Tag Archives: Gaming

Articles, Editorial

The Endie Awards 2025 – Aaron Edition

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This post is brought to you thanks to Lady Tabletop, who prompted folks to write about their own gaming experiences of the year and give out their own fun awards. Like Seamus I thought this was a neat idea, and was also glad (and relieved) that ‘The Endies’ weren’t trying to be yet another award given out because someone disagrees with the ENnies. Thinking back on the year and giving your own awards is more useful (and more fun!), anyway.

I had a much more constrained gaming year than Seamus in part because I had a very busy year; in the middle of this year my partner and I moved, which involved buying a condo, selling two condos, moving one person once and another person (and a cat) twice. In a way I’m surprised I got as much gaming in as I did, and also surprised I was able to write anything from May to August. Still, the difference in absolute number hides the point that Seamus made to me that, due to the number of campaigns I’m in and how often I run, I probably ran and played more sessions by absolute count than Seamus did.

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Articles, Level One Wonk

Coring the Onion: OSR structuralism and non-OSR games

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The RPG theory ship sails on unbidden, even as RPG networks of practice seem to be drifting apart. In November, there was a great post over on The Dododecahedron which bucked the trend and pulled theory work from outside of the author’s primary discipline, the OSR. Starting from a description written by Vincent Baker about the PbtA ‘conversation’, Dododecahedron author Rowan describes OSR play as an onion with four concentric layers: Character on the outside, then working inward to Mechanics, Procedures, and finally Adventure. Adventure is in the middle as the diegetic ‘fiction’ that the players are engaging with is the source of truth for OSR play. From there are Procedures, which describe the rules for how to go about play; that is to say, what travel looks like, or when random encounters occur, or how to track consumables. The next layer out is Mechanics, which describe the “rules” as most RPGs understand them; this is where initiative, ability checks, and all those specific bits live. Finally on the outside is Character, where elements like attributes, experience points, and skill ratings, all the things that make characters unique, sit.

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Articles, Crowdfunding Carnival

Crowdfunding Carnival: December, 2025

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Welcome to Crowdfunding Carnival for December! Con season is well and truly over, with PAX Unplugged wrapping before Thanksgiving. That, combined with the upcoming holidays, has caused Kickstarter to slow…turns out game designers need a vacation too! We don’t have ten campaigns to look at this month, but there are still a number of interesting games on the horizon which are worth examination.

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Articles, Level One Wonk

The design decision which won narrative gaming

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Last week, Apocalypse World came back to crowdfunding, with the Bakers seeking funding for a Third Edition of the game. Apocalypse World was first released back in 2010 and it took the indie RPG world by storm; by the time Dungeon World was released in 2012 it was already all but certain that ‘Powered by the Apocalypse’ would be a phenomenon. It’s easy to forget that there was another indie darling riding high in the hobby in the early aughts. Fate was arguably the other big indie game, and it even made its way into the ICv2 bestseller list after the success of its 2013 Kickstarter, an honor typically reserved for D&D, Pathfinder, and a few other corporate games. The ICv2 data point is particularly interesting. Fate outsold Apocalypse World; not only did the game peek into commercial sales charts as late as 2020, Fate even holds the statistically dubious honor of being one of only three games to ever outsell D&D in the ICv2 rankings (the other two being Pathfinder and FFG Star Wars). Commercially, Fate was an indie juggernaut.

Fate has clearly not maintained the degree of impact and influence it once had. Hell, the last three Kickstarter campaigns run by Evil Hat Productions, publishers of Fate, were all Powered by the Apocalypse games. The literal keepers of Fate have, thanks in no small part to John Harper and Blades in the Dark, seemingly seen the writing on the wall in terms of salability and influence of PbtA over Fate. Why is that? To start, there’s an obvious disparity to the degree in which unaffiliated designers took the respective systems and ran with them. That said, it’s fairly clear to me that this is a symptom, not a cause. While it’s hard to beat the Bakers’ approach of ‘sure, just don’t literally plagiarize us’ for licensing, Fate was licensed under the OGL and later Creative Commons, which were both used by tons of creators in other contexts. No, the difference in third party support and expansion has to do with the design of the respective games, not their shepherding by their respective creators. And I think I know specifically which design elements made the difference.

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Articles, Editorial, Level One Wonk

Cultures of Play, Quanta of Play

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The assumptions, intentions, and design of tabletop roleplaying games are infamously broad; seeing eye to eye on how to play is as primary a challenge as finding a time on the calendar for four to six people. Back in April of 2021, the blog The Retired Adventurer published a post called Six Cultures of Play which still sees reference as a succinct overview of distinct play traditions which have evolved over the last fifty-ish years of structured tabletop roleplaying. Between solid analysis and the author’s own admonitions not to see bright lines between the cultures where there aren’t any, I see the article as a useful model to start thinking about how people game and what they want.

Of course, the gaming world hasn’t stayed still, and from the publication of the original post to the renaming of Twitter to “X” in 2023, fragmentation was the word of the day. Since then, we’ve seen continuing fragmentation joined with an upswell in interest in fairly specific playstyle differentiation, driven by migration away from Wizards of the Coast products and strong take-up of “D&D alternative” products including not only Pathfinder but Daggerheart, Tales of the Valiant, and Draw Steel. The core ideas in the Cultures of Play post still hold true, but the consistent signpost in my mind is in the introduction, where the author describes a culture of play as equivalent to a ‘network of practice’. A community of practice is a group which forms around something they collectively do (or practice) which they have a passion for and want to do better; a network of practice is also that but doesn’t assume the same consistent strength of relationships, therefore being a more appropriate term for a larger, more nebulous group. As broad as a network of practice can be, I don’t really think it aligns with a ‘culture of play’ anymore.

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Articles, Editorial

My gaming group: A twentieth anniversary review

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September of 2025 marks the twentieth anniversary of my current gaming group. Yes, you read that correctly. While I’m not sure of the exact day, twenty years ago either this week or last week I met with five other nerds in the study room of Carnegie Mellon’s newest freshman dorm, New House (which has since been renamed). The organizer, my friend Dan, had swiped the mailing list from an event run by the university’s chapter of White Wolf’s Camarilla Society; he decided that while he wanted nothing to do with a Vampire LARP, he met some cool people at their D&D one-shot event and would want to play D&D with them. We all decided that yes, we’d like to play D&D, and from there we were off. Three more people joined over the next couple of semesters, a lot of games were played, and we were a close-knit group until graduation in May of 2009.

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