It's my 50th birthday today.
If anything I've ever done has meant anything to you, please consider helping. Even tiny amounts can add up and any help will mean the world to me: https://gofund.me/a7701126
The Cumberland Fontworks continues its hot streak with three new releases, each dedicated to Paula Repko. Please consider helping them if you can; every little bit adds up.
Bar Booth at Matts is a pub font, a bar font, a band-poster for the tiny stage font, and it's named after not only a real bar, but a very important booth ... or at least, a very important memory, from within a booth, within a bar, one night a few years ago. It isn't necessary to know the story to enjoy the font. I'll just say that the story is far more innocent, far more G-Rated, than you might be thinking. But "thinking" is what it was really about. Here's hoping this font has legs.
Bar Booth at Matts is a full US-Keyboard Small-Caps stressed poster font with several extras for additional European alphabets. It's been designed for high-resolution jobs in particular, but I look forward to seeing how other designers make use of it. Enjoy!
Tales of the Giant Penguin Sea Monster are fanciful and often misleading, painting images of at towering, thunderous beast splitting the hulls of wooden sailing ships, flooding coastal towns in the frozen wash of the sea, and downing great whales as a smaller penguin might swallow a fish. In truth, the Giant Penguin Sea Monster is seldom taller than seven feet, and its most potent weapons are a devastatingly cute wiggle of its great tail, the allure of its tummy-swirl, and the warmest hugs known to icy waters. Rumors of Giant Penguin Sea Monsters frequenting urban brothels are no doubt slander meant to titillate readers of disreputable gossip magazines.
The goal with Sex Nerd was to find a cheerful place where a kind of "educational formality" (sex-educational, in this case) meets warm humanity, so a hand-drawn take on very proper form was called for. I'm happy with the result and I hope you are, too.
Please Consider Helping: Paula Repko, who inspired this font, needs your help.
|Sexuality Remains the Best Topic|
Sometimes, a plush dog can change your life in unexpected ways, and the most accomplished plush dog I've ever met inspired this font. The way the glyph weight increases very slightly toward the bottom? That's him. The spotted stressing? That's him, too. The old-fashioned formality? The softly rumpled lines of the exterior? That's him. That's Englebert. His full name (translated approximately from Dog German) is Englebert Dur Wunderhund Awesome Sauce III, and he's not only a Dogtor (indeed, a Professor), he's a Beagle-at-Law, a certified Style Hound, sometimes a private detective, and one of the world's foremost Hello Kitty enthusiasts (Englebert is comfortable with the term "Hello Kitty Fanatic," which speaks beautifully of his character, I daresay). Englebert is not only majestic, adorable and dignified, he is a communicator - a dog that speaks truth in times of uncertainty, calm in times of stress, and has real opinions on birds and cats that we should all seek to understand. He also has some advice for all of us, each and every one: get more sleep. Sleep is good for you.
Please Consider Helping: Englebert's owner, Paula, needs your help.
|Based on a True Schnozz|
A joint press release from Cumberland Games & Diversions and the new home of Risus: Big Dice Games.
Dave LeCompte, of Big Dice Games, has purchased the Risus RPG line from S. John Ross of Cumberland Games and Diversions.
S. John Ross designed, authored, and published the groundbreaking roleplaying game system, subtitled “The Anything RPG,” in a time where individual role playing manuals were hundreds of pages, and a well-prepared gaming group would have dozens of books. Risus is a different sort of game system, with a set of rules that can fit on a single sheet of paper.
Dave LeCompte has been a friend of Risus for years, and looks forward to carrying it forward as a game where there’s “No Wrong Way to Play!”
Big Dice Games has agreed to complete the outstanding Kickstarter campaign to publish more free adventures, and intends to publish all-new Risus worldbooks as well.
S. John, who has shepherded his creation for 28 years, has overseen its changes from a plain-jane document of the early 90s to a stick-figure festooned one in the 21st century, is proud to see Big Dice Games carrying the torch forward to see the Risus line expand to include entire worlds, more adventures, and more voices from around the world. The Risus community has always been international (the game has been translated into 18 languages besides S. John’s attempts at English), and S. John hopes to see something from everyone. He’s also happy he won’t have to edit them.
Dave LeCompte notes: “S. John is one of those creators who do so many things well, it will require many people to fill his shoes. Big Dice Games welcomes the best stick figure art submissions, as well as writing submissions from adventure- and worldbook-authors to provide a breadth of perspectives while staying true to the open-hearted, creative gameplay that Risus gamers expect.” Contact email@example.com for freelancing opportunities.
The Risus library will continue to be available at DriveThruRPG, with all previous customers transferred painlessly behind the scenes thanks to the efforts of the OBS management. Risus will soon have a new home on the Web as well, at www.RisusRPG.com
For those who don't follow me on Twitter, here's a link to my recent thread, on Twitter. And because I often clear out my old Twitter threads, here's a bloggy reproduction of the whole thread:
Did some graveyard exploring this evening, did not actually expect to get snapshots of one human skull, let alone two. 💀💀
The hillside tomb is barely visible from the graveyard itself; you can only see the top, but as you wander down the slope it becomes visible (you can see it through the trees from the highway).
The tomb dates back to anywhere from 1883 to the turn of the 20th century, a family vault with a capacity of 12 adult caskets. Other family members are buried on the hill directly above it, with varying styles of headstone. There's a formerly-screened hole in the old vault door.
This vault isn't vaulted, just boxy. It's clear that the interior used to just be walls of white limestone, with 12 headstone seals, some engraved (occupied) and some still blank, awaiting occupants. But damage has opened five of the vaults and exposed the red brick structure.
On the floor of the vault there's a lot of rubble, some of the engraved and blank seals, a couple of which are intact and legible (I've blurred the text; I'm still researching the family on genealogy sites). There are modern beverage containers visible in the rubble.
One thing of note: there are only two names engraved on the front of this family vault; two brothers who died about a century ago, but there are other family members interred here, including one who was hit by a car in the 1960s (the most modern addition I can confirm).
I still haven't found newspaper records of the damage; it could be some kind of accidental earth-moving incident involving the heavy exterior digging along the sides, or it could be vandalism with a sledgehammer. There are lots of research options I haven't had time for yet.
I apologize for the grainy interior shots; they were taken just by holding my phone in that tiny hole in the vault's exterior door. Gives it a needlessly grimy true-crime vibe Confused face But anyway, that's what's in there. Resting, decidedly lacking in peace.
I'll blog more when I've learned more! Genealogy websites being what they are, I've already learned a lot about the family, but there are a few other avenues of research I want to chase down before calling this one done.
This time, I'll mention it by way of an excellent day Paula and I had back in 2016, when they entrusted me with the role of photographer for a personal photo book. With Paula's kind permission, I've created a gallery over on dA with a few of the many shots from that day, and I think you can get a sense of just how joyous the process was: we did indoor and outdoor shots, casual and gently naughty shots, and just talked and laughed and had a grand old time. After we were done, Paula and Sandra and I went out for Chinese and it was just cozy and wonderful. When I think of 2016, it's one of the parts of that year I really love remembering.
And I know that blog posts asking for help are hard to read these days. So many of us are suffering in one way or another right now. But Paula means the world to me, so I can't help but ask. Please consider it, and remember even tiny amounts can add up. Thank you.
I should begin by disclaiming: this article has nothing to do with porn. It's more entries into the RPG Lexicon, terms I use when discussing adventure design.
With that said, let's talk about porn.
Porn can be "about" anything. There are porn movies about pirates, porn movies about spies, porn movies about superheroes and galactic explorers and private eyes and advertising executives. These characters, like any characters in any medium, have goals to pursue and problems to solve: the rival pirates want the treasure map; the new planet is inhabited by intelligent humanoids with which we must make first contact; the grieving widow believes her husband was murdered for the family's cursed emerald, and so on.
It just happens to work out that, every time, that the way to solve these problems, and achieve these goals, is for everybody to engage in the naughty naked sexifying. After a given number of sex scenes, the plot manages to resolve itself in the momentary scene-scraps in-between. Another mystery artfully deduced by Max Hardwood, Private Dick.
The more RPGs lean heavily into the Visible Rules, the more adventure design begins to operate according to Porn Logic. Because visible-leaning play places high importance on things the system can define and resolve, the adventure's problems tend to shape themselves into the game's pre-defined mechanistic loops, which works out because, in such games, the Player Characters are in large part defined by their choices and contributions within those loops. Mechanistic loops are defined by the centrality of Flat Tactics: tactical sub-scenarios defined in system terms, which can be resolved by mechanistic problem-solving and consulting the system, with only occasional need for adjudication by the Game Master.
If the system’s core loop is chase scenes, for example, and the “goal” of the adventure is to rescue a political prisoner, it’ll just so happen that the way to rescue the prisoner is to have and succeed in a series of chase scenes. Next week, when the adventure is about healing a diplomatic rift, it’ll just so happen that the way to heal a diplomatic rift is to have and succeed in a series of chase scenes. In such a game, chase scenes are the optimal response to, and shape of, nearly every core problem, just as the solution in Max Hardwood and the Case of the Lethal Lubricant was to have a series of sex scenes, and when the villainous Madame Lube returned in Max Hardwood Gives Them The Slip, the solution was to - again - have a series of sex scenes. Porn Logic.
And of course, most of the core loops in traditional RPGs are more about fights than chase scenes, but it's useful to recognize that fighting isn't the actual issue here. The issue is how allowing the system to be important exerts gravity over what a game is "about," and whether the game's tactics tend to be "flat."
Videogames depend on mechanistic loops for their success because videogames are made entirely of system. Players can only perform actions accounted for by the system, against challenges defined in system terms. With sufficiently complex systems, or the wild-card of multiplayer participation, you can sometimes get emergent solutions (solutions that the designers didn't explicitly predict) but nothing approaching tactical infinity, because tactical infinity depends on playing outside the system, and that requires a living Game Master.
So, the more an RPG leans into Porn Logic, the more its gameplay begins to resemble that of a videogame ... or a card game, boardgame, or grid-and-counter wargame.
At the opposite end of the spectrum, where the Invisible Rules are more important than the system, and where tactical infinity and tactical roleplay are embraced as the core game experience, the process of adventure design is dramatically different. Mechanistic loops exert little or no pressure on the reality of the PCs, so if the adventure is about "rescuing a political prisoner," the PCs will need to create and implement a rescue. If the adventure is about healing a diplomatic rift, the PCs will need to create and implement diplomatic change.
These problems (and their solutions) are examples of Rich Tactics: tactical challenges and efforts that operate largely outside the game system, requiring frequent adjudication by the Game Master. Instead of relying on the kewpie doll of success appearing at the end of a series of chase scenes, the PCs must create and implement solutions for which no explicit mechanism exists. And so, the GM must prepare problems that need creative solving, rather than "set-piece" loop-sequences that need engaging. It's difficult to overstate how much this can alter the design process, and the resulting game experience.
It will be important to understand, going forward in this series, that at no point on this spectrum do we step outside of rules-based, tactical game design when we create adventures. Rather, we exchange Flat Tactics for Rich Tactics, and swap out the Visible Rulebooks for the Invisible. We don't even necessarily step beyond loops. We step, rather, toward non-mechanistic ones: richly tactical, character-facing loops which afford greater variety, more surprise, and greater potential for strong characterization.
And as always, these are simplified extremes bookending the spectrum of the Traditional RPG. Many systems offer multiple loop-styles ("this is about dogfighting and baking competitions"), every Trad RPG allows (with varying enthusiasm) for tactical infinity, every Trad RPG allows (with varying enthusiasm) for mechanistic loops, many gamers enjoy both Flat and Rich Tactics, and even creative solutions can dip into mechanism for fragments of it (rolling dice to pick a lock as part of a more complex overall plan, for example). But with all those variables accounted for, Porn Logic is still a thing. A big, hard thing.
Thinking in terms of Flat Tactics vs. Rich Tactics, and recognizing the gravitational pull of Porn Logic, are the game design and GMing side of creative vs. mechanistic problem-solving. If you want to support the gameplay of creative solutions, your adventures must provide creative problems.
My next blog post will be a new addition to the RPG Lexicon series, entitled "Porn Logic," which, regrettably, has almost nothing to do with sex in roleplaying games. So here's an anecdote that does. It's just a tiny moment, but it's one of my favorite tiny moments to recall.
With gamers I know well, a game's subject matter is welcome, sometimes encouraged, to press past the boundaries of PG ratings. Given the choice between sex and violence (American culture's two favorite ways of pressing those boundaries) I'll vote sex 100% of the time. But with newbie gamers (or experienced ones new to my GMing) I'm super extra very careful about ribald content in games, thinking twice and reading the room before I'll even hazard a risqué joke or double entendre.
And so it was, eight or nine years ago, when I was first introduced to Paula, the romantic partner of another gamer I knew, and he'd been telling me for ages how much I'd like Paula and that I should come around and GM some games for them. Paula was new to RPGs.
Paula's took the the open-ended nature of both Uresia and Risus character creation with gusto, and made a Penguin Sea-Monster PC (an intelligent penguin the size of a tall human who liked to refer to itself as a Sea Monster because that's a fun thing to be) who'd eventually enter the campaign lore as a legend, but this was just our Session One.
They were in the city of Shadow River, over in the Logantown district, passing Death's Dais on the way to a meeting with an important NPC, so the next bit of local scenery was Nectar's Garden, the city's famed Elvish brothel. It was late in the afternoon so the gardens, gazebos and pool outside the great stone house were bustling, and the sounds of laughter and splashing and music were unmissable on the street. Nothing naughty to be heard, just a kind of garden-party atmosphere, but the PCs knew the place by reputation, so I mentioned that.
I was only setting the neighborhood scene, but Paula's interest perked right up, and they insisted on taking a proper penguin peek. I found myself in a precarious position, with Paula's penguin peering into this preeminent playhouse of prurience! Newbie Gamer! screamed the klaxon in my head. Keep it funny, light, maybe a bit sitcom, and they're just in the gardens so it's just a garden party anyway!
To make a short story even shorter, sparkling garden-party banter did nothing to dissuade the Penguin Sea Monster's fascinations, nor did one Elf's recommendation to try the excellent neighborhood alchemist nearby before he shuttered his place for the day. Paula's Penguin wanted very much to sample Nectar's Garden's full menu of services.
So I knew what to do: fade to black. I described some elves escorting said giant penguin into the warmer chambers of the great stone house, amid vaguely-alluded-to sounds of distant pleasures, and I faded right into the comforting PG-rated black: "And an hour or so later," I offered, "you emerge feeling very refreshed and --"
And Paula would have none of it.
Paula (quickly, with force) stood up from their chair ... planted their hands on their hips ... looked me dead in the eye and said "Oh NO you DON'T!"
Paula was on the verge of giggling, but I could tell it was no joke. "Fade to black" would not be a suitable description of this Penguin's good time!
I was still acutely aware that I was here GMing for a couple, though, plus newbie ... so I improvised a desperate dodge by describing a kind of montage of what was going on several feet above the private room full of Elves and one giddy penguin: slow-motion rubber-duckies soaring and flipping damply through the air, followed by a length of silken cord, a whoopie cushion, a bicycle horn, and a marmalade sandwich.
To my great relief, this would - barely - suffice. Crisis averted. Game continued. Paula, very much, met.
Paula's been one of my favorite people, and favorite gamers, ever since, and contributed valuably to both the 2nd Edition of Uresia and to Toast of the Town, where the legendary Penguin Sea-Monster remains the only PC in the history of my runs to charge Dolemon Drake with a penguin belly-slide, knocking him into an open sewer-grate.
Paula's also in need of help right now; please consider it. Thank you.
|A couple of my photos of Paula from when I was still in Colorado.|