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.
In July I tweeted: "When you've been working on a project for 3 years, are preparing to release the 4th version, and THAT's when your brain is like, 'Oh, THIS is what the game was about the entire time.' Thanks editor brain, glad you finally showed up to the party."
Last summer I was writing an intro to the Mission chapter of the book, and as I described what missions you would be called to do, and why the powers-that-be relied on the desperate, my brain was like, "Oh hey, this feels familiar."
Crossing Worlds is about several things, but the advancement system? The entire concept of doing missions for "more important people?" Starting with a mix of ideals and ambition, then becoming jaded and beat up in the process?
That part of the game is about the military system in the United States.
What do I mean by that? On this Martin Luther King Jr Day, I'm going to turn to his words. From his speech "Beyond Vietnam":
"I was increasingly compelled to see the war as an enemy of the poor and to attack it as such.
"Perhaps a more tragic recognition of reality took place when it became clear to me that the war was doing far more than devastating the hopes of the poor at home. It was sending their sons and their brothers and their husbands to fight and to die in extraordinarily high proportions relative to the rest of the population. We were taking the black young men who had been crippled by our society and sending them eight thousand miles away to guarantee liberties in Southeast Asia which they had not found in southwest Georgia and East Harlem. So we have been repeatedly faced with the cruel irony of watching Negro and white boys on TV screens as they kill and die together for a nation that has been unable to seat them together in the same schools. So we watch them in brutal solidarity burning the huts of a poor village, but we realize that they would hardly live on the same block in Chicago. I could not be silent in the face of such cruel manipulation of the poor.
"My third reason moves to an even deeper level of awareness, for it grows out of my experience in the ghettos of the North over the last three years, especially the last three summers. As I have walked among the desperate, rejected, and angry young men, I have told them that Molotov cocktails and rifles would not solve their problems. I have tried to offer them my deepest compassion while maintaining my conviction that social change comes most meaningfully through nonviolent action. But they asked, and rightly so, “What about Vietnam?” They asked if our own nation wasn’t using massive doses of violence to solve its problems, to bring about the changes it wanted. Their questions hit home, and I knew that I could never again raise my voice against the violence of the oppressed in the ghettos without having first spoken clearly to the greatest purveyor of violence in the world today: my own government. For the sake of those boys, for the sake of this government, for the sake of the hundreds of thousands trembling under our violence, I cannot be silent."
Full Speech transcript and audio. If you aren't familiar with this speech, it is well worth a listen (or read).
Crossing Worlds, in many way, is about the military. Join. Fulfill the agendas of those above you. Conform to the system to find success, or leave the system. Be pulled in by the promise of benefits (healthcare, stable salary, educational scholarships) but pay the price of extreme stress, potential trauma, and existing in an inherently dehumanizing system that refers to you as "bodies", i.e. "We need another body...you can't go on leave, we don't have enough bodies...ok y'all, we're going to be down some bodies over the next few weeks."
I will be the first to admit the benefits of military service can positively change a person's life. My own family has served for generations, and received financial and educational benefits, as well as developing skills of leadership, resilience, organization, discipline, and probably a dozen others from that service. But as MLK Jr highlights, you can't escape the violence inherent in the system, especially with such a disparity between who makes the laws and declares the wars, and who actually serves.
I can't play military-themed roleplaying games personally. Partly because seeing non-service members "roleplay" being in the military based on Hollywood stereotypes is grating, and partly because I don't like my hobbies to remind me too closely of real-life events.
But as it turns out, all along I was making a game about the military. Just in this version there are no ranks or uniforms, and instead we have super-sized magical pets and Inspector Gadget level cybernetics....and I'm okay with that.
I've continued to work on the setting summary. Rather than edit the first post (again) I've decided to post the next version of the setting. Since I don't currently stream my design, this is the closest you can get to design-in-real time.
I am working on making a default ready-to-play setting for Karma in the Dark. Other design projects have been put on pause while I jump fully into this revision.
This is something I've been considering for over a year but put off for various reasons. The rulebook will continue to support making your own world with the world creation chapter, but that will be optional rather than required.
I've been turning around ideas about the default setting for a long time. I want to hold onto touchstones of a dystopian, oppressive world counter balanced by fantastic magic and technology. Perhaps the biggest (and maybe divisive) choice was to leave earth for the default setting. I've felt restricted by concepts of traditional cyberpunk and want to explore similar themes in a different way. That suddenly became easier when I stepped into the broader speculative fiction space.
Below is a draft of the current concept. It is still open to significant change and reworking. (For example, this write-up has already been redone three times today).
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.
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.
This is part 3 of 3 about safety tools in tabletop RPGs and why I chose to make Brie Beau Sheldon's Script Change Tool a core mechanic in Karma in the Dark.
In this post, I explain why I didn't choose some common safety tools. This is not to say those tools are fundamentally "bad" or "wrong", they simply didn't provide what I needed for my game.
This is part 2 of 3 in a series about safety tools in TTRPG's and why I chose to make Brie Beau Sheldon's Script Change Tool a core mechanic in Karma in the Dark.
Part 2: Why Karma in the Dark Needed Safety Tools
I was playing a D&D game at a con, and the GM told me I woke up in my inn room to the realization that a stranger, a man, was sneaking across the pitch-black room towards my bed. A beat later, the GM explained that he belonged to the same secret guild as my pre-made character.
In the space of that beat? I was a female player, with a female character, in a group of all men, with the image of being woken up to a dark room with a strange man moving close.
I honestly don't think the GM meant to push the "fear of sexual assault" button. It just didn't occur to him.
I'm writing this design post mortem after being up all night writing and editing, so it might not be the most coherent thing ever. I am sure it is full of typos.
But I feel like I need to process the labor of the past nine months before I sleep. Or more accurately, walk my dog, feed the animals, and then sleep.
I Feel Proud
That is a weird statement to make about a creative project of mine. I know there's a 100% chance in the future I will see all of the flaws and unfinished work. But right now I feel like this version of the game represents a huge step forward. I feel like the biggest improvements fall into 4 categories:
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.