About a year ago, I joined a role-playing game film club. The unofficial club’s stated goal is to watch every movie, every documentary, every episode of a television series, every reality show, every damn television advert and fan production that somehow references role-playing games or larps. This is part sociological research into how gaming is presented in media and part turkey film appreciation.
We’ve watched a lot of spectacular turds, but that is a topic either for a later post or a teary-eyed rant at a convention bar sometime not too long before last call. For a taste of what we’re up against, see our host Juhana’s blog.
Anyway, in my opinion the best film I’ve seen there was The Gamers: Hands of Fate. Unlike most of the stuff we watch, it’s a genuinely good movie, made by people who understand not only their source material and the phenomena they are commenting, but also the limitations of their budget, the basics of filmmaking and screenwriting, and even comedic timing. (Better than Knights of Badassdom which was a bit formulaic and relied too much on CGI that wasn’t up to the task, or Zero Charisma which is a good film but tremendously uncomfortable to watch.)
What does any of this have to do with the post’s headline? Well, it turns out that Hands of Fate has a novel tie-in, a moment where a character slips from one work to another and then stumbles back, shocked by what he has found. Matt Forbeck, in his mad attempt to write twelve novels in a year, produced The Dangerous Games trilogy of novels. They’re short, NaNoWriMo length crime comedy thrillers, and they’re spectacular fun.
The trilogy comprises the novels How to Play, How to Cheat and How to Win, and traces the life of police-academy-trained game designerLiam Parker through three Gen Cons, each novel starting at the Diana Jones Award ceremony and then leading inevitably to murder and criminal investigations in the largest role-playing game convention in the world. Forbeck had fun writing this, and it shows. Well-known game designers, many of whom are undoubtedly his friends, are mercilessly stabbed, shot and thrown off tall buildings. Half of Ropecon’s former guests of honour make cameo appearances, such as Peter Adkison who ends up being Parker’s employer, and Frank Mentzer.
The moment when I truly fell in love with the trilogy was in the third novel, where Frank Mentzer gives Parker copies of the original Dungeons & Dragons rulebooks as a minor plot point. I went “squee”. It should be stated that not many things can make me go “squee”.
What I think Forbeck really succeeds at is in presenting a strong sense of place and atmosphere at Gen Con, and conveying his own love of the convention to the reader. I have never been to Gen Con myself, but I can recognize the sense of community from Ropecon, the one event that gathers together all of Finnish gamerdom from the four corners of the land, where weirdness reigns, games are played and shop talked into the wee hours. That shared experience translates across the ocean, from gaming con to gaming con. That’s what makes this trilogy special.
They’re by no means perfect – I think the second volume suffers from the usual problems of the middle book in a trilogy, and the third is a bit too dark, but these are flaws I can forgive. Apart from all the stabbing and shooting and murder, that’s what a gaming convention looks like. It’s what a gaming convention feels like.
It also looks like they’re on discount at DriveThruFiction for the rest of the month. They’re cheap and short, 192 pages each. There are worse ways to spend an afternoon.