This post is the third in a series acknowledging key influences on the development of Karma in the Dark. As part of my design post mortem, I want to highlight and acknowledge different (often unknown) contributions to the process.
Adam Koebel uploaded the first episode of Hack Attack to Youtube on Mar 27, 2015. I started my first game hack in June 2015. Almost exactly a year later, I began work on Karma in the Dark. Those events were all closely tied together.
What Was Hack Attack?
Back in 2015, Steven Lumpkin (a professional video game designer) was running a hexcrawl game called The West Marches with a rotating cast, using Dungeons & Dragons 5th edition. Adam Koebel, co-creator of Dungeon World, played several times on the West Marches show. The combination of a non-traditional D&D set-up, a game designer GM, and a game designer player, resulted in conversations about the mismatch between the rules as written and how Steven wanted the game to play.
So Steven and Adam started streaming a show about how to hack a tabletop RPG, using Steven's West Marches campaign as their first example. They streamed a new episode whenever one of them had a relevant game design problem or question. It ran for a total of 7 episodes from March 2015 to April 2016. In the course of the show, they discussed gameplay loops, how to incentivize player behavior, the reward cycle, different approaches to hacking game mechanics, consequences of changing one system within an existing game, introducing new systems to an existing game, and non-traditional roleplay situations like running two groups within the same campaign world.
Part 1: Layout Style
Part 3: Information Processing
This post is the second in a series about increasing accessibility with game design for those with dyslexia. Today, I want to focus on how writing style can make it easier (or harder) for someone with dyslexia to process information. I'll introduce some ways dyslexia affects how people read, then connect it back to games.
Understanding Dyslexia: How Are Our Brains Different?
People often view dyslexia through the lens of the symptoms: difficulty reading and speaking.
To write in a dyslexia-friendly fashion, however, I think it's important to understand the root cause of these symptoms. That knowledge gives us more flexibility to adapt our writing styles around the core difficulty, rather than try and memorize a list of tips. Luckily, advances in brain imaging and neuroscience can help us understand the root causes better than ever before.
Part 2: Writing Style
Part 3: Information Processing
There are several barriers to accessibility in tabletop roleplaying games, from financial, to international shipping, to variable willingness to offer digital PDFs, to reading disabilities. I want to start by focusing on the last one: trying to learn and play TTRPGs with a reading disability.
As someone with dyslexia—who is also frequently the GM and enjoys trying a wide variety of new games—in general, TTRPGs do very little to help those with a reading disability. (I'll be upfront and admit that some of my games have reflected many of the same problems as other games that I'm going to criticize.)
There are several ways to address reading disabilities: how text is laid out, how text is actually written, and how information is presented. In this three-post series, I review each. Starting with layout.
This post is the second in a series acknowledging key influences on the development of Karma in the Dark. As part of my design post mortem, I want to highlight and acknowledge different (often unknown) contributions to the process.
I have a long list of people to highlight in my gratitude posts. My mom belonged to the first Army ROTC class that allowed women, so on this Veteran's Day weekend, it seems appropriate to highlight her. Karma in the Dark would not exist without my mom's support and model.
I am incredibly grateful for my mom. When I was young, she introduced the game "Hero Quest" to our family and took on the Dungeon Master role as Zargon. We bonded as a family by exploring the various campaigns, fighting our way through hordes of monsters. My mom made sure to buy the extra female figures, so I could play a bad-ass female barbarian killing skeletons. I think that was one of my earliest, if not very first, experiences with a RPG game. Her support continued throughout my childhood, as my brothers and I tried out TTRPGs like Shadowrun, Middle Earth, and Star Wars. She encouraged my brothers and I to spend time roleplaying. Even at our nerdiest (writing a newsletter about the escapades of our stuffed animals in our Star Trek equivalent "Anifleet"), she listened, read, and encouraged. She doesn't play TTRPGS, but she read multiple versions of Karma in the Dark, often within in days of being sent the file; she was the first person to offer editing feedback on the last version.
She continues to support gaming as a family experience. During holidays, we split our time between cooking food and playing games. Last Christmas when she came to visit, I wanted to try out the This War of Mine board game. Despite its complexity and dark theme, she agreed. We ended up playing almost every day of her visit, including most of Christmas Day. There were presents, and food, and then hours of us desperately trying to keep our shelter people alive throughout the war. And yes, we had to read the stories and make decisions based on roleplay...because that's the kind of players we are. The mechanics of that game ended up crystallizing several design struggles within my current draft of Karma, and provided the final pieces I needed to finish version 3.
This post is the first in a series acknowledging key influences on the development of Karma in the Dark. As part of my design post mortem, I want to highlight and acknowledge different (often unknown) contributions to the process.
It was the fall of 2015 and I was exchanging emails with Brie Sheldon about Native American representation in the Shadowrun: Anarchy game. They had sent me interview questions for a feature on their blog. I responded to some questions and sent them back. The last question or two, I had sitting in my Wordpad window, open, for weeks.
I never finished the answer and I never replied to that last email.
I'm known for going on tangents. The only consistent thing in my life is that I spend most of it creating things: novels, games, graphics. I love taking apart how art and games work, then reconstructing my own version from the pieces. I'm also enough of a layout perfectionist to adore eraser shields.