Author: Josh Fox

Rabalias grew up wanting to be a pirate. But a band of evil bureaucrats kidnapped him and forced him to work for The Man. Even so, Rabalias was patient and cunning. He escaped by gnawing his way through the walls of his prison and concealing the hole behind a picture of cthulhu. He fled to the coast, and stowed away on the Black Armada, where he worked his way up to the rank of Admiral.

Rules do not elide

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A rule can be a statement of what you can do, what you must do, or what you must not do, and it may also describe *how* you must do a thing. Rules have all kind of uses. In tabletop roleplaying games, one of those uses is to simplify arguments about how things ought to play out in the fictional situations we imagine and describe at the table. This has led to the claim that “rules elide”, and from what I can glean from the froth and din of internet discourse, some people think this is a very important claim*. But I am going to argue this is, at best, a partial representation of what rules do.

Why might we say that rules elide? Well, if you haven’t already, you can go and read the article where this idea was first publicly described (though it has now been deleted and is only available on backup, so don’t harangue the author** about it – which, come to think of it, don’t do that anyway). From reading that article, I take the essence of the “rules elide” claim to be this:

  • Without any rules, we describe the fiction in intricate detail, carefully characterising each little bit of what is happening. For example, we might describe each step, slip, swing and cut of a sword fight.
  • Rules enable us to shortcut that by instead rolling a die and saying “I win”, skipping out all the detail in between.
  • Therefore, rules elide the details of the fiction. Not necessarily all the details – and indeed, by eliding some parts, they effectively highlight what is left – but nevertheless, this is their role. Rules elide.

Whenever one describes another person’s argument there’s a risk that this leads to simplification or misrepresentation but I think the above is a fair summary of the “rules elide” argument.

The problem is that the first bullet isn’t true.

Without any rules, we might indeed describe the fiction in intricate detail. But we might not! In the linked article, an imagined player group describe the picking of a lock by working through the movements of pins and tumblers and whatnot. But that is certainly not how I would handle the picking of a lock. Here are a few ways I would think about doing it:

  • I might make a quick decision either way and describe what happens. “Nope, you can’t pick it, and your lockpick snaps.” “Cool, it opens.”
  • I might describe the lock and ask the player picking the lock what happens. “This is a top quality valyrian steel lock. How good a lockpicker are you, do you think you can open it?”
  • I might present a “yes, and” or “no, but” sort of approach. “Sure, you can open it, but it is going to take a while and you can hear the footsteps of the guards approaching, what do you do?”

You could of course argue that somewhere in there I’m using rules. My ability to “make a quick decision” rests on some rule, whether explicitly stated or implied, that I have a right to make a decision (probably because I’m the GM). But in reality if we started trying to roleplay together without discussing any rules at all, it is very very likely that at some point someone would skip over most of the fictional detail and make such a decision. Indeed, the decision to say “you find a locked door” is such a moment. The casual elision of details is actually a fundamental part of storytelling and imaginative play, regardless of whether you think there are rules involved.

So it’s not the case that roleplaying without rules is inherently very detailed.

But more than that: rules can actually supply detail where none would otherwise exist.

Consider the classic case of a game of cops and robbers. “Bang bang! You’re dead.” “No I’m not!” In this game, we skip over enormous amounts of detail. I point my two fingers at you and say bang bang, you fall over or you don’t. At no point do we consider what kind of gun or ammunition we’re using, what armour we might be wearing, how good my aim is, the potential elements affecting my aim such as distractions or (at longer ranges) wind. We are eliding the heck out of that gun fight.

I defy anyone to look at the crunchier roleplaying game manuals and tell me that these games elide compared to this simple roleplaying activity. Looking at my old copy of Shadowrun 4th edition, I see 2 and a bit pages of rules for adjudicating initiative, 6 and a bit pages of rules for different types of ranged fighting, plus 9 pages of details about different types of ranged weapons (with pictures!) This is not eliding *anything* relative to how I would normally conduct a firefight in a roleplaying game; in fact if I take it seriously as a set of rules, it enormously expands the level of detail and precision I would use in narrating such a fight.

So at the very least, I think we have to say that rules don’t always elide. Perhaps they are always eliding compared to some perfect simulation of reality, but that is certainly not the default or most commonly observed state of imaginative play when unmediated by rules.

What, then, will we say about rules? Rules are a way of guiding the conversation. We can drill into the details we find interesting, as Shadowrun players presumably find weaponry. We can skip over the details we don’t find interesting, as many other games do with the details of the same weaponry. We can remove arguments over who went bang bang first and who is now dead. We can specify how decisions should be made, and who gets to narrate the outcome of those decisions, as when Forged In The Dark tells us who gets to decide what dice to roll and who gets to decide the level of risk and effect. We can quantify things that would otherwise remain vague, as with hit points in D&D or sanity in Call Of Cthulhu. We can introduce details that don’t exist in the real world, like the characteristics of a monofilament whip. We can force the conversation at the table down particular lines, as when in Ten Candles, if the last candle goes out, the characters die regardless of what they may have had planned. We can force a player to describe something they hadn’t even thought about until a moment ago, as when in Apocalypse World a character is suddenly asked to tell us their secret pains.

Rules can sometimes elide. But more often, rules specify. Rules focus. Rule describe. Rules intrude.

Rules are a magical way to shape our conversation at the table, to direct play and to bring imagined worlds to life. Used unwisely they can be blunt instruments that get in the way of good storytelling. But the best rules help us tell stories we almost certainly wouldn’t have told otherwise. They mostly don’t do it by eliding.

If you enjoyed this blog article, please encourage me to make more by supporting the Black Armada Patreon.

*Side note: I am far from the most up-to-date person on internet discourse. I think this claim may be fairly old, at least by the frenetic standards of discussion on X and other such places. I’m sorry if I sound like an old man shouting at clouds.

**Which, to be clear, I have no idea how important the author thinks “rules elide” is as a statement or how sweepingly they intended to make that statement. Perhaps this entire article is a statement of the bleeding obvious – ironically I kind of think so. Still, discourse eh?

Lovecraftesque second edition is available to pre-order

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Lovecraftesque. The eldritch horror roleplaying game where you create the mystery at the table. Pre-orders now open. Image shows the Lovecraftesque box cover with a skull-like monster lurking behind a lone character in the woods. Alongside this are the new rulebook with a striking red-and-white cover, and a spread of cards from the new edition.

Lovecraftesque second edition successfully crowdfunded in late 2023. You can now pre-order it here, or if you’d like to know more, read on!

A Storytelling Card Game Of Eldritch Horror

Lovecraftesque is a storytelling card game of creeping cosmic horror, emulating the tone and pace of eldritch horror stories. The game will guide you to create the story of a lone individual who stumbles upon clues to a terrible evil. It creates slow-building, brooding horror that the main character at first dismisses, until all too suddenly it becomes impossible to deny. The ending will certainly be bleak, and the main character is likely to meet their doom.

A mock up of the cards used to play the game
Brand new cards help streamline gameplay and inspire your group

Lovecraftesque is an emergent mystery game, which crafts a story out of clues that you take turns to create. The game includes hundreds of creative prompts to help you generate your story and guide the main character towards a confrontation with cosmic evil. You take turns to drip weird events into the story, building up your mystery one clue at a time.  Each player creates a secret theory about the horror and the truth about the horror emerges from those theories. By the end you’ll reach a chilling climax that none of you could have predicted at the start.

Lovecraftesque is easy to learn and teach, simple and intuitive to play, with hundreds of prompts to fire your imagination. It can be played with 1-5 players in around 2 hours.

Lovecraftesque is created by Josh Fox and Becky Annison of Black Armada Games, the award-winning publishers who brought you Wreck This Deck, Last Fleet, Flotsam: Adrift Amongst The Stars and Bite Marks.

A mock up of the Lovecraftesque core box
A New Edition

We created the first edition of Lovecraftesque back in 2015. It was our first game design project and we were delighted with its success. It’s received critical acclaim, won awards and gained thousands of fans around the world. But we were new to publishing then, and the costs and risks meant we were unable to realise our full vision for the game. In this new edition we’ve created the game we always wanted to.

The second edition is fully card-driven. It gives your group more support for their creativity through prompt cards that help you get your story set up and populate it with interesting clues, characters and locations. The story will seem to write itself.

There are also brand new card-based scenarios to get your story off to a flying start. Check out the scenarios list to see the incredible range of fresh exciting settings for eldritch horror, written by a diverse slate of talent from across the industry. Like the rest of the game, these are written on cards, meaning you can easily mix and match to make up your own weird tales.

With the new card-driven approach the game is even easier to learn, teach and play. The rules and structure of the game are written into the cards and your progress is tracked on the board, so you always know what you’re meant to be doing. As always we include teaching text to make it easy for you to learn and teach the game at the table, and tools to avoid the stereotypes of Lovecraft’s own work.

We are also commissioning new art by Vincent Sammy and Paul Tomes to make the game look cooler than ever before.

Lovecraftesque second edition will be available as a boxed set with the rules and all the cards you need, and as a virtual tabletop for online play.

Lovecraftesque is crowdfunding from 10 October to 9 November 2023. Pre-order now and become one of the first to back the project!

Lovecraftesque second edition has brand new scenarios!

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We are just 24 hours off the launch of our crowdfunding campaign for Lovecraftesque second edition. If you are excited for the new edition you should follow the campaign now so you can back as soon as the campaign goes live!

As part of the new edition, we have commissioned a ton of new writers to create brand new scenarios for the game, as well as writing a bunch ourselves and updating a few of the scenarios from the first edition. They really are incredibly diverse – not just the writers themselves, but the fresh and exciting settings that they have brought to eldritch horror. I don’t think you’ll find a more unique and original set of cosmic horror scenarios anywhere (though the first edition of Lovecraftesque gives it a run for its money!)

The new scenarios come on cards, just like the rest of the game’s creative prompts, and provide pre-generated characters, locations and clues that you can use to create a story with a distinct flavour. These aren’t pre-plotted adventures, but rich ingredients that you deploy at the table to create your own eldritch mystery. Whenever you use them, they’re mixed in with some standard cards from the core game. As a result, every play through is different, and every scenario is infinitely replayable.

More than that, you can recombine the cards in the scenarios with each other and with those in the core deck to create scenarios of your own. With about 240 cards across the scenarios, it is an awesome bank of cosmic horror ideas and prompts.

Here is the full list of scenarios.

  • A Place In The Country by Lynne Hardy. The Norton Hotel Consortium plans to turn Rowan Hall into a luxury hotel and spa. But what mysteries lurk within the dilapidated hall and gardens? And why is its current owner so desperate to sell? 
  • A Witch’s Love by Michele Gelli. Caterina Sforza (1460~1509), ruler of Imola and Countess of Forlì, political leader and alchemist, was a tough cookie. She held hostage the Vatican’s conclave and she’s said to be a witch who had a well to dispose of bodies of “discarded” lovers. Can Caterina’s presence cross space and time? Can her love change the destiny of a team of archaeologists that are investigating her old castle?
  • Atlantis Swallowed by Becky Annison. Thousands of years ago and the sea levels are lapping at the heels of Atlantis. With greater technological prowess than anything a modern civilization has seen, they are confident they can hold back the waters. But a deeper rot has seeped in through the cracks.
  • Blow Ye Winds by Sasha Sienna and Jonathan Sims. In 1831, the British port of Peterhead processed the butchered blubber of over a thousand whales a year, hunted and killed off the coast of Greenland. Dr Andrew Campbell has left his landlocked life behind to serve as surgeon on the whaling vessel Sanguine, but his first voyage will not be an easy one as a strangeness begins to affect the ship.
  • Echoes of Vulcan by Darla Burrow. It is strange days in Pompeii. Phantoms walk the streets, doors open to tunnels where once they opened to courtyards, and birds fall dead from the sky. Something awful is coming, but what is it and how does it connect to the mysterious Cult of Mithras?
  • Ex Nihilo by Joshua Fox. A spaceship is sent to explore the last frontier of science by entering the black hole V616 Monocerotis “Mon”. The journey into the singularity is even more terrifying than expected.
  • Mr Giggles Comes To Dinner by Misha Bushyager. Your kid won’t shut up about their ‘imaginary friend’s’ exploits. So far, so normal, until you start experiencing them too.
  • Nothingness has a thousand endings by Bryan Thao Worra. In this scenario, the witness takes a step into the 1990s Southeast Asian refugee community in a working class neighborhood in the US to resolve a mysterious debt of uncertain consequences.
  • On Ilkla Moor Bah’tat by Becky Annison. Ilkley Moor is a dark and foreboding place for a young world war II evacuee miles from the city she called home. What lurks in the soothing waters of the suspicious Hydro Hotel and are the locals friendly or ready to offer her up on a plate?
  • The Chicxulub Horrors by Santiago Villa. In the coast of Yucatán where an ancient meteorite has created a gargantuan underground crater that is now a web of tunnels, a man disappears. During the art boom of the 1930’s in Mexico, painter and muralist Hervé Pelletier has gone missing and his wife, Amaranta Vera, has arrived at Chicxulub Puerto, a town nestled over the crater’s dead center, to look for him.
  • The Hidden Cabinet by Helen Gould. A scenario about whispered rumours, duplicitous politicians, and what really happens in the corridors of power. What will you find behind these closed doors?
  • The Sea Hungers by Thomas Manuel. It’s Bombay in 1728. As the East India Company recovers from a ferocious defeat at the hands of legendary pirate admiral Kanhoji Angre, a naive, young marine discovers a sinister plot involving sacrifice and spirals of blood.  
  • We serve and protect by Kenneth Hite. A long hot summer of protests rocks the streets of Chicago in the 1970s, and you rock with them. Until the cops pen you in, snatch you up, and take you to the precinct house, where worse things than rubber hoses wait in the basement. The Chicago Police Department serves and protects… but what inhuman entity do the cops who have you serve? What dark secrets do they protect?
  • Wolfshead by Joshua Fox. Sherwood, Nottinghamshire, in the 13th century. A hapless cutpurse robs the wrong person and finds themselves in possession of a strange item. Now they have the Baron’s men hunting for them – but that may not be the worst thing that stalks the night.
  • The Copycat Canal Murders by Becky Annison. Ritual murders spanning a century are investigated again in the age of DNA profiling and AI. Will the truth of the horrifying secrets on the foggy banks of the canal finally be revealed?
  • The Outer Gods by Nick Bate. The year is 23XX. Humanity has colonised the Solar System aboard reality-rending liveships, warding themselves against unearthly things hiding in the dark through ritual and prayer. Monette is one such liveship, a salvager investigating the sudden reappearance of a lost generation ship. What will they find aboard the deadship Yog-Sothoth?
  • The Siren’s Caw by W.H. Arthur. Every summer, visitors from London and beyond are drawn to the seaside resort of Brighton. Are they called here by the eldritch forces from beneath the waves, or is there something even more sinister from across time and space?
  • Through The Waters, Darkly by Josh Fox. A research and exploration base has been set up at the bottom of the deepest place on Earth: the Mariana Trench. The small team of scientists are isolated in the cold depths as they explore the last frontier of our planet. Isolated, yes: but not alone.

Lovecraftesque second edition launches on Backerkit crowdfunding tomorrow – Tuesday 10 October, at 11am ET / 4pm BST. Follow the campaign and be one of the first to back the new edition.

Lovecraftesque 2e has hidden UV art!

Josh Fox 1 Comment

We’re ONE WEEK away from the launch of the Lovecraftesque 2e crowdfunding campaign and, to celebrate, I want to share with you a very exciting part of Lovecraftesque 2e which is *hidden UV art*. The new edition will come with a UV torch, and when you shine it on the box, board and rulebook you’ll see extra detail that was invisible before.

The cover of Lovecraftesque shows a lone figure investigating some weird-looking cocoons while a skull-like monster lurks behind them. When you turn the torch on, extra detail is revealed: tentacles, egg sacs and a summoning circle centred on the figure.
A mock-up of what the UV cover will look like

We first saw this approach in the Italian edition of Lovecraftesque 1e by Narrattiva, and we’re stealing it wholesale. Every illustration will contain hidden details and the text itself will be splattered with sigils, blood stains and tentacles. Check out the Italian edition cover below – you’ll be seeing something very similar on the new edition’s rulebook.

The Italian edition of Lovecraftesque 1e

The art for this game is going to be SO GOOD. You’ve seen the awesome cover by our lead illustrator Vincent Sammy, who also illustrated Bite Marks. There’s more where that came from. Check out this gorgeously creepy illustration for the game’s board, also by Vincent Sammy – shown here with its UV art.

The board for Lovecraftesque 2e.

And we also have Paul Tomes creating interior illustrations for the book. We’ve long admired Paul’s style and we’re really excited to have him on board. Take a look at this terrific piece showing horror about to unfold in a mine. Again, there will be UV on this one, but you’ll have to wait to see that.

A cross section of a mine, with tiny figures dressed in high-vis. Lurking behind the rock face are enormous tentacles about to break through.
One of Paul Tomes’ illustrations for Lovecraftesque 2e

As always, commissioning art for games is my favourite bit about being a small press publisher. It’s always delightful to see our weird ideas turned into something gorgeous, and to support artists while doing it.

The campaign for Lovecraftesque 2e is here.

Lovecraftesque 2e: what’s new

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We are just TWO WEEKS from our crowdfunding of Lovecraftesque second edition (you can sign up to be notified when the campaign launches here). There are a ton of exciting things to share about the new game and I’ll be announcing them day by day.

But let’s start really basic: what is new in the game’s core design?

It’s still a GMless storytelling game where you share control of one main character, and also share the job of creating the clues that drive the mystery. It’s still about slow-building mystery culminating in worldview-shattering horror and a bleak ending for the main character.

But the game now comes with a plethora of prompts to help you create the characters, locations and clues.

You get a dedicated deck of Location Cards with prompts to generate the places where the horror unfolds, and a deck of Character Cards with prompts to create NPCs your main character might encounter. The two of these together help you rapidly generate the setting for your game; perhaps you’ll be presented with a Holy Place, a Remote Location and a Natural Feature and immediately think to yourself “that sounds like a monastery in the mountains”. Once you’ve decided your basic setting, the cards enable you to create a bunch of ready-to-go story elements that you can grab and quickly turn into a scene.

Sample location card
Sample location card
Sample character card
Sample character card

Then there’s the Mystery Deck, which is the engine that drives the unfolding mystery. The Mystery Deck contains Clue Cards with a theme for a Clue. Themes like technology, strange writings, weird construction, and rites & customs. With each card, you can straight away imagine the sorts of eldritch weirdness you might create. But to make it even easier, the cards contain a handful of prompts that you can quickly flesh out to turn into a Clue.

Sample clue card
Sample clue card
Sample clue card
Sample clue card

The Mystery Deck also contains Special Cards, just like the ones in the first edition of the game, that allow you to break the rules. These shake up the story so that just occasionally the main character will get killed midway through the story, and pick up a new character; or, even more surprising, they might actually defeat the horror at the end.

The game also comes with scenarios, just like the first edition, written by a diverse international slate of authors and covering fresh and varied venues for cosmic horror. What’s new is, the scenarios are written on cards. This makes it simple to set up the characters and locations where everyone can see them, and dish out the clues to the group. Further, you can recombine the scenario cards with cards from other scenarios and those from the main deck to create your own scenarios, and for infinite replayability.

The scenarios aren’t stretch goals: we’re funding them as part of our main goal. There will be a set included in the main game, and more available as expansion packs. We’ll be announcing details in the coming days.

Alongside those you have the Story Track and Story Cards, which guide you through the game. They serve a similar role to the teaching guide in 1e, walking you through each part of the game so you always know what to do next. This is a bit like the way games like For The Queen present each new step of the game on cards, making it simple to follow the structure of the game.

We haven’t got rid of the teaching guide, by the way – we know this was a favourite feature of the first edition. What we have done though is integrate it into the rulebook so that the whole text is now presented as a read-out-loud guide.

Finally you have Rule Cards which describe the key rules of the game – things like the creeping horror rule which limit how extreme the clues can be. These serve as a handy reference but also help to highlight when the rules change mid-game – it’s very satisfying to discard the rules that have been limiting the horror and know that the leash is off!

Sample story card
Sample story card
Sample rule card
Sample rule card

All this makes for a hugely improved experience: better creative support, slicker, easier to learn rules, and a more accessible game. I’ve successfully taught and played a full session of Lovecraftesque in 90 minutes and the group was BUZZING with how much fun they had and how easy it was to pick up.

I’ll be back with more over the next two weeks. In the mean time, if you haven’t already, you should get yourself signed up to be notified when the project launches. Don’t miss it!

Lovecraftesque second edition is coming!

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Check out the preview page and sign up for updates

We’re launching a new edition of Lovecraftesque, the classic storytelling game of creeping cosmic horror. Lovecraftesque creates chilling eldritch mysteries that keep the whole table in suspense right until the end: the story emerges over a single session as if by magic without any prep, planning or discussion. The first edition was critically acclaimed, won the Gioco Dell’Anno (Game Of The Year) award, was a finalist in the IGDN indie groundbreakers, and influenced a generation of mystery games like Brindlewood Bay, Apocalypse Keys and Bleak Spirit. We’re crowdfunding a new second edition boxed set, building on the lessons from the first to make an even slicker, more inspiring, easier-to-learn experience, with brand new art and a plethora of exciting new scenarios for the game. The campaign launches in October.

If you like the sound of that you can find out more and sign up for updates here.

Cute familiars and spooky mansions!

Familiar Friends is a cozy journaling game about the lives of witches’ familiars, and the silly adventures they get up to. It’s solo-first but it also works as a light GMless game for a gang of familiars. It’s a lot of fun! You can get it now by supporting the Black Armada Patreon – and of course it will be available on our itch store in a few months.

Ghost Hunt Live! is a game about TV ghost hunters staking out spooky mansions and uncovering the lives of the ghosts they find there. It’s a Lovecraftesque hack where your TV psychic will gradually discover the truth about a haunted place, ably aided by the crew of your TV show. GHL is on its way to the Black Armada Patreon imminently.

It’s a good time to join the Patreon – for a mere $5 you can get our previous release Polis, plus Familiar Friends and Ghost Hunt Live! when it releases. Not bad!

Wreck This Deck is available to pre-order

Wreck This Deck, the dark urban fantasy journaling game of demon summoning and deck crafting, is at the printers and shipping in the next few weeks. If you missed the crowdfunding campaign, you can pre-order it here.

Wreck This Deck is LIVE on Backerkit!

Josh Fox 4 Comments

Wreck This Deck is a dark urban fantasy game of solo journaling, demon summoning and deck crafting. Summon and bind demons into your Demon Deck, defacing the cards as you go. The game was first published during lockdown and saw a lot of play, and we’re now crowdfunding the print zine that it always deserved, using Backerkit’s new crowdfunding platform.

In Wreck This Deck you will:

  • Delve into dark knowledge and live life on the edge as a demon-summoning deck runner.
  • Bind demons into your haunted deck, wielding their strength for yourself.
  • Modify playing cards, creating a personalized deck spattered with paint, blood and sigils.
  • Unleash the power of your demon deck to fight corporations, right injustice and protect your community. 

Pledge now to help us get the strongest possible launch!

Play Modena

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This last week I’ve been away in Italy at Play Modena, Italy’s biggest gaming convention. I was invited by Narrattiva, who did the awesome Italian Ghostlight Edition of Lovecraftesque, and was at the convention as a guest. It was a pretty interesting experience and I’m going to give you the highlights.

First things first: how do you say “Modena”? This seems to be quite a difficult thing for English people. We get tempted to say “Moderna”, which is wrong. I’ve been studying Italian over the last year and it didn’t help at all. So: the word is pronounced “Moh – duh – nuh“, with a rhythm and emphasis similar to how you say “modelling”.

At the time of the convention Italy was suffering major rainfall and some of the worst flooding its ever had, right near to Modena, something I only started to become aware of as I travelled over. Modena itself seemed unscathed (and indeed fairly dry by British standards) but my hosts were coming from Forli, in the region most affected by the floods. This made life very difficult for them as their daily 1-hour commute became over 4 hours. The convention organisers very kindly put me up in a local hotel and I’m very glad they did because some of the Narrattiva team were surviving on 4 hours sleep a night. But although a gaming con is hardly the most important thing during a disaster like this (several people died), it did affect footfall and some events had to be cancelled. The Narrattiva team stoically (and rather impressively) got on with it and, on a wing and a prayer, managed to keep the show on the road.

Me with some of the Narrattiva team
The Narrattiva team were a very welcoming bunch.

My first day was setting up the stall before the convention. A different experience from what I’m used to – the Narrattiva team had a sort of Ikea-style build-it-yourself booth which initially seemed like madness but looked very good once built. Even if the chaos around the floods meant they needed to do things unconventionally – see the video below for what I mean!

My first takeaway from the convention, on day 2, was that Italian gaming publishers are very showy. We had holographic displays on our booth, showing off the products Narrattiva produce. Next door was a massive table carved to look like a game board. Down the way, an area made up to look like a prison cell you could play Heroquest in. Massive battlemaps big enough to walk on, a room-sized Rubiks cube, and much more. They made UK conventions look a little boring. I’m honestly not sure how much of this is important and effective marketing, and how much is just an arms race of showing off. It does look very cool though.

A gorgeous wooden table carved into a game board.
So cool.

At the convention my main activities were signing books and running games. Honestly, I don’t think I’ve ever signed so many books. I came in thinking Italy was the place in the world where our games are most popular and the convention confirmed it, with more copies of Lovecraftesque sold than we’d normally do at home. I was frequently approached by very enthusiastic fans who wanted to tell me how much they loved the game, and by designers whose games we have influenced. It was a bit like being a minor celebrity for the week, and that was rather lovely.

As for running games, the flooding meant that the printouts and other materials I had hoped to have never materialised. But luckily I came to the convention armed with a prototype set of cards for Lovecraftesque second edition. These proved invaluable and worked even better than they have during online playtesting. The cards made everything smoother and easier to explain, and the prompts helped to grease everyone’s creative wheels. This was so effective that we managed to play a speed run in 90 minutes, which I think is a record for me. (I think the ideal run time for Lovecraftesque is more like 3 hours, but it’s very easy to cut this down if you need to.)

Playing Lovecraftesque 2e at Play Modena
I display my uncanny ability to close my eyes at the wrong moment.

Narrattiva had set up a 24-person “massive game” of Lovecraftesque (would have been 50 person but for the floods), which was a first for me. 7 or 8 individual games of Lovecraftesque were linked together. The premise was that the main character on each gaming table was the beneficiary of the same will: each character inherited a different house and also an item (which was provided as a physical prop in a box we had to open). There was also a “telegram” system where we could send messages to other tables if we wanted to. In the event, my table did a fairly ordinary (i.e. good, fun) game of Lovecraftesque, without making much use of the props or the telegrams, but I liked the idea of it and there was a certain buzz about playing the game in a room full of other people doing it at the same time.

Indeed my second big takeaway from the convention was the focus on play. Every booth in the convention had its own play area, and many “booths” were nothing more than a set of play tables. Organised play was a standard part of having a booth, and booking a session to play with me personally was part of Narrattiva’s sales pitch for the event. Offering massive/mega-games was an important part of the show. In the UK trade halls are essentially nothing but giant retail areas; they might be next door to a big play area, and the companies involved might offer games, but it all feels a bit separate. Given that we’re all interesting in gaming, presumably, to play games, this now feels a little odd. On a related note I heard from the organisers that they do something called “Play on tour” where they set up gaming tables at other (non-gaming) events around the country, including for example local festivals and scientific conferences. I would love it if we did that here in the UK.

Of course, there was also delicious food. I ate the local gnocco fritto, a kind of fried dough served with cheese and cured meat. Naturally there was also wonderful pasta. I had local wine (fizzy red wine served cold – unusual but very nice) and delightful limoncello brought to the convention by a fan of Lovecraftesque. I made myself into a typical Englishman by constantly asking for “un piccolo po di latte freddo” with my tea.

With the convention being in a peripheral part of town I only saw the centre of Modena on the morning before my return flight, but the convention organisers very kindly drove me in to have a little stroll around before rushing off to the airport.

Gorgeous Italian cathedral
Modena cathedral is striking in white stone.

I want to thank everyone at Narrattiva, particularly Michele, Pietro and Filippo (who acted as my translator on various occasions), and Matteo and Marco from the convention team, for being such wonderful hosts and managing to make my stay friction-free despite all the problems. I had a fantastic time and I hope to return one day.

Why we’re using Backerkit for Wreck This Deck

Josh Fox Leave a comment

We’ve done four TTRPG crowdfunding campaigns, starting with Lovecraftesque (first edition) in 2015, then Flotsam, Bite Marks and Last Fleet. All four were on Kickstarter. We’ve had some great success with Kickstarter. But for Wreck This Deck, we’ve decided to go with Backerkit, and I want to talk about why.

First a brief plug for Wreck This Deck. It’s a solo journaling game of demon summoning and deck crafting, where you trap demons in ordinary playing cards by defacing the cards: paint them, stitch them, burn them, scrawl on them. It had some great success when we first released it during lockdown and we’re now ready to give it a print edition. If you like the sound of that then you can pledge on our Backerkit crowdfunding page.

When we first started crowdfunding, Kickstarter was more-or-less the only game in town. Indiegogo was there, but it just didn’t look as attractive, and the campaigns on there didn’t seem to do as well. Kickstarter was an accessible, simple way to get into crowdfunding – and it rewarded its users with what seemed to be a pretty good throughput from people who were just browsing the site.

But Kickstarter has made some weird moves recently. From the resistance to recognising the union, to the flirtation with crypto, it’s simply not been presenting an attractive face to ethical publishers and backers. And for a long time, Kickstarter has seemed complacent: for years it wasn’t even possible to put alt text on images, despite us writing to them to complain about the accessibility implications. (This now appears to have been fixed, thankfully.)

Perhaps in response to the diminished reputation of Kickstarter, there has been a growing set of rivals. Projects using these rivals have seen mixed success. It’s always a risk to move from a popular marketplace into somewhere new. And so there’s a risk of a vicious cycle, with alternative platforms seeing poor outcomes, putting off creators from using them.

Enter Backerkit. This is a platform that already has a lot of understanding of the crowdfunding market. We’ve been using them since our first campaign to provide post-campaign support, tracking our backers, generating helpful post-campaign surveys, managing our digital rewards and so on. Their customer service is second to none: when I’ve had problems working out how to do something they will send me a custom-recorded video by one of their staff made just for me, showing me how to do the specific thing I wanted. Where our Kickstarter campaign pages have always been approved without ceremony, Backerkit actually sent us detailed feedback on the Wreck This Deck campaign page, enabling us to improve it. And their functionality is great.

Backerkit has launched a full-blown crowdfunding platform of its own and it’s shown some pretty good success stories. But much more important, they’ve shown that they know how to run a crowdfunding platform. Their setup is flexible, functional, and well integrated with the kind of tools you need to manage a campaign. And as previously remarked, they have great customer service – both for us as the publisher and you the customer.

It felt like a risky move. We are all too aware of the potential for our campaign to lose visibility because Backerkit is still a relatively small player, with less “passing traffic”. But we think it’s the right move at this time. And early results from the campaign suggest we’ve made a good call. Of course we’ll never know how it would have gone if we’d used Kickstarter, but for a zine campaign Wreck This Deck is doing incredibly well at nearly 350 backers after 1 week, and that’s included a fair bit of people coming from within Backerkit’s website.

Of course, we’re not saying Kickstarter is evil, and we may well use them in the future. So far the crypto flirtation hasn’t come to anything, and they’ve shown they can improve by (eventually) recognising the union and offering alt text on their images. This isn’t some kind of principle-driven rupture. But we do hope that we can be part of a greater move to diversify the crowdfunding market so we’re not all dependent on one big provider. Having that competition will likely be better for Kickstarter too, in the long run.

So anyway, that’s a little insight into why we’re doing this. We’ll be watching closely how well Wreck This Deck does with a view to deciding what to do with our next big project: Lovecraftesque second edition. Watch this space!