Tuesday, 27 September 2016

Current projects

These are my current games projects.

Death on the Gambia for Freeform Games

We changed our layout for our murder mystery games a few years back, introducing 8-page character booklets. Some of our older games are still in the old format, and as Death on the Gambia is one of those, I'm bringing it back into format.

I may also add a couple of characters. I want to add Aggie Marbles, a detective character who originally appeared in The Night Before Christmas and Dazzled to Death, but whom we have since added to Murder at Sea and others. And because she's a good guy, I probably need to balance that by adding a scoundrel as well.

I'm currently targeting early October (for the re-format - adding extra characters will take longer).

Sword Day for Peaky Games

Sword Day is one of my favourite games from Peaky, and I've been nagging the writers to publish it for ages. As I was becoming impatient, I asked them to give me access to the files and I would take it as far as I could. so that's what they've done.

Mostly I'm formatting the character sheets, and noting gaps (I have a list of questions).

The GM notes remain outstanding - things like the game timetable, instructions for preparing, and notes about the plots. The authors didn't need those (as it is all in their heads), but for everyone else they are essential. I will put a structure together, and leave gaps that then shouldn't take too much time to fill.

I should have that done by the end of October (at which point I'll need to go back to the authors).

Bubbling under

You could say that these projects have stalled, but it's truer to say that as I don't have unlimited time to work on this stuff. Typically I can only handle two projects (one of which is for Freeform Games) at any one time.

So these are simmering away in the background and will get their time in the sun when I have space.

Peaky Games Vol 1: Tornadoes, Swords and Pebbly Island

This is the next book of Peaky Freeforms. A few years ago I put together three books, each containing one game. The idea was that we'd sell them at conventions to support the Peaky Writing Weekend, but for various reasons that hasn't happened.

Following Larps from the Factory, I thought about creating a collection of Peaky freeforms, and this is the first one. So far I've got Small Town Folks and An Ecumenical Matter (both of which are already available for sale), and when Sword Day is read I'll drop that in.

So that's waiting for Sword Day.

Tales of Terror

Earlier in the year I tried to resurrect Tales of Terror, but as often happens with Tales of Terror, things stalled. I've got two things planned for Tales of Terror. The first is to get all the old tales from the website onto the blog, and the other is to turn my Tales in to a book.

Neither of these are high on my to-do list.

Other London

Other London is an urban fantasy setting that my good friend Jon created back in the 90s. It was a bit of this and a bit of that, and I've always thought we should turn it into a setting of some sort. As we're both fans of Fate (and Fate Accelerated in particular), and we like the worldbooks that Evil Hat have been putting out, we're starting to explore what an Other London worldbook would look like.

I'm very aware that the world is awash with urban fantasy games and settings, but maybe we've all got a fantasy heartbreaker inside us somewhere.

A Neolithic Fate Accelerated scenario

I spent a happy week on Orkney this summer with the family, visiting Skara Brae, Maes Howe, the Stones of Stennes, the Ring of Brodgar (right), Ness of Brodgar and lots of other ancient monuments.

I hadn't realised until I visited Orkney quite how close these sites are to one another, and that got me thinking about running a scenario of some sort set in Neolithic times.

If I can get this to work I may run it at GoPlayLeeds or Furnace next year.

Other Freeform Games work

I also need to reformat Snow Business and Happy Birthday RJ, so these will follow Death on the Gambia. Or I might resurrect The Reality is Murder, a game that I'm supposed to be editing (but haven't worked on in years).

Saturday, 24 September 2016

Do placebos work if you don't believe in them?

Yesterday I watched the glucosamine trial on BBC's Trust Me, I'm a Doctor with interest as I am currently taking glucosamine for some joint pain in my knees.

The detailed trial results are here, but the essence is that half the trial group did a simple daily strengthening exercise (with 80% success rate), the other half of the trial took a supplement (with 55% success rate).

55% is still pretty good, but at the end of the trial it was revealed that the supplement was in fact a sugar pill - a placebo. They weren't taking glucosamine at all.

So I then wondered about the supplement half of the trial. Did their joint pain immediately come back, now that they knew that they had been taking a placebo? Or did it stay away?

The programme didn't answer that, but a quick Google search revealed this article in the Guardian, which talks about research that placebos seem to work even when patients know they're taking a placebo (but providing that they're told that placebos work).

So maybe it stayed away.

My search also revealed many other articles and I could easily cherry those that demonstrated what I want to hear. Unless I'm after unbiased evidence-based research that is, which is hard to pick out in all the noise. This article, for example, is much more critical about the research that the above Guardian article cites. It's a real challenge trying to figure it out - although Ben Goldacre's site is a good place to start, provided you don't mind the relentless homeopathy-bashing.

It seems to me that there's something psychological going on with the placebo effect (although this comment on Ben Goldacre's site argues differently), but I can't figure out what. Is it a case of: this nice man in a position of authority is telling me that this sugar pill works, therefore it will? Or maybe: because I am doing something about my pain I am therefore getting better? Or, given that different placebos seem to have different effects, is it something else?

It seems a shame that the placebo effect is tucked away on the fringe (for example complimentary treatment) rather than being a mainstream option. After all, I'd rather be cured by a harmless sugar pill and the placebo effect than a powerful chemical with side effects. But I'm not sure that's ever going to be an option when I visit my doctor. 

As for my joint pain, I'm trying the exercises as I'd rather not take glucosamine if I don't need to. We'll see how that goes.

Saturday, 17 September 2016

Six linked Amber Zones

I've been enjoying a bit of nostalgia following the recent Bundle of Holdings for Traveller and GURPS Traveller.

I've never had so much Traveller goodness as I do now!

Anyway, it made me go back into my files and dig out six linked Amber Zones that I wrote for a little fanzine called Cerebreton, way back in the late 1980s.

I've updated them with links to the Traveller Map and the Traveller wiki, but apart from that they're pretty much unchanged. Here they are:

AZ1: Search for the Stardrive

AZ2: The Skywhale

AZ3: The God Monster

AZ4: Where Eagles Dare

AZ5: The Derelict

AZ6: The Poseidon Adventure

Wednesday, 14 September 2016

Kindle gamebooks

Over the summer I turned the free version of our Way out West murder mystery game into a book, using Amazon’s Createspace. You can read more about that on the Freeform Games blog.

Way out West's cover
One thing that Amazon made it pretty easy to do was to turn your Createspace files into a Kindle file as well. And while I made a couple of changes to the layout (largely to remove some tables, which the Kindle software didn’t really like), the Kindle version of Way out West and the book version of Way out West are the same.

I must admit to having mixed feelings about creating a Kindle version. Just because I could doesn’t mean that I should have.

I’ve read three gamebooks to date on my Kindle Paperwhite (FATE Core, The Esoterrorists and DungeonWorld), and none of them have been completely satisfactory.

In episode 172 of Ken and Robin Talk about Stuff Ken Hite puts his finger on the problem. He suggests that there hasn't been a good graphic design that overcomes the difference between the schizophrenia of a RPG manual needing to both teach the game AND be a technical reference manual.

And that problem is compounded when you read a game on a Kindle. Kindles are great for long-form reading (like a novel), but lousy for anything where you have to flip between sections (like a gamebook).

I don’t think anyone expects someone to run a game on a Kindle - instead a Kindle edition should be about teaching the game. That’s certainly my reason for reading RPG games on my Kindle. But instead I’ve had to wade through pages of skills...

So I was in two minds about turning Way out West into a Kindle Edition.

My reasoning for doing it ended up as follows:

  • I wanted to see what was involved in the process, in case I ended up doing it again. I know that’s not a particularly customer-focused reason, but it was still a reason.
  • I had already spent some time thinking about how the book would be laid out compared to the downloadable pdf files. The Way out West book is ordered in such a way that it hopefully makes sense to anyone wanting to read it from start to finish. It’s actually ordered differently to the downloadable pdfs, which are arranged according to how they needed to be printed out.
  • We really don’t expect anyone to run Way out West from the Kindle Edition. No, really. But they can download the free version for that from our website. So the Kindle edition is a taster, a marketing hook rather than the main product itself.

Having done it once, if we were to turn another of our murder mystery games into a book, I doubt I would bother creating a Kindle edition - not unless demand was unexpectedly high.

Saturday, 3 September 2016

DramaAspects for Fate

The last time I ran Fate I used Hillfolk to create “drama-aspects” for all of the characters. Well, I didn’t create them - the players did.

This is what I did and what happened.

The Crasta Demon

I’ve written a short three hour convention game for Fate Accelerated, which I ran for my regular bunch of players. The game involves members of the city guard investigating a demon.

As I’ve mentioned before, it’s important to me to be invested in my character when I’m playing a one-shot, so I had the players do the following:

  • I asked them to describe their most recent exploit together, and I asked them what impressed them about one of their colleagues - and they could use that as an aspect if they wanted.
  • I let them choose their last stunt (I’d carefully chosen the other two stunts for them - based on what I knew was coming up).
  • And I got all Hillfolk on them.

In terms of Hillfolk, what I did was ask them what they wanted from one of the other characters (love, respect, forgiveness, power, etc), and then asked that player why they couldn’t have it. (I made sure that these relationships were evenly spread - we could have done more but I only wanted a hint of Hillfolk.)

Here’s what they came up with:

  • Captain Wickham: ‘I want Librarian Helsing’s subservience (but he thinks I’m an idiot).’
  • Librarian Helsing: ‘I want power over Private Loxley (but she won’t grant it as I’m outside the chain of command).’
  • Private Loxley: ‘I want Captain Wickham’s love (but he won’t fraternise with his troops).’

These then became one of their aspects.

Two sessions

We played the scenario over two sessions (which means I may need to trim the scenario a bit for when I run it at a con).

I let the players decide how to run with these aspects - I didn’t push them at all, except that the start of the second session I asked the players to remind me what their aspects were.

As it turned out, these aspects lead to some lovely roleplaying at times, particularly in the second session. (It’s possible that in the first one they got lost in amongst the rest of the team-building.)

Although I set them up as aspects, we didn’t invoke or compel them. They influenced play, but we could have been more mischievous; Helsing could have offered a fate token to Wickham to get him into trouble ‘because you want my subservience and you don’t want me to think that you’re an idiot.’ We didn’t do that, but it’s something I shall try and remember for the future.

(Being a short game, we didn’t have to worry about resolving any of these drama-aspects. In a longer game Loxley might have decided to leave the Watch, which would overcome the obstacle to Wickham’s love. That might then result in a new drama-aspect - depending on how events played.)

Player feedback

After the game the players told me that they really enjoyed the drama-aspects, and that they influenced how they played their characters. Certainly there were some lovely moments that only occurred because we’d set up the drama-aspects.

I’ll definitely do it again.

Monday, 29 August 2016

Convention Games

The 2000s were a bit of a desert for me in terms of tabletop roleplaying. I wrote and ran and played loads of freeform larps, but no tabletop. And while I love freeforms, tabletop roleplaying scratches a different itch, so I’ve been trying to do a bit more.

Over the last three years I've made an effort to do more tabletop. As I don’t have a regular weekly group, this has been mostly at conventions and GoPlayLeeds every month. And I've been reflecting on the difference between the games I've enjoyed, and the games I haven't.

Here's what I've learned.

Invested in my character

It doesn't seem to matter which system I play, or who the GM is, the more invested I am in the character, the better the game is. This works best when I have some involvement in creating my character. Hillfolk is supremely good at this, because my character and his/her relationships with the other PCs is developed collaboratively during the the pre-game workshop.

It doesn't have to be as extreme as Hillfolk, but please give me a bit more than a sheet of numbers. Give me some backstory, a sense of how my character fits into the world.

And let me customize my character, even just a bit. So in FATE let me decide an aspect, or choose my last stunt (from a list). The Apocalypse World games do this well.

If you do just have a list of numbers, then please spend half an hour before we start playing to flesh out our characters. Here's some examples that have worked well:

  • During my first experience of D&D5 (about a year ago), the GM had three questions for each of the players as part of the set up. The questions were tailored for each player. I was a ranger, and mine were: What was remarkable about your tribe? What is your spirit animal? What got away from you while hunting? (That last one turned out to be the best for me, and lead to a nifty resolution at the end of the adventure.)
  • On the other hand, in a recent Masters of Umdaar FATE Accelerated game, the GM got us to create a shared background by asking each player to describe a key scene from the previous adventure - which he used to create team aspects.

(Oddly, I find this very hard as a player to do this without the GM's direction. I've no doubt that says something about me, but I've not seen other players force this either. We obviously need the GM to do this sort of thing.)

Characters that fit the scenario

This really shouldn't need saying, but if you are preparing pre-generated characters, make sure they fit the scenario. If you are giving the players a choice, what happens if they don't pick the character that has the skills to make your scenario work?

More than once I've played characters that didn't fit into the planned scenarios. Unsurprisingly, they often aren't very satisfying sessions.

During play, ask reflective questions

All tabletop roleplaying games are about answering questions (‘the troll charges towards you, what do you do?’) but I’ve particularly enjoyed games when the GM has asked reflective questions such as:

  • How do you feel about that?
  • Who do you think is the leader of this party?

I also like it when I get to describe the outcome of my actions - so when I dispatch an enemy, let me describe the outcome. When I roll a critical, let me say what happens.

Again, this is something as players we could do ourselves. But for some reason we choose not do.

Keep to time

The best GMs know how long they have got, and leave you wanting more. On the other hand, if I’m not that engaged in a session I don’t really mind if I have to leave early.

So you need to know how long you’ve got. Do any of the players have to leave early? (This is particularly important at an event like GoPlayLeeds where the sessions don’t really have a defined length. They can run on into the evening if everyone wants. So there’s not always an obvious pressure to keep the game focused.)

Similarly, it’s best to keep it focused. A con game should be a short, intense experience - it’s not the start of a lengthy campaign. So the players should be crystal clear on what they need to do. Don’t let us wander for too long without finding the scenario.

Limited mechanics

In a four hour game, I’ve noticed that there’s really not much time for more than three sets of complicated mechanics - whether that’s combat or some other part of the game system. Combat is  particularly time consuming.

The problem for me is that the best part of a tabletop roleplaying game is when I’m not rolling the dice. I play these game to make tough decisions, to talk to players and non-player characters, and to figure out the puzzles that stand in our way. I like banter and angst and creating a story.

When I’m rolling dice I’m getting none of that.

My plan for the future

So if you’re running a tabletop game, that’s the sort of thing I’m looking for.

And as I’m hoping to start running tabletop con games in the near future, that’s also the kind of thing I’m going to try to deliver...

Monday, 18 July 2016

Writing Mars Attracts

Mars Attracts is a freeform larp exploring the nature of romance and space exploration for 12 players. It was written at Peaky 2015 by Graham Arnold, Kath Banks, Graham Charles, Mo Holkar - and me.

I've just made it available online, and this is the story of how it came about.

Before Peaky

About a week before Peaky 2015 was due to kick off, Graham C posted on the Peaky mailing list that he was interested in exploring the romance side of freeforms. He explained that romance was often very mechanistic (matching cards, completing tasks) and didn't reflect what romance is really like. He also suggested using Nordic techniques (workshops and the like).

(There are a number of traditional freeform larp romance mechanics here.)

I had two conflicting reactions to that. It seems to me that there's always talk about immersion and bleed whenever someone talks about Nordic games. I don't have much experience of Nordic games, so this could be complete nonsense, but it makes me very wary of signing up to such a game. But on the other hand I'm curious to know more.

So I decided that unless something else really blew my socks off, I'd try to be part of Graham's group. That way, I could find out more and remove the risk of actually playing the game if I didn't like the direction it was going in.

And as there wasn't another game I liked the sound of more, I joined Graham C, Mo, Graham A and Kath. That was a really nice writing group - I've only written games with Graham A before, so it was nice to be working with other people. The group was really supportive, and although we all had strong opinions, we were all pulling in the same direction and it felt effortless.

Friday night - talking about romance

Once we'd formed out group, we didn't get out the computers at all on Friday (which is unusual for Peaky - I've usually started writing by 10pm). Instead we discussed what might be in a romance game, and what we thought was romantic. Here's a sample of the things we discussed:

  • We talked about when romance had worked in other games. I suggested that it was often where the players had chemistry, rather than anything that the game did.
  • The game would use player-generated character creation much like Picking up the Pieces.
  • Romance is often about making your partner feel special. Can we create that in a game?
  • We wanted to include same-sex romances. Or at least, not exclude them.
  • There would be workshops to get the group to bond.
  • We would have a honeymoon workshop/session where the idea was to make partners feel special.
  • We didn't want to emphasise sex - this was about romance, not the physical act of sex.
  • We talked about oxytocin and the chemicals of love.
  • We talked about the power of touch and looking into your partner's eyes - although we didn't do anything with either of those.
  • We talked about arranged marriages and how we might use them.
  • We talked what we might do if we were writing a traditional game, and Graham suggested Jane Austen. Thinking about that, I could imagine a "traditional freeform" with lots of different characters with different aspects of romance.
  • Everyone needed a right of veto, in case play was touching on trigger points.
  • And probably other things that I now don't recall.

But by the time I went to bed (early Saturday morning), we had no idea what the game was going to be about. We didn't know what framework or setting we were going to use for our romances.

Saturday - writing our game

By the time that Saturday morning arrived, we had a solution (which I believe Kath proposed early Saturday morning). Our game was about selecting "stable" partnerships for a mission to Mars. Our players were going to be potential candidates for the first manned mission to Mars. As the mission involved being cooped up in a small space for a very long time, partner compatibility was key, and thus this became our game.

We talked about the structure of the game for a bit, and ended up with the following.

  • Character generation
  • First workshop - training session
  • Second workshop - final few exercise (romantic partners would be in the same group, but at this stage they wouldn’t know who they were partnered with)
  • Honeymoon debriefing
  • Half hour meet and mingle
  • "Shit happens" - six months has passed and not everything is rosy
  • Resolutions
  • Self-evaluation and the decision on who is going to Mars.

(I've made it sound as if we arrived easily at the structure. It wasn't like that - we went around in circles a bit.)

We also came up with a title, Mars Attracts.
Writing Mars Attracts - overacting
for the camera

Character generation

We based character generation on Picking up the Pieces. We assigned roles to our players - these were Pilot, Navigator, Counsellor, and so on. The players then had to choose:

  • A Mars role, such as Geologist, Town planner, Poet.
  • A reason for going to Mars, such as because it's there, to become rich, to find a second home for mankind. (Each of these had a supplementary question to reflect on.)
  • Emotional baggage, such as divorced, sibling rivalry, married.
  • What they're looking for in a significant other, such as a best friend, someone to rescue me, a soulmate.

We hoped that the players would use these to inform their character. What they chose to do with their emotional baggage, or reason to go to Mars, was up to them. We weren't enforcing anything.

These lists didn't take us very long to produce - we had them complete in under an hour.

One of the things that I really don't like about some freeforms is being told how I am to play my character. Personally, that's something that I feel that I should bring as the player, and I know that I don't play "perky" or "energetic" very well. So I was keen to avoid anything like that in the lists. Happily the rest of the group didn't feel strongly otherwise.

First workshop

For the first workshop we formed small groups (that we had prearranged) for a training exercise. The groups had to decide on something that happened that had got them to bond as a team. And each group member had to tell the other members: a) what they really liked about that member and b) what they felt was would be beneficial about that person in a relationship.

The purpose of this workshop was for the players to start practising complimenting each other. We also wanted them to start forming bonds within each other, and to start feeling good about their characters and each other.

Second workshop

The second workshop mixed the characters up and we told each group that their romantic partner would be part of that group. The participants had to explain what had happened in the previous workshop, why they wanted to go to Mars, and find one thing they liked about each other member of the group. Again, this workshop reinforced the good feelings the group was hopefully reinforcing.

The players were encouraged to roleplay this as much as possible, rather than just answer questions. (Because, you know, we were supposed to be writing a roleplaying game.)

The Honeymoon

At the end of the second workshop, we told everyone who their romantic partner was, and told them they were going on a romantic trip for two weeks to properly get to know their partner.

The couples then had to spend ten to fifteen minutes answering a few questions about their honeymoon. The couples decided where they went and what they did, and we gave them questions prompting them to say nice things about their partner. Some examples.

  • Name three good things about your partner
  • What did you do to make your partner feel special?
  • What made you laugh together?

After this, we're hoping that the players will feel good about themselves and their romantic partner.

Entering the space

With the honeymoons over, it’s time to enter the simulator and meet everyone else (kind of like a cocktail party). We instructed our players to introduce themselves and their partner to the rest of the crew. This was the start of the game proper - 30 minutes of roleplaying.

Shit happens

After about 30 minutes, we planned to introduce some complications ("shit happens") representing complications that had occurred during the six months of the simulator. This was done with more bits of paper - these were things like "I think the relationship has gone stale" or "I worry that I'm not very good at my job". Affairs are often the meat and drink of a romantic freeform, and so we included the possibility for one affair, but one only (and it required two different people to choose that particular complication).

The final 30 minute session involved resolving the shit (one way or another), ideally by getting advice from another player (rather than just keeping it in the couples).

The shit happens complications were the last thing we wrote. We actually worked out the game resolution first so that we knew where we were aiming for. Once we knew that, the complications themselves almost wrote themselves.


At the end of the game we find out who is going to Mars. We did this by asking everyone whether they want to still go to Mars with their partner, how well they rated their relationship, and to draw a smiley face reflecting that relationship. If the faces on both partners were smiles - then we decided they were compatible and they were off to Mars.

So that's where we were headed with our romantic game.

Writing and printing

And that was about it. Over the course of a couple of hours we had scribbled this down on a couple of sheets of flipchart paper. It was time to type it up.

While the rest of the group typed it up (it didn't take long), I organised how the games would be run on the Sunday and who would be playing in them. This wasn't straightforward, and I think for the first time ever at Peaky I ended up not actually typing anything towards the game itself.

We (and by that I mean everyone else) printed the game on different coloured card to make everything stand out. I thought it all looked rather fine.


Organising the games wasn't easy, but when everything was done we had seven players sign up to our game. (I don't think we sold it very well - the title, Mars Attracts, probably didn't send the right message. We also had three drop-outs from Peaky by that point, which didn't help.) So with three of the writers playing, we planned for ten players.

As I said at the start, I was worried about the direction a romance game might head. Having seen it evolve, I was now keen to play it as I thought it could be something special. So I ended up playing.

Once we knew who was signed up, we needed to work out who was going to be paired up with whom. We had already decided that the romantic partnerships would be decided at the start. For example, character A was always going to be with character F, and we told everyone which group they were in for each workshop. But how to decide who gets to play characters A and F?

We ended up doing it semi-randomly. We had four females and six males playing, which meant that we definitely had one same-sex partnership. Knowing that this might be a hot-button topic for some, I checked with a couple of players first to see if they would be happy with a same-sex partner. Once they had agreed, everyone else was assigned randomly into opposite-sex couples.

Uneven workshops

Our original plan was to have 12 participants. That gave us four groups of three for the first workshop, and three groups of four for the second, and was nicely balanced.

With ten players, that became three groups for the first workshop (3/3/4) and two (4/6) for the second. (We wanted the romantic partners to be together in the second workshop.)

Inevitably the larger groups took longer to complete the exercises than the smaller groups. This wasn't ideal, and I think in future I would add optional questions in the workshop for speedier groups. I was in the larger group for one exercise, and it felt important that we finished it.

Playing Mars Attracts - creating characters

I found creating a character quite hard. As players we could choose the categories in any order, and I ended up following a particular path that made sense:

  • Mars role - I chose publicity officer as a relatively neutral role. I was tempted by philosopher, but wasn't sure I could do it justice.
  • Reason to go to Mars - to be the first
  • Emotional baggage - I can never please my family. I decided I came from a large family and had many brilliant brothers and sisters who I could never compete with. Apart from going to Mars.
  • What I'm looking for in a relationship - someone to grow old with, which I felt was one of the more classically romantic options.

I liked how my character shaped itself as I chose the cards. In the feedback, someone suggested that the emotional baggage should be random. I'm not sure if I would have liked that - I was deliberately shaping my character to help the process, and a random baggage forced on me might not have helped. But I think we can have both - if someone wants random baggage, they can close their eyes and pick one (or pick three and choose one). And for those that want to choose, let them choose.

The workshops

I know that workshops aren't everyone's thing, but I enjoyed them. I'd recently done a postgraduate certificate in leadership and management and there were similarities (perhaps deliberate) between some of the work I'd done on the certificate and the workshops. Knowing what we were trying to do with the workshops helped when it came to participating.

I liked how I changed my behaviour as the workshops progressed. For example, in the first workshop I was part of the bridge crew, and in the first workshop we agreed that we had bonded as a team during an exercise in the zero-g tank (ie underwater) that had gone wrong. The pilot said that he liked that I was very communicative and kept everyone informed during our crisis. As a result, I found in the next workshop I was more communicative than I might ordinarily be, and I shared my emotional baggage really early. (And shortly after, someone else then picked up on that and said that they liked that I was very honest.)

Honeymoon debriefing

The honeymoon debriefing was lovely. My partner (Traci) and I spent ten or so minutes building this lovely romantic story about a holiday in the Alps in summer, hiking, enjoying the scenery and sharing bottles of wine in the evening.

Some of the feedback suggested that the honeymoon could have been done in-character, and not as a series of questions. But to me, just because they were questions didn't stop me from being in-character. I never felt out of character during that session.

And after all that ego-stroking, I probably felt higher then than I did all weekend. At this point, the game was doing everything I hoped it would.

Entering the space and the meet and greet

The meet and greet/cocktail party was okay. It was a good way to meet everyone and find out who everyone was and where they had been on honeymoon, and it was a pleasant half an hour. But I'm not good at that sort of thing in real life, and I probably found myself waiting for the next session sooner than most.

6 months later and shit happens

At this point in the game, I realised that my relationship was probably more important to me than going to Mars. Mars was important, yes, but I really didn't want to ruin the relationship. So when it came to choosing a Shit Happens card, I avoided those that threatened the relationship and picked one about confidence - "I'm not very good at my job".

(There was also some discussion as to whether these should be random, as they might be in real life. Well, maybe. I'd let the players decide. While I carefully selected my complication, at least one other player picked one completely at random.)

Final session - resolving shit

I resolved my confidence issue with another player, who boosted my confidence. My partner had a bigger problem though - she'd discovered that our relationship was getting very samey. So we talked about that, and agreed that we should open ourselves to new experiences, and that it was important that we talk about issues before they become bigger problems.


Then it was just the final self-evaluation questionnaire, and the relief of discovering we were both off to Mars.

Not everyone did go. There were two couples who split up - and a new couple formed from that split. (So there were two people who didn't go to Mars from our group.)


I'm very happy with the whole experience. It was a delight to write, and a delight to play.

It can be difficult playing a game that you've written - I've found that you can end up being a background character and facilitating other people's play (because you know all the game secrets). That certainly wasn't true this time. While I think that I had an advantage in that I knew what was going on (in that I knew what to do in the workshops), it's also true that knowing what was in the game didn't help me as what happened depended very much on the other players.

From Peaky to published

As with pretty much any Peaky game, the published version isn't much different from the Peaky version.

Apart from some instructions, the only real change I made was to what I considered to be some of the sillier job descriptions (such as poet) which didn't feel right for the first mission to Mars. Personally they don't feel "realistic" to me. One player created a comedic Scientologist character, which wasn't the effect we were aiming for. I don't know if that was a reaction to "unrealistic" job titles, but I don't suppose it helped.

I would reinstate them if we changed the game to be about the first Mars colony rather than the first Mars mission. Maybe.

Beyond Mars Attracts

Some of the lessons from Mars Attracts I'd like to take to other games (and beyond):

  • I think the biggest thing that I've taken is to make romance in freeforms special. It's not just about matching cards or performing tasks, we've got the opportunity to do something different. Matching cards might be the start of it, but we can also ask our players to consider what it is about their new partner that attracts them? What are they doing that makes them feel special? Those are easy questions to ask (and this thought fed my all-purpose romance rules).
  • I should do more Yes and-ing. I was better at it when I was younger.
  • And I can imagine adapting some of the workshops for team-building exercises at work. (Probably not with the romantic emphasis, but maybe in terms of finding good things about each other.)