aye aye boss 🫡

The block changes on Twitter have gone through, folks are jumping ship.

I would rather walk into the ocean than have to write about token economies and idle dreaming again.

Setting aside the works I've already designed games in response to (Hadestown, Realm of the Elderlings, Old Kingdom, Chronicles of Prydain), let me see... 1. The Dark is Rising (Susan Cooper) 2. Tamora Pierce's Circle of Magic or Tortall novels 3. A Monster Calls (Patrick Ness)

Connie Chang's Godkiller is crying out to be dug into, anything by Rae Nedjadi, the works of Jeeyon Shim & Shing Yin Khor (either together on Field Guide to Memory or apart), Vee Hendro of the Storybrewers, Kavita Poduri (Songs for the Dusk), Kazumi Chin, literally everything Caro Asercion has made

Harvest is a Folk Gothic game of tradition, necessity, and sacrifice, set on a remote & idyllic island where the old ways live on and blessings abound. Like the Wicker Man & Midsommar, it asks the old questions: “Whose blood must be spilled to feed the land?” and “Whose hand will hold the knife?”.

Grand Guignol is a London Gothic game about romantic monsters, queer history, fraught intimacy, looming modernity, and marginalised community, perfect for fans of Dracula, Penny Dreadful, The Picture of Dorian Grey, and AMC's Interview with the Vampire.

Genuine question—in your view, what genre expectations has Burrow’s End flipped? Nothing that’s happened so far seems to me to be inconsistent or overly surprising given they identified Secret of NIMH as one of their primary touchstones and foreshadowed the technology stuff hard.

Hmmm…. I’m inclined to say yes, given that vanilla slice gives us precedent for a sandwiched format with the layers. Is it baked all together? Increasingly I’m starting to think that “assembled and refrigerated” is a meaningful metric.

Wouldn’t dream otherwise.