Whimsy’s Throne is live on DriveThruRPG!

You can find the first two World Seeds here. If you read and enjoy these World Seeds, please leave a positive review. That would mean a lot to me.

My goal, as I said a little while back, is to continue producing these Seeds for the foreseeable future. If you’d like to see the process in action, learn about how I’ve repeatedly edited out half—or even two-thirds—of the words in a piece, or see the art as it moves from concept to completion, you can do that at Whimsy’s Throne.

There’s still more to do, of course. I want to find another artist to work with next—if you make art, and would be willing to make something like what you can see in those Seeds for $400, let me know. I also want to have more legible covers for the DriveThruRPG store, which will require some tinkering.

And I’m trying to figure out where in the World Seeds (and how) to add a reference to Ginny Di’s video about advice she struggled with as a novice GM. I want these World Seeds to be as accessible as possible, to engage people in as many ways as possible (hence having both art and words). And while I can’t address the audio-preferred crowd very well in my pdfs, I can share videos that fill that gap. And I think her video has a usefully different approach to a lot of the advice my World Seeds give or imply.

It’s not advice that veteran storytellers are likely to need, but these World Seeds are supposed to be accessible to storytellers of all skill levels (ideally without feeling pedantic and overbearing). And while you could (and likely would) reach her conclusion by reading lots of material from The Alexandrian (like this, or this), I think she does a good job of saying it fairly concisely… and in a way that some GMs might understand more readily. I don’t know whether I want to expand World Seeds into a broader “RPG education” tool, or whether I want to do that in some other format, but I keep finding tidbits to add because I want these World Seeds to be a complete package for people at any level of comfort and confidence with storytelling.

Next week I might miss a post, as I’ll be traveling. I’ll be back before too long though. You should see me here again the week after.

‘Yes’ means nothing if you can’t say ‘No’

I’m fortunate. I’m lucky in the extreme, in many ways. One of those ways is the fact that I exist at all. My existence in the first place was improbable—my conception was a wildly unlikely event. And, given everything else going on at the time, there was no guarantee my mother would want to give birth to me. Yet my mom has told me many times that she feels blessed to have had me. I feel blessed in turn.

“Ah ha, Henry must be anti-abortion!” You say.

No, the opposite.

I was born because my mom wanted to keep me. I was born in a world where she had a choice, unconstrained by legality or safety, about whether or not I would be born. I was raised by a mother who was able to look at her life, at her family, and say “yes, I want to bring another child to this, and I am ready to love and provide for that child.”

I am lucky, I am blessed, because my mother was able to make that choice. In many ways, my life feels more meaningful because my mother had other options and chose me. I was never unwanted. I wasn’t a burden. I was chosen.

I want others to be chosen too.

But being chosen requires that it be a choice. That choice matters. Preserving the ability to choose matters. ‘Yes’ is an empty word when you can’t say ‘no.’

Taking away someone’s ability to say ‘no’ doesn’t mean they’ll say ‘yes.’ It means you don’t care what they think or feel. You might as well just tape their mouth shut.

And it’s dishonest to look at this issue on its own. Abortion access may be legislated separately, but the arguments about abortion and restricting access to it are deeply entwined with other political messages. They coexist with other narratives, and other goals.

The political party that would restrict abortion access also votes to cut funding for public health care. In Mississippi, anti-abortion legislation is passed even while support for future parents is not. And politicians arguing against abortions often also vote against funding programs that support poorer people, or expanding that support to prevent poverty in the first place.

Here in America, many of these arguments come back around to personal responsibility. Individuals are to blame, by the logic of personal responsibility, for all of their success or failure. And many anti-abortion politicians support measures that push this narrative. They sell the idea that they’re empowering the individual to plot their own course or stand up for themself.

Unless you’re pregnant.*

Raising a child in our society is extremely expensive. Giving birth is more dangerous here than in many other countries, on top of being pricey. Quality medical care is not reliably available to everyone, and where it is available it’s still costly.

Choosing not to raise a child under those circumstances is a responsible decision. Choosing to raise only the number of children you can afford to raise is a responsible decision. Choosing not to take the medical risk of bearing a child is a responsible decision.

I am lucky because my mother knew that she could provide for me. She knew that having me wouldn’t be the straw that broke the family’s back. She could make the choice to have me without being irresponsible.

But politicians who love personal responsibility would prevent people from making responsible choices. Because if someone is pregnant, then these politicians know best. They know the government should strip away that vaunted individual choice, they know the government should disempower pregnant people in their own personal lives.

I firmly believe that people should be allowed to not get abortions if they don’t want them, or if they feel abortions are morally unacceptable. They can choose to never have an abortion. They can make many personal choices, for themselves, as they see fit.

But they can’t make those same personal choices for others. They must not gnaw away at other people’s access to health care. It’s unacceptable to force anyone but yourself to carry a fetus to term.

There’s far more to say here: about political narratives, religion, extremism, and broken systems… but I’ll leave it at this for now.

Being chosen was a blessing. Let other people choose for themselves.

*In fact, this message of “empowering individuals” comes with far more caveats. It’s not just about being pregnant: when you look at larger patterns it also often matters whether you’re white, rich, male, straight, etc.

Star Trek: Strange New Worlds

I’ve only seen the first episode. I loved it. I’m really excited for more.

It’s hard for me to see this show without immediately comparing it to Star Trek: Discovery. Obviously, the two shows are connected by their events and characters. And, very mild but necessary spoilers, if you watch the first episode of Star Trek: Strange New Worlds you will be spoiled for the end of Discovery’s second season. Given the continuity of experience for several main characters (and especially Captain Pike), that’s inevitable.

Most of the details of Discovery aren’t brought up because they’re classified in-setting and there’s little reason for anyone to actually divulge anything. But the vital bits come out in a few conversations, or are heavily hinted at and shown in characters’ internal struggles. This means that you don’t need to have seen Discovery in order to enjoy this show, and all the plot-relevant emotional strife that grew out of the previous show’s events is made accessible to new viewers.

That’s all for the best. I have mixed feelings about Discovery, and I think Strange New Worlds made the right choice by making itself more accessible to new viewers. Moreover, I think Discovery’s emotional and narrative tone felt more like a grim Star Trek movie… and Strange New Worlds feels like a marvelous return to the tone of Star Trek as a TV show.

I’ve written about this here before. Discovery had piles of narrative tension, and character development, and drama… and it felt like watching a high production-value miniseries set in the Star Trek universe, with all the bubbling idealism stripped out. When I watched it, I did not feel hope. I was engaged by the story, and I appreciated the growth seen throughout each season. But Discovery was fundamentally about season-spanning dramatic narrative arcs. 

Star Trek benefits from dramatic narrative arcs. Yet for all my love of a good narrative, Star Trek has long been more focused on exploration, and on ethical, moral, and intellectual engagement with difficult subjects. Sometimes it does that well, sometimes it doesn’t. And sometimes it leavens itself with exciting narrative interludes. But it’s a series anchored in idealism, hope, and a willingness to engage critically with its setting (with varying levels of success).

Strange New Worlds delivers that. Watching Strange New Worlds felt like watching the next iteration of the old Star Trek shows, in the best possible way. I loved it.

I know there are some people who have seen it and don’t like it. I understand that a number of people are upset about the bridge crew being both mostly non-white and/or women. Fuck ‘em. If that’s seriously their gripe with the show, they haven’t paid enough attention to the whole rest of the show’s history—and they’re apparently unsatisfied with the fact that the captain is still a white dude.

I haven’t yet heard other people’s critiques of the show, and I’d be more curious to hear those. This meme applies, to be sure:

But not only does this new Trek feel hopeful, I once again trust that the show will continue in the optimistic and idealistic traditions of older Star Trek shows rather than chase ”serious drama” at the expense of its emotional and philosophical tone. I am so excited for more.

World Seeds, Whimsy’s Throne, DriveThruRPG

I’ve made a DriveThruRPG storefront for my World Seeds project (see Whimsy’s Throne for details). I’ll link to that after I’ve uploaded my first Seeds. I knew this step was coming, once I had another finished Seed ready for publication. And now I’m dealing with the intricacies of posting content on DriveThruRPG while trying to figure out how to optimize the PDFs I’ve made for general distribution. I don’t want to publish content that immediately breaks when a stranger tries to open it, after all.

Unfortunately for me, I also don’t want to optimize my published content such that the art turns fuzzy and indistinct. This might be an issue.

My next steps are to upload the two World Seeds I have thus far. I’m making one available for free, and one for cash. Then I need to find another artist I like working with. Meanwhile, I’ll keep chugging along: writing more rough location descriptions and expanding existing descriptions into full-fledged Seeds.

My goal with this project has always been to produce a bunch of these things. And I want them to have notably distinct art styles for each Seed, for the most part. If I can have different artists bringing distinct styles (or experimenting with styles that are new to them), that’s perfect. I’m happy to do repeat work with artists, of course—I’ve really enjoyed collaborating with the artists I’ve worked with so far. I look forward to working with them again—I just don’t want the Seeds to be tied to only one style. The more variations, the merrier.

My hope is that I can have a varied body of artwork and styles reminiscent of the huge variety that was present in early 90’s Magic: the Gathering art. That’s what I grew up with. And while some of it was bad, I loved the way I could find so many totally novel art styles in the same game. During the 00’s MtG homogenized their style significantly, allowing some variation between sets but building a unified “house style.” While I can see how that makes sense for a company managing such a large quantity of content (and a company concerned with consistency in its artistic brand), I feel like MtG lost something when they stopped having such significant variation in artistic style from one card to the next. The individuality and experimentation faded away.

Given that I’m trying to build a product that engages people on as many levels as I can, and which appeals to as broad a group as possible, I feel like changing up art from one Seed to the next is my best option. If someone hates one art style, maybe they’ll love a different one and pick up that Seed. The dream would be for people to love and use every World Seed, but I’ll absolutely settle for catching people’s eye with a few different options.