GASPcon Playtests

GASPcon 10 expanded to three days, adding two RPG slots on Friday. I ran one of the two Fifth World playtests of the convention on Friday night. I wound up with a bit of an "all star" playtest group, including Jenn from the Trapcast, and "Mr. Teapot" Nick Wedig, designer of House of Masks, which won Game Chef last year. Ironically enough, the fourth fellow at the table—the one I didn't know—gave some of the best performances.

We returned to the Point. I must assume the Ferryman met a cruel end, since we now had a tribe living there who thought that the portal to the Underworld there required human sacrifice. They had taken Jossiah the Healer, and wanted to learn his secrets. So their chief assigned a teenager named Hawk Necklace to become his apprentice. My character, Sleepy Watch, had failed to protect Jossiah, so he enlisted Paws, who took the blame for that because of their uncanny physical similarity, to help him rescue Jossiah. Paws lived in exile in the ruins of Oakland. The panthers had returned there, and allowed no one to approach, but Paws had become kin to them.

Paws and Watch received the help of the people just for trying to fight the other tribe off. They even gave them their magical weapons (the last remaining weapons made of metal). Hawk Necklace met them while looking for someone his people could sacrifice in Jossiah's place, and hatched a plan to sneak Paws and Watch in as prisoners. Watch challenged the chief, and managed to kill him. Watch considered the tribe cannibals, so he ate the chief's ear; but, they didn't actually practice cannibalism, so the gruesome scene simply had the effect of frightening them with his apparent madness.

The slaying of their chief put their village into chaos. A new chief arose, concerned primarily with saving his people. He considered a war on the People of Watcher, Paws and Jossiah a task that could give them the purpose they needed. They looked for ancient propane tanks in Oakland, with which to burn the forests there to the ground and send the panthers back into the Underworld.

After slaying the assassins sent after them and learning of this plot, Jossiah enlisted the aid of the whole village in retrieving these tanks from the old tunnels. Watch kept solitary guard against their enemies, now overconfident with pride. When the enemies came, the panthers fell upon them, but Watcher made a sudden movement against one of the attackers, provoking a panther who scarred his face.

In the tunnels, the enemies swarmed the people. Paws stabbed his spear through one of them, and into a propane tank behind him. They all exploded, consuming most of their enemies. Those that remained mistook Paws for Watch, and began to scream, because the boy who had killed their chief could unleash a firestorm with the strike of his spear.

In the end, Paws returned to the village, and Watcher went into self-imposed exile among the panthers. Just as they had both initially desired, they switched places. Their appearance spread a legend about a boy with magical powers and incredible strength, who could even appear in two places at once. Hawk Necklace left his old people and joined a new people, and Jossiah found hope that the next generation might not always seem less wise and less strong than their ancestors.

The second playtest on Sunday afternoon I played with some of the folks responsible for GASPcon. That one I'd have a harder time recapping from a fiction angle. We had a lot of interruptions, and because it involved some of the folks responsible for GASPcon, exhaustion overtook the game and we ended early. But I still got a lot out of this game especially because of Todd. Todd has taken a real interest in the setting, and he's given me a huge number of really great ideas. Possibly more important than anything, with a project like this, you can easily lose your bearings, and you end up with very little sense of the quality of what you've come up with. Todd gave me a much-needed touchstone to gauge where I stand with this.

In previous iterations, at this point in the playtesting, I'd start to re-evaluate the most basic parts of gameplay. Now, not so much. The poem seems to work for getting into play immediately, helping keep the story's progression on track, and setting a different mood for each round by controlling which rules everyone has access to at that moment. I need to work on the progression of those rules, and as I'll write in some upcoming articles here, I've come up with some different rules to try out. But right now, I expect to bring a game to Dreamation that will look a lot like the game I ran this weekend, and right now, that alone feels like a triumph.

Playtest Report #2

I got to playtest the Fifth World for the first time around a table on Saturday. My brother, Giuli and I played. I felt really good about the story that came out. I played a football star who wanted to live forever; Mike played the Ferryman, the heir of the character I played in the previous playtest; and Giuli played a character inspired by Nausicaä, who wanted to restore the toxic forest growing up out of the ruins of the Waterfront in Homestead. Actually, that location requires some elaboration, actually. A steel mill once sat down there. The Battle of Homestead happened near there, where Pinkerton soldiers attacked striking steel workers. Today, a large shopping complex sits on the site. The appropriation of so much of the world's biomass to build places like that, and the sprawling suburbs around them, have concentrated much of the world's biological wealth in those areas. In the Fifth World, once all that material finally gets to rot, some of the most vibrant forests grow up out of the cellars, washing machines and cars of suburbia. In this case, it sets its roots into soil filled with heavy metals from the old steelworks. I suggested a story of domination: domination of the steel workers, domination of the earth by the steel mill itself, domination through consumerism, and in the Fifth World, a place angry at humans because it has seen so much of humanity's worst qualities. Mike went for the complete opposite story: freedom bought with great sacrifice, like the labor movement bought with in the Battle of Homestead, or the life of the forest bought despite the heavy metals in the soil. Giuli went with that, and her character tied into that story because she wanted to heal the land.

Mike made the Point more of a sacred garden, as opposed to the terrifying otherworld from our last game. In the fountain, an abnormally large oak tree grows, with its roots reaching down into the secret fourth river that flows underground. When my character, the football star, wanted to live forever, the Ferryman told him to swallow an acorn from the tree whole.

Through the various rounds, my football star became more belligerent, since he thought he'd become immortal. He got married to Giuli's character, and the Ferryman told him he could cleanse the forest so important to his new bride by eating the poisoned fruit there. Since he would live forever, he had nothing to fear.

He died, right there.

The elders of my character's village accused Giuli's character of assassinating their star player; she submitted herself to their judgment to keep the villages from going to war. They executed her, and buried her next to my character, in the toxic forest she loved so much.

Next came the rounds with the memories, which worked out perfectly. The action had reached its climax, so now we went back, before, to see why it had all happened. The real climax of the story came later, even though, chronologically, it had happened before. My character remembered his grandfather dying, and telling him a story that I took from Paul Radin's Primitive Man as Philosopher, about a Ho-Chunk boy who wanted to live forever. He died, and grew into a tree—because only trees live forever. That acorn I had eaten before, what the Ferryman promised would give me eternal life? It sprouted. Its roots went deep, deeper than all the other plants, and sucked up more of those heavy metals than any of them could. So, I lived forever—and cleansed the forest.

Giuli asked why her character had to die, too. My character had wanted her admiration; despite all the women who fawned over me, I wanted her to notice me. In her epilogue, we found out why: I had sacrificed my human life to cleanse her forest, so she became a tree, too, so that my sacrifice wouldn't mean spending eternity alone.

The poem's structure paced it out perfectly, even when the other players worried that we'd reached the climax too soon. It created a beautiful, moving, poetic, mythic story really anchored in the land. I felt very good about that.

Like the playtest before, players raised some concerns about not having enough material to start with. I wanted to make character creation a part of play, rather than something that happens before play. I still suspect that I just need to press for stronger desires, but I'll definitely have to keep in mind that it may need some way of generating more pregnant starting situation.

In both games, the mechanics didn't kick in very often. That may also need some more work; or, it might work just fine right now. Who says that the mechanics need to kick in all the time? Maybe "leave them there unless you need them" makes for a perfectly viable strategy.

Another interesting thing to note: in both games, we had three players, and it took just over two hours, making for just over 40 minutes per player (I've measured time per player because I think, with the rounds, that how long a game takes will work as a function of number of players). If that continues to hold, then a game with six players would take four hours—one standard convention slot, precisely. Of course, I'll need to test other size games to see how that ratio holds up. I'll also need a much larger data set to say anything with confidence.

I haven't playtested nearly as much as I would like so far, but I think I can take this to GASPcon without too much worry. I've billed it as a playtest, so nobody should expect a finished game. All the same, the problems don't seem to break it entirely, either, and playtesters have even had fun with it.

Playtest Report #1

I just finished the first playtest of the new rules, with Dan Maruschak and my wife, Giuli. It had all the roughness you'd expect of a first playtest, but the momentum I'd hoped seemed to work out. The second hour of our two-hour game got into pretty fun stuff; I got to play a hermit, Chiron-like ferryman, alongside a traveling trickster figure and a woman from a tribe beginning to encroach on forbidden, sacred areas. It ended quite satisfactorily, with my ferryman falling prey to one of the trickster's ruses in the Land of the Dead.

So, the momentum of the game seemed to work out well. We had some rough spots getting started, especially establishing motivations and figuring out what people wanted to do. We had some speculation that the game might have a little too much structure right now, and that the game mechanics might undercut the goals in some ways.

I can't say that any of this makes me want to immediately rewrite the game (though Giuli had some really scathing things to say about it after we finished the call). I want to playtest it a few more times to control for some other possible factors, so I can make sure what arose tonight from the game, and what arose from other factors in play. As rough as it seemed in play, I still feel rather optimistic about it all, because I had braced myself for much worse. They call it "playtesting" and not "playing" for a reason, after all!

Web Inspiration

I hope to relaunch thefifthworld.com on December 21, along with making the first rough draft of the rules available for public playtesting. For the website, I want to set up a wiki/forum/blog site, with those three aspects operating seamlessly with one another. Thing is&mdfash;and I admit to this with some shame, as a professional web designer—I feel completely lost as to the direction to take it. What should it look like? Feel like?

So, I'll ask you. What would you like a Fifth World site to look like? Do you have any examples of sites you like that you think I should take inspiration from? Let me know soon; December 21 only seems far away if you don't have to start blocking out how the work will have to happen to meet it as a deadline!

RIP, Claude Levi-Strauss

The name "Claude Levi-Strauss" haunted my college years. I majored in anthropology and computer science, and for the former half of my time, it seemed that no matter where I went, the Frenchman's name followed me. You simply cannot talk about anthropology in the later half of the twentieth century without talking about Claude Levi-Strauss. He died on October 31; they buried him earlier today. He would have turned 101 at the end of the month.

I don't always agree with everything he wrote, of course, but Levi-Strauss had an immense impact on our appreciation of native traditions. People like me, who look to those traditions for examples of a human life well-lived, owe a great debt to Levi-Strauss. Like so many, I devoured science fiction in my youth; really, I loved the stories of wise aliens, whether benevolent or horrifying, who nonetheless had mastered that seemingly arcane secret of how to make a living in this world without destroying themselves. Without Levi-Strauss's influence, even before I ever learned his name, I might never have realized that such examples literally surround us, right here on earth.

I finished my rough draft the same day he died, and I cannot deny the influence his life and work had on this project.

Rough Draft Completed - Now Looking for Playtesters!

I started working on the Fifth World three years ago. Tonight, I finished the rough draft. It has changed immensely over the years and gone through several major revisions, but I have a confidence in this one unlike any previous iteration. I think the final product will have, at the very least, a family resemblance to what I finished tonight. It takes the form of a 154-line, 1,289-word poem, written in heroic couplet, in ten sections. You read the poem as part of play; the poem sets the stage and introduces the rules, one element at a time. I use that to also pace the story and drive an escalation towards climax. Then it ends with a round of epilogues and questions.

I'll introduce it publicly for the first time at GASPcon 10 in twelve days.

Twelve days means I need to get in a LOT of preliminary playtesting. This will require a very vigorous schedule, so I'll need as many playtesters as possible. I do intend to publish once I have a worakble product, so your time will garner the juicy reward of a printed playtesting credit. This version I can run over Skype, so if you want to volunteer, but don't live in western Pennsylvania or don't have a lot of time available, we can probably play online over Skype. I hope to start as early as tomorrow, so if you'd like to join in, please comment on this post.

Storyjamming @3RB

I presented "Storyjamming" at the Three Rivers Bioneers Conference last week. I ended up interacting a lot with the audience, which worked well for that presentation and the audience I had, but it doesn't work very well for online presentation. So, I recorded again at home from my notes, and made a slidecast with my slides.

Storyjam

View more documents from Jason Godesky.