Finance, Ponzi Schemes, and Cards: Liar’s Poker

Lying to your friends can be exceedingly fun.  Unfortunately, other people are often angry when you mislead them in everyday interactions.  This is where Liar’s Poker comes in handy; it gives you all the satisfaction of lying to your friends, with none of the insalubrious repercussions!  I was first treated to this game last night, when I played it with my brothers and cousins, and I’m now a staunch advocate.  Please note that this is not the same as the similarly titled bar game played with $1 bills.

Liar’s Poker is very simple.  Much like in Ponzi schemes (or even the stock market), the idea of the game is to be one of the first people in, and be the very first person out.  You never want to be caught holding the overvalued collection of rubbish that is methodically working its way around the table, and you most certainly want to convince the next person in line that the crap in your hand is actually worth something.  Like I said, it’s very simple.  It also has the potential to be hilarious.

The first player is dealt a hand of five cards, looks at them, and declares a hand (anything from high card to royal flush).  They then offer the hand to the next player.  The second player (and every player after them), then has the opportunity to decide whether the offer is believable.  If they accept the offer, they receive the hand and now have the opportunity to discard face down up to three cards from the hand and draw cards to replace them.  They must then declare a hand of greater value than the one they recieved and offer it to the next player.  If they reject the offer, the rejected hand is revealed and evaluated; if the revealed hand met or exceeded the declared value of the hand (and the declaration did not substantially misrepresent the hand’s contents), the person who rejected the hand takes a point.  If the rejected hand was, in fact, the load of rubbish which the discerning player believed it to be, then the liar who tried to pass it off as something better takes a point.  The first player to 10 (or whatever you decide on for your preferred length of game) ends the game, and the person with the lowest point total wins.

While you are in possession of the hand, you may say whatever you like about its contents.  Once the hand is no longer yours, you should not declare anything about what had been in it except to repeat what you had claimed when you passed it along.  Table talk is otherwise encouraged.  Remember that all discards are done face down, so you can’t see what has moved in or out of the hand.  Also note that the next person must always claim a higher value than the one you gave them, and the only way to hurt people further around the table is by allowing a hand to keep moving.

What did I mean by “substantially misrepresent the hand’s contents”?   If you’ve got three aces in your opening hand, you could say “the highest card is an ace,” and not be in danger.  If you had a pair of twos and a king, you could simply say “pair of twos.”  If you wanted to turn up the heat, you could get more specific and claim the higher value hand, which would also narrow the range of claims available to the next player.  But if you have a straight in your opening hand and instead claim a pair, you would be in danger of taking a point if someone calls you on it, regardless of the fact that your straight certainly outdoes a pair.

So why do I like this so much?  It may simply have been a combination of sleep deprivation and alcohol, but I suspect that I would have similar results when playing this game with the right group of people.  That’s an important note: there are certainly people with whom you will not want to play this game, which may be a larger (or different) group than the usual people with whom you don’t want to play games.  Make sure that you have players who will be willing to laugh at being duped, even as they take joy in lying through their teeth to the next person in line.

Liar’s Poker requires only minor memorization, and will quickly teach familiarity with the values of poker hands, but it really shines when it comes to creating hilariously improbable situations and forces you to judge just how deep the lies really go.  It’s great fun.

To be perfectly clear, there are other games which are also called Liar’s Poker, and there is a book by Michael Lewis with the same title.  This game bears only passing resemblance to the others, but it seems far more interesting to me than the bar game.

Transistor

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There are many things that I wish to say about Transistor, but the story-related ones will have to wait for after the break.  I don’t want to spoil anything for you.

To start with, this is one of the prettiest games I have seen in a while, and it has a soundtrack that makes me want to close my eyes and sink into it.  I spent a considerable amount of time simply sitting and absorbing the game’s music, doing nothing else for fear of missing out on the songs.  I wish that the soundtrack had all of the various in-game versions of the music, including Red’s hummed accompaniment.

I’m hard pressed to peg the game to a single genre or type, but its construction and design bears a profound similarity to Bastion.  You do battle with an ever-growing variety and number of foes, following the protagonist from a third person isometric perspective as you wander through lushly painted land- or cityscapes, slowly puzzling out the backstory of the characters and learning what is happening around you.  As far as I’m concerned, what worked in Bastion works here too.

As a game, I found Transistor very appealing; designing my own powers, mixing and matching elements as I discovered new killer combos, and adapting my loadout to the situation presented were all quite satisfying.  Making sure that I wasn’t crippled when I lost one of my powers due to a mistake, and being forced to rethink my situation creatively when I failed in that, were both very rewarding as well.  And when battles became a little same-y towards the end, or failed to present me with situations that I hadn’t foreseen, I still wanted to follow the story.  Now that I’ve finished the game, I also want to see how it handles itself on a second pass-through.  But I’ve played it enough to be able to say that I like it, and that I suspect you’d enjoy it as well.  Now about those *SPOILERS*…

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Teasers for Adventurer’s Rest

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Sorry about last Wednesday, here’s a present to make up for it.

My apologies for missing my usual post last Wednesday.  I was busy collaborating with several friends to write and produce a LARP game for Staff Week at The Wayfinder Experience (where I’ll be running another game for a considerably younger audience in a few weeks), and as such was pretty much entirely incommunicado.  I still have yet to say happy birthday to my mother and step-father.  I’ll try to get to that as soon as I finish this.

Since Wayfinder (WFE) is all still very much on my mind, I thought I’d offer you a collection of the teasers that I and my friend Thom have made for our upcoming game (Adventurer’s Rest, at WFE’s Intro Camp, July 20th-25th), and some of our thinking behind them.  If you know anyone who might be interested, you should totally tell them about it.  I want lots of players for my game!  Actual entertainment follows after the break…

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Europa Universalis IV: Becoming Leviathan

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Out of many, one.

I wrote a love letter to Crusader Kings 2’s intricate dynastic backstabbing a while ago, and I thought I should let you know about the game’s semi-sequel Europa Universalis 4.  I’ll even toss in a few tidbits about the myriad DLC available for both titles at no additional charge.

First, a brief introduction: Crusader Kings 2 is strategy-as-individual, a fascinating look at the intimately personal nature of politics and power, spanning the years from 1066 CE (867 CE with Old Gods DLC) to 1453 CE.  Europa Universalis 4 follows this with a shift from the myopically personal to the strictly national, covering the years 1444 CE to 1821 CE.  With both games and the appropriate DLC, it’s possible to convert a CK2 save game into an EU4 mod, letting you pick up the reins of your budding nation-state right where your Machiavellian ruler left them.

I loved CK2 from the start, even though it took a long time for me to feel like I could play the game without stumbling over my shoelaces.  Despite having an easier time learning how to play EU4, it took longer for me to really fall into it.  I think it was because the game is simply less personal.  It certainly wasn’t because of the interface, which has only improved.

In my first game of CK2, I was presented with a moderately ugly portrait of a lecherous Irish earl, told that that was me, and told that I really ought to get married.  I lived that earl’s life with gusto, trying (and failing) to better my position in the world, and I still have fond memories of him.  I identified with him, in much the same way that I have since identified with Queen Ximena and several other rulers of mine, and I felt connected.  EU4 simply doesn’t offer that experience, and at first I was dissatisfied.  I didn’t understand why I would want to play this grand strategy game without all the little people desperately trying to grease the wheels of power in order to ease their rise to the top.  I put aside the game and didn’t come back for a few weeks.

I’m still not sure what it was that pulled me back in, but I’m glad it did.  Despite looking so similar to CK2, EU4 is a very different game; it offers you the chance to shape a state as it transitions from the deeply personal politics of feudalism to the larger scale conflicts of colonialism, nationalism, and empire.  It gives you a chance to make Thomas Hobbes proud.

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Game Analysis: Devil’s Tuning Fork

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Devil’s Tuning Fork is an interesting exploration in design which seeks to weigh in on the classic question, “What is it like to be a bat?” (don’t worry, this will remain a game review and not an exercise in philosophical discourse) The game places you in control of a child who has fallen into a mysterious coma who must now explore a strange dreamscape in order to awaken. In order to escape what is eventually identified as a sort of dungeon you must rescue other children and traverse multiple platforming exercises/puzzles. And you must do this while experiencing what it is like to be a bat (sorry, I swear I’ll stop referencing Nagel’s paper.)  The overall tone of the game tickles my love of horror and the surreal.  But as it is with most things which I love, it isn’t perfect.

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Game Analysis: The Stanley Parable

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Before I get into any discussion I must first say that the game is wonderful and you should play it. If you have already played it, don’t plan on playing it, or just don’t care about spoilers, then you should feel free to read on. Otherwise you should go and play The Stanley Parable and then come back.  Go ahead and read Jim Sterling’s review as a way to motivate yourself.

If you’re still unmotivated to go and play before I go into my analysis, then consider this: How much choice do you really have when you play a game? Do your actions truly affect whatever narrative you are participating in? Does deviating from the defined path truly do anything? The Stanley Parable experiments with these questions in a fantastically intimate way.

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Game Analysis: Broken Age: Act 1

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Many apologies for my hiatus. But I’m still around and thinking about games! In a rare occurrence I also recently finished one! The game is Broken Age by the amazing Double Fine. I think Double Fine’s strength is their writing, so an adventure game like Monkey Island or their own work Grim Fandango seems like a perfect fit.

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What Flavor Is Your Game?

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I like vanilla ice cream.  I have for a very long time.  Before I knew my alphabet, much less how to read, I knew that hearing my older brother spell out “I-C-E-C-R-E-A-M” meant that I should start asking Mom for ice cream too.  Better yet, as I got older and discovered the joys of living in Vermont (home of Ben & Jerry’s before it was bought out by Unilever), I learned that there were far more flavors of ice cream available, and that many of them were exceedingly tasty as well.

When I was little, I played make-believe all the time.  A number of my friends simply couldn’t understand the appeal, and stopped playing with me, but at the tender age of seven my older siblings harnessed my ambitions and introduced me to 2nd Edition AD&D.  My introduction might actually have been earlier, but that year was the first time I can remember staying up until midnight to play RPGs with them.  Over the next few years, I was introduced to Vampire: The Masquerade (along with a bundle of other White Wolf games), D&D’s 3rd Edition, In Nomine, and GURPS.  More other games followed.  Just like with ice cream, I had discovered a whole new world of flavors to choose from.  I was very nearly overwhelmed by my enthusiasm.  These days, some people refer to me as an RPG snob.  I much prefer the term ‘connoisseur’: through dedicated consumption, I have built an appreciation for the inherent flavors of different game systems.

But what the heck do I mean by “flavor”?  And how do you figure out what a game’s flavor is?

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The Brief Hiatus Continues

I’ve been lax in my duties to this blog.  My apologies.  I should have explained further with my post last week: I’m in Portland, Oregon, and on Monday I spent all day running my Call of Cthulhu game for a number of fellow Reedies.  Today I’ll be co-teaching a stage combat class, and Saturday will see a second run of the same scenario from Monday.

I’m afraid that all means that I won’t have new material for you this week apart from this apology.  On the plus side, I finally cast my eyes upon RimWorld, a fascinating base-building simulation with an AI-managed event-engine that I’m itching to get my hands on and tell you about (yes, I want to tell you about the event engine, follow that link and read about it).  I’m also moving ever closer to having a complete version of my Call of Cthulhu scenario, though I’m not yet certain whether my most recent alterations are progress or regression.  Either way, I’ll be back here to bother you about cool stories, games, and story games next week.

Dungeon-Starter: The Duke’s Men

Happy New Year!

Here’s an abbreviated dungeon-starter for Dungeon World, building somewhat on the material that I came up with for The Duke’s Men.  Agenda, Goals, and Dungeon Moves are at the top as per usual.  This is mostly focused on cultists and such, as the game itself was, but the basic storyline offered in my previous post could easily be altered to deal with any number of different kinds of threats.

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