Norske pådder om rollespill!

skaufjordHos David Skaufjord forklarer alt får programlederen denne uka hjelp av Jarle Haktorson til å forklare fenomenet rollespill. De to kjører også en runde D&D som eksempel for lytterne.

Kun tilgjengelig for iTunes-brukere, får vi inntrykk av.

En lettfattelig og positiv introduksjon. Jarle har også forfattet teksten «Hva er rollespill?» for Skaufjords blogg.

Litt dypere i materien går Michael og Nicolai i podcasten Vertshuset, som har besøk av Imagonems trofaste tastetrykker Ole Peder.


03:56 Itras by 1
12:08 Amerikansk indiespill
18:48 Itras by 2
24:14 Apocalypse World
29:28 Tips til spillskapere
35:44 Feedback og kritikk

Hør Vertshuset episode 5 her


White Wolf’s lead Storyteller: – There will be a release in 2016


Martin Elricsson, lead Storyteller at White Wolf. Art: Tim Bradstreet.

Martin Elricsson, Lead Storyteller and Brand Architect at the newly Swedish White Wolf (recently acquired by Paradox Interactive) kindly took the time for a brief Q&A with Imagonem about upcoming plans.  

Which game lines do you plan to revive, and when?

We prefer the term ”rise from torpor”. An elder awakening from a century of slumber is starving and hungry for fresh blood. So are we. Initial plans include products based on all of the ”classic” World of Darkness lines. It may be a while before we get to Mummy: The Resurrection tho :) Our launch plan will always be a secret until it’s not. I love the speculation and mystery surrounding future releases we saw in the 90’s, so we will definitely play with that aspect. Hints and clues to what will come next will appear in future products and WW communiques. There are actually a few of them out there already.

Will you prioritize computer games, or will we see  pen-and-paper soon?

Short answer is that the economic centre of the company will be computer games. Unless something weird happens and people start buying roleplaying books, WoD novels and comics like they were Harry Potter. As things are now tabletop publishing hardly breaks even. Spiritually the core will always be tabletop rpg and larp. The Bibles we’re working on for computer games are written as if they were texts for a new tabletop edition, and will most likely be released in that format. Combined launches of digital and tabletop also games seem to make a lot of sense. In the last few years, focused and easy-to-use products like Mutant: Year Zero and Lamentations of the Flame Princess are selling unexpectedly well. Their brevity and low threshold makes them perfect for introducing new players to the hobby, while the monumental classic-WW-style books generally sell poorly and are more read than played. If future editions of WoD are actively used rather than collected we have done our job.

What form will the computer game take? MMO? Are you able to bring over content from CCP’s “World of Darkness”?

All releases will be announced when we feel confident they will release on time, reach our very high bar of quality and have enough material to be discussed by the community in a meaningful way. We own all assets connected to WoD, including the CCP content that they kindly gave us as a bonus when we made the purchase of the IP. I for one intend to make sure those 8 years of work by a hundred exceptionally talented creators doesn’t entirely go to waste.

You have mentioned larp plans. Will this be a new international “Camarilla”? How will the campaigns work, and what kind of system will you use?

We hope to be a resource to local Mind’s Eye Theatre troupes, not a dictatorial central committee. Plans for some tools for communities and global character tracking are underway but way to early to talk specifics. What we can say is that MET will not be the only larp in town. Official White Wolf larps will not use Minds Eye Theatre rules but be organized more like Monitor Celestra or College of Wizardry.


Images from the CCP MMO concept design, previously unreleased.

Could you explain a little about the deal you’ve made with Onyx Path? What will be the main difference between “The Chronicles of Darkness” and “The World of Darkness”?

There is only one WoD. Chronicles of Darkness is a sandbox tabletop setting featuring the same broad creature types as the World of Darkness, but it is not the same world. It will not be spun off into computer games, novels, TV or anything else. It’s our specific brand for great metaplot-less, flexible, table-driven tabletop rpg. With the 2nd editions CoD has really found a separate identity from WoD and will continue to become even more of it’s own thing. We still own it but it’s Onyx Path’s baby. I love CoD and find that is a much more playable game with a more vague and unsettling aesthetic than WoD ever had. Too bad it never sold for shit and that old players hated it. It lacked the epic scope and the punk passion of the classic WoD. Had it done even remotely as well as the classic WoD things would be very different.

Onyx Path also have a license to produce nostalgia books for the classic WoD settings. These are official but set in the same nebulous ”eternal nineties”, using the old-school buckets-of-dice-system featured in the original lines. Future editions will move the setting, mythos, metaplot and mechanics almost 15 years forward into present day. It’s the same world, but a lot has changed. It’s useful to see the Classic and Anniversary books as highly subjective. The ultimate truth can’t be found in the books, but we can glimpse it through the multiplicity of perspectives presented. For instance Humanity is a mechanic presented from the Camarilla point of view, while Paths of Enlightenment give us the Sabbat perspective on the subject of morality. None of them are True. Both are models and simplifications.

Could you explain the vision for the new setting and metaplot, and the “eastward shift” (focusing on Europe, Russia and the Middle East)?

”What if the monsters are real, hidden among us?”, is the elevator pitch for the new metaplot. Gothic-Punk is dead and buried as an aesthetic. All the Apocalypses of the classic WoD has happened. In 2001 the Gehenna-war for the graves of the Antediluvians began. In 2006 the rise of the Wyrm and the inevitability of ecological Apocalypse became publicly known. The Technocracy has won, we surrendered when we allowed machines to shape our values and minds, trapping us in the paranoid realms of our personal filter-bubbles. At the same time we are applying engineering to quantum mechanics, making magical theories manifest as Science, so all hope is not lost. In line with this we integrate dramatic real world events to feature prominently in the story. We face difficult social subjects like the rise of fascism, religious fanaticism and the death of ideology in mainstream politics, head on. This naturally leads us to focus on areas where dramatic change is happening. Also there are more books on the US of Darkness than the rest of the world combined.

When can fans expect to see the first products for these new lines from Paradox and partners?

There will be a release in 2016.

What clans do you and CEO Tobias Sjögren belong to? 

I’m a Toreador, he’s a Ventrue.

Any Mage plans?


Will the Werewolves remain crypto fascist eco-terrorist?

More than they have ever been. Global Warming has released the Wyrm-tide. The end of the Impergium (ancient Werewolves hunting humans to keep their numbers manageable) seems like a terrible mistake in retrospect.

What sucks most (pun intended) about being a Vampire?

The obsession with self-deception and appearing moral or darkly glorious to their peers. Never being able to be truly proud of who you are. Even The Sabbat need to think of themselves as ”good” in their fight against the Cam oppressors and the rising Ancients. The need to play the (anti-) hero is tragic. At the end of the night they’re addicts to sex, blood and power, masking the pursuit of their next fix as part of some grand scheme or other.


Images from the CCP MMO concept design, previously unreleased.

Where did White Wolf “get it wrong” last time around? What are your least favorite parts of the IP?

Anything that smells of Fantasy. The attempt to create a deep mythology by linking the setting to Exalted was the worst choice ever. That was the last step in WoD’d death-march from being an artistic horror-IP to full on immature, escapist Urban Fantasy. The inability to deal with and integrate real-world events in the setting. If you can write about the Holocaust, you can write about 9/11. Fear is the death of creativity. The game was always best in the hands of storytellers who dared to place the story close to reality, often in their own cities, featuring real places and people.

And vice versa: what were your favorite games and concepts?

Too many to list. The books are shock full of profound insights, human stories and heretical interpretations of real-world mythology and subculture. My most collected and (through my and Adriana Skarpeds political game series Prosopopeia) played game is Wraith. A small selection of my favorite books include 1st ed Vampire, Fatal Addiction, Gilded Cage, Damnation City (for V:TR, but very useful for V:TM) and Love Beyond Death.

[Edit 02.16. Elricsson has asked for these clarifications to be added to the article:]



It wasn’t a painless choice revisiting the classic setting instead of NWoD. I’ve always supported that line, shamelessly ”been inspired” by it in other work and wanted it to make big waves, especially since I love it’s tonality and ground-up design thinking. But it’s hard to argue against CWoD as the setting that made the most dramatic cultural impact overall. The death of the publishing industry and lack of tabletop rpg-hype at that time combined with quite strong fan reactions never gave it a chance to go pervasive. It would have made perfect sense for us to cancel CofD entirely to direct all focus to WoD and avoid brand confusion as new players come in through future digital products. I’m happy we decided against it. Having CofD continue as it’s own thing is the closest we’ll get to confessing that it may be the better tabletop-only setting of the two. But to turn it into the centre for our transmedia-storytelling plans for the future would mean adding metaplot and characters to it, killing its identity completely. Made less sense than letting the beloved characters and myth of the dark original live on and evolve.

For more on new White Wolf’s plans for the future check out the announcement video from german WoD-con Tenebrae Noctis held before Christmas.



The Magic Happens


Photo by Chris Boland / “Alan Moore – Cambridge, UK – March 2012”. (CC BY-NC-ND 2.0)

Alan Moore Q&A on Goodreads, selected hightlights.


“As regards how I use magic in my work, this has changed significantly in the twenty years or more since I took up the practice. Whereas in the beginning there was a great deal of ritual and serious magical experiment, both because this was the only recommended way to go about things and because it was a very exciting and pyrotechnical experience, these days I have internalised my ideas on magic to the point where anything creative that I do is perceived as a magical act. I will be bringing as great a weight of magical consciousness, perception and concentration to a chapter of Jerusalem or Providence as I would have done to the rituals that resulted in The Birth Caul or Angel Passage. Basically, I have understood that art and magic are precisely the same thing. This is not a way of saying that magic is a lesser thing, that it is ‘only’ art at the end of the day, but instead of saying that art is a far, far greater thing than its currently degraded state as a commodity or as simple time-filling commodity might lead us to suppose. If you happen to live within a worldview that supposes our entire neurological reality to be made up of words, and happen to believe that certain intense forms of language might therefore be capable of altering that neurological reality, then picking up a pen or sitting down at your keyboard feels like a very different proposition.”

“It’s really only fictional people that live in horror stories. Real people, even if they’ve been the subject of special rendition and are currently receiving electric shocks to their genitals somewhere in Egypt, are not in a horror story: they are in the same ordinary reality as you and I, which we are all a part of and which we all, by our actions and inactions, help to create. I think it would be best if we agreed that we are living in the real world, and if at times it reads like a horror story – or worse – then we are the only authors, and we are the only authority that is in a position t fix or change that.”

Scary books

“Q: Hey Alan, maybe I am wrong but you don’t seem like the kind of person who gets scared easily, have you ever read a book that horrified you? If yes, which one?”

A: “If I had to pick just one, then it would probably be The Blind Owl by (and I’m almost certain to mangle the spelling of this, not having the book to hand) Sedagh Heyat. Please don’t take my word for this, but instead read the book yourself and see if you agree. My guess is that it will make you feel almost ill with dread, and as worried for your own sanity as you would be by a long night of fitful sleep and terrible recurring dreams. Enjoy.”

“I suppose if I didn’t believe that anarchistic ideas in literature could have a useful and positive effect upon, as you succinctly and accurately phrase it, “the catastrophic trajectory of our species” then I wouldn’t have any incentive to get out of bed and start writing (or breathing) in the mornings.”

Q: “Who/what are your biggest literary influences?”

A: “Almost everybody I’ve ever read, if I’m honest, has influenced me either positively or negatively. Major influences would be William Burroughs, for the purposeful and shamanic energy that he had in his writing and his ideas; the non-musician Brian Eno simply for his eternally curious and adventurous approach to creativity itself; and more recently the extraordinary Iain Sinclair for the level of attack and crackling intensity that comes with his furious approach to language.”


Q: “Your and Jacen Burrows’ Providence is unbelievable, especially in terms of the depth of your layering of H. P. Lovecraft allusions. I was wondering which of Lovecraft’s stories most petrifies your pubic hairs…why does this particular selection unsettle you and shake you to your horror-loving core?”

A: “I’m glad that you’re enjoying Providence, which me and Jacen and everyone involved are insufferably proud of. As for the Lovecraft story which most frightened me initially, this would have to be the first such tale I read, which was ‘The Statement of Randolph Carter’ with its famously spine-tingling last five words. Returning to Lovecraft as an adult, though, and especially with an eye to working on Providence, I have found a much richer and more complex writer than I remembered. This is no doubt because my own understanding of Lovecraft has become richer and more complex as a result of all the fine Lovecraft scholarship that I’ve been assiduously absorbing over this last couple of years. These days I find it’s not an individual Lovecraft story that particularly inspires me, so much as his whole body of work and the radical approaches to writing that it contains. His disorienting technique of giving a list of things that Cthulhu doesn’t quite look like a combination of, for example, or his insistence that the Colour out of Space is only a colour “by analogy”. There is a kind of prescient alienation in the work of H.P. Lovecraft that I suspect will form a much larger part of his legacy than what Lovecraft himself termed his “Yog-Sothothery”.”

On writing

Q: What happens to you when you write?”

A: “I probably shouldn’t play favourites, but for my money this is perhaps the most interesting question I’ve been asked all year. I don’t know. I don’t know what happens to me when I write, because I’m not sure if we have adequate language to describe, even to ourselves, what it is to use language in a purposeful way. I know that my consciousness, if I am immersed in writing something demanding, is moved into a completely different state than the one which I inhabit during most of my waking life. Neither is it like dreaming, having much more focus and control. If I’m writing, as I often do, something which requires messing around with the structure or vocabulary of the English language, then I find myself entering some very unusual mental spaces indeed. Writing the Lucia Joyce chapter of Jerusalem, ‘Round the Bend’, I found myself in a kind of synaptic cascade-state that had a delirious, mind-expanding bliss to it. By contrast, writing the collapsed future-vernacular of Crossed +100, I found myself ending up slightly depressed just by the experience of having a limited language with a subsequently limited number of things that the characters could think, or feel, or conceive of. What I suspect is happening is that, as started earlier, our entire neurological reality can be seen as being made from words at its most immediate level. When you descend into this level of our reality, the code of our reality if you like, then whether consciously or not; whether deliberately or not, you are working magic. So, the answer to your question as to what happens to me when I write, is the most banal and useless answer you will ever get from an author: the magic happens. I hope that the fact that it’s me saying that and that I mean the above statement with absolute conviction, along with all of its potentially frightening implications, will be enough to make it sound a little less fatuous.”

Q: “What is your favorite science-fiction novel of all-time?”

A: “I don’t tend to think in terms of favourites, as that would make my otherwise enjoyable tastes in relaxation into something of a competition. A (very) brief and changeable list of recommendations, in no particular order, would be Mike Moorcock’s Cornelius quartet, Walter Miller’s Canticle for Leibowitz, John Sladek’s Muller-Fokker Effect, Brian Aldiss’ Hothouse (one of the first science fiction novels I ever read), Bester’s The Stars My Destination, Mike Harrison’s The Machine in Shaft Ten, Ballard’s Unlimited Dream Company, Phillip Bedford Robinson’s Masque of a Savage Mandarin, Samuel Delaney’s Dhalgren, Ellison’s short stories, Judith Merrill’s anthologies, Disch’s Camp Concentration, Spinrad’s Iron Dream, anything by Steve Aylett, and so on, potentially, forever.”


Kickstarting the Apocalypse

Apocalypse World took the indie roleplaying scene by storm. In its sixth year, Vincent and Meguey Baker are kickstarting a second edition.

Apocalypse World has a post-apocalyptic setting, or rather; helps the players generate their own settings in the genre. It’s a violent, dirty, poisoned world, but with room for hope. The designers have decided to stick fairly closely to the original system in the new book.

Meg: The single biggest improvement is the flow of battle. The combat in AW1 was often a place where the pace slowed and people had questions about the process. When we were looking at that system and how to streamline it, it clicked into place that we already had a solid system for the flow of action in the PC and MC moves, so why not see if a series of moves would work to handle battle? And lo and behold, they work great!

A major change is doing away with fronts and using threat maps instead. Threat maps give a better sense of how all the various dangers play off each other, and support an even stronger sense of the world. There are also significant changes to the Hx system that help make it smoother and faster to navigate.

Vincent: I’m pretty excited about the new threat map system. The old system for fronts was a little, I dunno, abstruse, a little too conceptual. The new system has you place threats directly on a map, centered on the PCs, it’s more intuitive and more concrete. It really ties the threats the GM’s responsible for to the landscape of the game, both when you’re originally creating them and when you’re updating them between sessions.


“Hurricane Katrina LA6”. Photo: News Muse /CC BY-NC-ND 2.0

I: What was the original appeal to you with the post-apocalyptic genre?

Meg: Oh my goodness, what’s the appeal?! It’s everything. I’m a big history and archaeology and anthropology fan, and pretty much as far back as we know, people have been experiencing world-altering events, living or dying through them, dealing with the aftermath and the rebuilding process,and warning everyone about the next one. The current mainstream images of the post-apocalypse are mostly dry and dusty wastelands because we are on some level deeply aware of our utter dependence on potable water, but there’s a dozen different scenarios that spring to mind from history. Top among them in my mind are the Black Plague in the 1350s, the arrival of the Spanish and smallpox in America in the late 1400s, the great fire of London in 1666, the dust bowl in the 1930s in the US, the second World War, Chernobyl, New Orleans after Hurricane Katrina in 2005, the Deepwater Horizon spill in 2010, the poison water in Flint Michigan going on right now.

The end of “life as we know it” is a really, really old idea, and one that keeps on happening,even if it’s only the end of life as you know it within a 20 mile radius of your home. To explore it and examine it, to look at scarcity and want and decide what you are going to do, where you are going to make a stand and say “I will prevail, I will remain human, I will remain humane” -those are fascinating things to look at and play with! And Apocalypse World offers players a framework to do that, to create and explore the nature of the apocalypse, whatever that looks like to them. I’ve run games with a wide wide range of apocalyptic landscapes, and heard about many more.

Vincent: I am, at most, a casual fan of the genre. Back in 2008 I was reading Gregor Hutton’s game 3:16, one of my very favorites, then new, and it came to me that I could use the post-apocalyptic genre the way he uses military sf. The old power structures and systems of control are breaking down around us; we have this marvelous opportunity to carve out space for ourselves in their ruins. I wrote Apocalypse World originally to reflect on that.


Florence Thompson with several of her children, March 1936. The photo is known as «Migrant Mother» and is a famous icon of the Great Depression in the U.S. Photo: Dorothea Lange, Farm Security Administration / Office of War Information / Office of Emergency Management / Resettlement Administration (Public Domain).

Apocalypse World provided a toolkit for other designers to create their own “hacks” of the game. There are now over two dozen published games using the core system/method from AW, many of them indie favorites in their own right, like Monsterhearts and Dungeon World. In addition there are several fan-made hacks using elements or the system in its entirety.  

I: What do you think of the growth of “Powered by the Apocalypse” games and hacks? Do you have any favorites?

Meg: We love it! It’s incredibly gratifying and humbling to have something we made inspire so many other people to design, and so many of them are so good! My personal favorites are Monsterhearts, Sagas of the Icelanders, The Warren, and Epyllion. And World Wide Wrestling.

Vincent: My favorite is a relative unknown: Epidiah Ravachol’s Wolfspell. It uses the game-mechanical structure of reading a situation to take you out of your normal mindset and put you in a foreign one. It’s pretty cool.

I: The Kickstarter now has over 2500 backers. How will you use the extra money (or maybe everything is spent on printing and distribution)?

Meg: We’re printing books enough to keep in stock for a while and pay to have them stored and shipped, we’ll go to PAXEast and some other conventions (not GenCon, sorry), we’ll start work on the next book with a little cushion to cover time off from our day jobs. In my wild world of fantasy dreams, we get to take AW2e to a convention in Scandinavia over the summer, but there’s a LOT of things to do before that becomes anywhere near a thing.

Vincent: Yeah. It looks like a huge pile of money, but that’s deceptive. It’s a LOT of books.

We’ve taken the past year or two slow on conventions and game development. Like Meg says, we’re hoping that this can let us do some expanding, business-wise. Modest, practical expanding.

I: Vincent has been kind enough to share total sales figures for AW over the past few years. Last time I saw, I think you said 4000 copies sold since 2010? AW is a very high-profile game in the community, but financially it seems to be completely overshadowed by heavy-hitters like D&D5, or even a game like 7th Sea (300K on the Kickstarter in 24 hrs). Why do you think it’s so hard to reach audiences, relatively speaking?

Dresden, zerstörtes Stadtzentrum

The German city Dresden after the Allied air raids in February 1945. The bombing and the resulting firestorm destroyed over 6.5 km2 of the city centre. An estimated 22.700-25.000 people were killed. Photo: Bundesarchiv, Bild 146-1994-041-07 / CC-BY-SA 3.0

Meg: We are not aiming to be D&D. We are not hoping to capture the 7th Seas audience. We write weird little off-beat games dealing with odd concepts, like young gunslinger preachers and superpowered people with amnesia and doomed pilgrims and whatever the Hocus is. We want to do our thing well, and if folks like it, that’s great! To use a music analogy, we’d rather have coffee shops full of folks that love what we do and follow every note than have a stadium full of folks who know that one song because they heard it a few times and don’t really know the words.

That said, I also think Apocalypse World continues to reach new audiences because of the wide appeal post-apocalyptic media in general has lately, and the way AW is structured makes it VERY accessible to people who have never played a roleplaying game before. We see this over and over at PAX, when people are excited and it’s the first time they’ve bought a tabletop roleplaying game.

Vincent: Part of it is just plain age! Apocalypse World is five years old. 7th Sea is what, 25? Let’s compare again in 20 years. I bet that Apocalypse World has the staying power.

I: On the same note; do you have any advice for self-publishing game designers? I mean, obviously you do, but like a top-three list.

Meg: Ok, top three bits of advice:

Write everything down. Get a notebook, a phone, whatever. Write in the grocery line, write in the bathroom, write while waiting anywhere for anything. Don’t think that every idea will be golden,but do make a habit of getting those random ideas down on paper so you can rearrange them and come back to them and see how they fit.


Illustration from the original game. Illustration by D. Vincent Baker, based on stock photos from Dreamstime and iStock Photo.

Kill your darlings. Half your ideas will be crap, or at least crap for the game you are working on. Put them on a mental shelf and maybe use them later. Editing for rules and text that actually do what you want and convey how to do that is vital.. Related to this is to leave room for the player in your game design. A good game design should feel like a few bits are missing, because that’s where the players take what you give them and make choices and tell stories. If you fill in all the holes, there’s no breathing room for your players.

Only spend what you can afford to lose. It’s tempting to see crowdfunding as a way to get around this, but seriously, don’t go into debt. If you are a first-time designer, think really hard about doing your own art, your own layout, etc instead of hiring lots of folks for your first time out. Try it. Figure out your skills. Use pdf and POD to help stretch your reach and your voice without stretching your wallet. And for heaven’s sake, have a finished or very-nearly finished product before you launch a crowdfunding campaign based on an idea and the promise of a LOT of work!

Vincent: Yep. Also, make and release many games. You learn more about making games in the weeks after you publish a game than in the months and years leading up to it.

I: What other projects are you currently working on? Meguey recently launched Playing Nature’s Year, could you tell our readers a bit about that?

Meg: Playing Nature’s Year is just about the polar opposite of Apocalypse World :) It’s a cycle of eight short seasonal games you can play with anyone. I made it with wishes, fortune-telling games, and children in mind, thinking a lot about how we connect to the seasons and to each other. Each game uses 10 six-sided dice for each player, each game is playable in full in under 30 minutes, and each game stands alone. It’s sort of my love letter to living in New England, with a big nod to all the fairytales of my childhood.

Vincent: Right now I’ve just got a bunch of leads. Mostly fantasy games, come to think of it: a Jack Vance-esque one, a Tanith Lee-esque one, a Game of Thrones-esque one, a Tolkein-esque one with a lot of jokes in it. I’m trying to be responsible and wait until I’ve finished and delivered Apocalypse World before I get serious about what next.

I: What developments in the indie/DIY communities currently excite you? What games and discussions do the two of you follow with interest?

Meg: I LOVE that all the avenues of creating things are in greater access now. Not only through pdf and POD and such, but through 3D printing and Patreon and things like Spoonflower and Etsy and Maker Faire, and on and on. I think there’s a real revelation and reveling in the ability to make things. It’s not quite a revival, because it was always happening, but it seems that now there’s a greater appreciation of whatever you might be making. I’m currently involved in Thing A Day, which is a month-long project to do anything creative for 15 minutes a day and tell people about it. It’s so refreshing and exciting to see so many people enthusiastic about being creative!

Games I follow most. Hmm. Much harder question. I’m very interested in the use of games for social change, and teaching, and I’m always fascinated by the overlap between games and storytelling. I guess right now I’m most interested in the intersection between oral history and LARP, where aspects of role-play connect with our own past. It’s very rich ground, and not at all clear what’s going to happen next or come out of thinking and talking about it.

Vincent: Well, I’m following the PbtA scene pretty darn eagerly, as you might imagine. The work that my colleagues are doing is breathtaking; every time I crack open a PbtA game, I find something new that I love.

I follow the DIY D&D scene too. Some of the game design problems that we old school Forgies consider difficult to solve are much easier when you look at them as scenario design problems instead.

I: Vincent was a guest of honor at the Danish roleplaying convention Fastaval in Denmark in 2013. How did you find the local game design scene? What interested you about the festival?

Vincent: I loved it! It was really strange!

It’s like the DIY D&D scene, actually. The Fastaval scenario form gives you an angle on some game design problems that are pretty intractable to the kind of RPG design that I do. Every game designer should play Fastaval scenarios, there’s a lot to learn from them.

The festival itself is structured in such a different way, too, compared to every other convention I’ve been to. I’ve spent a lot of time since then thinking about how it works and what to bring away from it.

I’d like to get back as soon as I can.

Also see Brianna Sheldon’s recent interview with the creators.

Apocalypse World homepage.

The current Kickstarter project.

GM resources from Imagonem


We reject this dated conception of the Game Master’s function, but it still makes us feel cool.

Imagonem loves tips, tricks and tools of the trade. Here’s a collection of some we’ve published.

The first few are in English, Norwegian follows.


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