I mean, does anything make folks feel more legit than saying, “We cut down the IP bible to next to nothing because we realized that story is what really matters!” Hell, I feel like more of Almost an Artist for even repeating it. But that’s bogus. Here’s why.

Worldbuilding Isn’t Where Your Elves Live

Many fans and a few game designers think building a world is about establishing a kind of extended backstory and almanac that tells you what religion your dwarves are, where trade routes go – crap like that. Most people think this way because this type of thing is what teenage gamers are good at and what Tolkien and successors did.

Real worldbuilding is about creating a context where you can implement multiple narratives across multiple media without getting thematically neutral pap, where there’s always a very strong tendency toward a particular look and feel. This includes:

• Establishing core themes and motifs
• Defining sensory (visual, audio, etc.) characteristics in concert with the appropriate departments (mood boards, justifying the visual language and branding in the world)
• Taking stock of core/launch media requirements (integrating the world with game play, matching elements to available production values)
• Creating exemplars to anchor themes and motifs (signature/iconic characters and locations, epistolary elements)
• Creating social relationships in the world that can be adopted by participants (factions, guild support, relationship maps)
• Creating conflict points that can be extended into stories and foci in statements of fact (backstories that generate conflict, faction conflicts, mysteries, general story hooks)
• Inspecting drafts for excess contrivance and artificiality

I am not making this shit up. I’m just telling you what I actually talk about with clients in RPG and transmedia projects in cases where I have faith in the end product succeeding. Note that getting the creation myth or technology down serves everything above. Hard facts aren’t absent at the beginning, but they don’t rule the roost as much as people think.

Sadly, getting this done is expensive and since it’s an obscure craft, it’s hard to get the same degree of satisfaction from the end result. Nobody cares if you brag that you created a context that made it possible for a cool story to exist at all, and to be part of a huge, extended transmedia narrative. They care about what happened last episode, or whether elves live in the mountains. It’s expensive and hard for anyone to get excited about. Plus, these days, some clever folks think they can just get the fanbase to do it for them, which is a fatal misreading of how fandom works with media.

Cubism Ain’t Stacking Toy Blocks

A story though! That sounds reputable, doesn’t it? Your Favourite Literature has a story, so it’s obviously classy. Best of all, everybody learns the components of a story by junior high, so it everyone feels terribly clever because they can identify rising tensions and denouements and crap.

This means that when people talk about story, they think of all the good parts of media they experienced, but actually just work on plot and structure wrapped around some fan-friendly signifiers. (This is a love story with nanotechnology!) To refer to the section header, people sure love to pat themselves on the back for assembling the toy blocks.

Literary fiction long ago came to the conclusion that this is easy and a bogus thing to feel artsy about, and switched focus to style and characterization. That’s why Margaret Atwood can write Oryx and Crake even though you, the SF nerd, have read about post-apocalyptic biotechnology before. Stylistic innovation is a tough road, however, and often distrusted. There won’t be a magic realist Star Wars novel any time soon, folks.

Structure is easier than style. When you reduce story to structure, structure is cheap to implement. Just mate it with some motifs and lists of facts and you’re done! Your IP will eventually fall apart when fans get bored, because they’ll realize the world has no meaning and the story represents the minimum effort it takes to walk a product down the aisle.

At least it’s cheap.

Have You Looked Around Lately?

In the tabletop RPG community people think that skimping on the world is okay, because the fans can fill it in – everyone has a D&D campaign world, right? It’s also easy to believe that nobody really wants the infodumps in CRPGs because it’s not at the center of the play experience. This is the reverse of the truth. In the post-fanfic world where the greatest trend in user-driven RPGs is based on IP canon freeform, people who represent the progressive edge of the audience want the world more – they’ve demonstrated that they can create stories with its guidance.

Tabletop RPGs may be unique in misreading, ignoring and demonstrating denial-plagued pants-staining terror at the idea that its latest innovations are movements in the wrong direction, but I think you might find it in other media. That’s a pity, because tabletop RPGs have a bunch of things to teach about moving in the right direction.

I’ve been pretty sick for about a month off and on due to strep. That’s why this blog’s been silent. What’s going on?

Aeternal Legends: It’s available in print and PDF, still. Stew and I are slowly talking about some cool stuff to come, but we’re both pretty busy. Why don’t you buy that sonofabitch?

Knights of the Hidden Sun: Still on Chapter Three (not many in the book, so this is further along than you might think). Looking at the engineering and programming aspects of soul manipulation. It’s coming.

World of Darkness: I did some work on World of Darkness: Mirrors and the Mage Chronicler’s Guide. Some of it’s very rules heavy. Some of it involves creatures made from the still-bleeding wounds of the dismembered universe.

Eclipse Phase: I did some work for an upcoming book, but can’t say much more.

Other RPG Thing: I’m working on an adventure for a TBA client. Should be fun.

Other Other RPG Thing: I have in my files an amazing game from a Famous RPG Designer. I hope I have time to do him a small service, because the game is amazing, and I would like to help with it.

Other Other Other RPG Thing, What For Charity: I’m currently in the early stages of designing a game as a permanent charity effort — this is what I wanted to get to in February. If you’re a non-flaky creative interested in this sort of project email me.

Conventions: I’ll be at Anime North again this year. Details to come.

Electronic Projects: I recently finished the first phase of concept and setting design for an ambitious multimedia property but again, I can’t say too much.

Playing: I’m still playing Cinnabar, the warforged ranger. 7th level now. Still enjoying 4e. I tease Steve about it not being the Best Thing Evar, but I like it.

Running: Star Wars Saga. One of the PCs is Darth Vader’s artificially created sibling. The PCs just got captured by the Death Star, which contains 6 million Dark Side Adepts trained to use the Force in concert, not a giant laser.

Planning: Might be the SF game, Indigo. Might be World of Darkness. Might be a light fantasy game. Chris Huth said something about playing a mix of old-style D&D and GUMSHOE. I am very interested in this and might try it myself.

Mage: The Dirty Version: I plan on getting back to entries here.

Bloggage Reading: I finally headed to Zak Smith’s D&D With Pornstars blog. I think the mashed up game and visual bricolage is cool, even if the tone and dungeon focus doesn’t appeal to me.

Your Game: I still judge it and find it wanting! I still think your desire for structure comfort and easy answers is making you bad at playing RPGs and really appreciating what they are, and I’ll tell you why at length!

Seriously though, I have some ideas, you have some ideas. Let’s work so hard it turns into play.

• Distribute a retro cyberpunk RPG this way.
• You’d get an artist to gussy up the hard drive to look like some menacing bit of futuristic technology according to 80s design aesthetics. I’m thinking of early Walkmans with chunky, battered chrome, maybe with an LED readout — actually, especially with an LED readout. I’d probably keep some of the drive’s steel around just because hard drives look agelessly rugged and cool by themselves.
• The game would be written in a user-editable web format (maybe an offline WordPress installation and crosslinked wiki) with the option to print a version or see it in PDF.
• It would of course be graphically rich, with all kinds of art I can’t afford, but it would also include a bunch of tools such as a dice roller, a character creator and sheet, maps and so forth. Of course, if I’m indulging a fantasy maybe an engine for graphical netrunning that automatically implemented skills.
• The offline web format provides the means to port it online as well. Perhaps a hosted chat system should be thrown in there too. Ideally, you should be able to just move the whole thing to a server with minimal tweaking.
• Not many ideas systemwise. It would have a light setting, perhaps with an annex about how to “modernize” it for those who want cell phones, more than three megabytes of hot RAM in the Hitachi, and posthuman pretensions, though I think gripes about the aging tech kind of miss the point.
• It would only be available via hard drive — maybe in cheap old 6GB drives (I was looking through my old Quantum 6GB drive from 1998 when the idea hit me, and looked them up – 5 bucks each on EBay for good ones, 99 cents for maybe-dodgy ones).
• The super crazy and impractical option would be to integrate the game into a dedicated operating system, such as a build of Chromium OS. You would “boot to RPG” when it’s time to play. Chromium is designed to primarily boot from SSD if I’m not mistaken, though, so it’s not my first choice. The *click* *whirr* of battered steel is just too cool.
• . . . and the craziest option of all would be to only ship the game in full computer form — probably an ASUS Keyboard PC because it has the cyberdeck form factor. It would need some case modding to make it look right. Yeah, not gonna happen. But if you’re dreaming, may as well dream big . . .
• There would be some kind of home site for each drive/game to talk to and share resources with.
• Of course, you’d make the game open source, though you’d sell the physical artifact for some outrageous price to cover the costs. In my fantasy I saw one option of using this format to release an official Cyberspace Trilogy RPG (it’s a fantasy, after all) with proceeds going to charity (because of course this would convince William Gibson’s representation to not charge me any money! — and because I am actually considering ideas for a permanent RPG for charity right now) via the inflated price of selling an RPG in an artisan-modified hard drive.

I could actually do 90% of this (not get the license, do the art or do some of the cooler UI mods) if I had a spare self lying around that wasn’t busy, or somebody to pay me a truckload of money to drop everything I’m doing. Maybe a wealthy patron can order it done or a network of nerds can work on it.

Of course, it’s more doable once you scale back expectations, but once you commit to the hard drive format I think you’d need to throw something pretty damned special under the hood.

The Current Formula

Electronic implementation is currently a user-organized exploit of current cheap technologies. You could express it this way:

Hardware + PDF + Native Applications + Web Tools + Community = Tabletop Simulation

Unfortunately, there are a number of problems with this model:

It isn’t integrated. Even DDI is a jungle of web apps and PDFs that require individual kludging to wrestle into an easy process. My DM Steve has a DDI subscription and campaign notes in Word. As far as I can tell his processes uses DDI for prep and community insights but it doesn’t have much of a table presence. If it did, he’d be switching back and forth.

Steve doesn’t use electronic dice. I do, using an iPod Touch app. I also use the Touch to share relevant media from the Star Wars setting. I showed them a picture of The Force Unleashed’s PROXY when it joined the party, for example. It’s still clumsy, and I spend about 75% of my time using paper.

It aims low. Theoretically, GMs should be able to show rich media applications with a touch. Rules documents should be extensively hyperlinked, including links to FAQs, tutorials and community feedback. All of this is possible with current technology. Furthermore, PDFs are too wedded to the illusion of paper. Why can’t I have continuous scrolling for one big page, with page markers unobtrusively popping up to let me know my progress? Why can’t I get rid of unwanted art, or change its size and location? Why can’t I make a character as a read character creation rules? Why aren’t there a dozen characters available at a click?

It’s a slave to the tabletop concept. A new medium should inspire a new kind of game. Fandom RPGs already show us the way by building play into the community portal. that I suspect many companies are boldly striding toward dead ends by trying to simulate the tabletop on whatever technology looks cool and trendy.

For example, I’ve read a lot of dubious stuff about using augmented reality to create a virtual game table. Are five guys really going to squint through iPhones to look at a phantom battle map? Plus, even though I loved the demo too, the recent hype around using Surface as a game table disguises its impracticality. Even though we have desktop multitouch now we don’t have cheap, rugged Surface style tables, and won’t get them for a while yet (Surface machines cost about $14,000 now – drop it by half every 18 months and we’re talking about four or five years for viable consumer versions).  Smarter, more practical ways to take RPGs in truly innovative directions are out there.

The New Formula

Instead of talking about how we’ll use sexy-trendy tech to replicate the offline gaming environment, let’s put together a new formula informed by the real potential of technologies that are going to be widely adopted:

Couch Computing + Cloud Portal = Integrated Gaming Environment

Now, to break down each component:

Couch Computing: The big trend in consumer computing right now lies in multitouch interfaces wedded to OLED and e-ink screens that are either built into tablet computers, or into laptops that easily configure into tablets. The rumored Apple tablet isn’t the only game in town, either. Nvidia’s Tegra chip is due to launch in at least one tablet. For those willing to navigate the chaotic Shenzhen OEM market, cheap resistive tablets are already available. These “couch computers” won’t draw users away from play with a clumsy interface, provided they host the right tools.

Cloud Portal: If we’re going to drop the physical book, why stick with the illusion of a book? I can visualize an interface that lets me look at the rules in “book mode,” but will also give me one touch access to a dice roller, character generator, wiki and community, all laid out in one window, not several. We can achieve this by using the browser as our primary way to interact with content. This is something folks partially kludge right now with tabbed browsing and online SRDs, but we’ll be able to take it a step further once browsers make the jump to HTML5, which will display rich content without needing plugins and support offline access to web resources.

Integrated Gaming Environment: When I fetch information from the cloud, summon, mash and dismiss elements at will, and jump straight to community content without tabs and self-bookmarking, it means the game becomes a place instead of an artifact. This place includes community forums, blogs, character databases and campaign wikis. My players know where to go to either continue the game of the table or run new games in a shared setting. This environment should be designed to capture the bulk of the player base not only because it’s where my game comes from, but because the features are attractive in of themselves. Players become interest groups within a bigger community and can opt for any level of interaction they want. Beyond these traditional-style groups, the community should also be able to self-organize massive multiplayer games.

The next time I talk about this I’m going to throw up a few diagrams to butter explain what I’m talking about. For now, take a look at Wired‘s tablet concept:

. . . and Time’s (with Sports Illustrated):

Unfortunately, roleplaying isn’t one thing. It isn’t a collection of practices with hard barriers between them, either. Thus, they will not live and die on one business model or hobby ethos, and companies that rely on this one-pointed focus are making a fat mistake. Roleplaying will survive. An industry that serves roleplayers will survive. This industry will include a few of the current players, but I think there will be a significant transformation that comes from new companies that really understand 21st Century media.

The only problem is that no company has yet proven that it really understands 21st Century media.

Several have made inroads, to be sure, but the one-pointed perspective – that it’s all about MMOs, or virtual tabletops, or an ailing pen and paper hobby – is a significant hindrance to understanding. People need to understand the following:

Modern Media Commodifies Attention Directly

Go over to Unclebear.com and scroll to the bottom of the page. No, all the way down. You’ll see a link exchange, one of the most primitive ways businesses attempt to increase their rankings on search engines. This is because research shows that about 90% of clickthroughs occur on the first page of search results. Traffic is the basic currency of the Web, and there are numerous grey-economy exchanges happening before any money shifts. In the past, attion was more strictly a means to an end. It took you to a product to buy. But nowadays marketing and advertising are so omnipresent that there are several layers of attention economics before any purchase takes place. The vast majority of Web activity happens in this “sea” of attention economics.

Don’t get distracted by Apps and iTunes and things. This is not where most of the action is. Yes, people buy apps – but more people use free email. f you have something of value, people pay attention, and that attention is valuable. If you can monetize that you’ll have a viable business. The App model can be relevant, but you must capture the customer with something valuable first. This is how a number of MMORPGs already work.

Progress Will Destroy Any Single-Point Model

Let me tell you something that will sound absurd: MMORPGs as we know them are on the way out. There are a number of reasons for this, but one of the primary ones is that user generated alternatives will eventually become sophisticated and easy to use to the point where you don’t need to play in somebody else’s sandbox. General technological improvements will constantly pressure MMORPG producers, but it’s not just about better graphics and such — it’s about more tools that let you make what you want without any special skills.

This is why selling a virtual tabletop is a bit of a fool’s game too; there are already ways to do it, and any commercial attempt will be in a race with free alternatives.

Segmentation is Inevitable

The single-point business model is also a bad idea because the Web has a long memory and promotes fragmentation into specialized interest groups. (See the huge diversity in pornography.) One silly thing in these discussions is referring to Games Workshop and its ability to “fire the fans” to keep focused on that sweet teendemographic, and its power to migrate fans to new rules sets and minis and things.

Listen: You can’t do that. You can’t make people stop playing versions of D&D and Vampire and anything else you don’t sell any more. You can’t “migrate” people away from things they like now. You can direct them to somewhere, but not away from it. When you try, they’ll resent you. This has always been true on a small scale, but now that people are able to make massive user-generated contribution that will stay online for years, it’s more important than ever. You need to be prepared for segments interested in every part of your IP, including stuff you stopped producing long ago.

It’s About Communities, Stupid: The Solution

Okay, so we can’t just say we’re going to go electronic and we can’t just turn out funky apps — at least not outside of specific parameters. What  can we do? Form communities — and not just any communities. We have plenty of communities now that kind of suck. Companies need to become the focus for their fanbase and need to encourage open, tolerant participation. Here’s the attributes of a successful monetizeable community:

• Free: The community and associated games have a free tier that’s playable for an extended period of time. After that you can go with micropayments, expanded versions, whatever — but you need to get them in the door. The community should also feature regular support from designers and developers.
• Broad Devotion to the IP: Companies need to take (figurative) ownership of communities devoted to their properties. They need to be where you go first. There’s a real hunger for communities where people believe that the basis of belonging is not just common interest, but common enjoyment. Stop trying to move people away from the old flavour into the new. It’s not going to work very well. You don’t have to support the first edition of your game as robustly as new ones, but there should be a sense that you have an ongoing interest in every edition and manifestion of your game/IP. The Old School is an example of how it can go wrong. It’s a community that shares a sense of abandonment. Have an MMORPG? It should be rubbing shoulders with tabletop players.
• Active Support for User Content: Instead of just providing a way to get involved, highlight folks doing the work. Allow limited commercial participation on aspects of the game/IP that are more niche.

That’s what I think will work. Tabletop gaming isn’t going away any time soon, but it must be part of an integrated community.This not only strengthens it but brings it back into the fold for commercial exploitation. It will also be more useful for gamers, who badly need a way to organize that cuts through the crap.

That’s my opinion.

(Before you ask: No, I’m not and yes, I know people who are.)

Most RPGs are neurotypical texts. This sounds weird (how can text be neurotypical?) but hear me out. Until recently RPGs were meant to be read as something to be explored in the context of face to face verbal interactions, where irony and areas of ambiguity would quickly get resolved one way or another based on the local social consensus. Nowadays, so much new game design and community activity occurs online that this “neurotypical” work is found to be confusing. Of course, people reading blogs and forums are not really all autistic, though they don’t have access to the usual neurotypical tools to conquer mindblindness. So they root around for persons behind texts (genuinely AS folks usually know better) and get angry.

One example of this is Mage: The Ascension‘s Guide to the Technocracy. In this book, the authors tell you all about how great the Technocracy (a secret society of fascist super-scientists) is and how they invented everything good, and that to defend everything good they have to do some bad things. Eventually it reveals that this is all from the viewpoint of people who are routinely brainwashed, and how torture and other very bad things are commonplace.

In face to face play people get the whole concept pretty fast, and it’s fun to see a bunch of agents do their best to maintain a moral even keel against a genuinely evil regime. Online, it’s not so easy. In chat games players either use the book to play straight up bad guys, or they ignore all the bad stuff the Technocracy does. It’s very difficult for them to process the book the way people do in a face to face game. The medium not only makes a certain form of communication possible, but it “primes” us to value a certain setup. We don’t value ambiguity and subtle irony (subtle irony) as much online as we do offline — and we’re blind to what we don’t value.

(You can make a similar observation about big LARPS. The old Mind’s Eye Theatre was designed with the idea that small groups would negotiate results around a loose set of rules, but once big networked games rose to prominence the community preferred strict systems. This is because big LARPs force you to deal with people you’re not as familiar with in a competitive context, combining low trust with less of a sense of another person’s mind, because that mind belongs to a stranger. The influence of gaming with strangers might also be seen in games where a significant amount of play happens at conventions instead of regular sessions.)

Writers and designers have to think about how much of an offline versus online presence their writing has and adjust it accordingly. One example is the use of guiding statements. Pushing a mission statement or instructions about things you’d normally leave unsaid is helpful when the game goes online. Clear instructions about disobeying the mission statement help too. You’re laying down hard channels of interpretation which you wouldn’t want in other situations but that’s a limitation of the medium.

They also need to think about the nature of online feedback. As I said, the Internet primes us for a different set of values based on references and broad hypotheses instead of the output of interpersonal relationships. People say they want things on the Internet that they don’t really want offline, or want for the sake of doing things that you don’t consider to be the default purpose of the game (chat games, online worldbuilding, recreational game hacking, etc.).

Here’s an online/offline bullet point list to get you started. It’s a bunch of dichotomies. They’re ultimately false, but useful.

• Systemic versus historical narratives: Your city is built from a range of modular social forces “skinned” by story justifications instead of being the intrinsic result of its history.
• Missions versus moods: The prince sending you on an immoral mission is more important than the kingdom’s shabby state when it comes to signalling that the prince is a jerk.
• Forces versus contexts: Your role is determined by getting free ranks in a skill more than it is growing up in a fictional social class.
• Powers versus privileges: The seneschal’s power as enshrined by law (and social/political game systems) is more important than his reputation when it comes to getting what he wants.
• Levels versus neighborhoods: Areas in the game world have a purpose that overshadows thier cultures.
• Story structures versus story interpretation: The plot is clearly defined and not left to be constructed by individuals from events in the world.

Is one worse than the other? No — each has a medium. In a big game you can do an all-arounder, because you have room to explore both sides. (Those bullet points are false dichotomies, remember?) Drop the temptation to think that the best online communications tactics are less emotive. Oh, and don’t think that you’re not that guy, being mindblind online. You are.

Those of who’ve been following my thoughts on RPGs know that I think that online roleplaying represent an important “parallel” hobby. People are taking roleplaying and running with it in directions that didn’t really exist before because of the advantages of the online medium. Let’s go over these:

Avatar Embodiment: Though it’s romantic to think about the importance of raw imagination, the ability to completely disconnect your character’s appearance and style from yourself is a huge advantage to those who want it. In chat games this began with the “textual avatar:” a block of descriptive text. With the advent of easy image uploading and web design we’ve moved to self-made graphical avatars. Combined, these two methods create a powerful vision of the character. Not only that, it’s easy to refer back to, where verbal description can twist and change over time in people’s imaginations.

Distant Intimacy: This sounds contradictory, but isn’t. With the strong player/character disconnect, right down to physical location and OOC socializing, there’s a much braver approach to certain themes: sexuality, characters’ personal lives and so on. In the White Wolf chats, this struck me petty strongly, especially when settings designed to support “safer” play sometimes acted against the interests of players exploring these themes. This became apparent after being involved in a scene where a character gave birth. There was a *lot* of handwaving past the setting to make this possible.

Now you do get some cheesy and objectionable things coming out of this, as well as fringe elements like cybersex. But these aren’t flaws, but examples of what the process can support. You can have dumb things in any game, but you can’t have *these* dumb things happen as easily outside of online play, and these dumb things are aspects of things that can be used to construct powerful scenes.

Fluid/Negotiated Spaces: Online play usually falls into a bunch of forums/channels which are easily conceived of as “rooms” — but they don’t have set *spaces*. A room can be a vague physical location, a theme or a class of spaces. Players enter these rough templates and make them their own. The room is the basis for communication, so it always has *some* thing to direct play, even if it’s just the pubs of early Usenet-based play.

Parallel Interaction: Related to this are tools that provide multiple contexts within the same space. It’s easy to label OOC conversations and even take them to a parallel space, allowing people to interact on multiple levels explicitly instead of interrupting. Parallel conversations are extremely useful, especially when it comes to clear communications about scene objectives.

You can also use this to easily provide information on multiple “meta” levels by, for example, posting interior thoughts. This is a matter of choice. Back when I played on other chats I had a “play hygiene” rule where I *never* made interior thoughts exterior, but I’d be lying if I said that I didn’t benefit from people who didn’t follow that rule.

Next: How we harness these benefits in the Venice Chronicles and how we wanted to go to the next step and allow uses to define their own level of commitment to roleplaying.

Mob United Media has completed the first stage of content creation and development for Inter-Canel’s Venice Chronicles: the first application to integrate roleplaying and social networking.

Our story is set in a continuous Masquerade, incorporating inspiration from the classic La Serenissima period, when Venice was the de facto center of an empire. You portray members of one of the city’s seven ruling families, competing for power and influence over the night. And behind the masks and plots, the mysterious force of Fortuna gives rise to strange events and unnatural abilities.

Interact with story content on many levels. Live entertainers – professional actors – portray major characters. Users can delve deep into the story by interacting with them, even earning Venetian Credits (the Venice Chronicles currency) when they successfully uncover clues and add their own stories to the ongoing narrative. Videos, images and hidden web pages all reveal Venice’s secrets. Plot with other nobles or investigate the clues and fragments provided.

The Venice Chronicles contains all the features of a fully integrated social networking application, including blogs, image hosting, webcams, conferencing, chat features, friend listing tools, VOIP and advanced functions like cross-platform SMS and true telephony. All of it is bound into a converged, user friendly interface. Use the service to explore the story, use it as straightforward social network, or do something in-between. The Venice Chronicles supports users doing what they want to do – not what a GM or administrator thinks they should do.

The Venice Chronicles begins with an open Beta. Grow with us as we unlock the potential of the service. Register your own account or try one of three sample profiles at: http://www.venicechronicles.com.

So what are you going to do?

Selected quotes:

“Sorry, we do not accept original characters.”

“A BLEACH/NARUTO/YUYUHAKUSHO Role-play community based on the movie Fight Club.
Accepting members now.”

“Yeah, I said it. Ninja Car chases.”