To close out this miniseries on actual play, I wanted to feature a game that I think uses actual play as a game mechanic. Hear me out. Void 1680 AM is a solo playlist-building game in which you create a fictional radio broadcast. Except when you're done, you can send it to the game's creator (this week's cohost Ken Lowery), and he'll broadcast it out onto the real radio via the AM antenna in his garage (and on YouTube).
Obviously it feels different to play the game knowing it's going to go out on air. But I think it feels different even just knowing that it could go out on air. And while most actual play feels first and foremost like an act of performance, Ken's broadcasts feel more like an extension of gameplay and an act of community building. How's it feel to be inside all that? Come take a listen.
Last Train to Brooklyn is an actual play from Twice Rolled Tales where they play Last Train to Bremen on a New York City subway car. It's also probably my favorite actual play full stop. Why? I think because it leans into what I'm most excited about this medium: treating capturing the act of play more like a documentary than a means towards fiction. It's excited at least as much about its nonfiction story as its fictional one.
Today I've invited Linnie Schell, one of the main creatives behind Last Train to Bremen, to come give me a beat by beat director's commentary on everything that went into it, all building to the moment I really wanted to highlight: its ending.
One of my favorite parts about these episodes where I'm highlighting a single moment from an actual play is how many practical lessons I can bring back to my own table by going beat by beat through a significant moment in play. And today, Maia Wilson has brought a particularly significant moment from her show Maia's Game Room in which one character, in desperate straights, is pressured by an NPC to pay for his help with sex.
It's an intense moment. It may not be for you (and this episode may not be, either). But I think there's no better way to learn about how to establish good communication and try to keep people safe at the table than by breaking down a specific example. Plus, when you get this right like I think Maia and her table do, the results can be cathartic and compelling. Let's get into it.
In The Wildsea, you play as sailors on a sea of trees in a climate post-apocalypse where the climate won. And in the My First Dungeon mini series of this game, today's co-cohost Brian Flaherty took it on himself - along with co-player J Strautman - to write an original song, a “tree shanty,” that played on each episode…
It's a new series on Dice Exploder all about actual play. For five episodes, instead of breaking down one mechanic, we're going to break down one moment from one actual play show. This week: the opening moments of My First Dungeon’s Orbital Blues miniseries.
