Invisible City

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David M Wright

Vagrant Workshop has released Itras By: The Menagerie, a compendium of supplementary materials for the Itras By roleplaying game organised like Dadaesque pamphlets or avant-garde magazines of the 1920s. I’m very happy.

“Between 1900 and 1937 Europe experienced an extraordinary cultural rebirth and interchange of ideas, comparable to the Renaissance and Enlightenment,” says Stephen Bury in his introduction to Breaking the Rules: The Printed Face of the European Avant Garde 1900-1937 (2007). The term avant-garde (“vanguard”) had become associated with utopian politics over the course of the nineteenth century.

“We, the artists, will serve as the avant-garde: for amongst all the arms at our disposal, the power of the Arts is the swiftest and most expeditious,” said Henri de Saint-Simon in Literary, Philosophical and Industrial Opinions (1825), a treatise on how artists, scientists and manufacturers might combine to lead humankind out of the alienation caused by industrial society. “When we wish to spread new ideas among people, we use in turn the lyre, ode or song, story or novel… we aim for the heart and imagination, and hence our effect is the most vivid and the most decisive.”

I’d long-hoped for a roleplaying game to address this shared imaginative space: my own efforts to introduce surrealist ideas into games of Vampire: The Masquerade – I was always enamoured of Clan Toreador – or Mage: The Ascension were for the most part paltry and ill-conceived; I wanted the thing without knowing how it should be done. The decision of editor Ole Peder Giæver and publisher Carsten Damm to open the Menagerie up to all-comers was inspired. The book (at almost three hundred pages) was made by Aleksandra Sontowska, Anders Nygaard, Banana Chan, Becky Annison, Caitlynn Belle, Carsten Damm, Cecilie Bannow, Clarissa Baut Stetson, David Cochard, David M Wright, Edward “Sabe” Jones, Emily Care Boss, Evan Torner, February Keeney, Gino Moretto, Henrik Maegaard, Jackson Tegu, Jason Morningstar, Jeremy Duncan, Joshua Fox, Josh Jordan, Judith Clute, Kamil Wegrzynowicz, Karina Graj, Kat Jones, Kathy Schad, Keith Stetson, Li Xin, Lizzie Stark, Magnus Jakobsson, Martin Bull Gudmundsen, Mathew Downward, Matthijs Holter, Mo Holkar, Niels Ladefoged, Ole Peder Giæver, Olivier Vuillamy, Philipp Neitzel, Sanne Stijve, Steve Hickey, Terje Nordin, Thomas Novosel, Tobie Abad, Tor Gustad, Trond Ivar Hansen and Willow Palecek.

There are lots of wonderful things about the Menagerie but it’s the insanity and the sex I like most – that and the way they’re combined with a creative generosity about every conceivable view of the world. Thought and expression are a deadly-serious game that should be treated with the utmost frivolity, and conducted in an atmosphere of outright honesty. People who tell you that life is work want you to work for them: they might ask you to die for them too. This is instead an invitation to express yourself.

A century has passed since Guillaume Apollinaire named surrealism:

This new alliance—I say new, because until now scenery and costumes were linked only by factitious bonds—has given rise, in Parade, to a kind of surrealism, which I consider to be the point of departure for a whole series of manifestations of the New Spirit that is making itself felt today and that will certainly appeal to our best minds. We may expect it to bring about profound changes in our arts and manners through universal joyfulness, for it is only natural, after all, that they keep pace with scientific and industrial progress. (Apollinaire, 1917)

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Little has changed since Apollinaire died; the world’s war machine rumbles on and public discourse seems to ebb further away from scientific data. The surrealists understood that it is by playfulness that we can achieve the arraignment of violent human impulse to spontaneous truth.

“The Moon grew bigger and bigger until it was the only thing in the sky (and presumably, growing ever still, until it is the only thing in the universe) and with each passing night drilled holes of light into the eyes of the people of city until all they knew was the Moon, all they thought of was the Moon, and all they wanted to do was make the Moon happy,” says Caitlynn Belle in Lunacy (pp69-74, with jagged, evocative illustrations by Thomas Novosel: “And the Moon wanted flesh. And the Moon wanted blood.” My kind of game. In The Hyacinth in the Bureaucracy (pp25- 44) by Jackson Tegu, Matthijs Holter and Jeremy Duncan, everybody and everything is having sex: it’s great. (Jone Aareskjold has written a critique of The Hyacinth in the Bureaucracy’s treatment of the sex trade here.) “No such thing as love, only passion!” cries Evan Torner in The Shadow Carnival (pp216-238), a freeform scenario in which the principles of German Expressionism guide the action: “No luck, only the will to gain power! Don’t be afraid of me!” I am afraid. I like that. Henrik Maegaard’s illustrations for Evan’s scenario are luminous. Becky Annison and Josh Fox have (correctly in my view) discerned the suitability of Itras By for GMful play in Sharing Room and Giving Space (pp145-154), an approach which calls upon every player to frame scenes, play supporting characters and drive external events.

These are just a few excerpts from the five parts of the MenagerieDiorama, Laboratory, Dream Resume, Hall of Mirrors and Post Scriptum. Martin Bull Gudmundsen’s essay When Life Does Not Make Sense (pp256-263) was, for me, a masterclass in making sense. It may be that you prefer to purchase games or books in digital format to lessen your impact on the environment or save shelf-space but I must say I didn’t fully appreciate the wonder of Kathy Schad’s visual design until I held the physical artefact in my hands. You can buy it here.

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Kat Jones & Cecilie Bannow
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Terje Nordin & Ole Peder Giæver
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Banana Chan
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Tobie Abad, Aleksandra Sontowska, Ole Peder Giæver, Trond Ivar Hansen & George Barbier
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Clarissa Baut Stetson

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The second issue of RPG fanzine Machineries of Joy is dedicated to games from the Nørwegian Surreal.

Issue 2

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“Imagine the perplexity of a man outside time and space, who has lost his watch, his measuring rod and his tuning fork.”

Alfred Jarry
Exploits and Opinions of Doctor Faustrall Pataphysician



Issue 2 of Machineries of Joy is dedicated to the Nørwegian Surreal and includes contributions from:

Colin Beaver
Elizabeth Lovegrove
Jeanette McCulloch
John Rose
Matthijs Holter
Ole Peder Giæver
Ralph Lovegrove
Steve Dempsey
Tore Nielsen

Here is the PDF:

Nørwegian Surreal

Creative Agenda

Social media has turned into a game of dodge the 200 Word RPG Challenge entry, so I haven’t been online quite as much. Judging begins on April 26th (Wednesday), so I’ll probably release Issue 2 of Machineries of Joy on Monday or Tuesday. It’s on roleplaying games from the Nørwegian Surreal and includes work from the following array of wonderful people:

Colin Beaver
Elizabeth Lovegrove
Jeanette McCulloch
John Rose
Matthijs Holter
Ole Peder Giæver
Ralph Lovegrove
Steve Dempsey
Tore Nielsen

City of Eyes
“City of Eyes” by John Rose

Character Sheet Version 6 Image

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It’s this coming Saturday 18th March in Wolverton, near Milton Keynes:-

Concrete Cow

I’m offering the following game:-

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The Society of Dreamers

Facilitator: Abstract Machine
Players: 3-4
Slot: Afternoon

Something is living in our dreams. We discover the Mnemosite in childhood, learn more during our youth, first meet as the Society of Dreamers as adults, then weave the facts of the story together before learning the eventual fates of both the characters and the Mnemosite. We are the dreamers who live in the dream.

Technique: scenes are framed by each of the players in turn, prompted by one of nine results blindly decided by the other players’ engagement with a bespoke Ouija board.

Playstyle: Nordic Dreaming; listen, don’t block, no need to complain or explain, everyone is equal.

This game may contain mature themes.

We’ll use an X-Card to moderate content anyone at the table finds uncomfortable – perfect for a weird, fast-moving narrative in which anything can happen. You just tap the X-Card whenever something you’d prefer wasn’t in the game arises and that’s it: no explanation necessary. It’s a way of being considerate without interrupting the flow of the game.

There’s more on the X-Card here:-

X-Card by John Stavropoulos

City of Eyes

After you there are Two

Art is arriving from the good and kind people that I know for the second issue of the fanzine Machineries of Joy – this one is on the Nørwegian Surreal – and it is wonderful.

The collage in the main image is by John Rose and is called City of Eyes.

Above and below is a small selection of the beautiful images provided by artist Jeanette McCulloch to illustrate a conversation about Matthijs Holter’s game-in-development Draug II. I sent Jeanette some of the setting material for Matthijs’s game and it turns out she has an intuitive grasp of the way a game like this exchanges and interrelates the inner truth and outer reality of the natural world.


Dreamlands


Paintings appeared in our game of The Society of Dreamers that granted access to dimensions of creativity deeper and more dangerous than anyone involved might ever have imagined.

I’m more convinced than ever that people possess a natural inclination toward storytelling and that they simply need permission and encouragement to do so effectively. The various delineations of roleplaying games – mainstream, story game, OSR, what-have-you – are more a matter of stress than of difference and directed toward assuaging anxieties about how the game-experience might play out. Games from the Nørwegian SurrealItras By, The Society of Dreamers, the new version of Draug that is forthcoming – are particularly great at granting each person playing full creative reign without impeding the overall creative agenda of the game.


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The Society of Dreamers

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The Society of Dreamers

A religious conspiracy, wine-dark portals of water and colour and a painting of a girl with a half-eaten apple for a head designed to capture the soul of a child.

Our game of The Society of Dreamers was all kinds of great – and all the more so now we’ve moved on to Act 3 of the game, the “weaving” together of the established facts of the story. We’ll conclude our narrative next week.

The game is wonderful. Play it.

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