Ginger Goat Press has a new book in development. John Silence is a hybrid book containing both an original RPG and an anthology of short stories and poems, all in a shared universe. The John Silence universe focuses on people of color (POC) who are psychic detectives, saving their world from planar creatures invisible to most humans. This universe is loosely inspired by Algernon Blackwood’s 1908 novel, John Silence, Physician Extraordinary.
Currently involved in the project are publisher Josh T. Jordan, game editor Caitlynn Belle, poetry and story editor Lev Mirov, and layout artist Thomas Novosel. Stay tuned for announcements about our Kickstarter and our open call for poems and short fiction in summer 2018.
To learn more about the universe of John Silence, check out the Notebook of John Silence, PI zine series available from Thomas Novosel Press.
Shelf Indulgence is a new book club podcast where game designers, game scholars, and play scholars discuss a fun, intelligent book, usually a novel. For our first episode, we will discuss Binti by Nnedi Okorafor. Read the book (or not) and join us by listening to episode 1 of Shelf Indulgence.
Design a 2-3 player tabletop game that uses only elements like those in the picture.
Deadline: Christmas 2017
Your game may, of course, require people, rooms, light, air, etc. It may also require use of your rules document. But in terms of game components, you may only use items like those in the picture. (For example, you may substitute other minis, but use no more than 13. You may substitute dice, but use no more than 4.) This also means that your game cannot involve a pencil or pen during the game.
Clarification: Players with disabilities are encouraged to use whatever assistive technologies or accommodations they prefer in order to facilitate play. The design constraints in this contest are not a means to exclude players from your table.
How to Submit and Prizes
Submit your rules to email@example.com
If more than four people submit rules by Christmas, I will declare a winner. That winner gets a free pdf of three of my games (your choice of which games.) If more than twenty people submit rules, I will declare two winners.
Tips About How the Games Will Be Judged
I will judge the games on a 1-10 scale
6 points:rules clarity and playability
1 point: whether the game is winter or ice or Christmas themed
1 point: including optional rules for solitary play or for playing with more than 3 players.
2 points: Is the game a spiritual sequel to Final Fantasy Tactics, the old turn-based Playstation wargame?
Who is the Judge?
I’m the game designer behind Ginger Goat Press. I’m the former Global Coordinator of Game Chef, the international analog game design competition. By day, I teach high school English and ESL at a public school in Texas.
This is a copy of the abstract I submitted to the International PlayTrack 2017 Conference. If I manage to buy a plane ticket, this should give you an idea of the research I intend to present in Denmark at the Aarhus University conference which is funded by the Lego Foundation.
This poster will show the results of textual analysis on fifteen larps published during 2012-2017. Having selected fifteen live-action roleplaying games of a similar format, I intend to perform a comparative textual analysis to determine the game designers’ assumptions about play. I have selected five games each from three larp designers, Avery Alder, Caitlynn Belle, and Jackson Tegu. These designers publish 5-16 page American Freeform and experimental larp games through Patreon. Examining quantifiable features like word length, word frequency, sentence length, lexical density, and Gunning Fog Index readability, we can infer several things about play experience of these games.
Every game designer makes assumptions about play. By examining the complexity of the text, we can infer the assumed education level of the player. By cataloguing undefined game terms, we infer what prior game experience the designer assumes for a player. By textual analysis of gender, age, and sensory terms, we can even infer the demographic profile of assumed players.
In addition to assumptions about players, textual analysis also exposes designers’ assumptions about play experience. The explicit rules for play give a skeleton of the designer’s intent for play experience. Various textual features flesh out that play experience. The number of phases or scenes in the game, the number and length of instructional steps for those phases, the ratio of procedural text to diagetic text on each page—even the presence or absence of game art—are quantifiable textual features that reveal the author’s intended play experience.
I select these designers and these larps because of their similarity in publication format, year of publication, page length, and game genre. By analyzing the instructional text of a handful of games from Alder, Belle, and Tegu, this poster will visibly, quantifiably indicate similarities and differences in these designers’ intended play experiences.
Singing a soft song, sitting on that burlap brown sofa.
Picking at the fabric pills, not bored. Engaged.
Bouncing my knee. Nervous like a cow who knows the calf is coming.
Last night’s sleep in an old blue sleeping bag. Whispers of friendship.
Confessions to the other students at the youth retreat. Little kindnesses. We are not a loud people.
When we sing, we hear each other’s harmonies.
Each voice treasured, like a piece of quiet, a part of the gentle whole.
Applause are honest praise but always brief.
In choir these voices fill the balcony with the pure melody of warmth.
They are not silent. They are full of music,
But they are a quiet people.
Singing clear, soft a capella sitting on the burlap couch,
My closed eyes open, glide across the room.
White shirt crisp and blue-black tie in a half-Windsor,
Our balding, kind-faced teacher adjusts his glasses.
He begins to pray for us. Thirty-five teens,
People of faith from happy homes and sad,
Short and tall, from every high school within twenty miles.
We will not remember the words of his prayer. But
We will remember he prayed. That he was for us,
And his Lord is for us, and grants us peace and quiet.
He brought us music. Gave us time.
He lost sleep for us. Disciplined us with his kind basso voice.
Until we grew to discipline ourselves.
The gifts he gave his choir cannot be counted,
Cannot be measured on the audiometer he brought from work,
To show us the shapes our voices make when we sing.
Those of us sitting on those basement couches,
Listening as he prayed for us–some of us didn’t have two parents at home.
Didn’t have a lot of teachers on our side. But we had at least one teacher.
King David writes he will sing for the Lord,
Because the Lord has dealt bountifully with him.
When parents are missing, when tomorrow’s lunch isn’t in the fridge,
When the regular loneliness of adolescence holds us down,
It’s hard to see the bounty. But we could hear that teacher’s prayers.
I like to think he hoped for us before we could hope for ourselves.
When the Creator is quiet, loneliness bends our backs and sags our shoulders,
But we are a people of quiet strength. We have clear, soft songs to hold us up.
If the Lord chooses to whisper, we will still hear his piece of quiet.
We listen for his bounty, just like we listened to our teacher’s prayers.
After all, the song is not just note after note after note. The song is also the quiet in between.
There is music in a rest.
Although it’s not directly a plug for our Kickstarter, since you might not even see this post until after the fundraiser ends, I want to share some numbers from The Imposters and compare them to Ginger Goat’s previous Kickstarter campaigns. My purpose in sharing this information is to help answer questions that other game designers have about fundraising for their games.
On the one hand, I’m excited the Kickstarter is going well. On the other hand, I want to give you an opportunity to pick my brain by emailing firstname.lastname@example.org about what it’s like to run a Kickstarter or about specific issues that worry you about running your own.
With 22 hours left in the fundraising campaign, we have 370 backers and we’ve raised $6,745. Those numbers will change in the last day, but they are close enough to the final numbers that we can look at them.
How do they compare to our previous four Kickstarters?
We have almost twice the number of backers for this campaign as we do for our previous campaigns. I attribute this to a number of factors, including the quality of our Kickstarter video, the number of game journalists who have written about the game, and the social media influence of my fellow contributors to this book. Because we have a sharp looking Kickstarter page, and because we’ve had better word of mouth advertising for this campaign, we’ve convinced more backers to join us. As you might expect, that means we’ve raised more money, too.
We have raised about twice what we raised in our other campaigns. Though Dangers Untold is an outlier. It raised an unusual amount of money per backer because we had a handful of high level backers who were really committed to unlocking some the extra setting materials. In other words, we had more people willing to pay for high tier backer levels in Dangers Untold. I attribute this to Shoshana Kessock’s committed fanbase. Her fans are big fans.
Now that you’ve seen the basic data, what questions can I answer for you? Have you considered crowdfunding your games, and if so, what can I do to encourage or inform you? Shoot me questions at email@example.com
“Delve into a world rife with conspiracy and resistance and leave behind your illusions of safety.” —Jeremy Morgan, Editor
Our next book, The Imposters, is coming to Kickstarter tomorrow. Want to support seven game designers who struggle with Imposter Syndrome? Want to get your hands on seven new or revised larps and tabletop rpgs?
The Imposters is an anthology of seven tabletop and live-action roleplaying games from seven different designers. Some of these games are brand new; some are revised and updated versions of games that have won prestigious indie gaming awards like the ENnies, Golden Cobra, and the 200WordRPG contest. All seven games offer a play experience you’ve never had before.
For example, the anthology contains “They’re Onto Me” by Banana Chan, a game about paranoia and the possibility that your co-workers have been replaced by duplicates. You can watch two run throughs of “They’re Onto Me” on Youtube now.
Here is the short version of a “They’re Onto Me” run by my friend, Norwegian larp designer Ole Peder.
This second run of “They’re Onto Me” is by my friend, Filipino rpg designer Tobie Abad.
You can support get your hands on this game and six more like it by backing The Imposters on Kickstarter tomorrow. Information Day, 4/11. #RUready4theTruth?
Superhero Romance is now available for sale. It is a comic book hero dating show larp based on Singularity by Caitlynn Belle and Josh T. Jordan. Thank you to all of you who backed the original game on Kickstarter.
This is a setting hack. You will also need a copy of Singularity in order to play.