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Thoughts on the American Withdrawal from Afghanistan, Primarily Informed by MGSV

Afghanistan's a big place. It's become something of a cliche to say that recent events are " just like Metal Gear games ," but this is often the case with science fiction. Good works are always about the time in which they were made, but with a focus on exploring certain aspects. Where it might go. As time goes on and these aspects develop, science fiction can feel eerily prescient. The Metal Gear series has incorporated real-world politics since the 2D days, portraying the governments of western nations, particularly the United States, as duplicitous and capable of monstrous atrocities... all while playing a character working on those governments' behalf. 1998's Metal Gear Solid was fundamentally about the fallout from the Cold War arms race, the dangers of the weapons created for a war that never came (which included Snake himself), and lengths to which the military-industrial complex will go to maintain its fiscal and political dominance in a world without

Fun With Murder: The Narrative Ethics of Assassination Games

It's funny. As someone who views "detective" as an integral part of their personality , I sure have a lot of crime games. Well, crime media in general, especially movies, but games have certain... implications. You're the one committing the crimes , not watching other characters do them or following a protagonist as they piece together criminal events through evidence and investigation. You're right there, doing all the bad stuff yourself. Recently, in the ongoing quest to tackle my massive game backlog, I've been playing the first Tenchu game, released in 1998. I bought it because the creators would later go on to make my beloved Way of the Samurai series, but if one looked at my shelves, they could easily assume I chose it thematically, as Tenchu 's neighbors include numerous Hitman , Assassin's Creed , and Dishonored games - a subgenre we'll call "assassination games." I've seen it remarked that there's an irony that, while

You're Dead! What Do You Do Next?

The spiked mace crashes through the warrior’s helm, the fully charged energy rifle burns a hole right through the smuggler’s chest, the vampire detective lost in the desert, unable to escape the deadly sun, is consumed by flames… if there’s one thing tabletop roleplaying games are good at, it’s finding ways to kill characters. But how often should that actually happen? We’ve talked before about dealing with bad rolls and how you can use to them to advance the story , but sometimes killing a Player Character is the right thing to do. How do you know when that should happen, and what happens after that? In worlds where resurrection is just a roadside temple or replacement clone body away, what implications should character death have, and when should a character be killed off for good? - B   A: Death is a tricky enough subject to deal with in our regular lives, not to mention including it in what are supposed to be our games. If you’re playing a lot of roleplaying games though, characte

RPG Sports: Combat Without the Danger

There may come a time in your campaigns where you want the fun of combat without the stress that can bring. You probably want something a little heavier than pure roleplaying, possibly a team challenge featuring the thrill and random chance of combat, but less dangerous for the Player Characters. Enter... sports! (Something many of us into tabletop games haven’t been good at.) Sports offer an opportunity to include a game within your tabletop game. You can frame it as a local game regularly played wherever your players are currently visiting, a touring exhibition, or your universe’s very own Olympics. No matter what route you take, players love opportunities to test their luck, their character’s skill, and get a chance to win prizes or accolades without (too much) danger involved. It can be a great break if your campaign has been full of tense moments, and makes a good pause between major story arcs. The Olympics of our own mortal plane present a ton of great examples: protected, monit

Gaming Out Stress

It's been a tough week, a tough month, a tough year... If your lives are anything like ours, things are a bit hectic right now. Whether it's climate anxiety, the "open everything up" push running smack into the Delta Variant, the conflicts and contradictions of school reopenings, or plain, everyday, run-of-the mill chaos, it all gets to you. This week, we thought we'd return to the topic how real-life stress intersects with gaming... and the stresses gaming can bring. - B   A : The fighter just went down and is starting to bleed out. The magic user appears to be out of spells and seems to be floundering on what to do next. The rogue? They're looking pretty rough, and without the fighter to play off of, they might be brown bread after the next assault.  The Big Bad Evil Guy looks like he may be on the ropes, though.... but maybe they're faking? What do you do? Should you rush to the fighter and dump your last healing spell on them? Perhaps you should launc

Odd Taxi's Genre Subversions

No matter what (or who) we're engaging with, first impressions carry a lot of weight. But even before we've made them, we already have a set of expectations and preconceptions. These can be based on deliberate signifiers (this taxi is available because it's parked and the light is on), cultural preconceptions (I can talk to the driver, but they won't engage with anything I say in-depth), and underlying, unquestioned fundamentals of reality (the driver will appear human). This takes place in media as well, and largely defines the way we engage with genre works . When our actual experiences don't line up with expectations, we experience a sense of confusion as our brains struggle to catch up and make sense of what it's been presented, confusion that may (or may not) be proportional to the nature of the dissonance. If someone was familiar with anime conventions and the types of stories typically featured in anime, but not, say, the convoluted, darkly comedic crime

Blue's Clues for Tabletop Gumshoes

We just figured out Blue's Clues, we just figured out Blue's Clues, we just figured out Blue's Clues, because we're really smart! If you have had or known a kid at any point between 1996 and now, you might be familiar with this saccharine refrain or some variation of it, which has appeared in every episode of the popular children’s series. If you’re not familiar with the show, an animated dog leaves clues with their paw prints for something they’d like to do, and the human host of the show bumbles along constantly talking directly to the young audience, asking for help and advice. Educational content aside, this is the premise of Blue’s Clues . What in the name of Gary Gygax does this have to do with storytelling and tabletop gaming, you may ask? Mysteries are something many of us like to feature in our games, but planning them can be difficult, and players are often quite good at spoiling your carefully-laid plans. As a series, Blue’s Clues uses basic storytelling an