Critical Hits

The Journal of Gamer Culture

Logan Bonner at NorWesCon 35!

Stan! having a wee drink.

Stan! having a drink at NorWesCon 34. This isn't me, but if you find him I'll probably be nearby.

Hey, folks. Here’s a quick update to let you know I’ll be a guest at NorWesCon 35 in Seatac, WA this weekend. Here’s my schedule.

Friday 11 am in Evergreen 1&2

The Influence of Tabletop Games on Video Games, with Eric Cagle, Dustin J. Gross, and Joshua Howard

Friday 6 pm in Evergreen 3&4

Have Licenses Taken Over the Creativity in Gaming? with Wolfgang Baur, Jason Bulmahn, and Erik Mona

Saturday 3 pm Evergreen 3&4

Building a Better Campaign Setting with Wolfgang Baur, Bruce Cordell, and Jonathan Tweet

Special Event! This isn’t an official NorWesCon event, but I’ll be playing or helping facilitate a game of Fiasco with The Doubleclicks, Geeky Hostess, Lillian Cohen-Moore, and/or Ryan Macklin. We’ll be using an unreleased playset written by Lillian and myself. Most likely, we’ll be playing in the bar area, but we’ll snag a room if possible. Follow us on Twitter for updates on how you can come watch the fun and learn how to play Fiasco! Warning: Expect an R-rated experience.

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I Was a Manchild at Geek Girl Con


Geek Girl Con Exhibition Hall

The inaugural Geek Girl Con ran last weekend in downtown Seattle, and I was there to check it out. The con focused on female geeks of all stripes. There were panels about gaming, comics, movies, TV, feminism, and gamer culture.

The panel track was the main emphasis of the con, from my perspective anyway. The exhibitor hall and the gaming room were pretty small by comparison, and there wasn’t a big promotional presence. That makes a lot of sense for this con, especially in the first year. The con’s strength is in reinforcing the culture and solidarity of female geeks, and cons are the best way to do that. The first con looked like it was very successful, so it will be interesting to see how the con evolves in years to come.

I was curious what the demographics of the con would look like. Most geek conventions have more men attending than women (though the numbers aren’t nearly as skewed as they used to be). Though Geek Girl Con was focused on women, men were welcome (and welcomed), and my rough estimate is 70% women and 30% men. It looked to me like the concert was about 50–50. In case you’re wondering, Molly Lewis figured out that the female equivalent of a sausage fest is a book club. [Read the rest of this article]

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You’re Out of your FAQing Element

Parker hiding near the ceiling Ryan Macklin wrote a blog post about problems he sees with “use-whenever” stats in RPGs, using my FAQ hack for Leverage as an example. There are somegood ideas in there, and I encourage reading it. When it comes to the FAQ hack, though, I think it’s missing the point. I’m fine with Ryan using it as an example, to illustrate the problem, but I think it’s suggesting that the FAQ system isn’t doing what it should in the system.

I don’t think that’s true. Maybe it will help if I explain the intent of the system. So here’s my mission statement for the FAQ system:

The purpose of the FAQ system is to change attributes into an easy decision that gets out of the way of the more interesting ones.

I found that, when using attributes, it took a while to figure out which one would apply to each roll. Each GM picked differently, and for the player it didn’t always make sense. And in the end, it was just a die, nothing more. Too much time spent on an uninteresting decision. I wanted that part of the game to step aside, to stop hogging the spotlight with I had distinctions to apply and plot points to spend!

With attributes or FAQ approaches, a Leverage game will be interesting. FAQs aren’t meant to add another decision point: They’re meant to be damn fast. They’re meant to give a character something to default to. When Ryan says that he could come up with justifications for using the same approach in a bunch of situations without putting much time into it, that’s great. That’s the whole point!

I’m a big believer that not all rules need to be created equal. They don’t all need to have knobs to turn. Sure, there are ways to encourage changing up approaches (hell, just making the lowest one a d4 would do that on a small scale). But I think Ryan’s character will be more memorable because he tries to solve everything with aggression first. Let him use his big ol’ d10 if it encourages him to use a distinction against himself at the same time. He’s doing what a Leverage character ought to be doing.

FAQing Expectations

I also wanted to work with FAQs as a DM tip-off, much like Roles do. If you find out most of your characters have d8 Grifter, that tells you a lot about what sort of game they want to play. It’s much tricker to do the same thing with the original attributes. Using FAQs makes it easier to tailor your session. If you get a bunch of Analytical players, it gives you a good sense of the types of obstacles they’d like to deal with. It also lets you know that situations that are more easily solved using Forceful or Quick are going to give them some trouble, whether that’s using a lower die or coming up with something truly ostentatious in order to use the better stats.

A FAQed Up Play Style

I also think Ryan likes a different style of Leverage game than I do. I like to run one-shots, so I use FAQs. I also have players put a d4 in only one role, which I know Ryan isn’t a fan of. For me, this makes it easier as the DM to put that character in tricky situations. (I realize this is counter-intuitive, since having more d4s would seem to make it easier. This is definitely a YMMV situation, but I prefer having a clear “this is my Achilles heel.” I think it makes the flaw more iconic.)

I think Ryan prefers a longer-term campaign or mini-campaign with more subtleties. My house rules are absolutely pointed at running the kind of game I want. I’d love to see the hacks Ryan would make to get the kind he’s into.

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Playing Leverage with Just the FAQs

lNate, Parker, and Sophie looking at a computer monitor

Some of the Leverage crew get Analytical.

Leverage: the Roleplaying Game does so many things right. It’s quick, collaborative, easy to prep, iconic, and tethered to a great back-and-forth mechanic and play style. But still, every plan has room for improvement.

The first two times I played Leverage, and the first time I ran it, I noticed the same thing: Attributes were difficult to apply consistently, and there was frequent confusion between the Fixer and the players about what attributes should be called for on each check. This isn’t to say there was argument (everybody was too polite), but an experienced gamer knows the look of “Oh, I thought this type of check would use a different attribute, so that’s my high one.”

When I played with Dave the Game running, he called for Willpower checks pretty often. When Rob Donoghue ran, he asked us to roll Strength, sometimes for the same type of roll Dave would have wanted Willpower for. All the attributes are meant to be used sometimes for mental checks and sometimes for physical checks. In theory, this is a way to make sure all the stats matter for all situations. In practice, it’s more confusing than helpful.

FAQ section of the custome character sheet

So What’s the Hack?

It didn’t take me long to figure out how I wanted to hack the rules. (To paraphrase Will Hindmarch, you “hack” games that are cool, and you “fix” games you think should have been cool. In a Hindmarchian milieu, I definitely hacked Leverage.) Instead of using typical RPG attributes, derived from your physical and mental qualities, I phrased them as “approaches.” These are adjectives that describe the action you’re undertaking, the attitude you’re assuming as you make your move. I boiled it down to three: Forceful, Analytical, or Quick (FAQ for short). At the right, you can see their short descriptions.

I avoided passive approaches. There’s no tough, for example. Leverage is a game about competent professionals. If they’re backed into a corner, they aren’t simply going to endure. They’re going to counter. They’re going to improvise. They’re going to escalate.

Selecting your approaches is pretty simple: Assign a d10, d8, and d6. A forceful hacker, an analytical hacker, and a quick hacker all take a different approach to hacking.

Some problems can be solved with an Analytical approach, but there's no reason not to have a Forceful backup.

Did it Work?

I found the system did what I wanted it to do, making it more intuitive to determine what to call for when someone was making a check. And it’s fast. It’s very fast. I find when running Leverage, I call for very few checks. This makes it so when I do, it flows more smoothly into the rest of the game.

It’s also easier for a player to apply a strategy to a situation and add in a little more of a flourish to the action. Instead of trying to find a way to make a high Attribute come up in the checks within a scene, the player can decide how to approach a person or problem. Personality can drive the scene. Your high stat provides a handy hook when you’re in doubt about how to approach an obstacle. If you have a high Forceful die, you might be driving through that locked gate. With a high Analytical die, you could figure out the password. With a high Quick die, you might just scale the fence before the camera turns back your way.

Machete

Intimidation? Yeah, that's usually a Forceful approach.

Can I Give it a Shot?

Sure!

I pestered John Harper for a copy of his excellent character sheet. (You can find the original here.) I modified it for the approaches hack, and added in numbers and instructions to help in character creation. You’ll want to look over the sheets before you use them. I made some other small tweaks, like removing specialties and changing the role dice to replace one of the d4 roles with a d6 (because I find it works better for the one-shots I usually run).

By all means, take it for a spin, kick the tires, and let me know what you think!

Download the Approach sheet PDF!

This includes a sheet for each class, along with a rap sheet page that also describes open talents.

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Take Refuge . . . IN AUDACITY!!!!!!!!!

A Night Panther Knight stabs an Ooze Orkkh with a plasma glaive!!!

The moment that everybody has been waiting for is here, and it is now time to see the preview of the most exciting RPG that is coming up! This is Refuge in Audacity! It is time for EXTREME ROLEPLAYING!!! Go explore the galaxy-sized city of Audacity as a Mechadragoon Corruptor or an Amazonite Ultra-Anarchist! Your fate is in the hands of the Karma Fates, and of the Karma Fate Destiny Master! You can go fight in the Blood Nebula and learn more kung fus and spells of magic!

The people on the world wide web told me that the best way to make your game popular was to give it away for free in the digital universe. So I am trying that with a preview version of the game. YOU CAN GET THE GAME ON THE GAME PAGE RIGHT HERE BY CLICKING ON THIS TEXT THAT IS HIGHLIGHTED.

I have been working on this game for a long time, since the mid-1990s. I will be soon putting out the leatherbound, 1,200-page rulebook really soon, you guys. So make sure you buy the book because this isn’t a way to make money with the free internet things. Also there is a Donate button on the page for the game, so give me money cuz that would be awesome. It would really suck if you all bought the game for free on the web and didn’t ever buy the game book when I put out the book. But still, for now you can get the preview version that has a lot of important rules cut out because you can’t have them all for free.

Anyway, I think you will like the game. It is inspired by all my influences from games and comics: Raven cs McCracken, Rob Liefeld, Kevin Simembebebeda, and Fletcher Hanks. All of them made things really awesome and epic and this game is like that. So go get it!

[[Out of Character]]

I created this game on a lark after I found a file on my computer from several years back with a list of stupid race and class names. That formed the foundation of the game, as I very quickly hammered out the rest of a semi-playable game. To be clear, this is the whole game. The 1,200-page leatherbound full edition isn’t something the author character will ever complete.

The World of Synnibarr was a big inspiration for this game, as were bad nineties comics. (I actually have the first and second editions of Synnibarr, as well as the Ultimate Adventurer’s Guide!) My intent was to boil those down—to provide the fun of rolling on tables full of ridiculous crap and over-the-top powergaming of a second-tier multi-genre RPGs without the typical unwieldy game systems that came with them.

So the top priority was getting the feel of flipping through a bad rulebook. After completing the class and race tables, I skipped the rules and went straight to the character sheet. I went with a ton of checkboxes (again inspired by Synnibarr, which had boxes for “deaths left” and “wishes”) and cryptic nonsense. All the hallmarks of too-complicated RPGs went in: defense rolls, damage multipliers, called shots, saving throws against all sorts of weird things, and so on. Soon after, monsters and adventure creation got the same percentile-table-based treatment as the character creation system.

The name, by the way, is taken from a page on TV Tropes. The usual warning about that site: Don’t click the link if you want to get anything done today.

Jared von Hindman (file photo)

I had a strange little mutant of a system, and I needed strange little mutant artwork to go with it. Of course, the only choice was Jared von Hindman of Head Injury Theater! We shared a strange rapport working on this project, continuously coming up with the same ideas for illustrations and building on each other’s odd ideas. Our conversations kind of went like this one about the image for the cover (edited for length and language):

Jared: Give me a second & I can share one of the doodles. It’s so very Mouseketeer Cable

Me: I’d suggest a few more pouches, and make the cigar glow like it’s radioactive. And spikes on the front of the surfboard.

And maybe the mouse ears are little radar dishes.

Jared: I was thinking of Frankenstein suturing the thing to his head, but yeah, definitely will throw in a few more manly details no matter what

Me: Did he just fly through the sun? It should be splitting perfectly in half and falling apart.

Jared: The exploding/shattered sun is there, just not fleshed out. Split in half? Classy.

Me: Yeah. Like a samurai cut it and ten seconds later it falls apart.

Jared: So, while I’m still tweaking the angle/details, is the general vibe right here?

IE does is need the hot babe glued to his thigh? Should it be more nonsensical like teh Synnibunn cover?

Me: It doesn’t HAVE to have boobs. It’s not Heavy Metal.

Jared did some great work. (I especially like the girl with the beehive hairdo and the waist twisting with Liefeld-style anatomy.) His cohort Noodle Soup also contributed a rad piece that is definitively not Colossus.

Cybernetic UltimabishopStuck in the Past but Looking at the Present

For all the retro inspiration, I wanted to distribute this in a modern way. Just printing off some black-and-white ashcans and selling them at cons would have been more in-character for my “author” persona, but would be pretty damn silly. I’d like to have other people bolt on subsystems and house rules. Have an idea for an Erotic Arts subsystem? Want to write up what Rings of Power are for? Come up with a use for Psi Tokens? I want to see you put all that stuff out there. Send me a link on any of the addresses mentioned on the product page. I’ve released the whole shebang under a Creative Commons Attribution-NonCommercial-ShareAlike license, so hack to your heart’s content!

One thing I really want to put together: A gallery of people’s character drawings. Roll up a character, whether you intend to play or not, and doodle a picture of it in your notebook (the more pouches and radiation glows the better!) and send it along.

I hope you enjoy the book, whether you play it, read it, or just get inspired to look at your old X-Force comics and play some Mortal Kombat. Accept it in the spirit it was given: a very dumb one.

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4e Success or Failure: Magic Items

Magic Item LaboratoryAbout this Series: This post is part of a series about some of the new concepts in 4th Edition, particularly ones I had a hand in designing. It will judge which aspects succeeded and failed, and rate how close the mechanic came to its goals and how beneficial it is to the game experience.

This is all my opinion, and your tastes or experiences might give you a higher or lower opinion of whatever I’m talking about. There’s also a wide span between the great examples of each mechanic and the weakest, so I’ll often qualify my opinion when I’m talking about the potential versus the reality. The first two posts appeared on my old blog. I might move them over here someday, but for now you can read about epic destinies and paragon paths there.

Let’s talk about magic items.

Magic items underwent some pretty big changes from 3.5 to 4e, and even more once Essentials dropped and altered treasure allocation. The topic gets even deeper once you bring in alternate rewards like boons, but let’s leave those out of this conversation (though I consider them a good addition to the game and an overall success).

Magic items in 3e were a mess, but often an exciting mess. As your reward for all the accounting you needed to navigate the system (sometimes using XP for the currency, not just gp), you could get some really powerful, interesting items plus oddball creations that begged for some creative thinking. But the system also had a way of making magic items less magical. As people learned to expect having certain plusses on their weapons, grabbing the right stat-boosting items, and carrying an assortment of wands full of often-used spells, the appeal of mysterious items began to wane. Magic Item Compendium addressed one of the big problems by allowing magic weapons to have both a plus and a special ability without radically increasing the cost. Items had moved from a reward given out by the DM to an expected character tool. So what would 4th edition do to address the way magic items had headed? Where would we go right and where would we make mistakes?

Successes

  • Bonus Modifications: 4e moved to a more predictable bonus structure by assigning attack and defense bonuses between three slots, and making a fairly predictable assortment of skill bonus items divided by tier. The sort-of-implied bonus expectations of 3e had become explicit in 4e, making them easier to figure out for the casual player. The new structure did the job of making it harder to accidentally make a bad character, and it removed the most egregious items that granted huge bonuses for relatively little investment.
  • Simplification: Items were made easier to use. The item slots were codified from the start, and decreased in number from the long list in Magic Item Compendium. The expectations on the DM, and the system for distributing treasure, also became clearer. The parcel system (since replaced with a more randomized system) held the DM’s hand through placing treasure. All this led to a system that needed less attention, which is probably best for a system that should take a back seat to the core parts of a character.
  • Iconic Class Items: With items of certain types (staffs, orbs, rods, totems) tied to classes, they gave a better visual hook for character using them. But see “Narrow Focus” below.

Failures

  • Outgrowth of 3e: The 4e item system is a reaction to the 3e system and what it had become. I think a lot more could have been learned by looking at other versions of the game, when items were more “special.” The 4e system works as an extension of what had happened in both the previous edition and in video game RPGs, but did it reflect the way items should feel in D&D? A rehaul of the mechanics should have been based on a closer examination of what type of experience the items were meant contribute to. 3e’s direction should have only informed 4e’s, rather than defining it.
  • Oversimplification: Items had been overcomplicated, and they needed to be stripped down, but the new system went too far. The game didn’t really need weapons stacked with four different enhancements, but too many items got reduced to just “+1 bonus to damage rolls” or a mediocre daily power.
  • Milestones and Daily Uses: And speaking of daily powers, the uses per day system was unwieldy and didn’t really carry its weight. Essentials removes it entirely, and I doubt anyone will miss it much.
  • Narrow Focus: A small number of items that work best for a particular class or race is fine, but the proliferation in 4e got out of hand. If I make an Invoker, how many of the 408 rods in the Compendium will even work for me, much less be something I want?
  • Quantity: Notice how I just said “408 rods?” You see the two books full of hundreds of magic items? Just filtering through them for a single character can be a nightmare. Some thematic organization can help though. Item sets and Insider articles written to a theme can both help narrow down items and give them a much better story hook than the couple lines of text.
  • Off-Slot Bonuses: There’s a strange phenomenon in Adventurer’s Vault where items that aren’t in the neck slot grant bonuses to non-AC defenses (like the belt of vim). This seems to have been short-lived, but usually such major deviations from a standard occur later in a game’s lifespan rather than in one of the very first supplements! It’s quite likely these were put in to make up math discrepancies; I just don’t think they were the right way to achieve that goal.

Miscellaneous

  • Moved to Player Side: Items had become something PCs relied on and players expected to have as an integral part of their characters’ builds. There was a fork in the road: Go farther toward making them a player resource or turn back the clock an edition and put them more squarely in the DM’s hands. We went with the first option, and magic items appeared in the Player’s Handbook. The rules and responsibilities were still split, though, since PCs were still expected to find most of their treasure in hoards created by the DM. I’ve seen a number of people on each side of this argument: players who want the freedom to build their character how they like, and DMs who miss being able to surprise their players or place interesting—but non-optimal—items.
  • Essentials: We haven’t really seen where the current WotC team plans to go with the new item rarities. What I’ve seen so far isn’t particularly inspiring. If rare items end up being more powerful or rule-bending (by which I mean less tied to standardized game mechanics, not “game-breaking”), it could be very cool! So far, we haven’t seen enough to really tell where this system is headed.
  • Selling for Half: I’ve heard complaints about having to sell items for 20% (again, this changed somewhat with Essentials), but people also talk about selling and buying items less often. That means more time for actual adventuring, so I prefer it that way.

The Score

If you got the 3e system in the mail, it would be inside a hard, sealed plastic shell. Once you pried or cut it open, you’d find a jury summons and a $20 bill. The 4e system would be inside a easy-open, reusable box. You’d pull out a coupon for canned peas. It’s a bit of boring, but a well-packaged one in many ways. Essentials has already changed the packaging. When we get whatever the content from the canceled Mordenkainen’s Blabbity Blah becomes, we’ll see whether we got a better present.

C

Commentary

Why did magic items turn out less than stellar? I was a designer on Adventurer’s Vault, so I should have some insight, right? Well, it all comes down to time. Magic items were one of the last things to get done in the 4e core book design process, and AV was slated to be one of the first supplements. We were still wrapping our heads around how the magic system worked, and I think it was still being finalized, when we needed to crank out hundreds of items! Given a little more time and focus, I think that book could have looked more like Adventurer’s Vault 2. (And in that alternate universe, Adventurer’s Vault 2 could have gone farther into unexplored territory and story-based design.)

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Playlist Design

I’ve thought for a while now that developing game concepts based on a random music playlist could lead to a useful creative exercise and a fun article. So I’ve grabbed five songs at random (but taken from my 4- and 5-star songs so I definitely know the content), ran with the first ideas they gave me, determined which type of tabletop game best suited the idea, and wrote a brief description. I’ll quote the songs when necessary to show what inspired me in them.

Cover to The Who Live from a Backstage Pass“Bargain” by The Who

This is a live version, and the spoken intro inspired the game idea more than the song itself.

“This is a song about what you get for being here, if you’re alive [...] you’re gettin’ a bargain.”

This made me think of the classic “selling your soul” scenario. You’ve made a “bargain” in order to preserve your own life, but you know that some day your debt will need to be repaid. The being you’ve bargained with could be supernatural (like a demon who magically sustains your life) or terrestrial (such as an unethical doctor who uses cutting-edge tech to revive you).

This takes the form of an RPG, with each player taking on the role of person who’s made such a bargain and calling the shots for other player’s savior. The players can expect all their favors to be called in over the course of the game, for different reasons and at different times. Maybe each scene leads to one favor being called in, so the game gets set in motion by the first and gets a last-minute betrayal or change of heart with the last. [Read the rest of this article]

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Logan Bonner’s Gen Con Schedule

(Such as it is)

I’ve scheduled very few events for Gen Con 2010. I want to play it by ear, and expect I’ll run into plenty of people even without making many plans. If you want to find me, I’ve included a picture of myself and the WB bag I’ll be carrying around. See the schedule below the gallery.

Wednesday, Aug. 4

11:49 PM: Arrive in Indy, find room, go to bed

Thursday, Aug. 5

1:00 PM–2:00 PM: Veterans’ Advice on Game and Story Design panel (tentative; I have a potential conflict)

Friday, Aug. 6

8:00 AM–10:00 AM: Private seminar

11:00 AM–Noon: Wil Wheaton’s Panel

6:00 PM–10:00 PM: The Ennie Awards (tentative)

Saturday, Aug. 7

9:00 AM–10:00 AM: What’s Coming from Open Design panel (I’ll actually be ON this panel, talking about The Lost City a bit.)

10:00 AM–Noon: WotC Preview Seminar (if I can find a seat)

Noon–2:00 PM: Dark Sun Seminar (but I won’t be on the panel, sadly)

2:00 PM–6:00 PM: Savage Worlds game with Rob Heinsoo and friends.

8:00 PM–9:00 PM: The Guild panel (maybe)

Sunday, Aug. 8

4:40 PM: Leaving the con early, sadly.

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Delving into the Lost City

Google Maps image

The Lost City is in Oklahoma, apparently.

Wolfgang Baur contacted me back in June to see if I’d be interested in working on a 4e project for Open Design. If you’re not familiar with it, the Open Design process puts a call out for patrons. If it reaches a critical mass of patrons, the project proceeds and the patrons get to evaluate submissions, see early drafts, and give their comments about the direction of the project. In a standard project, the creative process gets handled by a small number of authors, but Open Design expands it to a larger community.

So this post is kind of a pitch, but I think you’ll see why I found the project intriguing. Hopefully you will, too.

The Appeal of the Project

The adventure is tentatively called The Lost City. It offers something people have been asking for: a sandbox adventure for 4th Edition D&D. The lost civilization angle and a sandbox style of play dovetail wonderfully, and the three submissions (which you can see on the product page) all have their own creative, significantly different take on the concept. The early patrons on the forums are already making suggestions, picking their favorites, brainstorming, and twisting the submissions into crazy new ideas.

One of my earliest projects when I became and editor at Wizards of the Coast was Elder Evils, which contains a section based on the old module B4: The Lost City. So while I didn’t play that adventure, I definitely have some nostalgia for it. I especially loved how it evoked the strangeness of a culture cut off from the outside world and made ordinary people monstrous by their behavior and skewed worldview. Lost cities aren’t just about finding buried treasure and subterranean monsters; they’re alien, separated from the passage of time and unmoved by the rise and fall of the kingdoms beyond. Some of my favorite early suggestions involve how that lost city might alter the world around it once it’s found—even reborn. (Sorry, I can’t give you details. The discussions are one of the perks of being a patron, after all.)

The Appeal of the Process

I’d heard about previous Open Design projects, and they intrigued me. The idea of really opening up the design process to outsiders appeals to my collaborative side. Some authors really prefer to sit down alone and put down their ideas, but I tend to bounce ideas off colleagues and develop them through discussion when I can. Open Design sits at a happy medium. You don’t have just pros, who can tend to be set in their ways, but it’s also not just open to everybody, which invites confusion, chaos, and trolling. With a small group of invested patrons (some who comment plenty and others who’d rather lurk and see what the final product ends up being), there’s a big sounding board.

Giving new authors (drawn from the pool of senior patrons) a chance to submit ideas and possibly write parts of the project themselves (paid, of course) can help us find new talent, too. The meritocratic nature of Open Design means the loudest voice or the most senior author doesn’t get to make the decisions. The people paying for the project do. I’m more than willing to submit to the judgment of the masses, though I sure make my opinion heard.

Getting Involved

You can sign up at the product page. There are a few levels of patronage, each with different benefits, and I’ll let that page explain them. You can chat with me in the comments or on Twitter (@loganbonner) if you want a little clearer picture of what the project’s about.

Are you going to Gen Con? I’m planning to sit in on the “What’s Coming from Open Design” panel and talk about The Lost City a little bit. If you’re curious, come check out the panel and talk with me afterward. You might also catch me wandering around. You can see what I look like on my avatar, and I should be carrying a WB bag from Comic-Con.

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San Diego Comic-Con 2010 Sunday

Fulfillment Room

Our first stop of the morning was the fulfillment room, where you go to pick up swag using tickets they give out at panels. I ended up with a leather Spartacus: Gods of the Arena armband, a Thor t-shirt, and a Cowboys and Aliens t-shirt.

11:00 Archaia: Jim Henson

I actually caught only the tail end of this panel. We were going into the room for the next one, but we did hit a major announcement: Archaia will be developing one of Jim Henson’s scripts they found in the Henson Company archives. Nobody even knew about it outside the Henson Company. It’s called “A Tale of Sand,” and it’s from the beginning of Jim’s career. He was working on it from the early sixties to the early seventies. It’s very existential, and shows Jim struggling with ideas that would shape his later career. They’ll be turning it into a graphic novel to release in summer or fall of 2010. Jim will never get the chance to make the movie he would have made, so they’re presenting it in a different format. Lisa Henson is supervising the process.

12:00 Spotlight on Dennis O’Neil

Denny O’Neil made huge strides in comics with his work on Batman, Green Lantern/Green Arrow, and other titles. This entry will be abbreviated, since my pen died mid-seminar!

Moderator: Scott Peterson

Scott was assistant editor to O’Neil in 1991. He remembers when an A-list painter was in town and they went to dinner. They had a great time till the painter said Denny’s work changed his life. Denny’s midwestern roots won’t let him accept praise, so Peterson really looks forward to this panel.

Peterson got many of his questions from other comic creators.

Q: From Chuck Dixon. Your heroes are human, with failings. Are you just drawn to those types of stories, or did you incorporate that side to make superhero comics more believable?
A: All heroes used to be the same. They had this Midwestern Boy Scout version of virtue. It just seemed natural to add some complications to that.

Q: From Chuck Dixon. When you were doing this, did managers see it as a stunt?
A: I don’t think they really knew what they were doing. They didn’t become aware of it until we started getting a lot of press.

Q: From Paul Levitz: When you were editing Levitz, he learned that his dialogue had a lot of extraneous words in it. Do you think you focused on that sort of thing due to your background in journalism?
A: Working as a reporter is the best training you can have as a writer. It teaches terseness. For comics dialogue, you have to sound colloquial and use 35 words per panel, give or take 10. Theater work also helps, teaching you to write with your ear. I always tell people to read their dialogue aloud after they’ve written it.

Q: You often take things away from your characters, from powers to gadgets. It’s sort of zen. Do you think this has anything to do with your interest in Eastern philosophy?
A: I was aware of it, just barely, back then. I have a formula for superheroes. One, what is this about? Batman was affected by his parents’ murder, Flash runs fast, etc. Two, if this guy really existed, how would he have to be. Gaining powers doesn’t change your nature.

Q: We did a count of editors at DC. There were 40, and 38 were Jewish or Catholic. You were raised a devout Catholic. How do you think that draws people into comics?
A: Louise Simonson says from an early age we’re told fantasy stories on an epic scale, and they’re about good and evil. We learn myths from age 5. It had to have shaped our zeitgeist.

And, sorry, that’s all I’ve got! He later covered stuff like trying to write feminist stories before he really understood what feminism was about (the “Harpies” story from GL/GA, for example).

Exhibit Hall

I went to the exhibit hall for the rest of the day, picking up a few things. I caught one of MC Frontalot’s performances at the Penny Arcade booth. I stayed until the hall closed at 5:00. And that was San Diego Comic-Con 2010 through my eyes!

Complete Comic-Con 2010 Coverage:

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