Lady Blackbird is on the run from an arranged marriage to Count Carlowe. She hired a smuggler skyship, The Owl, to take her from her palace on the Imperial world of Ilysium to the far reaches of the Remnants, so she could be with her once secret lover: the pirate king Uriah Flint.
HOWEVER, just before reaching the halfway point of Haven, The Owl was pursued and captured by the Imperial cruiser Hand of Sorrow, under charges of flying a false flag.
EVEN NOW, Lady Blackbird, her bodyguard, and the crew of The Owl are detained in the brig, while the Imperial commander runs the smuggler ship's registry over the wireless. It's only a matter of time before they discover the outstanding warrants and learn that The Owl is owned by none other than the infamous outcast, Cyrus Vance.
How will Lady Blackbird and the others escape the Hand of Sorrow?
What dangers lie in their path?
Will they be able to find the secret lair of the pirate king? if they do, will Uriah Flint accept Lady Blackbird as his bride? By the time they get there, will she want him to?
This is a game where backstory is written in play. it starts (and often ends) in media res. Star Wars Firefly, with a touch of steampunk.
In a post-scarcity transhuman future Utopia, there is only one question worth asking.
What do you do today?
Freemarket is a role playing game that explores this question and the kind of world that would ask it in the first place. Conflict is mediated by cards in an elegant system that enforces an ebb and flow of success and failure. Created by Luke Crane and Jared Sorensen.
PAX Prime 2013
We’ve all played “bad” games, but what truly makes a game “bad?” Is gaming beauty not in the eye of the beholder? Is one’s miserable experience not simply subjective opinion? Is there such a thing as an objectively “bad” game? More importantly, however we define the term, do bad games serve a purpose? Much as how without evil, there can be no good, without the worst of gaming, how could we possibly recognize the best?
It turns out that the problem is not in defining what makes a game “bad,” but in what makes a game a “game.” Some games are great at certain things, but terrible at others. Candyland teaches children colors and counting, but is a terrible candidate for a serious tournament. Dungeons & Dragons is great for that heroic fantasy adventure, but not so much for your future cyberpunk transhumanist court drama. Silver Surfer serves as a lesson (and a warning) to future game designers the world over.
Join us for a lively discussion of the worst of gaming, what that truly means, and what we can learn from “bad” games. You may find that some of the worst games ever made can be some of the most fun you’ve ever had.
Excerpted from Beyond Dungeons & Dragons at PAX AUS 2013, we take on the definition of the word "game." Following on from Garfield's "orthogame," we propose "idiogame" for another class of what all fall under the umbrella of "game." If an orthogame is " a competition between two or more players using an agreed-upon set of rules and a method of ranking," then an idiogame is roughly "a series of interesting decisions that produce a personal outcome."
Judge Anime by its Cover
Anime Boston 2013
You wouldn't judge a book by its cover, but anime is a whole different ball game. What if we reviewed anime SOLELY by their covers? Would these reviews be accurate? If so, why? Anime, moreso than other works in other media, seem "truer" to their marketing material, and it is our hypothesis that one truly can "review" anime to a great degree soley by their covers.