people? Done! Second, the perspective of the hidden witch. Witches in Congolese folklore are rather tragic figures and not entirely voluntary. (The same website has several posts about witch folklore that, fair warning, are heartbreaking) How about My Life With Master as young witches trying to break free and return to normal life? It’s not a game for everyone necessarily but it will get you out of the  implied eastern European setting. In splitting up the various characters of the story among a group and expanding the setting a little, you could get a good In A Wicked Age game going as well. It has a lot of the mythic feel that makes for good folktale roleplaying.

How to Be Inclusive When You’re Afraid of Getting it Wrong.

How to Be Inclusive When You’re Afraid of Getting it Wrong.

On thing I often hear from people when I discuss the diversity and expanding the range of our hobby is :

“Well I’m afraid that I’ll get it wrong, or that I’ll be accused of appropriation.  I’ll get it wrong and then people will call me a racist/sexist/etc.”

I get that fear, but it’s pretty irrational for two reasons:

1) Gaming is just not that diverse.  There aren’t a ton of people from these groups that you’d be hearing from in the first place!  Most PoC I know see media that we think is offensive and we roll our eyes, complain about it to each other, and go about our business.  Who has time to educate and argue with people who are clearly uninterested in learning?  How do I know they are uninterested in learning? Because….

2) Too frequently, criticisms based on culture are treated as invalid.  Less valid than a complaint about mechanics, or a complaint about typos or any number of things. I see publishers savaged for things I consider far less important, but I see publishers bend over backwards to appease these.  It is interesting when you posit that something could be culturally insensitive that the first thing that happens is now someone’s explaining to me how I don’t understand, and they don’t see, and now I’m the asshole trying to explain color to someone who doesn’t see color.  Any complaints go immediately to how the person claiming the offense is actually the one inflicting harm, or is silly or stupid or politically correct ,etc. When this happen I know that it wasn’t a good-faith effort because the person in question is not actually taking in new information.

To be fair, I do see these feared blow-outs on occasion, but almost always these are proxy complaints. By proxy, I mean it’s often people not in the “aggrieved” group making a fuss. I get why that happens but that’s not a reason I’m going to accept for why people otherwise motivated to venture forth and make gaming material with a different perspective and possibly accessible to a new audience. If you can’t hear me explain to you why this thing you did misses the mark without instantly making it about your hurt feelings, I can’t accept that you were ever truly moving beyond your boundaries.

And hey! That’s fine.  Build what you want, but don’t make excuses. Just say you are interested in making other things.  There is a whole list of stuff I’m not interested in making, and I’m not going to apologize for it.  But I’m not going to blame phantom causes for it either.

Still with me?  Are you really interested in expanding your boundaries and making games about other cultures that aren’t just reskins of D&D? Cool.

The first thing we need is humility. You need to accept that you could get it wrong without breaking into cold sweats.  You’d think that as a PoC I would feel more comfortable with the material that I’m working on, but I’ll share a secret with you: I’ve spent most of my life terrified of getting it wrong too!  It’s not been until fairly recently that I have embraced the basic humility that allows me to risk being wrong without taking it personally.  You try to get things right to the best of your ability. Do you flip out at an editor when they correct your grammar, talking about how they can’t call you stupid, some of your best friends are punctuation  etc? Or do you accept that your work needed to be fixed, honestly try to understand, and move on?

Similarly here.  Have humility.  Be an arrogant jerk everywhere else but be humble when your work is assessed culturally.

Next: research!  I think the links I’ve shown and the work we’ve done this month show plenty of ways you can convert a few hours into a productive bit of research for use in your games.  The internet + your public library make this endeavor almost laughably easy, so do that.  Get enough information to learn what actually is there.  Don’t just fit another culture to your own preconceptions.

Last: read Writing the Other.  It’s a great and short read that provides great guidance for when you want to stretch outside of yourself.  This is meant for fiction writing, but it’s a very easy port to game design and GMing.

I know I make it sound easier than it is, but getting to it is not complex.  It’s hard, but not complicated.  Find all the information you can, but accept that you won’t know everything, or that your viewpoint could be obscured by your cultural perceptions.  Expand your boundaries. Have fun!

Black History Month Links Roundup #2

Black History Month Links Roundup #2

Hey, feeling a bit under the weather which has kept me away from finishing more historical posts.  There have been many cool links to share with you, however, so we’ll get to it.

 

I was on the panel “Escaping the Legacy” with Richard Rogers (moderator) , Emily Care Boss, and Meguey Baker.  It was a lot of fun and I think it is a pretty neat listen.

Sarah Darkmagic continues to make some awesome posts as she covers the Mino, warrior women of Dahomey.

Chris Chinn covers a great Zulu-inspired coming of age story that I’m actually playing in, “The Path of the Nokwazi”. He also has since written some smart stuff about what inclusion in the RPG space should entail.

365 Days of Black Heroes is an amazing project that ended in December.

 

Sorry for the short post today.  Will lengthen things when I feel better.

 

 

 

Historical Reference: Ethiopia, Part III

Historical Reference: Ethiopia, Part III

So far we’ve seen ancient Ethiopia (Part I) and the Aksumite Kingdom (Part II). In this final part, we will look at Ethiopia in the Middle Ages up to the arrival of the Portuguese in the 1500s.

A Strange Story Ark!

Writing about Middle Ages Ethiopia is a little awkward as many of the perceived ‘important events’ aren’t  contained within the borders of continental Africa. It seems to be very important to the Ethiopians, however, and at the end of the day that’s the key to these sorts of endeavors – telling the story the people you are talking about would want known.

Aksum’s decline came while it was largely a Muslim nation despite having a nominally Christian ruling class. In 980, Queen Yodit, a woman of some undiscerned ethnicity, led an army that laid waste to what remained of Aksum. She claimed to be descended from the Hebrew warlord Gideon. She ruled the area for 40 years and handed the crown down to her descendants. At some point, one of Yodit’s descendants marries into the old Axumite ruling family, restoring what was traditionally seen to be a Solomonic lineage for the Axumite rulers.

The Ethiopians feel a particularly strong kinship with the Jews. The Kebra Nagast is an Ethiopian holy text explaining the full story of the meeting of Solomon with the Queen of Sheba. The Ethiopians claim the Queen to be one of theirs and that the start of their royal dynasty, Menelik I, was Solomon’s son by the Queen. (This was in fact written into the official Ethiopian Constitution, up to the time of the end of the reign of emperor Haile Selassie) Other parallels exist as well. The language of the Ethiopian regions are mostly Semitic like Hebrew, Arabic, etc. There is a community of Jews in Ethiopia sometimes referred to as Beta Israel who claim to have come back to Ethiopia with Menelik I and practice a pre-Talmudic variant of Judaism. (Queen Yodit may have been one of these Beta Israelites or possibly part of the indigenous people known as the Sidamo.) The historian Josephus records tales of Moses fighting against the Ethiopians and marrying an Ethiopian princess. Even the very Ark of the Covenant may have made its way down to Ethiopia, brought by Jews fleeing the Babylonians; it is said to rest in the cathedral of Maryam Tseyon (Mary of Zion) to this day. I’ve even heard arguments that Judaism’s seemingly aberrant monotheism amongst a sea of polytheism in the Sinai peninsula indicates that it is truly an African tradition that wound up far, far from home!

What arises then in the post-Aksum Ethiopian empire is a form of Christianity (via the Aksumite lineage) that remains largely a branch of Judaism and doesn’t inherit the hierarchy or theological culture of the Roman or Orthodox traditions. It is surrounded on all sides by Islamic nations but doesn’t seek to convert them. Additionally, because it is mostly cut off from the rest of the Christian world except for a small persecuted group of Coptic Christians, it adds different books to its canon. The Orthodox Tehwado tradition (Ethiopian Christianity) recognizes almost every Old Testament book used by every other major Christian tradition and then adds on the Paralipomena of Jeremiah (4 Baruch), Jubilees, Enoch, and the three books of Meqabyan. Its New Testament canon adds another 8 books, one of which is purely Ethiopian in origin.  In short, Ethiopian Christianity at the time looked almost nothing like the Christianity of the Western world, yet had grown  from the same roots.

Middle Ages Ethiopia can be seen for our gaming purposes as an excellent model destination for standard faux-medieval adventuring games. (Can’t do a gaming series without a nod to D&D, right?) On one level, it’s not too far from what we’re used to. There’s a king and a feudal system. Standardized coinage is being minted. The gods worshipped in your home are the gods worshipped here. They’re people just like you, really. Then again, they’re using texts and tomes you’ve never heard of.  Their images of the gods don’t look like yours (or you!), but  you can see the important similarities if you look closely.  Questing knights might end up here looking for assistance against a terrible foe from a dynasty of wise regents who aren’t already caught up in the petty wars and politicking of home. Sure, they have their own petty wars and politicking, but there’s a fresh perspective . Clerics can look for lost artifacts or texts that have been kept safe by an isolated group of faithful. In a modern setting, your Farewell to Fear characters (Archaeologist, I’m looking at you) might consider proving or disproving the royal lineage as one of their cultural revolutions.

Ethiopia serves for us as an image of a far-off exotic land that, upon arrival, turns out not to be so exotic or different after all. That’s how these things tend to turn out, isn’t it? The bigger the world is, the smaller we find out it is as well.

Historical Reference: Ethiopia, Part II

Historical Reference: Ethiopia, Part II

In Part I, we talked a little about the far-ancient  times of Ethiopia – Kush, Kerma and D’mt. Let’s jump forward now to the beginning of the Common Era.

I Don’t Wanna Aksum! You Go Aksum!

Around 100 C.E., a kingdom arose out of the city of Aksum (or Axum) which is fairly close to the ancient D’mt. The relationship between Aksum and D’mt is unknown. Aksum may also have subsumed or brought down the similarly formidable Meroë (Kush) state in what is currently Sudan. Whatever its origins, Aksum grew to be a nation that played in the same league as Rome, Persia, India and China.

Aksum gained power not by having a large spread of land like its peers, but by controlling the all-important waterways at the south end of the Red Sea. It engaged in some military land conquest to the west, but focused more of those efforts into the southern part of Arabia (Yemen). It usually left local leaders in power and simply demanded tribute instead. Aksum sold exotic goods such as ivory, spices, and gems as well as utility materials like salt and animals hide which, combined with the tributes, made it a commercial empire first and foremost.

Aksum’s urban structure and cosmopolitan ambiance would be at least somewhat familiar to us now were we to go back in time and visit. In the center of the city was a collection of elite housing constructed according to a standard plan; staircases from smaller wings of each large abode led up to a central elevated pavilion. Immediately surrounding the elite housing were common houses of mud and stone. In each direction there was a graveyard, with the southern location being the resting place of royalty. The nothern location also contained the various temples and churches. The elite houses surrounded a central plaza which could have served as a marketplace. No civil administration buildings have been discovered yet or are mentioned by ancient writers whose texts we have, but a number of thrones and intricately carved pillars dot the city. The streets in the center are laid out in a grid and are decorated with small statues. The further you stray from the center, the more haphazard the layout becomes.

During its 600 years of power Aksum would adopt some Greek gods, convert to Christianity and offer shelter to Mohammed. It welcomed Roman, Indian and Arab traders. The Chinese might have known it as Huang-Chi; again, insufficient evidence is available to say with certainty. In the 700s, Persia forcibly took over its holdings in southern Arabia and thus devoid of its major commercial advantage, Aksum simply shrunk back into obscurity. An electronic copy of a book specifically about the history and culture of Aksum can be found by clicking here.

A city this big and wealthy is just begging for some heist action. A ship loaded for India with salt and spices has its cargo seized. The thieves are suspected to come from one of the smaller states chafing under Aksum’s rule, maybe Qataban or Meroë. The king offers freedom to a group of imprisoned political rebels if they can locate the whereabouts of the goods and all of a sudden you’re playing Leverage. From the merchant’s perspective, GUMSHOE might work as well. For a different feel completely, the first Christian king Ezana is about to be coronated in about 320 C.E. when a wild party lets loose led by some local version of the Egyptian Hathor or the Yoruba Shango. Get out your copy of the old Bacchanal (not the one with the cards – it’s a bit too art Greco), reskin a few things and shake what your Maker gave you!

Historical Reference: Ethiopia, Part I

Historical Reference: Ethiopia, Part I

We’re going to do a short series of Historical Reference posts this month. They are intended to be essentially elevator pitches for games in Afrocentric settings.  Before going further, though, we should set some ground rule understandings.

Take “Historical” with a grain of salt or twenty. D&D is not a historically accurate representation of medieval Europe and neither will our elevator pitches here be strongly historically accurate. Until ‘very recently’ in the timescale of human existence, “history” tends to come to us through a small number of channels. These channels, being human in origin, can’t help but come from a certain perspective (some would say bias).  Thus “history” tends to be skewed in favor of some and against others.  Furthermore, history is full of really uncomfortable and inhumane things. While we do need to look at those things full in the face when managing our real world, we don’t need to bring them into our fictional worlds. We want to make a space in our games where everyone can feel safe and have fun escaping from that real world for a while. Doing so usually means leaving behind some ‘historical accuracy.’ (Yes, games like Steal Away Jordan or Dog Eat Dog are intended to address social justice issues. Those will be the exception rather than the rule.)

Another understanding is that “Ethiopia” is kind of a dodgy term. What we consider Ethiopia by current political boundaries is not what ancient writers may have deemed “Ethiopia.” For the purpose of this post, we’re considering “Ethiopia” to be the region of land surrounding the Red Sea and south of Egypt – what we would think of today as Sudan, Eritrea, Ethiopia, Djibouti, and some of Somalia. Disclaimers out of the way, let’s pitch some games!

Kingdom of D’mt

The Egyptians called the region we’re addressing today Punt, which is sometimes rendered Pwenet or Pwene depending on who’s translating. Within the land of Punt were several nations, most notably Kush (ancient Nubia) and Kerma. Kerma is currently the oldest known human civilization, going back to at least 2200 B.C. and maybe as far back as 3,000 B.C. Kerma had walled cities, archers and elaborate funeral ritual, the equal of classical Egypt or Mesopotamia. It was eventually conquered and subsumed into Egypt. Kush arrived on the scene somewhat later, but fared better. Kush is known to have been ruled mostly by women (called Kandakes, the base for our name Candace) when independent and by men on the many occasions when Egypt would conquer it. Kush’s military may have been primarily female and the nation may also have employed a sort of loose communism, though there is not enough evidence to state either way on those ideas definitively at the moment.  Kush even managed to conquer Egypt at one point and install its own line of Pharaohs in a manner similar to the Mongol Great Yuan Dynasty of China.

‘Ta Netjeru’, meaning  ”land of (the) god,” is another name for Punt. The name has at least two roots. First, the region produced large quanitites of gold, incense, wood and ivory to be used in religious ceremony. Second, unlike Egypt, much of Punt (and the African continent in general) has an ancient tradition of monotheism mixed with ancestor worship and spirits of nature.  There is a creator god who is somehow ultimately responsible for making everything and then some number of various lesser beings serve that god. Exactly who this god is, his name, and what the servants are called vary wildly from culture to culture. It’s all very decentralized.

D’mt was a small kingdom in Punt along the coast of what we now call Eritrea just north of the Bab-al-Mendeb (strait between the Red Sea and the Gulf of Aden). It is not to be confused with the medieval kingdom of Damot, which is probably a revival of the old name. D’mt seems to have been founded around 1000 B.C. and is gone by 400 B.C. with no good explanation as to what happened and the names of only four of its kings. That shrouded past makes D’mt an excellent place to put a game. We can safely assume D’mt was as advanced as Kush or Kerma, but the lack of current excavations frees us from canonical history and invites speculation as to its demise.

Considering D’mt’s proximity to polytheistic Egypt and Sabaea (modern Yemen), this time and place looks absolutely ripe for a Mythender game. D’mt is being attacked by Egypt via Kush to the north. There is a corrupting influence among the spirits and Egypt is taking advantage of that corruption to spread its borders. Players assume the role of empowered mortals (priests, medicine-masters, etc) to defeat the corrupted Egyptian “deities” but must be careful lest they too fall to corruption. Resist the urge to make the game an evangelizing mission to teach the Egyptians “the right god(s)” – religious evangelism as we know it is not a pursuit that these cultures would have engaged in.  It’s a political struggle couched in mythic terms.  Players looking for local mythological references on which to base their characters might look to Holawaka or the Blemmyes. EthopianFolklore.com has a few dozen folktales as well that players might use as hooks. The hyena in particular is an important figure.

Black History Month, RPG Edition: Interesting Links and Posts.

Black History Month, RPG Edition: Interesting Links and Posts.

Folks have really been getting into the spirit of RPG Blogging for Black History Month.  I wanted to do a quick roundup of interesting links, knowing that there will be plenty more coming!

  • Milton Davis pointed me to an interesting piece he wrote on pre-colonial Sudan.
  • Sarah Darkmagic covered interesting personalities like Zora Neale Hurston and Edna Adan Ismai
  • Jeremy Morgan did a Fate Core version of Ryven’s SotC Ibn Battuta writeup.
  • Jeremy also did a write up for Ashanti religion. This is definitely ripe for use in a game world.
  • Daniel Solis talked about a Mansa Musa board game that I’d like to try.
  • Charles Saunders does a write up of the Ki-Khanga anthology. This anthology ties into an RPG currently in playtest mode.
  • On February 16th I will be part of the Indie+ panel “Escaping the Legacy” (Google Hangouts at 7 PM EST), which is about breaking roleplaying games away from the typical Eurocentric model. The rest of the panel is full of awesome people like Emily Care Boss, Meguey Baker, Richard Rogers (moderator), and Stacey Dellorfano.  Come check it out, and if you can’t I’m sure it will be recorded.
  • Last, I wanted to tell you about Wagadu: Home of Sword and Soul.  This a tight knit community of fans and creators of Sword & Soul.  I’ve been hanging there and the people are really awesome. It’s a nice change from many RPG forums where I’ve felt a little off, especially as a PoC.  All are welcome, not only PoC, so sign up and tell them we sent you!

 

Anything interesting that I’ve missed?  If so, let me know in the comments.

Contributing to Black History Month, RPG Edition

Contributing to Black History Month, RPG Edition

I have a lot of people who like what we’re doing on Thoughtcrime for Black History Month and want to contribute but don’t know how.  Here’s what I’m proposing.  Three “Challenges” (but really invitations) to do contribute in a meaningful way that aren’t too laborious or crazy -making.

A big problem I had when I started this was feeling I was going to have to “Get this right or I’ve failed all black people everywhere”.  There’s a definite pressure to get it right, but if you give in to that pressure nothing gets done and then the pressure builds.

I know that I could do better, and I will !  But I’m working with what I’ve got right now, and I encourage you to take a first step and do something if you’re interested.

One of the things I enjoy most is just using Black History Month as an excuse to learn things I didn’t know about the world.  Taking an hour this month to introduce yourself to new information is something I just can’t see being wrong.

So, maybe you are feeling the pressure to get it right, or to get it perfect.  I get that.  But don’t let “perfect” be the enemy of “done”.

Here are things you can do.

First Challenge: Person, Place, Event

Pick a person, place or event from African or African American history.  Describe it a little, and then put it in the context of your favorite gaming system.

Pick something cool, and tell us how you’d put it in a game.  You’ll see that’s what we’ve been doing on the site lately.  It’s been difficult to write the posts until I stumbled across that format, and now that we have, writing posts has become much easier.

I am now putting it out to you as a challenge/invitation.  Want to do something for gaming and black history month but don’t know what?  Do this, and tell me about it.  I’d love to look at it, tell people about it, and link to it on my blog.

The Second Challenge : Mechanics

What if you don’t have anything that you are interested in, but still want to do something?  Why not help people with mechanics and hacks?  If someone is proposing hacks, you could help them build the framework for implementing their vision.

Today I described a game revolving around Mansa Musa which used a hack of Dogs in the Vineyard for it’s system.  I’d like to revisit that after February and build it, but if someone had thoughts and guidance on the hack for that, we could actually go right to playing with the hack, which is the best thing of all.

Third Challenge: Play Something

The last option is to do something related to Black History Month in your gaming, and tell us about it.  I like that because that’s the goal.  I want people playing with a richer world-pallete, broadening and deepening the experience of play.

Maybe you use ideas you are exposed to, maybe you devise your own hacks.  I propose today a way of introducing Mansa Musa as destabilizing element into whatever fantasy game you happen to be running now. This is a great example of how you don’t have to toss out everything you are doing to add more diversity to your games; it’s easier and maybe even better to make gradual moves from where you are to where you wish to go.

If you play something or plan to play something, I’d love to hear about it!  I’m hoping to organize more games myself this month.