DEXCON 15 Debrief

This weekend I returned to DEXCON — site of much of my Leaving Mundania research — on book tour.

While my travel schedule this summer has left me tired, the enthusiasm of the milieu kept me excited and ready to play some games.

The best thing about DEXCON is its bustling hallways, crowded with people running to or from games, or talking avidly about the play experiences they just had. I had a ton of interesting discussions, fun play-tests, and interesting game runs that made me meditate on my GMing style. Here’s the rundown:

Art Larp in the US

There’s a nice cluster of folks interested in freeform, jeepform, and Nordic larp developing at these conventions. Death by Awesome ran five scenarios — including two pickups — all of which filled up. I also felt out the level of interest in full-immersion Nordic larp and found many folks enthusiastically intrigued.

Psychological Safety in Nordic Games. A crowd of sharp listeners focused in on this issue during the Q & A after my Leaving Mundania reading. Maybe it’s the litigious American culture, but this concern has recurred at most of my readings, and it’s a confounding one that’s still a topic of debate on the Knutepunkt scene. Interesting to me that so many folks in the US raise this topic — if Nordic larp is going to cross over into the US, this matter will need a satisfactory explanation.

Tons of interest, as well, in what makes art larp work so well. Do smaller games make for better quality control when it comes to the experience? I suspect that yes, this is true, but I think there are other more important factors, such as the types of plots used and the way the Nordicans strive to create player community before games. I’ve got some other ideas too, such as how the idea of freedom in roleplaying is defined in different cultures…but I think that’s another post.

Awesome Games I Played

Somehow, I lucked into playing only awesome games at this con.

Cat and Chocolate. A short Japanese card game. Everyone plays Japanese businessmen and tells stories about how they avoid fiascos, which are suggested by the cards. The players vote on whether the methods succeed and fail. Short, easy to learn, and fun to imagine — I want to own this one! I lucked into this one by milling around the hotel lobby.

Hyperreality. A new tabletop roleplaying game by Tim Rodriguez, in which player create a reality gameshow too real for television in which participants use their hidden secrets to get ahead. We created the TV show Joe STD and the maturity went downhill from there. (Note: The gross-ness of our game was a facet of our particular group of players and not the game materials themselves.) Dare I say that our run was epic? We had a character “just here for the health insurance,” a rich dude obsessed with creepy dolls, a dude who would eat anything — anything — and a handful of other characters.

To give you a sense of the game play:  I played a plastic-surgery-obsessed bad girl named Fab Fab, and drew the secret trope “unbelievably pedantic” from the pile we had written together, causing Fab Fab to contemplate the essential nothingness of being while trying to catch syphilis from a french tourist in another contestant’s locked truck. The rest of the content is too disgusting to print here, so suffice it to say that four hours of laughing so hard made me lose my voice. Here are a few trailers for the game, from real play experiences.

Project Ninja Panda Taco. A low-prep roleplaying game in which players each portray a mastermind trying to take over the world, and a minion ready to help. This game lent itself to light-hearted silliness and creativity, and would make a great family game — it teaches the basics of how to roleplay, giving participants suggestions that they must then incorporate into their Pinky-and-the-Brain-esque plans to take over the world. The Kickstarter for this wonderful game is here.

Cards Against Humanity. It’s Apples to Apples for the extremely sarcastic. Or as the website says, it’s “a party game for horrible people.”

A Few Lessons in GMing

I ran five games — two runs of the freeform game Let the World Burn, a pick-up of Doubt, The Upgrade, and The Mothers — and learned some stuff.

Three games in one day is too many. On Thursday, I ran a pick up of Let the World Burn, a pick-up of Doubt, and then my scheduled run of Let the World Burn. It was tons of fun, but 14 hours GMing heavier scenarios is too much. I felt exhausted for the rest of the weekend.

Practice makes better. The second run of Let the World Burn went more smoothly than the first, and I felt I was able to game master it with better nuance and attention to the game materials. I have to run a game once to figure out what it’s about. In The Upgrade, our second run of the game, Tim and I better nailed the form, and the game ran more smoothly, tighter, and more intense as a result.

It’s possible to run a game too many times. I’m Doubted out, y’all. I’ve run it so many times that I have many ideas about how the game should run — my idea of what the game should be has hardened somewhat, and this makes me less sensitive to what the players want to do with the game.

I’m a better director than I am an improver. In The Upgrade, which I GMed with Tim Rodriguez, I had a hard time improvising lines as the host of the reality dating show that comprises the game. It’s not my strong suit, and I’m not as practiced in it; as a writer, I rely on editing to help make my words better, and in an improv situation, that’s not an option. I’m much better at cutting, fast-forwarding, helping raise the stakes externally than I am as a GM representing a character. My ability at casting has improved a lot over time — thanks in no small part to the advice of last week’s panel —  and at least from a GM standpoint, that’s making it more interesting to watch the games I run.

Confessionals don’t facilitate bleed. For a while, to get folks comfortable with one another, I’ve been doing a little bit of enforced sharing at the beginning of some freeform games. As in, let’s go around in a circle and say one thing we’re afraid of. My theory had been that it’d get strangers comfortable sharing their lives with one another by breaking the social convention that says we shouldn’t bare our souls to people we just met. I thought it’d help people feel more comfortable putting some of themselves into their freeform characters.

It’s worked well with a few groups, letting folks get things out onto the table. Sometimes it sets the tone of seriousness for the game — but only when everyone shares something of equal intimacy and only if all of the players are equally relaxed about putting things on the table. And that’s impossible to predict. More often than not, I think this suggested sharing does the opposite — it telegraphs what topics are sensitive to the rest of the group, and then, intentionally or unintentionally, we spend the game perhaps avoiding those.

Let the World Burn. I had two good runs in this surreal game about three people (and two abstract concepts) searching for the woman who means the world to them. The biggest difference between the two runs was my ability to run warm ups and explain the game to participants. Much easier the second time around, and as a result, folks used the game mechanics more frequently.

The Mothers. It’s not a nice game, though it’s an interesting one. The game is about group dynamics in a mother’s support group. I found the type of bleed it created particularly intriguing — I think I felt more wrecked after the game than most of the players.


One of the more enjoyable aspects of this convention is the intriguing conversations available with designers, game-sellers, and roleplayers of all ages. I had an intriguing exchange with a couple designers about the genres of TV and writing that really sock them in the stomach — horror mostly, which was interesting to me, since I’m more of a literary drama woman myself. Our thread prompted the amusing comment about jeepform, “I don’t need some Swedish person to make me feel bad about myself.” Apparently, that’s what Lars von Trier is for.

I argued with some larpers about whether reenactment is really larp. (Short answer: no. Though it is possible to larp at a non-larp, and I think some reenactors do it). And there was some lively talk with designers and larpers about how to advance larp design in the US. A local campaign game is considering the introduction of ars amandi as a supplementary and optional mechanic. I think emotional one-shots are the way to go, primarily because I think emotionally intense campaign games challenge psychological safety too much. Also some interesting discussion on whether Americans would be willing to play in certain Nordic larps. Short answer: yes.

I also met at least two women who want to start GMing jeepform at cons: yay!

Tragically, I narrowly missed my chance to play Steal Away Jordan, a roleplaying game about slavery I’ve been dying to try. I guess I had to leave something for next time!

See y’all at Gen Con.

3 thoughts on “DEXCON 15 Debrief

  1. A nice run-down Lizzie! It was great to finally hear your presentation and we were very pleased you asked us to sell your books at the show.

    With no sales to do at GenCon, I am hoping I can finally get to check out some of the Jeepform and similar Nordic stuff that Emily has threatened to bring along. Based on everything you’ve said, I also need to try and get down to Brooklyn to try and weasel my way into something Tim is running.

    See you at GenCon indeed.

    -Jim C.

  2. I think Hyperreality was one of my favorites. “DOES ANYONE WANNA GIVE ME SYPHILIS??”