Many Forged in the Dark games—including the original Blades in the Dark—open their rulebook with a list of influences or touchstones. These highlight inspirations, but perhaps more concretely, clue players in on what type of media you can expect to create with this game.
The new setting in Crossing Worlds is important to me partly because I struggle to list inspirations that most gamers would understand:
But what about genre touchstones? Surely I have those?
Any mainstream touchstone I could point to is steeped in the culture that created it. Sure, let's say the game is like fantasy, but decolonize it: there are no monsters; there is no treasure or loot; you do not get xp for killing others, instead you have to inflict that damage on yourself too; there is no supernatural magic, instead there is the power that comes from relationships and interdependence and the magic of realizing nature is our equal; there is no concept of set destiny because time is not linear but moves in cycles...but unicorns? I mean, I don't care. Animals of mythical shapes and sizes and features are fun; imagination is cool.
But remember if you do have unicorns they have no special connection with virgins, because women are not owned by their male relatives or defined in relation to male sexual appetites.
There is no good vs. evil, only balance vs. imbalance.
But also there are no heroes and there are no nobles; there are people, choosing to add or to take away.
There is no success condition or happy ending; the world will fall into ruin; your job is to make sure it doesn't happen in your generation; your job is to think about the effects on the generations to come.
Okay, maybe fantasy isn't right, let's look at science fiction.
Oh wait. Western Science. There are literal textbooks and degrees deconstructing all of the tension between that genre and indigenous views.
And this is why I prefer to avoid genre touchstones. I'd rather let the mechanics and the experiences speak for themselves.
So...why am I saying anything at all?
Part of me would prefer to sidestep touchstones entirely. I would prefer to not mention the inspiration at all. That's what my grandmother did; she hid her Cherokee identity for decades. Until she went back home, and decided it was time to be honest about who she is, and started talking. It came out slowly. It wasn't until her 70s that the dam broke and she talked about it every time I saw her; it was only with a few people she talked about her traditional spiritual beliefs at all. But she talked.
So as uncomfortable as it is for me, here are my touchstones. I am Cherokee. Some of my family were on the Trail of Tears; some weren't. Some enrolled with the tribe; some didn't. Some stayed in Indian Country; many did not. Some identify as Cherokee now; some identify as white.
The game is about the tension and complexity of that question: "how do we resist when pressured from all sides to be something else?" Importantly, the game is about you defining and exploring what resistance means. Because it can look vastly different from person to person—and still be valid.
I ask my questions through the lens of the Cherokee culture, but I think the exploration is something we can all relate to on some level. Because I think we're all connected. That's part of the magic.
This blog is a mix of game design analysis, commentary on issues affecting indie dev spaces, and some personal reflections.