Part of the problem is that, while Lovecraft was bigoted in really obvious ways, he also weaved racist ideas into his stories in much more insidious ways – like, some of his stories look like they’re just about monsters from beneath the waves or ape-gods living in hidden jungles, but they’re actually not-particularly-subtle metaphors for his hatred. We read around the subject to understand it as much as possible.
[J] Design-wise, the game doesn’t copy Lovecraft, but instead attempts to help you to create a Lovecraft-like story, with your own terrors. Unless you use one of the pre-written scenarios available in the final version of the game, the players will be creating their own settings for Lovecraftesque at the table. So we focused on giving players the tools they need to deal with the racism in Lovecraft’s work.
We start with techniques for:
– Putting in place safety measures that allow players to effectively veto racist themes. There’s a step in the game setup where players can ban elements from the game, with explicit prompts in the text and on the play aids to consider banning in-character racism (and simplistic “going mad”-style depictions of mental illness), but also recommending the use of the X-Card technique by John Stavropoulos to catch the stuff that you couldn’t have anticipated at setup.
– Including a section discussing Lovecraft’s racism, how it might come up in the game, and how you can avoid it and diversify your game. We take the opportunity there to encourage groups to discuss these issues, because that’s our bottom line: if anyone in your group will be made uncomfortable by something, it’s best to avoid it, and you only find that out by talking about it. And of course, that’s now going to be supplemented by Mo’s essay which will go into this in more detail.
[B] This is supported by art and flavour text that attempts to represent a diverse range of people, and which tries to avoid example text from Lovecraft which contains racist themes.
We mentioned all these themes in the Kickstarter, and of course, we wanted the sample art for the Kickstarter to exemplify our approach.
We tried to analyse the ways that mental illness (or, more often, something that looks like mental illness but actually isn’t) might come up in a cosmic horror story. We found there’s actually a lot of ways to represent these themes without being offensive or perpetuating negative stereotypes. Writing about it was a huge challenge because there is far less discussion on mental health representation in RPGs than representations of race. Shoshana Kessock’s original article is still the most comprehensive discussion piece on the themes – though there’s been a surge in discussion recently which we’ll be paying close attention to.
We both sometimes struggled to describe some of Lovecraft’s themes, such as the worldview-shattering effects of the mythos, or the presence of characters who have been deeply traumatised by an encounter with the horror. It was easy to unintentionally slip into casual ableist language in our game text and we have tried to correct that.
[B] You asked about playtesting. I don’t remember this being a particular problem in playtesting save that it was a new direction to ask people to directly think about using the word “mad” as a descriptor in a Lovecraft game.
There aren’t any sanity mechanics in the game which would push players in the direction of depicting mental illness. There were moments in playtesting when characters justifiably behaved with an element of temporary hysteria. I hope those didn’t come off as offensive and I certainly believe and hope they didn’t cross any lines. But my conclusion from all this is that, lacking an explicit mechanical push, most players will tend to default to playing their character as a person and not suddenly lurch into bizarre stereotypical behaviour.
We knew going into this project we wanted to have a really diverse approach in the artwork. Diversity in the text doesn’t mean much if it isn’t reflected in the art. A lesson we’ve learned from you and others!
When we looked for an artist we asked the RPG design community on G+ for recommendations, and especially encouraged people who were not white, cis, het, men to contact us. Not that we didn’t want submissions from those men, but we figured we’d get plenty of responses from those guys anyway (and we did which was cool!) but we wanted to make sure we got plenty of other people being recommended as well. We specifically put a note in saying we wanted to encourage submissions from people who might have imposter syndrome or otherwise assume they weren’t professional enough – because lack of confidence is often a problem for people and we wanted the widest possible pool of artists to choose from.
[J] We were really lucky to have Robin Scott as our artist. Robin was on exactly the same page as us when it came to making our art diverse – we were incredibly impressed with the diversity of models in her Urban Tarot work.
Right from the start, we said to her (and come to think of it, we said this to all the artists we shortlisted) that we wanted to portray diverse characters, from all genders, ethnic backgrounds, ages, sexualities, and levels of ability and disability, with a ceiling on the number of white dudes portrayed in the art. We also asked to avoid portraying all the white men as heroic action types with women and people of colour as passive victims or other stereotypes. Robin’s response was that she would have done that anyway, so it was great to know we were working together on this.
We didn’t stop there, of course. We created a list of concepts for images, and once we had whittled them down to the ones we wanted putting in the book, we went through character-by-character to identify what they ought to look like and make sure we were meeting those diversity objectives. So, while the art isn’t yet done (Robin has just started work on the art the Kickstarter is funding), we already know where we’re headed.