Port Wither

Dungeons, Dragons, Scenes and Complexity

In the last year, i’ve been playing D&D both as the Dungeon Master and as a Player, and here are some of the things i’ve observed which I think creates a successful session or dungeon. It’s based around the notion that the three pillars of D&D, are:

  • Roleplay
  • Combat
  • Exploration

Rather than have separate scenes for each of these, I tend to think it’s possible and desirable to have all three as options in all Dungeons. Not being familiar with terms, i’m going to use the word ‘Dungeon’ to refer to any distinct part of a campaign that happens at a single location and the word ‘Scene’ to refer to a thing that happens in a single room with a collection of characters and objects.

Give the Players Lots of Problems

…rather than just a single mission to accomplish, the players can be given multiple problems to solve at once, sometimes these should be competing with each other for the players attention, actively working against each other and stacking up, and all of which can be played using any of the pillars. The following are examples of the kinds of things that should be happening not one at a time, but have several of these layered on at the same time:

  • The Players must rescue a Dark Elf Prisoner from a Castle by negotiation, combat or stealth, their choice.
  • The Custodian of the Castle is obsessed with adding to his collection of Powerful Magical Objects he has ordered local innkeepers to confiscate any Magical Objects from the players.
  • One or all of the Player are being pursued by an assassin / wanted by the local police for some reason related to a previous encounter.
  • When the Players arrive, a prison breakout is already underway, the Prisoner has set himself up as a mad cult leader making complex demands.
  • A secret entrance is a puzzle involving levers and passwords and stuff, but the players should never be left alone to solve it: they’re being sniped at all the while by either literal snipers or just a stupid goblin in a cage who is constantly insulting them and demanding release in order to give them clues.
  • Minor characters in bad situations, at very inconvenient moments.

Give the Players a Toy Box

Once the players have a mission to accomplish, the environment should be rich with stuff the players can use. Multiple levels, things to hide behind, destroy or climb over. Bridges and Balconies are always good. It is not the DM’s job to figure out how this stuff gets used, or even to worry about it. The players will always find things to do when under pressure.

  • If the players see a very expensive chandelier in a room near a balcony, above the entrance, that is clearly stolen from Elven culture, at a point where Orcs are imminent, there are at least three or four ways to use that.
  • A magic grappling hook/glove thing with a high chance of entertaining failure. This is a good tool, as it allows the players the opportunity to work with the environment and alter the topology of combat.
  • Barrels full of Very Expensive Flammable Booze.
  • You can’t beat an angry and belligerent Goat: fight, befriend or enrage for tactical opportunities.
  • Objects which have vaguely suggested interactions with other objects seem helpful, but don’t be prescriptive: all of the above seem to me to be combinable in interesting and alarming ways, alongside whatever other nifty items the players have on them.

Interesting Antagonists

Partly, the above points about complexity and toy boxes is to enable you as a DM to give the players more interesting villains for low level players and the equipment to deal with them outside of regular combat and weapons:

A badly wounded Liche who is bargaining with the players for its life and the players own while it is also under seige by a Half-Orc Crime Syndicate turned vigilante force gives the players a chance to encounter big villains without being completely outclassed in combat, as they would be against any one of these characters under normal circumstances.

Mister Mouthy

There was an imprisoned Gargoyle in the basement demanding to be set free (the players passed on this) and a swamp outside one entrance with a being known as ‘Mister Mouthy’ living in it. He ended up being used to dispose the main villain by an unexpected combination or throwing axes and flight potions.

But since we’re using this to pit the players against higher level villainy than the Manual recommends, we must…

Give the Players An Exit

If things are getting overwhelming, the players should never be unable to leave in such a way that it feels like an entertaining tactical and temporary withdrawal rather than failure. An exit should always lead to further complications and opportunities. Keep exit scenarios in mind in case you need to use them, if they aren’t used, they’ll keep.

  • Players leaping out of windows may find themselves in a moat containing an alternative entrance to the Dungeon. Probably the one with the goblin mentioned above if the players hadn’t found that by other means.
  • While the Villains are looking for the misplaced players, they can sneak back into the game, but the players have new pursuers to add to their troubles later.
  • They’re hiding in a Priests Hole when the encounter the Priest, a pythonesque character capable of giving the players important information, but is similarly insisting on shouting and singing and attracting the guards.

The players will find their way

Players will find their preferred solution to a problem: some will want to fight, some to sneak and some to roleplay their way into the castle, so it’s worth wile considering at least one ‘scene’ of each. Make them work for their preference and mix it in with the other things:

  • Players who want to Sneak can find the secret entrance, but also encounter That Priest or That Goblin meaning that they have to either Fight or Roleplay in order to maintain their sneakyness.
  • Players who want to Fight can find the fight, but will find themselves outclassed and find themselves having to explore to find tactical advantage, or Roleplay with other entities for support.
  • Players who want to Roleplay can find the tense negotiations, but should probably have to do it while hiding behind a barrel of explosives, or during which they witness a mugging through the window in the background.

The characters choose what success and failure means.

Part of the benefits of throwing a lot of stuff in is that it always gives the players (and their characters) choices: about how to prioritise threats and benefits, and about how to judge their own success.

  • OK we didn’t rescue the prisoner, but he tried to kill us, and anyway look at all this magical loot.
  • OK we are now wanted for the crimes of our enemies, but we freed the goblin slaves and our conscience is clear.
  • OK we had all our gear stolen, but we have all these barrels of expensive booze.
Pirate Town

A town harbouring Pirates, who prefer to remain secret, but with a vested interest against securing the town against the Mayors necromancer daughter, who had escaped from her ‘private residence’. It wasn’t a bad setup, fight was fun and the players had to decide what to do with the Daughter, who could be viewed as ‘innocent’ on some levels… But it was confused by having multiple factions of Pirates whose motives and power game in the town was vaguely explained and distracted from the meat of the situation.

Some mistakes I make:

  • Don’t overdo it and confuse the players, but should have maybe two immediate concerns from the three pillars during any scene, and maybe up to half a dozen such things going on in a bigger picture.
  • The players should largely be able to distinguish between the local story and the Campaign Story. The Campaign story should probably be pretty simple and easy to grasp: if you do have a grand conspiracy, interest in smoke and mirrors will wane pretty quick of you don’t start being decisive about giving players answers.
  • Aside from the Campaign Theme, don’t keep a concern live for more than two to three sessions otherwise either the players will bet bored with it, or conflate it with a bigger plot when you don’t want them to. So: tidy up none Campaign plot lines reasonably fast and have one closing as the next opens. After introducing an assassin, the players should start the next Dungeon being pursued but have the opportunity to confront and defeat them within the next two Dungeons.


As I got better I tended to make lots of modular bits and pieces: characters, objects, sets and combining these, ‘scenes’.

I should say that I always have a reasonably well sketched out situation: the players would feel as cheated if I was making it up as I went along as if I was rigid in the outcomes. This is hugely difficult to get right.

I usually have had some idea how these are to be strung together, but I’m usually quite happy to leave them out of a scenario for later use if they don’t occur. I’ll throw the band of drunken Dwarves in in when they’ll add complexity to the situation in response to a particular player action rather than necessarily that it has to happen at this particular point in the story.

By complexity, I sometimes mean threat, but more often than not I’m motivated by what seems funny and upsets the apple cart if the players are too relaxed about the setting: they should feel their characters are competent but always off balance.

The pacing of adding and resolving these multiple layers in a Scene or Dungeon is very difficult to get right. Finding a Rhythm is key. Some Inspiration:

Jackie Chan, Pirates of the Caribbean, the Left 4 Dead Director, Pixies


Game Over

The game may be over…

…but do we know who won?

As the members of the excellent Newcastle Playtest group will know, my preference is for games that do not require a counting of things and adding up of points after it has ended. Adding up the Victory Points is a very well used mechanic in modern boardgames, but it always leaves me cold.

All of the games listed below are brilliant and games I really enjoy and would always play when offered the chance. The purpose of the rest of this post is not to consider why they’re so widely used, question my objections to them, think on alternatives, and/or to find ways to make them easier or more relatable.

I understand why they must be so: one of the principles of Euro Game design is that ‘no player elimination’ is a good thing – and it is – all players should be fully invested in the game till it’s over. One way to achieve this is to hide who is doing exactly how well, and the most frequently encountered way of doing this is to hide it all in a pile of maths functions.

Since these functions are at least partially intended not to be intuitive, they must, by their nature, give you a headache.

No-one needs that.

Tzol'kin: The gods of maths will let us know who won.

Tzolk’in: The gods of maths and geometry will let us know who won.

Agricola, for example, ends like this. It feels… arbitrary and to me quite horrific:

lookout spiele.de wp content uploads agricola cards completelist v7.pdf

  • Ticket To Ride and Carcasonne should be more accessible family games but both feature a big pile of counting things up at the end, then subtracting penalties, then adding bonuses. Those latter two games are mostly tolerable because I play them on a console and the xbox is pretty good at counting things really fast and just sorts this out for us.
  • Small World and Libertalia are two of my favourite games – both better in that you only have to add up your pile of money which you’ve been hiding for the duration of the game.
  • Android: Netrunner is over when a player has seven points. No further adding up required. I suspect that this kind of thing is much, much easier to achieve in a two player game than a five player game, but note that the game allows for any player to get to seven in a single turn, so being on three while the other is on six is still not as obviously a lost cause as it might appear.

Can we eliminate any and all post game adding up without demoralising those who may have obviously lost early in the game but must keep on playing?

Android: Netrunner: ah, it's over.

Android: Netrunner: ah, my nets have been over ran.

Victory Points don’t exist

Victory Points are always unthematic: the game is over, and now the god of maths will tell you who won. Tzolk;in acknowledges that we’re appeasing the ineffable whims of the gods of cogwheels and maths so: fair enough. Not so Ticket To Ride, which alleges that it’s actually a race that takes place over 7 days… but… but…

If we’re designing a game  and find we’re adding up victory points, we could take a good look at our game and consider whether victory can be measured in something real and derived from the games theme so that the players understand who they are and what they’re competing for. If the victory points are more relatable, adding and removing them might be less of a chore.

Victory Points should to be replaced with some concrete thing that exists in the games theme

  • Can they be translated into some kind of market force or survival requirement? Can we hand out awards and trophies for having eight cows or five fields rather than move people a made up number along a score track? Ticket to Ride does this, but it could be a lot simpler.
  • Victory points are going to reflect the opinions of the game designer: It is Uwe Rosenberg who decided the relative values of carrots and sheep in Agricola, not any kind of in game or real market forces. If it must be this way, we could personify that and make the giver of victory points the opinion of a local lord, deity, AI (and if we do that, consider the possibility that we could all gang up on them and win a co-operative victory).
  • Consider the possibility that if no such thing exists in the games theme, the game shouldn’t be competitive?

Theory: Games with victory points are almost always games where there isn’t natural competition in the games theme anyway. Why are we even fighting?

Agricola: Um... ah... i'm enjoying my farm, but... winning?

Agricola: I’m enjoying my farm, but… I’m meant to be winning?

Less and Lower Numbers

The second thing we can consider is to minimise the things that need counting and adding up, lowering the numbers, lowering the amount of different numbers and making sure those that are left can be easily put into piles adding up to five or ten and easily divisible.

  • We remove trophies worth 4,18,27 and 11 and instead have trophies worth 1, 2 and 3. Blueprints has a really complex scoring system while you’re building, but a nice mechanic where your position on the score track is regularly exchanged for Prize cards, and it is these that are added up at the end. Most players will end up with only two to four of these.
Blueprints : A complex scoring system that gets paired down to a simpler one as you play.

Blueprints: A complex scoring system that gets paired down to a simpler one as you play.

  • We ensure that we provide tokens that can be put into piles and not added up in abstract. Small World and Libertalia do this well, they have coins in useful denominations that can be put into nice piles by each player.
  • Small Worlds’ combat mechanic is very interesting because it usually comes down to: whose pile of cardboard is the highest? This kind of idea could be nicely reused for scoring as it is immediate and visual.
Small World: That troll is on a bigger pile of cardboard than the skeletons. They should go home.

Small World: That troll is on a bigger pile of cardboard than the skeletons. They should go home.

The game is over when someone wins

I think that the ideal solution here is to figure out the goals from the theme, and the first player to achieve the goals indicated by the theme is the winner. It must be designed such that the goals are pretty obvious when achieved.

The downsides of this is are…

  • It’s likely to create games of unpredictable length (many modern boardgames are based on a fixed amount of turns, and most seem to aim for a game length that can reliably come in at 40 – 90 minutes).
  • If designed badly, we’ll end up with a kill the leader problem as seen regularly in Munchkin, Risk and race to the end games: the player in the lead gets his head kicked in, the players in second and third place then end up bargaining with the player in fourth place who acts as kingmaker while being unable to ever win themselves.

The upside is that it solves a lot of the other problems.

  • If we design the game so that the winner must take responsibility for hiding their potential to win or when this is likely to happen, all players would likely remain invested in the game throughout.
  • Other benefits are that since there is no longer a fixed turn limit, we’ll likely not get the ‘inevitable betrayal’ two turns before the end, or people stockpiling resources for the last half of the game for a final turn blowout: all players need to be always pushing for victory, and any pause to take stock is a risk.
Hellish complex, but it's over when you control 7 castles.

Game of Thrones: It’s over when that jerk controls 7 castles. I’m dead so I don’t need to do any more counting, which is a kind of moral victory.

Counting to none

One way to do that is to look at goals where the players are counting downwards rather than upwards: The first player to clear all of the pests from their garden, the first player to get all of their children to leave home, the first player to achieve a state of grace.

The games listed above: Agricola, Small World, Carcasonne are all about refining a position, and yet when it comes to the victory tracking, your purpose is to get more points until the game stops.

A game where the goal was to move towards none nicely lends itself to games whose themes are not so much about acquisition of lots of stuff, but refinement of a position, clearing out your karma, simplifying. The players resources move from a complex state to a simpler one as the player trades sets of cows for award cards, currency for favour cards, sets of favour cards for a few expensive ones, matches and discards all the sets of cards from their hands, finds ways to give them to other players, and ultimately, drops their last three Zen cards face up in a ‘tadaa’ moment.

Damnit I knew someone else had those Zen cards…

I think that’s probably quite a satisfying way to end a game.

Hypothesis: most games that currently have a quantitative, abstract victory point system could quite easily replace it with a qualitative one in a way that would simplify the end of the game, improve the experience of the players and will better support the games theme.

Paul Thompson

Newcastle Stories … and that :  ‘Urban Fictions’

31 May 2014 at The Late Shows 

The PJCC exhibition and anthology launch

The launch of the Paper Jam Comics Collective‘s tenth anthology, Newcastle Stories, took place at the Holy Biscuit as part of The Late Shows 2014. As any novocastrian knows, The Late Shows are annually one of the most exciting art events in the North East of England and we were very proud to have had this opportunity to take part.

Newcastle Stories ...and that - Cover by Gary Bainbridge

Newcastle Stories …and that – Cover by Gary Bainbridge

As well as artwork exhibited by the collective, and the launch of our anthology, the exhibition included prints, collages and photography on the subject of Urban Fictions, and a Board Game simulating the not inconsiderable terror of Newcastle’s Bigg Market. The game was created by the excellent Mike Jeffries of Northumbria University (Mike was also a great source of wisdom during the early development of the Newcastle Science Comic project).

I had two pieces in the exhibition and comic: Schwitters and Calvert, I also designed the back cover and the PJCC logo.

Paul Thompson showing off his comic: Calvert

Paul Thompson showing off his comic: Calvert



from Newcastle Stories …and that.

a Paper Jam Comics Collective Anthology

Newcastle Stories …and that was the Paper Jam Comics Collective’s 10th collaborative anthology, launched as part of the Late Shows on 17th May 2014. It was launched as part of a larger exhibition in collaboration with The Holy Biscuit entitled ‘Urban Fictions’.

I had two pieces in the comic. This one, Schwitters, is about the how the Merzbarn arrived in Newcastle and is still viewable at the Hatton Gallery.schwitters-web



from Newcastle Stories …and that.

a Paper Jam Comics Collective Anthology

Newcastle Stories …and that was the Paper Jam Comics Collective’s 10th collaborative anthology, launched as part of the Late Shows on 17th May 2014. It was launched as part of a larger exhibition in collaboration with The Holy Biscuit entitled ‘Urban Fictions’.

I had two pieces in the comic. This one, Calvert, is about the how the Tyne and Wear Metro System got its font.




(Design it: Build it) 7th – 8th October 2013

Hosted by the BALTIC

I recently attended the DIBI conference held in the BALTIC. Here are some of the things that I attended that made me prick my ears up and stuck out as particularly interesting or memorable.

Lean Start Up – Idea to MVP

Bobby Paterson from Searchcamp lead an interesting set of presentations which used the word Lean a lot, which I guess means that Lean is a thing. I don’t quite understand what that thing is, but was able to deduce a few useful principles:

Identify the Minimum Viable Product - don’t faff around building a feature rich monolith to your own genius before showing it to another human.

How to do this? Identify the Minimum Viable Customer - a small and specific customer base, find out what their problems are and answer them. Quickly. Then learn from its mistakes and build another and another as many times as possible before the money runs out.

This is more or less the main creative lesson in any field of creativity, but the methodology comes with tools that may be useful in other fields too – the key tool for creating the story of how your project is going to work together is the Lean Canvas.

Very interesting and I now have a fairly substantial reading list to investigate.


The Design it thread of the conference contained a Disco ball, and as this slowly spun it created pixelated animations above my head. This felt in some way relevant and appropriate, and I’m glad it was there.

Fortunately, the talks were more than capable of competing with its hypnotic spinning… are those pixel colours derived from people’s shirts and hair colour? Parts of a whole… it’s like a metaphor for social something…


…hmmm! oh wait, no – hangon this is interesting:

Clouds of Dust

Luke Murphy-Wearmouth gave a very interesting talk about the concept of Desire Paths. This is a concept I was aware of but not really sure how to translate it into the field of web design.

Firstly and most obviously, use your analytics, heat maps and eye tracking to find out what the users of your site want to do. Prioritise those things and de-prioritise the things they don’t want to do.

The term Decaying Interfaces was used. The idea being that your UI can evolve more or less live based on how its used. This can be done for individual users but for the user group as a whole: A button can become more minimal in its design and explanation as the users become familiar with its purpose.

I’m not entirely clear on how this might be put into practice without inviting the problems that come along with removing or altering the customers landmarks, but I do find it a very interesting idea and worth thinking further on.

Cross Platform Branding

I’d have probably skipped this one if I’d not read the small print emphasising that what we’re going for here is an emphasis on the use of typography to create and project the personality of your site. Our control over the design, template and context is increasingly limited in a mobile first and responsive world, but our choice of typography and spacing can increasingly be used across multiple devices and media.

In my opinion, use of type is one of the areas that has most radically evolved (revolved? – almost) in the last few years, and wisdom about serifs, lowest common denominator system fonts and accessibility that felt set in stone five years ago no longer applies now we have much higher resolution screens and the availability of web fonts.

Paul McKeever gave an convincing and compelling introduction to the state of the art ranging from the strategic and branding concerns down to the nuts and bolts of performance and implementation.

The tool he was hawking looks to be worth further investigation: http://typecast.com/.

A good night to avoid daytime systems failure

This talk on sleep and its patterns and function by Kirstie Anderson was very interesting: though somewhat tangential to the theme of the conference as a whole, I found it an entertaining and enlightening talk, and will attempt to take its lessons on board.

How Documents can change your world

NoSQL is a topic i’m pretty interested in right now. Ross Lawley introduced the key concepts of NoSQL, document databases and MongoDB. There is a lot about this that still puzzles me and the topic of how the heck you manage and mitigate relational issues is clearly one that will become clearer once i’ve had more hands on experience of these kinds of systems.

The talk covered a lot of ground and was refreshingly honest about the weaknesses as well as the strengths of this approach. My feeling is that where there’s a clear chunk of data that can expand or contract, that sits somewhere in a tree like hierarchy, MongoDB is worth investigating.

One of my current work projects involves web based survey and questionnaire systems, the storage and onwards distribution of the data collected, and its display (probably using JSON and D3). I feel this might be a good match for that project.

One Size Fits None

This passionate questioning of the increasing reliance of CMS and Grid systems hit the nail on the head for me. The slightly bristly response from some of the audience (rushing to the defence of the Twitter Bootstrap) served as evidence that a valid point was being made.

Which was as I remember it, not so much that Twitter Bootstrap users are wankers, but that the increasing reliance on a small set of grid system and cms is leading to a homogeneity of design.

Marta Armada made the point that when unquestioned, when it is simply assumed that your grid or templating system of choice represent best practice (because it looks like other sites look right now), it creates a feedback loop that kills creativity in design and brings too much of its own design baggage (both visually and in terms of file sizes and downloads, typography, how buttons bevel, colour schemes, icons and such).

You can’t see a clique from within, and all systems can institutionalise. Bravo.

To Sum Up

This was a pretty good conference and a boost to morale. The usage of drum and bass as a shorthand for cool was sometimes a little trying, and there were some minor logistical hickups, but I know how hard those are to get right. The party was good, I chatted to some old friends and new and came fourth in the build a lego star destroyer competition and feel that I should have done better. They gave us beer and pies. All good.

Content wise, DIBI talked directly about the issues surrounding the proliferation of devices and media that i’ve been wrestling with recently.

I was gratified to find others with the same or overlapping sets of problems. While there are some new routes forward starting to emerge in Responsive Design it seems that while there isn’t yet a best practice to settle into everyone is enthusiastic about that and that this might be a good thing.

Also, nobody I talked to felt the need to prefix the word object with business or the word software with enterprise like they meant something. The focus was on the things that pull in the opposite direction from those kinds of terms:

Creative problem solving using forward looking tools and having a UI that’s a pleasure to use.

Quote of the Conference:

“Flat White? No friend, there are only two kinds of coffee: Americano and Irish”.



Boardgame Jam – How it Went

Make and Mend Market, 21st September 2013

Hosted by the Star & Shadow Cinema

So, on Saturday, myself and Alexi Conman* set out to run a Boardgame Jam as part of the Make and Mend Market at the Star and Shadow Cinema.

I’d not really planned much beyond obtaining about fifteen quids worth of old boardgames (Alexi and Jack Fallows donated some more), and cutting up some mount board into squares, circles and hexagons with my newly obtained Die Cutter. More on that topic in another post.


We had a pretty good time, and it was mostly about figuring out how we might do such a thing in future and agreeing that it we probably will. More on that soon too.

So we made some games. Here are a few of them:

Cops and Robbers


An interesting game, and one which at a number of points made me wish I’d brought some kind of disclaimer forms with me. The cops and the robbers start at opposite sides of the track, and both travel clockwise. Whichever catches up to the other wins: it’s effectively a roll and move game loosly based on monopoly, but it has a couple of interesting mechanics and an theme that became increasingly scatalogical.

Both the cops and the robbers have squares that allow them to place cards on the track in the path of their opponent. In the case of the robbers, it allows them to blow up bridges and knock the cops into holes, slowing them down. In the case of the cops, there appeared to be only two kinds of cards: ones which meant instant death for the robbers and onces which required the cop player to mime having a poo, or (in game, presumably, thankfully it didn’t come up during play testing) moon the robbers. Aside from instant death, these cards were entirely thematic.

The ability to decide where in the path to place these was interesting to me, and livened up a roll and move mechanic. Also interesting from a mechanics perspective: robbing the actual bank was emulated by stacking wooden cubes: you gaine as many hundreds of dollars as you have cubes stacked. If they fall, you get none. I thought that this nicely related to the dexterity required by safe crackers and was thankful that it didn’t involve any bodily functions.

Post apocalyptic scattered civilisations


As a result of our random concept generation system, while I was figuring out Cops and Robbers, Alexi was experimenting with hexagons towards building a game of route finding through an irratidated landscape. This appeared to remain in a very experimental phase.

Extreme Jet Pack Vertigo Builder


Cuttlefish brought a concept that he’d been working on with his daughter for a while now. A collaborative game in which all players must get to the top of the central tower, building their scaffolding as they go using engineering principles and plays such as ‘The Inverted Gandalf’.

His earlier versions involved meccano and suffered from long delays between turns while bridges and towers were constructed. Replacing these materials with plasticene and lolly sticks made this a very interesting game indeed. Plasticene is more immediate.

The rules were simple: roll a dice to decide whether you move (each lolly stick is three squares long), gain building materials, or require you to add a block to the central tower. The players characters are required to stay on the lolly sticks, and falling off means returning to the bottom. All the players win if they all get to the top. All the players lose if any of the blocks fall off the tower.

I think it was a pretty good game, and certainly one which anyone could easily pull the pieces together for cheaply: the rules were formalised just enough to make it play without too much debate or interpretation and the materials we ended up using made it precarious and falls were frequent enough to be a real threat but not enoeugh to make the game frustrating. Very good.

Warewolf Hat Director versus Spoon of the Undead


We pulled together some quick prototype cards to experiment with an idea Alexi Conman has been developing. Alexi has an interesting direction with this game of hidden roles, mixed messages, conflicting goals and trust, and the cards we drew up here were a little flippant but did help us experiment with some of the ideas that are going into the game.

All in all?

We had a pretty good day, and I think we’re certain that we’d like to do something like this again, but with more structure, planning and outcomes, and specifically aimed at mid-teenagers and above rather than younger kids.

* I think it was Alexi Conman. You can never be 100% certain of these kinds of things.

Alcohol Image

Alcohol …and that

Cover Design

The Ninth Paper Jam Comics Collective Anthology

One of the few PJCC Anthologies i’ve not contributed a story to, Alcohol …and that‘s cover was created by Brittany Coxon and Myself: we both designed it, I pencilled, Britt inked, we both coloured and then I did the typography.

We were pretty happy with the results, and I’d like to do something more in this daft sci-fi style. How many bottles of beer can you count?

Alcohol ...and that


Asteroid Belter

The Newcastle Science Comic

As part of the British Science Festival in September 2013

I’m immensely proud to have been both a contributor to and a part of the development of the Newcastle Science Comic where I was co-editor of the comic a a whole, and also a page editor for a good number of the pages within. I looked after the production site of the comic.

The Newcastle Science Comic was originally published as a run of 10,000 44 page newspapers given away free during the  British Science Festival in September 2013 - it was printed by the excellent Newspaper Club.

The comic is available to read online in full at the Newcastle Science Comic website. The Newcastle Science project is still active, and new projects and activities are being organised by Editor in Chief Lydia Wysocki.

Those pages where I contributed creatively were:

Cipher Mice versus Spy Cat

Writer and Artist: Paul Thompson



The Amazing Three Parent Monkey

Story: Alexi Conman, Art: Tony Hitchman,
Colours/Letters: Paul Thompson, Science: Sourima Shivhare


Astoundishing Science

Story and Art: Oscillating Brow,
Colours and Letters: Paul Thompson


I also worked  on the two puzzle pages: with Oscillating Brow on the Science Courier Collection Conundrum and with Terry Wiley on the Asteroid Belter Brain Melter, and put together the credits double page spread at the end.

Go read it: Newcastle Science Comic


Girls from Mars

Tales of the Hollow Earth #3

Written and drawn by Paul Thompson.

After another disappearance, a security consultant discusses the benefits of using good sealing wax on your correspondence and observes that Astrid is clearly seeing more than she should.





Returning characters introduced in issue 1 (Lure), the history of Gudrun Black and her career in Novalucia’s unique seafood trade is further revealed and Astrid Moriarty returns to the library to continue her investigations.

Girls from Mars begins a story which will end in issue 4, Unreliable Narrators due … soon, and features back cover artwork by
Ian Mayor


You can buy Girls from Mars on Etsy or

Comicsy for Three Pounds.