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97 episodes with peter chiykowski
3 episodes with peter chiykowski
2 episodes with peter chiykowski
2 episodes with peter chiykowski
Welcome Pathfinders to After Party LIVE! Join us each month as we chat about all the nerdy things we love! In this After Party we talk about the Story Engine Deck and the Deck of Worlds with designer Peter Chiykowski! Check them out at https://storyenginedeck.com/ and use special promo code findthepath10 for 10% off! After [...] The post After Party LIVE! Episode 20 appeared first on Find the Path Ventures.
Guest host Peter Chiykowski tells Josie and Taylor about the pod of orcas who hunted in harmony with humans until a brutal betrayal ended it all. Plus: catch up with Darwin the Ikea Monkey, the stylish snow macaque whose fetching winter coat kept him warm through a chilly legal battle.
In this episode of Botched roll, we are on the road to preparing for FREE RPG day on June 22,2024 at our local game stores.Mike “The Birdman” put the call into the multiverse and looking for heroes and storytellers who help do some pretty nifty stuff in the creative space. A pair of amazing individuals from the Story Engine team answered the call to chat with Mike.Join guests, Miroki Tong and Peter Chiykowski from Story Engine and learn about one of the cool promos that you can snag from FREE RPG day this weekend BUT also delve deeper into what makes this product so exciting. Learn what Story engine is, how it can help you brain storm ideas for writing, RPG design or even how to overcome problems that can happen at your table in the moment and you're stuck for a quest.Check out the links below and follow them on social media and all their other pages as wellhttps://storyenginedeck.com/https://www.youtube.com/theshorteststoryhttps://www.facebook.com/storyenginedeck(WATCH THIS SPACE on Free RPG day itself for something cool)https://www.instagram.com/storyenginedeck/https://freerpgday.com/Your Geekmasters:Mike “The Birdman” – https://twitter.com/BirdmanDoddAlex “The Producer” – https://twitter.com/DeThPhaseTWIGFeedback for the show?:Email: feedback@thisweekingeek.netTwitter: https://twitter.com/thisweekingeekSubscribe to our feed: https://www.spreaker.com/show/3571037/episodes/feediTunes: https://podcasts.apple.com/us/podcast/this-week-in-geek/id215643675Spotify: https://open.spotify.com/show/3Lit2bzebJXMTIv7j7fkqqGoogle Podcasts: https://www.google.com/podcasts?feed=aHR0cHM6Ly93d3cuc3ByZWFrZXIuY29tL3Nob3cvMzU3MTAzNy9lcGlzb2Rlcy9mZWVkWebsite: http://www.thisweekingeek.netJune 18, 2024
Every Friday, we're highlighting a panel from the TBRCon2024 all-virtual SF/F/H convention, looking back on the incredible variety of discussions that we had the honor of hosting. This week, join moderator/publisher/editor Peter Chiykowski and panelists Bryce O'Connor, Caroline Lambe, Mae Murray, Selena Middleton, Fabienne Schwizer, Brook Aspden and Alan Lastufka for a TBRCon2024 panel on "Small & Midsize Book Publishers." SUPPORT THE SHOW: - Patreon (for exclusive bonus episodes, author readings, book giveaways and more) - Merch shop (for a selection of tees, tote bags, mugs, notebooks and more) - Subscribe to the FanFiAddict YouTube channel, where this and every other episode of the show is available in full video - Rate and review SFF Addicts on your platform of choice, and share us with your friends EMAIL US WITH YOUR QUESTIONS & COMMENTS: sffaddictspod@gmail.com FOLLOW SFF ADDICTS: FanFiAddict Book Blog Twitter Instagram MUSIC: Intro: "Into The Grid" by MellauSFX Outro: “Galactic Synthwave” by Divion --- Send in a voice message: https://podcasters.spotify.com/pod/show/sff-addicts/message
Harold McVett does his best to get through to the Enclave Officer. Transcript here: https://monkeymanproductions.com/2023/11/mto-s4-b4-transcript/ Thank you for listening. This episode featured D.J. Sylvis as the Enclave Officer, and Steven LaFond as Harold McVett. The script was written by D.J. Sylvis; Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; our cover art is by Peter Chiykowski. Our Exectutive Producers are Sarah Müller and Beka B, and our associate producers are Marty Chodorek, June Madeley , Timothy LaGrone, Marilyn Reid, Marissa Robertcop and Linda Boyer. Thank you guys so much for your support, and helping and trusting us to bring this story to life. We love what we've done with it, and we hope you love it as much as we do. As we bring this series to a close and thank you yet again for supporting us through it all, this is a great time to talk about how you can join us on our next adventure. Our Patreon backers get weekly email updates and behind the scenes sneak peeks at our next show, so we would love to see you there. Or sign up for our mailing list to get our monthly newsletter and stay up to date on all the things at MonkeymanProductions.com. We'll be back one more time a few weeks from now, with a big Q&A special where we're gonna answer all your questions about the end of the show. But it's not just about the Q's and A's - we've got a very special announcement we'll be making in that episode as well! So until then, keep seeking ways to resist and keep watching the Moon! Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Ahunug tells Elio what happened on her trip back North. Transcript here: https://monkeymanproductions.com/2023/11/mto-s4-b3-transcript/ Thank you for listening. This episode featured Robin Regalado as Ahnung, and Becca Marcus as Elio. The script was written by D.J. Sylvis; Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; our cover art is by Peter Chiykowski. We'll be back next week with the most unexpected of our deep-dive bonus episodes - this one looking at the Enclave Officer and what he's been up to locked in Moon Jail. Until then, you should look up our fellow shows on the Fable and Folly network - there's info at Fable and Folly dot com - and find your next great audio fiction experience. Take care, and be excellent to each other. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Jaxon shares his own story as he and Ashwini look to the future. Transcript here: https://monkeymanproductions.com/2023/10/mto-s4-b2-transcript/ Thank you for listening. This episode featured Cole Burkhardt as Jaxon, and Tau Zaman as Ashwini Ray. The script was written by D.J. Sylvis; Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; our cover art is by Peter Chiykowski. We'll be back next week - but on Earth, with a bonus episode focused on Ahnung and the journey she took way back in Season 3. Until then, you can find us on social media or visit our Discord server to chat about the show; you can also support us at Patreon dot com slash MonkeymanProductions if you want to help us pay the bills and get behind-the-scenes information about MTO and the next show we're developing right now. TTFN, Moonbaseians! Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Jaxon has questions about the future; Ashwini shares memories of zir past. Transcript here: https://monkeymanproductions.com/2023/10/mto-s4-b1-transcript/ Thank you for listening. This episode featured Tau Zaman as Ashwini Ray, and Cole Burkhardt as Jaxon. The script was written by D.J. Sylvis; Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; our cover art is by Peter Chiykowski. We'll be back next week with a bonus episode that continues this conversation, where we'll learn more about Jaxon's past and future. Until then, you can find us on social media or visit our Discord server to chat about the show; or leave a rating or review on your podcast app or Podchaser dot com to help us get other folks looking up at the Moon. Until next time. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Three months after the broadcast from Base Theta (and beyond), we see how the world has been affected. Transcript here: https://monkeymanproductions.com/2023/09/mto-s4-e20-transcript/ Thank you for listening to the last full episode of Moonbase Theta, Out, featuring what I think is our largest cast ever - Evan Tess Murray, Serena Rahal, Corey Spruill, Tom Zalatnai, Robin Regalado, Becca Marcus, Tal Minear, Dalia Ramahi, Leslie Gideon, Cat Blackard, Cass McPhee, M.J. Bailey, Tau Zaman, David S. Dear, Anjali Kunapaneni, Dallas Wheatley, Sarah Rhea Werner, Hazel Stapp, Shereen Lani Younes, Cole Burkhardt, Elissa Park, Alicia Atkins, Steven LaFond, NayMyo Win, Rissa Montanez, Anna Godfrey, Tina Daniels, Lisette Alvarez, Emma Sherr-Ziarko, Claudia Elvidge, Jen Ponton, Jen Ponton, Journee LaFond, Danyelle Ellett, Gabriel Tankeo, and Leeman Kessler. And various voices in the outro that were most of those folks and a few more. Written by D.J. Sylvis; Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; our cover art is by Peter Chiykowski. Music for the intro segment was “Extra Real News” ; music for the outro was "The Real Story"; both by Trace Callahan. And that's it, folks. That's really where the story ends - there are four bonus minisodes to come, but those dive deeper into the characters that each is focused on, they don't really push the plot anywhere new. The story, like Barnett Bell says about revolution, like what Bilbo Baggins says about roads … goes ever on, but that doesn't mean it will all be told in the same way. I hope our little Moon tales stay with you, that you think your own thoughts about what comes next, maybe tell your own stories with a bit of Roger and Alex and Ashwini and Michell and Wilder and Nessa and Tumnus in the bones of them. Maybe one day I'll find my own way to talk about them again as well. But in the here and now, we've reached the end … and I'll say it one more time, thank you so much for listening. Our Exectutive Producers are Sarah Müller and Beka B, and our associate producers are Marty Chodorek, June Madeley , Timothy LaGrone, Marilyn Reid, Marissa Robertcop and Linda Boyer. Thank you guys so much for your support, and helping and trusting us to bring this story to life. We love what we've done with it, and we hope you love it as much as we do. As we bring this series to a close and thank you yet again for supporting us through it all, this is a great time to talk about how you can join us on our next adventure. Our Patreon backers get weekly email updates and behind the scenes sneak peeks at our next show, so we would love to see you there. Or sign up for our mailing list to get our monthly newsletter and stay up to date on all the things at MonkeymanProductions.com. And of course our merch is still available if you need that Cas and Pol shirt! But most of all: we made it to the end, because of you. Thank you for listening. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
On Earth and the Moon, there are new voices, new chances, and new discoveries. But in the end, is there hope? Transcript here: https://monkeymanproductions.com/2023/08/mto-s4-e19-transcript/ INTRO: Hey there, Moonbaseians! Deej here, and it's time for the resolution of our two-part Moonbase Theta, Out series finale! This is it, another hour or so and you'll have heard the rest of the story. Well, not really, of course - there'll be an epilogue in Episode 20, four bonus episodes to come after that, and … after that a long, well-deserved rest. For me, at least, probably not for our folks on the Moon. But before any of that, slide forward to the very edge of your seat and keep your feet firmly planted - because it's time! OUTRO: And that's it, folks. That's our series finale, the end … until the epilogue, bonuses, the stuff I said in the intro. But there's lots of thank yous left before we let this episode go! We've mentioned the actors, we've mentioned the cover artist and composers who've worked on the show, we've mentioned our audio engineer though Cass deserves another shout-out for all his work this season! And we should thank Cass and Tina for their tireless efforts as my co-producers - this is a job no one person could have taken on. Finally, I want to thank not people, but other stories in this space that have meant so much during the creation of MTO. I want to thank Girl in Space and Pasithea Powder and Greater Boston; I want to thank Civilized and Ninth World Journal and Interference and Caravan and Seren and Far Meridian and Love and Luck and Midnight Burger and The Night Post and Vesta Clinic and The Beacon and … I can't keep listing them all, we'd be here for another full hour, but thank you to all the bold, brave, engrossing, embracing, exceptional stories that have captivated and inspired us throughout our own creation. We've been lucky and happy and blessed to be a part of this with you. JOIN US OCTOBER 1ST FOR THE EPILOGUE! Today's episode featured Danyelle Ellett, Addie Nofal, Saja El-Shaer, Tesneem Rahhal, Serena Rahal, Robin Regalado, Becca Marcus, Leslie Gideon, D.J. Sylvis, Robin Howell, Cat Blackard, Cass McPhee, MJ Bailey, Tau Zaman, Jen Ponton, Tina Case, Cole Burkhardt, NayMyo Win, Sarah Rhea Werner, Anjali Kunapaneni, David S. Dear, Dallas Wheatley, Rissa Montañez, Anna Godfrey, Teddy Hannah-Drullard, Journee LaFond, Gabriel Tankeo, and Leeman Kessler. Written by D.J. Sylvis; Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; our cover art is by Peter Chiykowski. Music for the intro segment is "The Real Story," by Trace Callahan. Our Exectutive Producers are Sarah Müller and Beka B, and our associate producers are Marty Chodorek, June Madeley , Timothy LaGrone, Marilyn Reid, Marissa Robertcop and Linda Boyer. Thank you guys so much for your support, and helping and trusting us to bring this story to life. We love what we've done with it and we can't wait for you guys to hear all the work the cast and crew has put in, and we hope you love it as much as we do. And speaking of your support: everything helps, from leaving us a great review and subscribing on your podcast app of choice to sharing your feelings with us on Twitter and telling your friends about our show. For behind the scenes updates and early access to every episode, we would love to have you join us on Patreon. Visit us at MonkeyManProductions.com to learn more (and to visit our store if you need an En-Soy-Ment sticker or a T-Shirt featuring your favourite doggos!) But beyond all of that, we are so glad that you're listening and sharing in this story with us. Thank you. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
On Earth and the Moon, conflict looms with the megas; but on Base Gamma, another conflict takes priority. In the end, a voice is heard. Transcript here: https://monkeymanproductions.com/2023/08/mto-s4-e18-transcript/ INTRO: Hey folks, Deej here. In case you've clicked on the wrong episode, you really want to catch up before this one - this kicks off the series finale of Moonbase Theta, Out. Five years, four seasons and two miniseries, a storyline even I couldn't predict or really control - it all comes together from here. The story won't finish today - there's a second part, and then an Epilogue, and some bonus episodes - but you're damn close. So fasten your seat belts, make sure you're well-hydrated, and away we go. OUTRO: Thanks for listening to the first part of our series finale! That should give you a lot to think about until the next installment. Today, we wanted to send a more extensive almost-at-the-end thank you to our cast, every actor who has been a part of the show from just Leeman in those very first episodes, to the huge group of folks you hear now. It's such a pleasure and a gift to work with these talented performers, to rehearse and revise and shape the characters with them. Please, go find and follow and listen to them everywhere they can be heard. Today's episode featured Danyelle Ellett, Adam Faruqi, Journee LaFond, Gabriel Taneko, Shereen Lani Younes, Leeman Kessler, Teddy Hannah-Drullard, Cole Burkhardt, Tau Zaman, Jen Ponton, D.J. Sylvis, Robin Howell, Cat Blackard, Cass McPhee, Dalia Ramahi, Addie Nofal, Serena Rahal, Robin Regalado, Becca Marcus, Sarah Rhea Werner, David S. Dear, Anjali Kunapaneni, Hazel Stapp, Dallas Wheatley, Shade Oyemakinwa, Rissa Montañez, Anna Godfrey, M.J. Bailey, and Tina Case. Written by D.J. Sylvis; Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; our cover art is by Peter Chiykowski. Music for the intro segment is "The Real Story," by Trace Callahan. Our Exectutive Producers are Sarah Müller and Beka B, and our associate producers are Marty Chodorek, June Madeley , Timothy LaGrone, Marilyn Reid, Marissa Robertcop and Linda Boyer. Thank you guys so much for your support, and helping and trusting us to bring this story to life. We love what we've done with it and we can't wait for you guys to hear all the work the cast and crew has put in, and we hope you love it as much as we do. And speaking of your support: everything helps, from leaving us a great review and subscribing on your podcast app of choice to sharing your feelings with us on Twitter and telling your friends about our show. For behind the scenes updates and early access to every episode, we would love to have you join us on Patreon. Visit us at MonkeyManProductions.com to learn more (and to visit our store if you need an En-Soy-Ment sticker or a T-Shirt featuring your favourite doggos!) But beyond all of that, we are so glad that you're listening and sharing in this story with us. Thank you. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Roger gets caught up in the past; while in Palestine, Nima prepares the Resistance. Moonbase Theta receives an ultimatum. Transcript here: https://monkeymanproductions.com/2023/07/mto-s4-e17-transcript/ Today's episode featured Danyelle Ellett, Teddy Hannah-Drullard, Jen Ponton, Gabriel Taneko, Leeman Kessler, Addie Nofal, Saja El-Shaer, Tesneem Rahhal, Serena Rahal, Becca Marcus, Leslie Gideon, Kristi Boulton, Cole Burkhardt, Journee LaFond, Cat Blackard, Tau Zaman, Sarah Rhea Werner, David S. Dear, Hazel Stapp, Dallas Wheatley, Shade Oyemakinwa, Cass McPhee, Rissa Montañez, D.J. Sylvis, and Robin Howell. Written by D.J. Sylvis; Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; our cover art is by Peter Chiykowski. Music for the intro segment is "The Real Story," by Trace Callahan. This is it, folks. We've got one more little production break, but when we come back, we'll be bringing you the series finale of Moonbase Theta, Out. It's gonna be two parts, episodes 18 and 19 of the season, and believe me, it changes EVERYTHING. Every story line, every character is affected. I can't wait for you to hear it. Along with those episodes, we're going to have a lot of thank yous in our end credits! It's taken a ton of folks to tell this story. But today, first and foremost, I wanted to thank you for listening. For being a part of this great big Moon ride we've all taken; for talking up the show and being interested in what we had to say about it; for your ratings and reviews and comments and social media posts; for being a part of our community. Thank you again and again; we couldn't do any part of this without you. Our Exectutive Producers are Sarah Müller and Beka B, and our associate producers are Marty Chodorek, June Madeley , Timothy LaGrone, Marilyn Reid, Marissa Robertcop and Linda Boyer. Thank you guys so much for your support, and helping and trusting us to bring this story to life. We love what we've done with it and we can't wait for you guys to hear all the work the cast and crew has put in, and we hope you love it as much as we do. And speaking of your support: everything helps, from leaving us a great review and subscribing on your podcast app of choice to sharing your feelings with us on Twitter and telling your friends about our show. For behind the scenes updates and early access to every episode, we would love to have you join us on Patreon. Visit us at MonkeyManProductions.com to learn more (and to visit our store if you need an En-Soy-Ment sticker or a T-Shirt featuring your favourite doggos!) But beyond all of that, we are so glad that you're listening and sharing in this story with us. Thank you. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Jonathan welcomes writer and illustrator Peter Chiykowski to discuss his Story Engine Deck and how it can help writers come up with new and original story ideas. Get your own copy of The Story Engine Deck: https://storyenginedeck.com/ For more of Jonathan's work: https://twitter.com/jonathanballcom https://www.instagram.com/jonathanballcom/ https://www.strangerfiction.ca/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/strangerfiction/message
Gregory and Justin welcome back writer and illustrator Peter Chiykowski to talk about his incredible Story Engine creative story-building system and its new Lore Masters Deck. Peter discusses how he comes up with the many prompts needed for the engine, while helping Justin and Gregory create a "scam artist" story. They also talk about Peter's decision to go with Backerkit over Kickstarter for his latest crowdfunding campaign. Get your copy of the Story Engine: https://storyenginedeck.com/ Transition clips are from Opportunity Knocks (1990) - https://youtu.be/orrDqRLh32Q Follow the gang on Instagram: https://www.instagram.com/gmbchomichuk/ https://www.instagram.com/chasingartwork/ GMB Chomichuk's online store https://www.gmbchomichuk.ca Chasing Artwork's online store: https://www.chasingartwork.com/ Production: Dan Vadeboncoeur Titles: Jesse Hamel & Nick Smalley --- Send in a voice message: https://podcasters.spotify.com/pod/show/gmb-chomichuk/message
Michell and Wilder arrive back at the near side just in time for new troubles; Roger and Addie handle some late-night messages. Transcript here: https://monkeymanproductions.com/2023/06/mto-s4-e16-transcript/ Today's episode featured Danyelle Ellett, Cass McPhee, Tina Daniels, Anna Godfrey, Rissa Montañez, Beccy Stirrup, Cat Blackard, Leeman Kessler, NayMyo Win, Alicia Atkins, Steven LaFond, Journee LaFond, Cole Burkhardt, Jen Ponton, and Dalia Ramahi. Written by D.J. Sylvis; Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; our cover art is by Peter Chiykowski. Music for the intro segment is "The Real Story," by Trace Callahan. Looking for more great audio fiction? I know we've talked about Pasithea Powder a few times before, but they just reached their end with such beauty and grace and brilliance - if you like knowing the full story is out there when you listen, this is the perfect time to grab every episode. Our Exectutive Producers are Sarah Müller and Beka B, and our associate producers are Marty Chodorek, June Madeley , Timothy LaGrone, Marilyn Reid, Marissa Robertcop and Linda Boyer. Thank you guys so much for your support, and helping and trusting us to bring this story to life. We love what we've done with it and we can't wait for you guys to hear all the work the cast and crew has put in, and we hope you love it as much as we do. And speaking of your support: everything helps, from leaving us a great review and subscribing on your podcast app of choice to sharing your feelings with us on Twitter and telling your friends about our show. For behind the scenes updates and early access to every episode, we would love to have you join us on Patreon. Visit us at MonkeyManProductions.com to learn more (and to visit our store if you need an En-Soy-Ment sticker or a T-Shirt featuring your favourite doggos!) But beyond all of that, we are so glad that you're listening and sharing in this story with us. Thank you. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Unexpected returns occur in several locations on Earth; while on the Moon, Ashwini proposes an unexpected step forward. Transcript here: https://monkeymanproductions.com/2023/05/mto-s4-e15-transcript/ Today's episode featured Danyelle Ellett, Robin Howell, Joe Fisher, D.J. Sylvis, AMC, Glory Duda, Shade Oyemakinwa, Kristi Boulton, Dalia Ramahi, Serena Rahal, Hesham Elshazly, Addie Nofal, Becca Marcus, Leslie Gideon, Shereen Lani Younes, Robin Regalado, Tau Zaman, Cole Burkhardt, Dallas Wheatley, Sara Rhea Werner, Anjali Kunapaneni, Leeman Kessler, Journee LaFond, and Jen Ponton. Just a quick heads-up: we're taking a short production break - the next episode of Season 4 airs on June 25th. See you then! Written by D.J. Sylvis; Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; our cover art is by Peter Chiykowski. Music for the intro segment is "The Real Story," by Trace Callahan. Looking for more great and thoughtful sci-fi in your audio drama? The Last Echoes is new and intriguing and worth taking a listen - it's a political sci-fi story that's deep into hope and the meaning to be found in our ordinary moments. Our Exectutive Producers are Sarah Müller and Beka B, and our associate producers are Marty Chodorek, June Madeley , Timothy LaGrone, Marilyn Reid, Marissa Robertcop and Linda Boyer. Today's special shout-out is for Esther Brown. Thank you guys so much for your support, and helping and trusting us to bring this story to life. We love what we've done with it and we can't wait for you guys to hear all the work the cast and crew has put in, and we hope you love it as much as we do. And speaking of your support: everything helps, from leaving us a great review and subscribing on your podcast app of choice to sharing your feelings with us on Twitter and telling your friends about our show. For behind the scenes updates and early access to every episode, we would love to have you join us on Patreon. Visit us at MonkeyManProductions.com to learn more (and to visit our store if you need an En-Soy-Ment sticker or a T-Shirt featuring your favourite doggos!) But beyond all of that, we are so glad that you're listening and sharing in this story with us. Thank you. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Sticky situations for folks all over the Moon, conversations that have been a long time coming, and at least one really big discovery… Transcript here: https://monkeymanproductions.com/2023/04/mto-s4-e14-transcript/ Today's episode featured Danyelle Ellett, D.J. Sylvis, Glory Duda, Robin Howell, Cat Blackard, Cass McPhee, Tina Daniels, Leeman Kessler, Journee LaFond, Caroline Mincks, Cole Burkhardt, Alicia Atkins, and Rissa Montañez. Written by D.J. Sylvis; Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; our cover art is by Peter Chiykowski. Music for the intro segment is "The Real Story," by Trace Callahan. Looking for more great audio fiction? Instead of a show, we're going to point you toward a newsletter - The End, curating completed fiction podcasts for your listening pleasure. Find them at the end dot F Y I to subscribe. Our Exectutive Producers are Sarah Müller and Beka B, and our associate producers are Marty Chodorek, June Madeley , Timothy LaGrone, Marilyn Reid, Marissa Robertcop and Linda Boyer. Today's shout-out is for Denise Cicuto. Thank you guys so much for your support, and helping and trusting us to bring this story to life. We love what we've done with it and we can't wait for you guys to hear all the work the cast and crew has put in, and we hope you love it as much as we do. And speaking of your support: everything helps, from leaving us a great review and subscribing on your podcast app of choice to sharing your feelings with us on Twitter and telling your friends about our show. For behind the scenes updates and early access to every episode, we would love to have you join us on Patreon. Visit us at MonkeyManProductions.com to learn more (and to visit our store if you need an En-Soy-Ment sticker or a T-Shirt featuring your favourite doggos!) But beyond all of that, we are so glad that you're listening and sharing in this story with us. Thank you. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Barnett Bell returns as the megacorporations up the ante; Michell reaches an abrupt end to his search; and in the NAC, directions are changing. Transcript here: https://monkeymanproductions.com/2023/04/mto-s4-e13-transcript/ Today's episode featured Danyelle Ellett, Leeman Kessler, Tau Zaman, Sarah Rhea Werner, Steven LaFond, Cole Burkhardt, Josh Rubino, Cass McPhee, Tina Daniels, Kristi Boulton, Corey Spruill, Dalia Ramahi, and Tom Zalatnai. Written by D.J. Sylvis; Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; our cover art is by Peter Chiykowski. Music for the intro segment is "The Real Story," by Trace Callahan. Looking for more great audio fiction? We'd love to point you towards Icarus Rising, a pirate tale where the sails fly high - higher than you might expect - and the stakes are even higher. Our Exectutive Producers are Sarah Müller and Beka B, and our associate producers are Marty Chodorek, June Madeley , Timothy LaGrone, Marilyn Reid, Marissa Robertcop and Linda Boyer. Today's shout-out is to Anastasia Pelechaty. Thank you guys so much for your support, and helping and trusting us to bring this story to life. We love what we've done with it and we can't wait for you guys to hear all the work the cast and crew has put in, and we hope you love it as much as we do. And speaking of your support: everything helps, from leaving us a great review and subscribing on your podcast app of choice to sharing your feelings with us on Twitter and telling your friends about our show. For behind the scenes updates and early access to every episode, we would love to have you join us on Patreon. Visit us at MonkeyManProductions.com to learn more (and to visit our store if you need an En-Soy-Ment sticker or a T-Shirt featuring your favourite doggos!) But beyond all of that, we are so glad that you're listening and sharing in this story with us. Thank you. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Ashwini gives the Science Bros new guidance; Michell grumbles about Maria and Wilder; the new ACs have some questions on revolution. Transcript here: https://monkeymanproductions.com/2023/04/mto-s4-e12-transcript/ Today's episode featured Evan Tess Murray, Josh Rubino, David S. Dear, Anjali Kunapaneni, Dallas Wheatley, Nitsa Ortmann, Sam B. Nguyen, Tau Zaman, Sarah Rhea Werner, Hazel Stapp, Shereen Lani Younes, Cass McPhee, Alicia Atkins, Leeman Kessler, and Jen Ponton. Music for the intro segment is "Extra Real News," by Trace Callahan. Written by D.J. Sylvis; Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; our cover art is by Peter Chiykowski. I'm not sure how you could have missed it by now, but our recommendation this time around is Witchever Path, an interactive fiction anthology podcast where you vote and decide which way the story is headed. And you'll hear a lot of familiar voices as you go. Our Exectutive Producers are Sarah Müller and Beka B, and our associate producers are Marty Chodorek, June Madeley , Timothy LaGrone, Marilyn Reid, Marissa Robertcop and Linda Boyer. Today's special shout-out is for Kate Wallinga. Thank you guys so much for your support, and helping and trusting us to bring this story to life. We love what we've done with it and we can't wait for you guys to hear all the work the cast and crew has put in, and we hope you love it as much as we do. And speaking of your support: everything helps, from leaving us a great review and subscribing on your podcast app of choice to sharing your feelings with us on Twitter and telling your friends about our show. For behind the scenes updates and early access to every episode, we would love to have you join us on Patreon. Visit us at MonkeyManProductions.com to learn more (and to visit our store if you need an En-Soy-Ment sticker or a T-Shirt featuring your favourite doggos!) But beyond all of that, we are so glad that you're listening and sharing in this story with us. Thank you. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Michell catches up with recent events on the Moon, while back on Earth the NAC is pulling together, and the Enclave Officer defends his strategies. Content Warning: Distant fighting and gunfire Transcript here: https://monkeymanproductions.com/2023/03/mto-s4-e11-transcript/ Today's episode featured Evan Tess Murray, Jeff Van Dreason, Cass McPhee, Alicia Atkins, Cat Blackard, Tau Zaman, Leeman Kessler, NayMyo Win, Becca Marcus, Steven LaFond, Serena Rahal, Hesham Elshazly, Tal Minear, Dalia Ramahi, Leslie Gideon, D.J. Sylvis, Robin Howell, and Kristi Boulton. Written by D.J. Sylvis; Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; our cover art is by Peter Chiykowski. Music for the intro segment is "Extra Real News," by Trace Callahan. Looking for more great audio fiction? You can't go wrong with Starship Q Star, the funniest, queerest, most fantastic science fiction series we've heard in a long while. Our Exectutive Producers are Sarah Müller and Beka B, and our associate producers are Marty Chodorek, June Madeley , Timothy LaGrone, Marilyn Reid, Marissa Robertcop and Linda Boyer. Today we're shouting out Reid Branson. Thank you guys so much for your support, and helping and trusting us to bring this story to life. We love what we've done with it and we can't wait for you guys to hear all the work the cast and crew has put in, and we hope you love it as much as we do. And speaking of your support: everything helps, from leaving us a great review and subscribing on your podcast app of choice to sharing your feelings with us on Twitter and telling your friends about our show. For behind the scenes updates and early access to every episode, we would love to have you join us on Patreon. Visit us at MonkeyManProductions.com to learn more (and to visit our store if you need an En-Soy-Ment sticker or a T-Shirt featuring your favourite doggos!) But beyond all of that, we are so glad that you're listening and sharing in this story with us. Thank you. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
MIDSEASON - Barnett Bell reaches a tipping point; Wilder finds a canary in her coal mine; there are unexpected conversations from both sides of the Moon. Content Warning - Physical distress and injury, pain response and pharmaceutical use Transcript here: https://monkeymanproductions.com/2023/03/mto-s4-e10-transcript/ Today's episode featured Danyelle Ellett, Evan Tess Murray, Leeman Kessler, Tina Daniels, Claudia Elvidge, Shereen Lani Younes, Journee LaFond, Hesham Elshazly, Leslie Gideon, Cat Blackard, D.J. Sylvis, and Robin Howell. Just a quick heads-up: we're taking a short mid-season break - the next episode of Season 4 airs on April second. See you then! Written by D.J. Sylvis (poem in Scene 3 by Shereen Lani Younes); Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; music for the intro segment is "Extra Real News," by Trace Callahan. Our cover art is by Peter Chiykowski. Looking for more great audio fiction? Check out What Will Be Here. Five friends send a rocket to space with a collection of recordings that document the world's decline - a show about living and creating when things feel pointless. Our Exectutive Producers are Sarah Müller and Beka B, and our associate producers are Marty Chodorek, June Madeley , Timothy LaGrone, Marilyn Reid, Marissa Robertcop and Linda Boyer. Today's shout-out is for Casey Lairden. Thank you guys so much for your support, and helping and trusting us to bring this story to life. We love what we've done with it and we can't wait for you guys to hear all the work the cast and crew has put in, and we hope you love it as much as we do. And speaking of your support: everything helps, from leaving us a great review and subscribing on your podcast app of choice to sharing your feelings with us on Twitter and telling your friends about our show. For behind the scenes updates and early access to every episode, we would love to have you join us on Patreon. Visit us at MonkeyManProductions.com to learn more (and to visit our store if you need an En-Soy-Ment sticker or a T-Shirt featuring your favourite doggos!) But beyond all of that, we are so glad that you're listening and sharing in this story with us. Thank you. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Wilder's work at the North Pole continues; Tumnus' project develops; Dr. Ringling struggles in the lab. Content Warning: Physical distress and injury Transcript here: https://monkeymanproductions.com/2023/02/mto-s4-e9-transcript/ Today's episode featured Danyelle Ellett, Evan Tess Murray, Tina Daniels, Jen Ponton, Rissa Montañez, Cass McPhee, Alicia Atkins, Anna Godfrey, Hazel Stapp, and Dallas Wheatley. Written by D.J. Sylvis; Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; our cover art is by Peter Chiykowski. Looking for more great audio fiction? Check out Eliza: A Robot Story - it's a dark near-future sci-fi fairytale that talks about abusive relationships in some very important ways. Our Exectutive Producers are Sarah Müller and Beka B, and our associate producers are Marty Chodorek, June Madeley , Timothy LaGrone, Marilyn Reid, Marissa Robertcop and Linda Boyer. Today's shout-out is for Kate Taylor. Thank you guys so much for your support, and helping and trusting us to bring this story to life. We love what we've done with it and we can't wait for you guys to hear all the work the cast and crew has put in, and we hope you love it as much as we do. And speaking of your support: everything helps, from leaving us a great review and subscribing on your podcast app of choice to sharing your feelings with us on Twitter and telling your friends about our show. For behind the scenes updates and early access to every episode, we would love to have you join us on Patreon. Visit us at MonkeyManProductions.com to learn more (and to visit our store if you need an En-Soy-Ment sticker or a T-Shirt featuring your favourite doggos!) But beyond all of that, we are so glad that you're listening and sharing in this story with us. Thank you. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Unexpected turns for the revolution on both sides of the Moon including the return of Harold McVett; Roger and Ashwini have a moment. Transcript here: https://monkeymanproductions.com/2023/02/mto-s4-e8-transcript/ Today's episode featured Danyelle Ellett, Evan Tess Murray, Leeman Kessler, Rissa Montañez, Jen Ponton, Cole Burkhardt, Tau Zaman, Shereen Lani Younes, Hazel Stapp, Steven LaFond, Journee LaFond, NayMyo Win, and Alicia Atkins. Written by D.J. Sylvis; Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; our cover art is by Peter Chiykowski. Looking for more great audio fiction? Looking for some great queer romance? Give a listen to Hand in Glove, a story set in the world of professional baseball. Our Exectutive Producers are Sarah Müller and Beka B, and our associate producers are Marty Chodorek, June Madeley , Timothy LaGrone, Marilyn Reid, Marissa Robertcop and Linda Boyer. Today's extra special shout-out is for Jeffrey Chaney. Thank you guys so much for your support, and helping and trusting us to bring this story to life. We love what we've done with it and we can't wait for you guys to hear all the work the cast and crew has put in, and we hope you love it as much as we do. And speaking of your support: everything helps, from leaving us a great review and subscribing on your podcast app of choice to sharing your feelings with us on Twitter and telling your friends about our show. For behind the scenes updates and early access to every episode, we would love to have you join us on Patreon. Visit us at MonkeyManProductions.com to learn more (and to visit our store if you need an En-Soy-Ment sticker or a T-Shirt featuring your favourite doggos!) But beyond all of that, we are so glad that you're listening and sharing in this story with us. Thank you. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Today we have a preview of Moonbase Theta, Out. MTO is an incredible, queer, sci fi story that we love and think you will too. Check out this collection of the first few episodes and then give them a subscribe to hear more. Season 4 (the final season) is available now! --- Moonbase Theta, Out, Season 1 A sci-fi audio fiction podcast from Monkeyman Productions. It is 2098. The Moonbase program has been determined unprofitable. The last base, Theta, is twenty weeks from being decommissioned. Most of the crew is in stasis awaiting retrieval. In Season 1, Roger Bragado-Fischer sends back reports to Earth on the shutdown of Moonbase Theta and the conflicts and pitfalls as they try to make it to the end. Each broadcast closes out with a message to his husband, Alex, who is waiting at home on Earth. --- Transcript Here Written and edited by D.J. Sylvis (they/them). Performed by Leeman Kessler (he/him). Consortium Announcer: Evan Tess Murray (he/they) Theme music is "Star" by the band Ramp: http://www.ramp-music.net Cover art created by Peter Chiykowski: http://lookitspeter.com Episode transcripts and more information: https://monkeymanproductions.com/moonbase-theta-out/ Network: https://fableandfolly.com/ Twitter: https://twitter.com/MonkeymanProd and https://twitter.com/MoonbaseThetaOu Discord: https://discord.com/invite/6NAhrG5 Facebook: https://www.facebook.com/MonkeymanProductions/ Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Nima and Elio visit a new facility in the NAC; the Enclave Officer makes contact; there's a reunion on Moonbase Theta Transcript here: https://monkeymanproductions.com/2022/12/mto-s4-e7-transcript/ Today's episode featured Danyelle Ellett, Evan Tess Murray, Becca Marcus, Corey Spruill, Serena Rahal, Tom Zalatnai, Dalia Ramahi, Leslie Gideon, D.J. Sylvis, Robin Howell, Glory Duda, Kristi Boulton, David S. Dear, Anjali Kunapaneni, and Dallas Wheatley. Written by D.J. Sylvis; Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; music for the intro segment is "Extra Real News," by Trace Callahan. Our cover art is by Peter Chiykowski. Looking for more great audio fiction? So many of us started out in theatre, and that legacy lives on in Starfall, a fantasy audio drama about a travelling acting troupe and their unexpected adventures. Our Exectutive Producers are Sarah Müller and Beka B, and our associate producers are Marty Chodorek, June Madeley , Timothy LaGrone, Marilyn Reid, Marissa Robertcop and Linda Boyer. Today we're shouting out Matt Daniels. Hi! Thank you guys so much for your support, and helping and trusting us to bring this story to life. We love what we've done with it and we can't wait for you guys to hear all the work the cast and crew has put in, and we hope you love it as much as we do. And speaking of your support: everything helps, from leaving us a great review and subscribing on your podcast app of choice to sharing your feelings with us on Twitter and telling your friends about our show. For behind the scenes updates and early access to every episode, we would love to have you join us on Patreon. Visit us at MonkeyManProductions.com to learn more (and to visit our store if you need an En-Soy-Ment sticker or a T-Shirt featuring your favourite doggos!) But beyond all of that, we are so glad that you're listening and sharing in this story with us. Thank you. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Repairs of various types are attempted; Wilder sings; Tumnus asks Roger for advice on her big project Transcript here: https://monkeymanproductions.com/2022/12/mto-s4-e6-transcript/ Today's episode featured Danyelle Ellett, Evan Tess Murray, Tina Daniels, Jen Ponton, Cass McPhee, Cat Blackard, Terry Hannah-Drullard, and Leeman Kessler. Written by D.J. Sylvis; Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; music for the intro segment is "Extra Real News," by Trace Callahan. Our cover art is by Peter Chiykowski. Looking for more great audio fiction? I've been catching up on Tell No Tales, a deeply captivating queer paranormal audio drama - I'm absolutely enthralled by the way the story has developed. Our Exectutive Producers are Sarah Müller and Beka B, and our associate producers are Marty Chodorek, June Madeley , Timothy LaGrone, Marilyn Reid, Marissa Robertcop and Linda Boyer. Today our shout-out is to Deb Austen. Thank you guys so much for your support, and helping and trusting us to bring this story to life. We love what we've done with it and we can't wait for you guys to hear all the work the cast and crew has put in, and we hope you love it as much as we do. And speaking of your support: everything helps, from leaving us a great review and subscribing on your podcast app of choice to sharing your feelings with us on Twitter and telling your friends about our show. For behind the scenes updates and early access to every episode, we would love to have you join us on Patreon. Visit us at MonkeyManProductions.com to learn more (and to visit our store if you need an En-Soy-Ment sticker or a T-Shirt featuring your favourite doggos!) But beyond all of that, we are so glad that you're listening and sharing in this story with us. Thank you. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Jaxon escapes his responsibilities thanks to Ashwini and a message from an old friend; in the NAC, Nima and Elio take the dogs for a walk; Roger receives an unexpected call. Content Warning - Significant emotional distress (discussed and in action), overwhelming situations Transcript here: https://monkeymanproductions.com/2022/11/mto-s4-e5-transcript/ Today's episode featured Danyelle Ellett, Cole Burkhardt, Journee LaFond, Tau Zaman, Tina Daniels, Elissa Park, David S. Dear, Becca Marcus, Corey Spruill, Serena Rahal, Tom Zalatnai, Leeman Kessler, Cat Blackard, Martin Chodorek, and Addie Nofal. Written by D.J. Sylvis; Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; music for the intro segment is "Extra Real News," by Trace Callahan. Our cover art is by Peter Chiykowski. Looking for more great audio fiction? I'm gonna take a wild stab and say you probably like sci-fi, particularly of the more compassionate bent, so go give The Vesta Clinic a listen! Our Exectutive Producers are Sarah Müller and Beka B, and our associate producers are Marty Chodorek, June Madeley , Timothy LaGrone, Marilyn Reid, Marissa Robertcop and Linda Boyer. Today we're shouting out Jaxon Sylvis. Thank you guys so much for your support, and helping and trusting us to bring this story to life. We love what we've done with it and we can't wait for you guys to hear all the work the cast and crew has put in, and we hope you love it as much as we do. And speaking of your support: everything helps, from leaving us a great review and subscribing on your podcast app of choice to sharing your feelings with us on Twitter and telling your friends about our show. For behind the scenes updates and early access to every episode, we would love to have you join us on Patreon. Visit us at MonkeyManProductions.com to learn more (and to visit our store if you need an En-Soy-Ment sticker or a T-Shirt featuring your favourite doggos!) But beyond all of that, we are so glad that you're listening and sharing in this story with us. Thank you. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Tumnus has important discussions about the future; Michell attempts to make a few connections. Content Warning - Alcohol overindulgence Transcript here: https://monkeymanproductions.com/2022/11/mto-s4-e4-transcript/ Today's episode featured Danyelle Ellett, Evan Tess Murray, Tau Zaman, Jen Ponton, Tina Daniels, Lisette Alvarez, Hazel Stapp, Cass McPhee, Anna Godfrey, Rissa Montañez, Alicia Atkins, and Anjali Kunapaneni. Written by D.J. Sylvis; Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; our cover art is by Peter Chiykowski. Looking for more great audio fiction? Ready for maybe a bit more hope in your hopepunk? Go listen to one of our sci-fi favourites, This Planet Needs a Name, everywhere you get quality podcasts. Our Exectutive Producers are Sarah Müller and Beka B, and our associate producers are Marty Chodorek, June Madeley , Timothy LaGrone, Marilyn Reid, Marissa Robertcop and Linda Boyer. Today's shout-out is Nicholas Thompson. Thank you guys so much for your support, and helping and trusting us to bring this story to life. We love what we've done with it and we can't wait for you guys to hear all the work the cast and crew has put in, and we hope you love it as much as we do. And speaking of your support: everything helps, from leaving us a great review and subscribing on your podcast app of choice to sharing your feelings with us on Twitter and telling your friends about our show. For behind the scenes updates and early access to every episode, we would love to have you join us on Patreon. Visit us at MonkeyManProductions.com to learn more (and to visit our store if you need an En-Soy-Ment sticker or a T-Shirt featuring your favourite doggos!) But beyond all of that, we are so glad that you're listening and sharing in this story with us. Thank you. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Maria struggles to coordinate the efforts of the near-side Bases; on Earth, the Enclave Officer's plot thickens. Transcript here: https://monkeymanproductions.com/2022/11/mto-s4-e3-transcript/ Today's episode featured Danyelle Ellett, Evan Tess Murray, Jen Ponton, Cass McPhee, Cat Blackard, Leeman Kessler, NayMyo Win, Beccy Stirrup, Anna Godfrey, Rissa Montañez, D.J. Sylvis, Robin Howell, and Glory Duda. Written by D.J. Sylvis; Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; our cover art is by Peter Chiykowski. Looking for more great audio fiction? You need to listen to Deep Blue Stars, a sweet, deeply emotional, delightfully queer and geeky story. Our Exectutive Producers are Sarah Müller and Beka B, and our associate producers are Marty Chodorek, June Madeley , Timothy LaGrone, Marilyn Reid, Marissa Robertcop and Linda Boyer. Thank you guys so much for your support, and helping and trusting us to bring this story to life. We love what we've done with it and we can't wait for you guys to hear all the work the cast and crew has put in, and we hope you love it as much as we do. And speaking of your support: everything helps, from leaving us a great review and subscribing on your podcast app of choice to sharing your feelings with us on Twitter and telling your friends about our show. For behind the scenes updates and early access to every episode, we would love to have you join us on Patreon. Visit us at MonkeyManProductions.com to learn more (and to visit our store if you need an En-Soy-Ment sticker or a T-Shirt featuring your favourite doggos!) But beyond all of that, we are so glad that you're listening and sharing in this story with us. Thank you. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
In Northern Africa, the former Freehold residents struggle to find their place; on the Moon, Addie struggles to connect with the Base Theta crew. Transcript here: https://monkeymanproductions.com/2022/11/mto-s4-e2-transcript/ Today's episode featured Danyelle Ellett, Evan Tess Murray, Leeman Kessler, Cole Burkhardt, Jen Ponton, Tina Daniels, Journee LaFond, David S. Dear, Tau Zaman, Becca Marcus, Serena Rahal, Tom Zalatnai, Tal Minear, Dalia Ramahi, Leslie Gideon, and Jason Dania. Written by D.J. Sylvis; Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; our cover art is by Peter Chiykowski. Looking for more great audio fiction? If you're into queer, dark paranormal stories, try out Care & Feeding of Werewolves - but make sure you're nice to Julia. Our Exectutive Producers are Sarah Müller and Beka B, and our associate producers are Marty Chodorek, June Madeley , Timothy LaGrone, Marilyn Reid, Marissa Robertcop and Linda Boyer. Thank you guys so much for your support, and helping and trusting us to bring this story to life. We love what we've done with it and we can't wait for you guys to hear all the work the cast and crew has put in, and we hope you love it as much as we do. And speaking of your support: everything helps, from leaving us a great review and subscribing on your podcast app of choice to sharing your feelings with us on Twitter and telling your friends about our show. For behind the scenes updates and early access to every episode, we would love to have you join us on Patreon. Visit us at MonkeyManProductions.com to learn more (and to visit our store if you need an En-Soy-Ment sticker or a T-Shirt featuring your favourite doggos!) But beyond all of that, we are so glad that you're listening and sharing in this story with us. Thank you. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
SEASON PREMIERE! Three months after the events of the Prologue, we return to events on both sides of the Moon - where the Plan for sustainability faces challenges and delays. Episode Transcript here: https://monkeymanproductions.com/2022/10/mto-s4-e1-transcript/ Content warning: References to physical injury and medical response; emotional distress Today's episode featured Danyelle Ellett, Evan Tess Murray, Leeman Kessler, Cole Burkhardt, Jen Ponton, Tina Daniels, David S. Dear, Hazel Stapp, Dallas Wheatley, Cass McPhee, Cat Blackard, Shereen Lani Younes, and Teddy Hannah-Drullard. Written by D.J. Sylvis; Cass McPhee is our audio engineer. Our theme music is “Star” by the band Ramp; music for the intro segment is "Extra Real News," by Trace Callahan. Our cover art is by Peter Chiykowski. Looking for more great audio fiction? Check out The Tower, an experimental audio drama podcast series about friendship, identity, an individual's place in the world and our relationship with our past. Our Exectutive Producers are Sarah Müller and Beka B, and our associate producers are Marty Chodorek, June Madeley , Timothy LaGrone, Marilyn Reid, Marissa Robertcop and Linda Boyer. Thank you guys so much for your support, and helping and trusting us to bring this story to life. We love what we've done with it and we can't wait for you guys to hear all the work the cast and crew has put in, and we hope you love it as much as we do. And speaking of your support: everything helps, from leaving us a great review and subscribing on your podcast app of choice to sharing your feelings with us on Twitter and telling your friends about our show. For behind the scenes updates and early access to every episode, we would love to have you join us on Patreon. Visit us at MonkeyManProductions.com to learn more (and to visit our store if you need an En-Soy-Ment sticker or a T-Shirt featuring your favourite doggos!) But beyond all of that, we are so glad that you're listening and sharing in this story with us. Thak you. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Prologue Minisode - 5 of 5: Michell and Zhong arrive on the near side, but aren't prepared for what they find ... Content Warning - Physical injury and medical response; references to physical and emotional distress Transcript here: https://monkeymanproductions.com/2022/10/mto-s4-p5-transcript/ SEASON 4: EPISODE 1, COMING OCTOBER 30! FEATURING: Cass McPhee as Michell, NayMyo Win as Zhong, Cat Blackard as Maria, Leeman Kessler as Roger Bragado-Fischer, Teddy Hannah-Drullard as Medic Pacey, and Jen Ponton as Tumnus. Written by D.J. Sylvis. Audio Engineering by Cass McPhee. Produced by D.J. Sylvis, Tina Daniels, and Cass McPhee Theme music is “Star” by the band Ramp: https://ramp-music.bandcamp.com/ Cover art is by Peter Chiykowski. Looking for more great audio fiction? Check out Roguemaker, a sci-fi whodunnit mystery with escape pods, crass commercialism, and things that shouldn't be found. Want to help make this show possible AND get early ad-free access to every episode? Support us at Patreon.com/MonkeyManProductions. For a full list of our cast and crew, as well as transcripts, official Moonbase Theta, Out merch and more, visit MonkeyManProductions.com. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Prologue Minisode - 4 of 5: The Freehold refugees - including Cas and Pol - arrive in North Africa. Introductions are made. Content Warning - Physical injury and emergency response, references to accidental death Transcript here: https://monkeymanproductions.com/2022/09/mto-s4-p4-transcript/ FEATURING: Becca Marcus as Elio, Corey Spruill as Stephen, Serena Rahal as Nima, Tom Zalatnai as Techno 1, Tal Minear as Free Folk 1, Dalia Ramahi as Nashwa, Leslie Gideon as Elena, Jen Ponton as Tumnus, Tina Daniels as Wilder, Teddy Hannah-Drullard as Medic Pacey, Leeman Kessler as Roger, Gabriel Taneko as Alex, Journee LaFond as Addie, David S. Dear as Dr. Just, and Hazel Stapp as Dr. Serano. Written by D.J. Sylvis. Audio Engineering by Cass McPhee. Produced by D.J. Sylvis, Tina Daniels, and Cass McPhee Theme music is “Star” by the band Ramp: https://ramp-music.bandcamp.com/ Cover art is by Peter Chiykowski. Looking for more great audio fiction? Check out The Night Post, a captivating queer supernatural drama about survival, tradition, and the vast unknown. Want to help make this show possible AND get early ad-free access to every episode? Support us at Patreon.com/MonkeyManProductions. For a full list of our cast and crew, as well as transcripts, official Moonbase Theta, Out merch and more, visit MonkeyManProductions.com. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Prologue Minisode - 3 of 5: On Earth, the Enclave Officer provides a sense of purpose; and on the Moon, Theta's crew reacts to the rocket's impending arrival. Transcript here: https://monkeymanproductions.com/2022/09/mto-s4-p3-transcript/ FEATURING: D.J. Sylvis as the Enclave Officer, Robin Howell as Reception Bot, Glory Duda as Slipstream, Danyelle Ellett as Barnett Bell, Jen Ponton as Tumnus, Shereen Lani Younes as Dr. Semaan, Tau Zaman as Dr. Ashwini Ray, Tina Daniels as Wilder, and Leeman Kessler as Roger. Written by D.J. Sylvis. Audio Engineering by Cass McPhee. Produced by D.J. Sylvis, Tina Daniels, and Cass McPhee Theme music is “Star” by the band Ramp: https://ramp-music.bandcamp.com/ Cover art is by Peter Chiykowski. Looking for more great audio fiction? Check out October Jones and Fish with Legs, a hilarious story about a teenage girl and a fish with legs saving the world with the power of friendship. Want to help make this show possible AND get early ad-free access to every episode? Support us at Patreon.com/MonkeyManProductions. For a full list of our cast and crew, as well as transcripts, official Moonbase Theta, Out merch and more, visit MonkeyManProductions.com. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Prologue Minisode - 2 of 5: On the rocket en route to the Moon, Alex, Payload, and Addie discuss what might come next. In a rocket bound for the moon, Alex, Payload and Addie talk about the past, and what might come next. Content Warning - Extreme emotional distress, dangerous situations Transcript here: https://monkeymanproductions.com/2022/08/mto-s4-p2-transcript/ FEATURING: Gabriel Taneko as Alex, Philomena Sherwood as Payload, Journee LaFond as Addie, Becca Marcus as Elio, Serena Rahal as Nima, Corey Spruill as Stephen, and Dalia Ramahi as Nashwa. Written by D.J. Sylvis. Audio Engineering by Cass McPhee. Produced by D.J. Sylvis, Tina Daniels, and Cass McPhee Theme music is “Star” by the band Ramp: https://ramp-music.bandcamp.com/ Cover art is by Peter Chiykowski. Looking for more great audio fiction? Check out Chaika, a science fiction drama about loss, isolation and hope. (I know, familiar themes, right?) Want to help make this show possible AND get early ad-free access to every episode? Support us at Patreon.com/MonkeyManProductions. For a full list of our cast and crew, as well as transcripts, official Moonbase Theta, Out merch and more, visit MonkeyManProductions.com. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
The prologue for our final season begins! These events take place immediately after the end of Season 3. Prologue Minisode - 1 of 5: Tensions run high as the Base Theta crew discusses what's next for the moon - and keeps tabs on a certain incoming rocket ... Transcript here: https://monkeymanproductions.com/2022/08/mto-s4-p1-transcript/ FEATURING: Leeman Kessler as Roger, Cass McPhee as Michell, Cole Burkhardt as Jaxon, Jen Ponton as Tumnus, Tina Daniels as Wilder, NayMyo Win as Zhong, Tau Zaman as Dr. Ashwini Ray, D.J. Sylvis as the Enclave Officer, and Glory Duda as Slipstream. With a special appearance by Robin Howell. Written by D.J. Sylvis. Audio Engineering by Cass McPhee. Produced by D.J. Sylvis, Tina Daniels, and Cass McPhee Theme music is “Star” by the band Ramp: https://ramp-music.bandcamp.com/ Cover art is by Peter Chiykowski. Looking for more great audio fiction? Check out 1972, a historical drama telling the powerful story of Shirley Chisholm and Angela Davis. Want to help make this show possible AND get early ad-free access to every episode? Support us at Patreon.com/MonkeyManProductions. For a full list of our cast and crew, as well as transcripts, official Moonbase Theta, Out merch and more, visit MonkeyManProductions.com. And, as always, keep watching the moon. Network: https://fableandfolly.com/ Twitter: @MoonbaseThetaOu and @MonkeymanProd Discord: https://discord.gg/6NAhrG5 Facebook: Monkeyman Productions Merch: http://tee.pub/lic/zUb0YN1_6mw Music & Sound Effects Attribution (including dynamic ads): https://monkeymanproductions.com/sound-effects-credit/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Time to get ready for our Season 4 Premiere (coming August 14th) with a recap of Seasons 1-3! This special recap episode is made possible by the contributions of these amazing fans: Beka! (Twitter: @BekaTerrier) Molly! (TikTok: https://www.tiktok.com/t/ZTRDPJphk/) Alice! (Twitter: @magicalgirlkyra) AMC! (Twitter: @astrowrytes) Transcript available here - https://monkeymanproductions.com/2022/07/the-story-so-far-a-recap-special-transcript/ We wouldn't be here without our monthly supporters on Patreon, who (in addition to early ad-free access to EVERY episode of our final season) also get weekly updates, behind the scenes info, and more - all for as little as a dollar a month! Theme music is "Star" by the band Ramp: http://www.ramp-music.net Cover art created by Peter Chiykowski: http://lookitspeter.com More show information: https://monkeymanproductions.com/moonbase-theta-out Learn about our Network sponsors and other great shows: https://fableandfolly.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Peter Chiykowski is a modern day renaissance man who graces the podcast with their presence to show us how randomness can inspire your worldbuilding and gamemastering. Peter Chiykowski is a write, editor, illustrator, and creator of the Deck of Worlds and the Story Engine. Both being cards you can shuffled and compiled randomly to create inspiring prompts and stories. Janet Forbes (pen-name J.D. Blythe) is a published fantasy author, professional Dungeons and Dragons Streamer, and also the co-founder of World Anvil, the ULTIMATE worldbuilding platform for writers and gamers! Tell Your Story Create Your World
Part 2! Peter Chiykowski is a modern day renaissance man who graces the podcast with their presence to show us how randomness can inspire your worldbuilding and gamemastering. Peter Chiykowski is a write, editor, illustrator, and creator of the Deck of Worlds and the Story Engine. Both being cards you can shuffled and compiled randomly to create inspiring prompts and stories. Janet Forbes (pen-name J.D. Blythe) is a published fantasy author, professional Dungeons and Dragons Streamer, and also the co-founder of World Anvil, the ULTIMATE worldbuilding platform for writers and gamers! Tell Your Story Create Your World
Peter Chiykowski is a modern day renaissance man who graces the podcast with their presence to show us how randomness can inspire your worldbuilding and gamemastering. Peter Chiykowski is a write, editor, illustrator, and creator of the Deck of Worlds and the Story Engine. Both being cards you can shuffled and compiled randomly to create inspiring prompts and stories. Janet Forbes (pen-name J.D. Blythe) is a published fantasy author, professional Dungeons and Dragons Streamer, and also the co-founder of World Anvil, the ULTIMATE worldbuilding platform for writers and gamers! Tell Your Story Create Your World
Part 2! Peter Chiykowski is a modern day renaissance man who graces the podcast with their presence to show us how randomness can inspire your worldbuilding and gamemastering. Peter Chiykowski is a write, editor, illustrator, and creator of the Deck of Worlds and the Story Engine. Both being cards you can shuffled and compiled randomly to create inspiring prompts and stories. Janet Forbes (pen-name J.D. Blythe) is a published fantasy author, professional Dungeons and Dragons Streamer, and also the co-founder of World Anvil, the ULTIMATE worldbuilding platform for writers and gamers! Tell Your Story Create Your World
Coming December 26, 2021 - the Moonbase Theta, Out holiday special! --- We wouldn't be here without our monthly supporters on Patreon, who also get weekly updates, behind the scenes info, and more - all for as little as a dollar a month! Theme music is "Star" by the band Ramp: http://www.ramp-music.net Cover art created by Peter Chiykowski: http://lookitspeter.com Show information: https://monkeymanproductions.com/moonbase-theta-out Learn about our Network sponsors and other great shows: https://fableandfolly.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices
A brother and sister transformed by a wicked stepmother. A knightly father who comes to their rescue. A brutal punishment by fire. Join me for a discussion of women and power in tales of magic, and come away with a hoard of folkloric storytelling prompts. (Companion Dispatch: http://csmaccath.com/atu-113b) Of note, friend of the show Peter Chiykowski is offering The Story Engine Deck, mentioned in this month's episode, to listeners at a 10% discount. Follow this link to learn more: https://storyenginedeck.myshopify.com/discount/FOLKLORE10
Just after the events of the Season 3 Finale, we return to the residents of the Patrick Free Zone. CONTENT WARNING: Discussion of death; character death.FEATURING:Corey Spruill as Stephen, Robin Regalado as Ahnung, Becca Marcus as Elio, Leslie Gideon as Elena, Serena Rahhal as Nima, and H.E. Casson as Moddy Sarah; with guest appearances - re-appearances, really - by Tal Minear, Kirsty Woolven, Cait Gallagher, and Tom Zalatnai.Consortium announcer is Evan Tess Murray. Written by D.J. Sylvis. Audio editing and sound design by Will Gianetta. Produced by D.J. Sylvis and Cass McPhee.We wouldn't be here without our monthly supporters on Patreon, who also get weekly updates, behind the scenes info, and more - all for as little as a dollar a month!Theme music is "Star" by the band Ramp: http://www.ramp-music.netCover art created by Peter Chiykowski: http://lookitspeter.comEpisode transcript: https://monkeymanproductions.com/2021/07/mto-s3-b4-patrick-transcript/More show information: https://monkeymanproductions.com/moonbase-theta-outLearn about our Network sponsors and other great shows: https://fableandfolly.com/See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
We Make Books is a podcast for writers and publishers, by writers and publishers and we want to hear from our listeners! Hit us up on our social media, linked below, and send us your questions, comments, and concerns for us to address in future episodes. We hope you enjoy We Make Books! Twitter: @WMBCast | @KindofKaelyn | @BittyBittyZap Instagram: @WMBCast Patreon.com/WMBCast Mentioned in this episode: The Dancing Plague of 1518 MICE quotient The House of Untold Stories storyenginedeck.com/demo deckofworlds.com Peter on Twitter and everywhere Transcript (by Rekka, uncaught mistakes by Temi) [Upbeat Ukulele Intro Music] Rekka: This is We Make Books, a podcast about writing publishing and everything in between. Rekka is a published Science Fiction and Fantasy author, and Kaelyn is a professional genre fiction editor. Together, they'll tackle the things you never knew you never knew about getting a book from concept to finished product, with explanations, examples, and a lot of laughter. Get your moleskin notebook ready. It's time for We Make Books. Rekka: Peter, I'm going to have you introduce yourself—because I completely failed to have you pronounce your name for me before we started recording—and tell us how you came to stories. Peter: Yeah. so my name is Peter Chiykowski, or at least that's how I say it. And I write, I illustrate I do some graphic design. I've designed some creative tools for writers and artists and storytellers. And I do create content for tabletop RPGs. And I write songs as well—Um mostly like comedy styled songs. But I do, I do a bunch of things creatively. And I would say that story has been a very big link between them. And definitely one of my passion areas is looking at how different creative disciplines and different like creative techniques and skillsets can combine to create story in different ways or to tell stories in different ways. Or even if like you're not doing something multimedia and you're only working in your one medium, how learning from other mediums gives you more tools for telling stories. Peter: And I always find that really exciting. But yeah, I think like my, before I was writing anything as a kid, I loved role-playing games. I remember there was this sort of very improvised six-sided die-based game that my friends and I would play in at recess in like grade three that was, there were no rules written down. I don't think it was based on anything, but I do think that we, one of our dads had played D&D and had somehow rubbed off the concept of like rolling dice to tell a story and telling a story collectively. And there was no table top because we were not at a table. We were like out on the playground at recess, but we would like bowl these dice across the entire playground and then run and see what the number was and the story would evolve from there. Peter: And it was all kinds of silly fantasy adventure stuff. That's the first time that I remember like really getting hooked into telling the story and getting excited about collaborative storytelling. And then it's all been downhill from there. Once, once, once tabletop roleplay gets its hooks into you you, you get, yeah, you look for any avenue to tell stories. So I've done everything from like poetry to short fiction. I've written campaigns for tabletop RPGs, like Ember Wind. I wrote a bunch of poems for a video game. That's now unintended switch called Fracter. We were trying to tell story, but also give clues for solving puzzles in this like existential platform or game, called Fracter. And I've just kind of loved playing in the story space and finding different ways to tell stories. Yeah, and that's kind of the weird mixed bag of experiences that I, I come to story with, but it's such a, such a passion area for me. Rekka: It does seem like you're absolutely perfect for the topic that we're going to talk about today. You're the perfect person to put this together, and that is the Story Engine, which is almost a role-playing game, almost a multiplayer game. Kaelyn: I was trying to describe this to somebody recently and I couldn't. So maybe you can. Rekka: Yeah, well, let's, you're the perfect person because you've probably seen all the marketing. If you didn't create it all yourself for the Story Engine, what is it? And how did you conceive of it? Like, did it come out of a need or did it come out of a like 10 minute space of time where you weren't actually doing something else? Cause it sounds like you're as busy as we are. Peter: Yeah. Yeah. I definitely wear too many creative hats and I jump from project to project, but Story Engine was something that was definitely, it was definitely filling a need that I had. I write a lot of micro fiction. Like one of my more consistent projects I've worked on is called the shortest story and it's basically, I call them postcard stories. They're stories that fit on postcards. And I actually format them in like a, as like a four by six style postcard, but it's text over an image. And it's meant to be like a little pocket universe that you, you read something from, or like a, a story that's almost an alternate life or a path you never took in your own life. That's that your you get to read. So I called them like post "postcards from alternate worlds" or "postcards from impossible worlds" is kind of like the tagline for that project. And what I was finding, I used to write longer fiction. I used to write poetry and longer fiction and submit to journals. And when I was really getting into the grind of like trying to become a creative full-time and I was working a full-time job, and then also trying to do comics on the side and publishing there was just like, I, it was so hard to maintain enough energy and to find inspiration. And there was so much pressure on the rare pockets of creative time that I would find that I'd often block myself out from creating by feeling like I'd have to optimize this hour and a half I have before work. There's so much pressure cause like maybe I won't have time for another week and I would freak myself out by, by putting that pressure on it. Peter: And it took a lot of joy out of the creative process. And I found that I was having less and less time to create longer projects as a result, like even long short fiction, like anything longer than a thousand words. So I started creating micro fiction. And this was amazing for me because it meant that I could like pick up a project or pick something up and put it down an hour and a half later and feel like I've created something that stands on its own. That's like a contained creative ecosystem. And that I feel good about it and I can share that with people. And what I found is that I was getting a lot of the ideas from, for stories, from a combination of looking up like publicly available free-for-use photography. Peter: So I would, I would see an image and the image would start something in my head. And then sometimes it wouldn't be the image. It would be like, I'd have a sense of a conflict coming in as a story seed in my head that like, oh, I want to have a story about somebody who has to choose between like a friend and like a dream that matters to them. And that would be kind of the story seed or it would sometimes cement like the idea of a particular character. Like I'd love to do a story from the perspective of like an entomologist, like suddenly all of an entomologist in my head. So I was paying attention to what was inspiring a lot of these stories seeds in where a lot of the stories were coming from and trying to think like, well, how can I create a tool that would help other people find stories, seeds, or build their own stories, seeds from the parts that speak to them? Peter: And that's when I started playing with the idea of a story prompting deck and, you know, it's not the first story prompting deck. There's, there's many of these tools out there and people create them in different ways. But I wanted to create something that was really open-ended because I find that with a lot of writing prompts, they're really interesting, but sometimes the prompt is so closed as a system, but it doesn't really give you room to create your own idea. It's just kind of there to see, like, what's your take on this? And that's great, but it's hard to generate a lot of, like, it's hard for those ideas to be reusable. If the card has a really closed system where like the only thing you can do with it is this. Then once you've gone through 60 cards, the deck is is not obsolete, but like you've tapped it out. Peter: And that's like, great from a marketing perspective, because then you can sell someone the next deck, but I really wanted to create something that was like, you could just keep using it forever. And the creative force behind it was not the idea of putting the cards, but using the cards as a space for someone to create their own idea or bring their own idea to the spread. So from there, it was basically like mixing a bunch of different influences to create a tool that would do this. So like, it was a huge inspiration from tarot. You know, this is a system of cards it's been used for hundreds of years to understand and analyze patterns and have people tell their story or understand their lives in ways that make sense. And that are like interpretable and re interpretable that you can rotate to create new meanings. Peter: And like all of that went into the deck. Some of it was borrowed consciously from tarot and some of it was like I realized afterwards, I, oh, that's basically what tarot does. Like the fact that you can combine the cards in different spreads and patterns is like, it was very consciously tarot inspired. And then the other like influence that I like to acknowledge it that I think was really big is basically this one sentence from a Canadian novelist who wrote a lot about story and what a story and Douglas Glover wrote in a book called the enamored night that a story consists of someone wanting something and having trouble getting it. And that's such a simple sentence and I don't, I don't generally like, like reductive definitions of this is what a story is, and this is under, this is what this counts as writing and this doesn't that's, those definitions are often very artificial, but I do think that's one really helpful tool for understanding the anatomy of story and how you can combine these parts and, and slot different things in for who the someone is and what they want and what the trouble is. Peter: And if you look at the Story Engine deck, a lot of the w five card types map against the elements in those sentence and that sentence where like the, someone is the agent card, it's that your character and the wanting is the engine card. It's the thing that motivates them. The something that they want is the anchor, usually an anchor card or another agent card. And then the trouble is the conflict card. And then the aspect cards are there to, to layer more detailed or make the story feel like more like your own. So that was kinda the other influence that, that came together to make this tool. But it's, it's hard to explain what it is cause it's very, like, it is a story prompting system, but it's very, open-ended like, you can play it like it's an RPG. You can use it as inspiration for a solo RPG. You can use it to just create character ideas. You can use it to create art prompts. Like it's, it's hard to market a multi-tool because you kind of need to tell people like a simple story about what it's going to do for them. Kaelyn: But you did a great job marketing it because this was on Kickstarter and oh boy, did you hit your goal there! Peter: Yeah. This, this Kickstarter took off in a much bigger way than I had anticipated. I launched it in, I think September, 2019, and I was blown away by how fast it took off. And I had thought at the time that I was launching like a new collection of my stories and then also, "Hey, this cool tool that went into creating a lot of these stories and that might help you." And very quickly it became like, okay, there's a book there. That's just going to be an add on the main thing was like, people were really interested in the deck and what it could do. Kaelyn: And do you have how many booster packs now at this point? 6? Peter: Yeah. So the, the, the core deck that, that, that launched off that Kickstarter was one main deck, three expansions and six boosters. So that way people can like dabble with different genres and they can kind of almost make their own like genre cocktails by combining different elements from different genres. And then the latest Kickstarter for my world building deck, the Deck of Worlds that that's introducing three new expansions for the Story Engine and six new boosters for the Story Engine, so that's going to be 12 and six. And the main deck ended up a bunch of expansions for the world building deck. So there's a lot of cards. Kaelyn: That is, yeah, that is a lot. Wow. That's awesome. Peter: What I tried to do with both those systems is make them so that it's like, it's about how you layer the cards. Like I think the, just the main deck, that main Story Engine deck has 32 billion possible permutations, just, just including the main deck, just in the simple prompt format where you have the five, one of each card of the five cards laid out in a certain order. And so like the extra stuff there in case you want to bring in genre elements, or you want more to work with, but like, I tried to make a system where if you just want the core deck that's gonna like, that should do you for, for, for decades of story ideas, if you personally exhaust all of the possible combinations in your deck in your lifetime, you know, I, I will personally come and bring you an expansion. Rekka: Challenge accepted. Well, I happen to have a base Story Engine deck with me, and I was looking through it and looking through the instruction booklet and you're right. Like, there are so many ways that you could do a story with this, lay them out. You were talking about like the tarot arrangements. It's very much like that. The direction that you read your cards in, the way that you layer them, the orientation of them, turning them so that they fit your story more. But I also really appreciate how much of the instruction booklet is, like "throw out whatever is holding you back." And they're also very broad. Like I realized like a science fiction writer and a romance writer could get the same spread and write two very different books. You know, and obviously that was your intention, but it really does open it up rather than close it down. Rekka: Like, you know, you hear the story prompt, like, "oh, if you're stuck, make something explode." Well, it, explosion is a very specific thing, but yours might be something like, you know, a possessed assassin walks in kind of thing. Like, and that works in any genre. I mean, like, you know, there's no specificity to these cards, it's that our brains do all the work of figuring out what that means for the way we write, the way we write stories, or the specific story we're talking about. What was the process of narrowing down something that you felt confident enough in to print? Because that's a scary thing for me as a graphic designer also, like when it's time to actually print the thing, you're like, okay, that means no more revisions, you know. How'd you get to that point? Peter: Yeah. So I eased myself into it a few ways and I definitely had had help and input. I I had a brain trust that I was emailing with questions usually with more specific focused questions around like like the name for the agent deck versus it could have been called the character deck or like "what are your thoughts and how these come together?" But there were a few people who I handed early prototypes to, and just like, didn't tell them what it was and asked them to just play with it and see what came out and then got their feedback. And then within the specific questions. And definitely I got some really, really helpful feedback, like the entire system of using... When I first conceived it. I only had in mind that basic spread the story seed. That's just like basically the first page of the the guide book now. Peter: And it was my friend Cintain, who's done a lot of tarot reading. And who's also a writer who looked at it and said actually this was we were, at the time we were doing like a Skype call or a video call. So I had the deck and he would tell me what to do with it. And he said, "okay, I want you to tell me this card and then this card, and then this type of card and this, and then do the same thing backwards." And he created what is pretty close to now, the circle of fate format. And he's like, "I want to, like, when you give me those cards, I want to play, play with it and like create different spreads and directions." And this is like, you know, tarot, once you get to advanced tarot, creating different styles of spreads can be its own art. Peter: And that really blew my mind. And that really opened up like a huge amount of functionality in the deck because it was both like getting to create these different pre-packaged spreads that people could use and then also just trying to teach people to treat the deck as a system where like once you've learned the spreads, what I've really done is kind of given you the basic building blocks for creating your own spreads and patterns. And that's helpful not only because it gets you more use out of the deck, but it also helps you realize that story itself is malleable. Story itself is modular. You can always out a character in switch in a different character and see how that changes the particular resonances of their struggle. Or you can transfer a character's motivation from one object or character to another, and that creates a change in the story or a shift in the story. How all of these elements are things you can play with and have fun. And I think that the reason that it really helps dismantle a lot of what I, you know, we all have theories about what writer's block is and if it's real, what it, whatever it is, it definitely there - people get stuck. Kaelyn: It's, it's real. What it's a function of, I can't say, but it is real. Peter: Yeah. And I think people come at writer's block for different reasons and, and can solve it in different ways. But I think that one of the things that helps about this tool is that A, it brings a sense of play back to writing and to story development. And B it helps you make choices that, you know, you can undo. Okay. Cause sometimes the hard part, the, the, where you get locked up is feeling like, well, there's so many directions I can go and I don't want to go down the wrong one. And then I see what the deck, so it lets you literally visualize, like here are the choices that I've made about what I'm including in the story and what the story is. And if this one starts to not work for me, I can just chuck that card and replace it or I can rotate the card because this meaning this particular interpretation isn't quite working for me. Peter: But if I turn that card 90 degrees, now I have a new meaning that I'm tapping and that's one that I'm connecting with. And it also limits the choices that you're dealing with. You're not dealing with 32 billion story ideas at once. You're dealing with the two to four options per card and making those limited choices that you can always redo. And it, I think it helps people get to the starting line where like, they're just having fun with the story and pass those like really pressuring questions of like, is this good enough of an idea to write about? Or where am I going with this? Kaelyn: It's very interesting because in my experience, in my encounters, you know, with writers over the years, I, the, again, I hate the binary. I hate, you know, it's this or this, but like, I will say like there's two dominant large groups that I come into contact with people who have a story in their heads already that they just really want to write and people who really want to write, but don't have a story. And they each are coming across like gonna come across their own problems, their own conflicts in that. But you know, the people who are like, like you and Rekka like writers and creatives and are, you know, constantly coming up and generating new ideas. What I really liked about this deck was like, I think every, I think like to the outside world, we hear like, oh, a writer, like, you know, will they just come up with a story and then they write it. It's like, that is not how this works. And what's really cool about this deck is kind of, you can take all of those elements, break them out into pieces that you can see, move and shift them around, modify them, tweak them to, you know, where you want it to go. And could you do this on a piece of paper? Sure. But one, it's not as fun to, it's not as organized and three, these are colorful. Rekka: I also think there's a certain element and probably not for everyone, but like the hand of fate, you know, that you've been dealt these cards, you've drawn them. And then you feel like this is a challenge that I can rise to as opposed to like, well, that's my crummy idea. Something else would be better. Kaelyn: And I think that's why anthologies are such a good thing for emerging or new writers because it gives you something—it's a challenge in some regards. So it's also very good for, you know, experienced writers—but it gives you something saying, I need this. And I think that's one of the things that's so scary about. Just write a novel is it's. So open-ended, it's just Rekka: Also long. A long commitment to an open-ended idea that you came up with in silence. Yeah. Kaelyn: And it's like, well, what do you want me to write? And so then there's this pressure to go, well, what's popular? What's everyone going to read? Well, by the time you get this written and published, that's not going to matter. So don't worry about that. Okay. Well, what do I like? Well, I like these things. I'm not sure I can write a whole book about that and I'm worried it will ruin that thing for me. So I, it is good to either have someone give you, or in the case of the Story Engine, give yourself direction in a way to organize your thoughts. Rekka: And that was one thing that occurred to me was like very frequently when I start getting the seed of an idea, it's a concept; it's a sentence. It's like elements, ingredients, like you said, here are things I like, I want to combine them. Do I have a plot? No. Kaelyn: Those aren't important. Rekka: Well, eventually you're supposed to maybe have a plot. And what I like about the Story Engine deck is that in your instructions, you say like if you know an aspect or if you're writing in an existing world, there are parts of this. You can lock in place, you can go and dig and find the cartoon to read or write it, you know, yourself or whatever or you just know that it's locked in what you're looking for are the other elements, which create a plot. And that just, I knew the Story Engine deck was for creating ideas, but I didn't realize what it could do for the ideas I already have and getting them to the point where I'm ready to write something with them. Rekka: Cause I'll let something percolate for a year or more and just write it, write what I know down so that I don't forget it, but it can take a long time before I figure out how that fits into point A to point B to point C and how many characters and what are their desires and all the things that could be decided for me, or at least inspired for me by drawing a random card and just getting an idea. And now, do I think that writing that story from the story engine would get me the same story that I would have come up with after a year or more of letting a story percolate? Probably not, but it's really interesting. The immediate sense of, "oh, I know what to do with that." When you get a suggestion, like Kaelyn was saying an anthology theme, all of a sudden you're like, "oh. Oh, I know what to do with that." Rekka: And a story engine deck really reads to me in a similar way that like what I have put, you know, a, a series of things together, like the cards are going to come out in whatever orientation I choose? Almost absolutely not. You know, unless I'm really being finicky and like digging for the cards I want across the entire thing. And then maybe I'm just drawing out an idea. I didn't know I had, which is also useful. It's really flexible. And I really, I, I I'm really impressed by that. There's a lot, there's a lot of brain in this box. Kaelyn: I think that one of the things that is very, as you know—that's exactly it, there's a lot of brain in this box, but really it's just, it's just kind of leeching onto your brain and like, you know, like some little like computer chip, that's going like, "ehhhh, it's a little bit of a mess in here. Let's, let's clean this up." but I think what is good about it is it gives writers a way to provide their own prompts, to, you know, just take things that maybe they wouldn't have considered, but, or it could be interesting, engaging, advancing elements to a story that's sort of half exists in their head already. You don't need to come to this with a blank slate. Peter: Yeah. Yeah. You can come with as much of the story as you have formed and work with what you've already got, or you can come with nothing and just it'll lay out some track for you and you don't have to use all the elements of the track that you lay out. You can swap things out, you can ignore it. Like I ignore parts of the prompt all the time, because I just wanted to get started on. I wanted to find something to be excited enough about that I just start writing. And if that's this half of the prompt and not this half, then I'm going to pretend that the card I drew was actually this, cause this works better in my head, but the rest of it, I'm going to use the conflict and I'm going to use the aspect and the the descriptive part. And I'm going to use that the story is anchored in some way on a meal. A meal between two people or something. Cause that's what I drew. But yeah, like I said, like there's yeah, the reason that it works is because the brain, the brain is not in the box. I would, I would counter that and say like, the brain is 100%. Rekka: No, I'm sorry. You can't come on our podcast and tell us we're wrong. I'm talking about like the brain that put this together neatly and you managed to get out of the way of the end user. Peter: That was exactly. That's yeah. That's exactly the language that I use when I talk about it. It was getting out of the way of people and letting them bring their ideas to it. Like there were early drafts of this that were more focused on like... Like one thing I love about the writing prompts subreddit on Reddit is that there's some really interesting creative prompts that are just like, wow, I never would've thought of that in a million years. But the thing that I have trouble with is that they're always very closed. Like it's almost always like write your version of this highly specific high concept premise. And so there's less mileage to work with there. And I found that I was trying to do some of the, the, like, I want to create a really dazzling idea with the writing in some of the early drafts. Peter: And the more I tried to make that work, the more that those ideas couldn't plug very easily into A, like what the reader wanted to do with it, or sorry, what the writer wanted to do with it. The creator wanted to do with it, the end user. The more it made it hard for them to read something into it or bring their own idea to it. The more I realized those ideas aren't working and then the more trouble that those ideas had plugging into other cards and connecting to other cards in an open-ended way that also ended up being what I discarded. So I ended up like scratching a bunch of material that I thought was extraordinarily clever. But that really wouldn't have served the end purpose and like the question that I asked myself now when I'm looking at prompts and deciding like, will this work is is it going to be useful for the writer, for the end user? Peter: And is it going to leave enough room for them to bring their own gift basically? Like it's a little bit like button soup, the story button soup, where like someone starts off and like, "oh, I'm gonna make this special soup. The first thing I need is a button and then, oh, hold on. Do you have any carrots? Do you have any...?" And you know, the, the town brings ingredients. And it's very much that, like it's, it's the, the, the deck is a button that gets you started making a soup and it's just an excuse for soup and who doesn't, who doesn't want an excuse for soup? That's my new, that's my new marketing logline. "The Story Engine is an excuse for soup." Rekka: Yeah. And the the cleverness is, has gotta be tempting, but the, the terms that you ended up using for example, I just drawing a random card. I have these are the agent cards, the four corners, or the four sides of this card are an introvert, a dreamer, a grump, a wanderer. Those are pretty dry and pretty basic terms. And even so, whatever genre you like to write in, whatever world is, you know, your brain is currently marinating in, you've already got an idea of who each of those four people are, and they're not the same as mine. And that's, that's really nice. And that can not be easy to create that openness, like you were saying. Peter: It took a lot of, a lot of rebalancing the cards and the, the, what was going onto the cues. One thing that I found was really important was like some of the play tests that I did early on, some of them were with writers and creative people who could like get a simple prompt and spin out this fantastical universe and they could run with it. And then I would also show it to people who work in science and they would have like a very literal interpretation of what the cards would mean. So I realized quickly that like, while the primary target is writers, there's lots of different ways to use cards. And some people don't want the open ended things. Some people want literal prompts. So for the main deck, especially the prompts are designed to be... So like the agent cards are balanced in a particular way where there's a main, very open-ended prompt. That is the prompt that faces you when the card is in its like neutral position, basically. The cards are meant to not really read as being like this way is up or down, but there is kind of a neutral position. So that that's meant to be the most open-ended generic interpretation on that card. And then the other three around the edges are different facets of that concept. Either zoomed in on, in a more specific detail or blown up in a in a bigger, more exaggerated way. Rekka: So the neutral way is the way that has like the little portrait. Peter: Yeah, exactly. Yeah. So the healer is the generic sense. Whereas a therapist is a very specific expression of, of a healer. So if someone who was being very literal got that card and like, didn't really know what to imagine for a healer, it's too big, therapist gives them a very specific thing that they can work with. We all know roughly what a therapist does and, and that would give you a very literal way to start. And that's, I think for the other card that you drew, I think grump was the thing where like we all, literally we can understand what a grump is pretty literally. Yeah. whereas an introvert it's more generic that gives you a lot more room to operate. A wanderer is a bit more specific and active. So there was a, there was a lot of thought that went into how we balanced the levels of narrow prompt versus broad prompt, especially on the agents for the anchors bouncing those cards is more a function of making sure that every card has a setting, a prop something that's a little less non-literal and more interpretable and that all of those felt thematically linked. Peter: So like a prison and a cage and a key are all thematically linked. And it's meant to keep things in a bit, a bit of a tight space so that people aren't, it doesn't feel like they're dealing with a huge scattershot of different ideas at the same time. Like they understand, okay, I'm thinking about introverts. And I'm thinking about what it means to withdraw from people and that's kind of a headspace you're in for the character, and they can choose different ways to express that same thing when the same balancing act went into the anchors. So yeah, again, a lot of the goal was to put my brain power and not into like making the individual cards impressive, but for removing as many barriers to the system, just working out of the box as possible by balancing things. And like the, it was interesting because for the, the world building deck, world building in some ways is a more specific and yet even more broad and open thing to do. Because there's so many ways to build what is a world and what differentiates one area from another, and what, what makes us having interesting, like there's so many different ways you can differentiate a setting and figuring out, figuring out how to balance those cards was its own... Peter: Like I had to start again, like none of the lessons that I learned from Story Engine got to be carried over. Like I completely had to start from ground zero again. And and it took, it took a long time to get that one, right. Oh my gosh. I think like Story Engine came together fairly quickly, I think because I had a pretty intuitive model of how I wanted it to work between tarot and that sort of definition of story that has often informed my storytelling choices. But yeah, the world building one, I, that one took so many more iterations to get the balance on those cards. Right. Kaelyn: So how did you have to tackle the world building deck versus, you know, the story and character building one? And I know it is more of the first, the first set is more of a story-building, but there's definitely some character elements to it as well. Are you going to do a character building one at some point? Peter: I I've thought about that, but honestly, the, the Story Engine does so much character building stuff and it can be, you can, you can do informed choices with it to make so many different types of characters that I don't think there'd be a whole lot to add to it. Like, I, I, I'm not saying no to that, but I feel like the main thing does such a good job of it. And I don't like developing products just to have new products. Like I would really like to give people something that, that adds a ton of value to their creative process. And right now, I don't know how to add enough value to the character creation process that isn't already there in the Story Engine deck. So that's an idea that's like it's in my notebook, but unless I really have an aha moment where I'm like, oh, this is a way to really open this process up for people and I can justify their time and explaining why this is different from this thing I've already made. Then I'll definitely do that. Rekka: They need a deck to help you create decks. Peter: Oh, now that would, I would get, I would, that would be perfect. I could retire, I could retire young and and just let that work. So the, the, the concept that I'm kicking around right now in my head is an open-ended solo RPG that you play by writing. And so it's meant to be like a, almost a campaign where at the end of it, you have 50 new pieces of writing, inspired by different things. And that might actually use draws from the Story Engine deck to generate the content that you're playing in. But the goal is that you write the scene. So it's like a solo thing. But that is basically as far as I've gotten on developing it is that would be really fun and cool. And how the heck would that work? And I have not I've yet to answer even a single part of that question, but it's kicking around in my head cause the other decks have everything you need to generate the content. Peter: And then the goal is to just give you more reasons to write. And also the thing that I think I'm really after with this idea is like the things that make us love RPGs, the things that like, that make us feel like we're advancing and we're developing a character and we're part of a story and we're... You know, also the cool stuff. Like I got cool equipment and I leveled up like all those things that, that make games easy to say yes to would be amazing if we could turn those things toward generating, you know, our, toward pursuing our creative goals. So being able to like hijack some of those, those dopamine button pushes that we get from from games and make that something that benefits the creative process, I think would be really cool. So that's, that's the that was my, my latest dog walk idea that I've been obsessing over, but not letting myself get too deep into because I have I still have a lot to of like just card rebalancing and design exports have to do with Decker worlds. And I, I like to land one plane before I take off with another one. So that's, that's on the back burner, but it's not quite a deck for making decks, but it is a deck for using decks for making ideas. Yeah. Yeah. So that'd be, that'd be interesting to see how that plays it. Yeah. Rekka: I haven't seen the world building deck. Is it as broad as the Story Engine in that, like, it would work for somebody writing a contemporary story on Earth and they just needed the situation and that like the community level, as much as it would be for someone like me who likes to write stories where they've never even heard of earth and also I throw physics out the window? So does it work on that broad scale like the Story Engine does and how much of a challenge was it to decide and then cater to ? Peter: What the world building deck does is create lore. And as long as you're comfortable with like your lore set in the real world being invented lower, which a lot of us are then that's totally, it works for that. It's not what I designed it for, but it definitely works for that. So it runs on, on six types of cards rather than five for the story engine. Two of those cards are almost for like assembling map pieces. So there's like a drone photography style image of different types of terrain and landscapes for the region deck, which kind of sets up like you're dealing with forest land or river land or wetland or canyons or mountains or beach, like it sets a kind of a train type up for you. And then there's a landmark deck, which gives you specific points of interest. Peter: Some of which are I say human-made and human, here's a short form for whoever made it doesn't have to be humans, but are constructed things. And some of which are naturally occurring things. Like when you have like a, a giant rock or an interesting tree or a waterfall. So you can definitely create these interesting dynamic settings using those. And all of the cards in the main deck are things that exist normally in our reality on Earth. And then there's a namesake deck, which basically you, you pair that with either a landmark or a region. And it gives a specific nickname to that area. I find that this is one of my favorite decks because it immediately creates a sense of lore. So you might end up with you draw like a, a creation that really got sunk into my head. Peter: Recently when I was playing around with it, it was I think I drew the card arena for landmark or an arena. And then I drew of chimes for the namesake card. So it was the arena of chimes. And for some reason I started thinking about this like a gladiatorial arena where the bones of the dead are hung as like wind chimes, after they fall. And that, I just imagined these rafters all, like, you have this pit in the middle and you have these rafters all around where every time the wind blows through it, and it was set in like a barren area without much wind cover. You just hear that gentle clinking and like the dead are speaking around you and warning you of what could come. Kaelyn: Real quick Rekka, because I'm sure when you heard that you came up with something mentally. Cause I did too. And it was completely different from yours. I was, I was thinking more of same thing, kind of like a fighting arena, but full of like strange metal poles and like, you know, the chaos of the like bouncing off of that and like making like the screaming and the clanking of swords, you know, everything with that. Peter: Yeah. So the chimes are those active combat sounds. Yeah. Kaelyn: Yeah. Well, like also just, you know, like just pieces of metal will be the, you know, naturally occurring or put there sticking up like round sticking up of the ground. So yeah. Peter: You could do so much cool choreography with that too. Right. Like the swinging on the poles and like gymnastics. Kaelyn: Yeah. Like, you know, and then like of course like picturing like Roman gladiators, where they used to like put, you know, animals and like captured peoples in there and like have them like hunted. I've got like some weird Hunger Games stuff going on in my head now. So yeah. So, no, it's very funny because like you said that, and you went one direction, I went a completely different direction, but they still, you know, are kind of functionally doing the same thing a little bit. Rekka: But from the same prompt yes. Which is the perfect example of how flexible this is. Peter: Yeah. So that's those, those are three of the decks and those, those kind of create your almost like map pieces and you can assemble different shapes out of these cards by tucking them in different patterns. And you can assemble what I call micro setting clusters, and you assemble the clusters into a world map and you can actually apply a scale to it. You can explore it. And then you can use the Story Engine to furnish that world with your characters, with conflicts, with artifacts and other places of interest. But the other three card types, this was the really hard part because I didn't want to do more than six card types. Cause if you've done more than six card types, you've made something that's just too complicated to use out of the box. And there's so many different aspects of what makes a world interesting. Peter: And it was also, it's very different how you furnish a an, uncolonized setting, like a, just a natural setting versus a space that has been either colonized or urbanized in some way. And we're using the impact of, of civilization. So like how, how do you acknowledge all the different ways that land can be used and that people can co-exist and there's tons of them. So what I ended up doing for my mental categories was coming up with an origin deck, which gives you a fixed point in the past which either is how this place was created or a significant event that shaped it or previous use that it had or some function that's, that's an anchor point in its past for the origin deck. And then there's an attributes deck, which is the current day status quo, how the space is used or what it's known for, or what lives there. Peter: And then a advent deck, which are current changes that are happening right now that could impact the future of this place. And that category basically past present future is what I think really finally unlocked the worldly aspects because it let me cover so much more material on the cards themselves that way, rather than trying to do like a deck, that's just the politics and a deck that's just the ecosystem at a deck that's just fashion and a deck like that... That's too many decks. What this does is it lets you sprinkle out different types of world, building detail and starting points for prompts. Like it's known for a particular style of textile or it's known for its scholars, or it has an anarchic government system or they worship nature. Like there's so many different things you can bring into that. Peter: And those all went into the attributes deck, but it lets you still create kind of a larger sense of narrative for the place that you have. And it sets up your setting as a space for story to happen because it gives you here's where they were in the past. Here's where they are now. And here's what's happening that could change the future. And that advent deck that is that change for the future is such a great entry point for telling stories because it's usually the former of a crisis or a change. And it's something where like a Dungeons and Dragons party could get involved and insert themselves into the conflict and try and do something involving it or where your main characters could. This is their inciting incident, is that there's a new tax being levied on like a staple food. That's a really interesting point for like maybe that's where your character starts to to, to become radicalized and then resisting the government, or it's what inspires them to, okay, well, I'm going to grow my own food or like, you know, there's so many different ways that you can use that as a launching point for story. Peter: But getting to that point where I realized that like there are too many different categories of like how to differentiate an area. So to break the categories out, do that as looking at a space across time, and then it lets you cover so many different phases within the deck that took a long time to get there, like so many different iterations. Kaelyn: It sounds like it. Yeah, but it sounds awesome. Yeah. I love that. As you know, looking at this, not establishing like a static place and people and culture, but rather like, you know, looking at this, like, what was it, what is it now? What is it going to be? Peter: Yeah, yeah. Rekka: Kaelyn Is a student of history. So this is really tickling all the right spots for her in that like nothing is fixed when you're talking about a timeline. Kaelyn: I was on the train coming back from Long Island right before this. And I've been reading a lot of books about the hundred years of war in England and like the very tail end of it and all of this, these little decisions and machinations that were going into everything and where we ended up that all of this eventually culminates in Henry the Eighth. Peter: And that magnificent portrait of him, just.... Kaelyn: It was funny because I was looking at that portrait. And at some point I'm going to print that out and I'm going to draw in where I think his arms should be and see if it actually lines up. Because I can't tell if the, the idea is like, cause you can't really see the hook of his elbow much. And it kind of looks like his arm is coming out of his rib cage, but at the same time, I'm realizing it could be the angle he's staring at and he's got this giant drapey, like half-cloak thing over him. So maybe it's it was a Hans Holbein the Younger painted that portrait and he was, he was noted for anatomical accuracy. So I don't, I don't think it was just a weird, like, you know, those medieval paintings and sketches in the books where like, you know, a guy seems to have like a leg coming out of his stomach, but Peter: Yeah. Or like no neck. Kaelyn: Exactly. Rekka: Or was riding a snail. I mean, accuracy was their favorite. Kaelyn: I, I just love that. It's one of my, you know, speaking of like culture and history and how this factors in one of my favorite things to know is that there were these monks living in, you know, giant abbeys on top of and hills, cloistered from society toiling all day transcribing these things. And they still took time to draw the occasional dick picture in the in the manuscript or, you know, doodle a cute dog that they saw on the side of it. It just, you know, it makes me go like, oh yes, those were people. Peter: I one of the expansions for the new world building deck is the lore fragments expansion. And so it's for creating bits of in world lore. It's a very specific deck of here are different types of media that might be created in the process of like just a town existing or a world existing. And then there's a deck of flourish cards, which are additional stylistic challenges that you can add to really inform the thing you're creating, but yeah, marginalia, I love medieval marginalia. I did my masters in medieval literature. And yeah, and I it's like a combination of that and folklore and, and I love this stuff, so definitely there's a card in the deck that's entirely just about like, and it has some weird marginalia in it as one of the flourishes. Cause I just, I I love that concept. Yeah. Rekka: Okay. So with the time we have left, I wondered if we could do a little exercise. Like I said, I have my deck lead me through and we'll just, and we'll just do the simple spread because wow. Some of these could get, you know, convoluted. Lead me through creating just a story. I've got, I've got no ideas in my head. What would you have me do with these cards laid out in front of me? And I'll take a picture and we'll post it. Peter: Oh, that sounds like fun. Yeah. So I think what I'd do just to set the person up before they get started is to say like, we are going to assemble an idea for a story using different elements that are common to a lot of like interesting stories that have all, all the right stuff in it. And we're going to do that one card at a time. And as we each choose each card, we're going to make a choice about what we want that card to mean and how it might fit into the story. But none of those choices are permanent. We can always hit the undo key and change the cards. And then at the end of this, we'll see what we've got and see how we want to interpret it. Okay. Ubut to start, we're going to find out who our main character is, or who the story might be about. And we're going to draw an agent card with the gold border. And,uwe are going to lay that down face up and we're going to read the four cues along the outside of the card. Rekka: Okay. So I'm shuffling that particular deck real quick before I draw anything. Okay. So I pulled one and in neutral position, we are looking at a misfit, which is perfect for me. Peter: I love misfit stories. What else do we have Rekka: From the same card, those you want me to read the other edges? We have a demon, a monster, and a genius. Peter: Do any of those speak to you as like, oh, I'd like to write about that kind of character? Rekka: I think I like the more generic misfit, honestly. Peter: Misfit. Yeah. Okay. Well then you keep that that cue so that it's facing you and that's going to be our character for now. You can always rotate that card later if you want to change it. But let's find what is motivating this misfit. And let's draw an engine card with the little cog icon and the purple border. And we are going to figure out what might be motivating this character. Rekka: I have "wants to let go of" or "wants to hold onto." Peter: Do you want to do a story about someone who's trying to move past something like, oh, something or a story about someone who is like something's being taken away and they're holding onto it? Rekka: I say the latter. So they want to hold on to. Peter: Yeah. So we'll rotate that cue into position. And then we're going to find out what they're holding on to. Now here's a choice that you can make. Usually for the default version, you would draw an anchor card here, which is a, it's going to be like an object or a non sentient thing in the story. If you want, though, you could make it about holding onto another character or letting go of another character in that and then make it a relationship thing instead, and you could draw another agent card. We have that power. Rekka: Let's do that. That sounds good. All right. Peter: We're going to modify. Like we're already switching up the script a little bit. Kaelyn: Yeah. I was gonna say, I, I feel like we're like cheating a little bit where we're getting the brains behind the operation here, walking us through this. Rekka: For those of you following along with the MCU right now, we have just deviated from the timeline. So my new agent card is an artist who might be a musician, a writer, or a dancer. I'm going to say dancer through a misfit dancer. A misfit wants to hold on to a dancer. Kaelyn: Do they want to hold on to dancing or do they want to hold on to a dancer? Peter: You can choose to reinterpret the cards any way you like. I always think— I'm definitely imagining a relationship here, but that's me. It'd be really interesting to have someone who's holding up the dance cause that's important to them and why they're losing access to dance as a thing would be really interesting because it could be about physical changes. It could be about hobby time. There's like, there's a, it could be like a particular version of dance, like a dance troupe that they used to be part of. Rekka: Competing for that position in the dance troupe kind of thing. Peter: Oh yeah, yeah. Kaelyn: Maybe they live in the town from Footloose. Peter: Yeah. Yeah. Yeah. I have a, so, you know, the as a historian that, that the whole dancing plague in Strasbourg? I think it was Strasbourg? Kaelyn: Yup. Well, it started there, it went other places afterwards. Peter: I want to pitch you a, a new movie called "Footless" where I it's this hyper religious town, Kevin Bacon is dispatched to try and ban dancing from the town and end the plague. And it's a reverse "Footloose" and I just think— Rekka: And this is what happens when you turn your cards around. Peter: Yes, exactly. Kaelyn: So maybe they are losing dancing because there was too much dancing and people are literally dying from dancing. Peter: Yeah. There's there's there's we have, we have a lot of, a lot of directions we can take it, and everyone can go their own direction with it, which is a lot of fun. I, one of my favorite activities for the multiplayer uses of the deck is that you co-create a prompt and then you write whatever you want out of it, or come up, write down your story, pitch out of it. And just to see like how different the directions can go, or where the areas of overlap are. But let's draw a conflict card next. And this is going to create the, either a challenge to holding on to this. Or it's going to give us a consequence if they do hold onto it, what might happen that's bad. The price to pay. Rekka: Okay. Shuffling. Okay. And top card after the shuffle is, "but they will likely lose their life" or, "but they will lose their life's work." Kaelyn: It sounds like a dancing plague to me. Lose their life, I mean, come on. Rekka: Life's work for sure. Okay. Peter: And then just to texture the story out a little bit more, we're going to draw an aspect card, and this is just basically an adjective that we can slap on any of the other cards to give it a bit more texture or definition. Rekka: We have harsh shadowy, seductive, or determined. Seems like determined as the dancer. Peter: Yeah. Yeah. We could definitely do determined dancer. That's gonna, what I find is that when you draw a an aspect cards, it feels like an obvious choice. That can be good sometimes because it lets you sort of focus in and narrow things down and, and, and lock your idea in, or sometimes what I'll do, if I find like there's a first choice that happens that way, I'll reconsider and see, like, is there something that's more surprising? And that creates something that sticks out a little bit more, and that gives me either a new thing to work with, or I can always like, kind of go back to the thing and be more focused. But yeah, I, every now and then when I get the obvious choice thing I almost always end up sticking with it, but I like to give myself a moment to play with what if I did something that's like harder to work with? Rekka: What if you didn't. Uh yeah. I don't know what a harsh dancer would be like or someone who doesn't have time for their misfit because dance is all they care about. Okay. A harsh dancer would be hard to hold on to, I suppose. Okay. So would I draw another aspect card then for the misfit? Peter: If you want to, you can the base prompt usually is usually just one of each card or in this case we substituted an agent for an anchor, but I like to encourage people to like, it's kinda like you taste your food as you make it and season it to taste. If you're like, I want, I want to know more about who the other, the dancer, the dancer, I want to know more about this or that. You can definitely go ahead and draw another aspect card and see where you might fit it. And if you end up not with like, not finding a place for it, you can just chuck it. Yeah. Let's do another one. Rekka: I'm looking at this one. And I'm saying, what if I switched it? Because you said I can break all the rules. So what if a dancer and we'll say, and we'll go back to determined just for ease of my sentence here. ...Is Trying to let go of the misfit ...but they will likely lose their life implying that like the misfit holds some key, that's going to save them, but they don't want the association with this person. Peter: Oh, interesting. Yeah. Rekka: And this could be read both directions where the misfit is trying to hold onto the dancer. Yeah. But we'll lose their life's work if they get caught up in this, you know, honest life or something like that. Peter: Yeah. Yeah. I like that. Rekka: And that's something I noticed is that like a lot of these, you could rearrange it and read it in both directions. And then, you know, since you said you come up with your own spreads, what I thought of since going through the instruction book and, and looking through a few of the cards was like, if you have a heist plot, like, you know you want a heist plot, so you take what you would that be the anchor card? And you have that as the center of a cross, and you have four different parties that are moving toward that object. And then you can put their stories in context, and then you have a nice, big, thick, juicy heist plot of four people in competition with each other to get to the thing. But also what's, what's the thing, holding them back or pushing them forward. It's really neat how all of this is creating stories in my head that are probably going to stick with me even after I like remove the cards from my table. So let me, before I forget, I'm going to take photos of these and then, oh, did you say we, I was allowed to draw another aspect card? Peter: Yeah, Let's do another aspect. If you're looking for more, more seasoning let's, let's go for it. Rekka: I love seasoning. Ah okay. We have misunderstood, gilded, traumatic, or revolutionary. Peter: I'm I'm liking revolutionary for the missed it, because it gives her a reason for it to be hard to hold onto them. Like maybe they are a liability, maybe they're involved in like in creating change. That's like in a good way, but in a way that's disruptive. Kaelyn: Maybe they're Kevin Bacon there to stop the dancing? Peter: Yes! Yeah. That is, that is, yeah. That's Kevin Bacon right there. Rekka: All right. This is, this is a functioning story right here. Like there's no doubt that you could take this and turn it into something. Kaelyn: Yeah. And by the way what have we been doing with this for like, I mean, you know, if we hadn't been going off on tangents and interjecting here, this would have been what, about five minutes? So, you know. Rekka: Very, very short time, but I think the the, the time you spend thinking about like, which edge of this do I want to show is very valuable. You know, you hear advice sometimes like, "write down your first 12 ideas and cross out the first 11 or, you know, enter whatever number you've heard. And this one, these aren't even initially your ideas, you know what I mean? These, I mean, they're prompts and the ideas you come up with are your own, but it's still like, you skip all the obvious stuff because you don't have the option of the obvious stuff. And like maybe the aspect card is the most obvious thing that you might choose. It's impressive. I like this. Peter: One of the things that I really like about using the deck is that it forces me to avoid the choices that I usually make for what fuels the story. Rekka: I still got to write a misfit story. You know, like I still have my space pirates, but I never would have incorporated a dancer. You know? Peter: Yeah. I have, I definitely have a bag of tricks that I've reached for a little too often as a writer. And so it's nice to have something that forces you to reach into a different bag. I know one of my favorite sort of sentences about breaking creative patterns is when Tom Waits described that like between albums, he would break his fingers because they would always, he'd always end up playing the same sorts of chords or the same progressions. So like one, like he would actually, technically what he would do is like pick up a new instrument and learning that instrument would change the way that he played. But that idea of like breaking your fingers and like trying to make sure that you don't always reach the same way or go for the same things. Rekka: To be clear listeners, we do not encourage you to break your fingers. Kaelyn: Please don't break your fingers. It makes it very difficult to type. Rekka: I think in this case, what would it be changing keyboard layouts, like go from QWERTY to Dvorak or something like that. That would be a way to break your habits of easily using the same words over and over. Kaelyn: Pick a genre that you previously had not been as involved in and submerge yourself in it for a, you know, a month or Rekka: Whatever the agent who was cringing about us just recommending that their author switch genres, but you just mean reading? Kaelyn: Yeah, just, you know, a different style, some different, you know, story elements and things you, you know, so you're not reading and ingesting or watching even. I dunno if you're maybe primarily like a fantasy writer, go binge, watch the entire MCU and, you know, see if you come away with some different ideas after that. Rekka: Yup. Or, you know, Leverage now we get an ending. So go binge leverage. There's I would say like, if you tend toward the high literary, like go slum it with some escapist fiction for awhile or something like that. Basically change it up. I love this I'm, I'm, I know Tom Waits is not about to break his fingers, but I'm still very concerned for him. And I feel like I need to call him after we're off this recording. Kaelyn: Well, so that was, that was a great idea of Rekka. That was a lot of fun. Rekka: It was just a simple layout. Yeah. There are, you could go to town on this and something made me think of the MICE quotient, which I think we've covered here before about milieu, idea, character, and darnit, I've forgotten the E [ed. E is for event], But you, the more of each that you add, the bigger your story is going to get. And so if you wanted to write flash fiction, you could start with four cards, like, you know, one aspect or, you know, keep it really simple. If you wanted to plan out a series, you could really go to town, like laying out an entire, you know, 20-card kind of layout to give you the seed for a much bigger world, and then go get the world building set, and then come back and build something even bigger around that. I was hesitant to use it when I got it, because I'm like, "but I have ideas." Rekka: And now I see how even like on a scene by scene level, like what if I, you know, I lock in my character card cause I know who my agent is going to be, but I don't know what the scene needs, you know, I can play around and all this could just be my scene, just like it could just be a flash piece. It really is way more flexible than I thought it was. For some reason, I thought either it was too broad or too specific and I was intimidated by it, but just doing this and, you know, reading through the guidebook to kind of see the possibilities I have a feeling I'm going to be using this a lot more than I expected to, and I'm going to go get that world buildin
Tumnus is ready to talk things out - with a very special someone she's never actually met.FEATURING:Jen Ponton as Tumnus. (And of course, as Jen Ponton.)Consortium announcer is Evan Tess Murray. Written and edited by D.J. Sylvis. Produced by D.J. Sylvis and Cass McPhee.You can find Jen's TED Talk here.We wouldn't be here without our monthly supporters on Patreon, who also get weekly updates, behind the scenes info, and more - all for as little as a dollar a month!Theme music is "Star" by the band Ramp: http://www.ramp-music.netCover art created by Peter Chiykowski: http://lookitspeter.comEpisode transcript: https://monkeymanproductions.com/2021/07/mto-s3-b3-tumnus-transcript/More show information: https://monkeymanproductions.com/moonbase-theta-outLearn about our Network sponsors and other great shows: https://fableandfolly.com/See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
But, what is the secret sauce!? Peter Chiykowski is all about it. He’s an award winning author, cartoonist, dog enthusiast and maker of awesome kickstarters and we get to pick his brains! We talk about it some of the key components to good worlds and how a creator can build such depth into their own settings. Take a second here to listen in on some of this solid wisdom. Peter’s Links The Deck of Worlds Kickstarter – This is THE Kickstarter for you get on the ground floor of if you want to get your brain motor running on creating settings. It’s a fantastic tool.The Story Engine – The precursor to the Deck of Worlds, it’s a modular writingPeter’s Website – Find out more about the man, the myth, the legend here.Peter’s Comic – Rock, Paper, Cynic is a comic that Peter’s been doing for a long dang time and it’s worth some of your eye time. Hang out with us! Join the Club – We love our Patrons and they make this world(crafting club) go round, join us for early episodes, memes and a say in the direction of the podFacebook Page – Our community here is rapidly growing and super fun, it’s also a great way to find out more about what we’re up toDiscord – Well, color yourself invited to our Discord channel where you can jaw with us about worldbuilding or help us with a collaborative projectThe Website – Oh yeah! We’ve got one of these too, check it out if you want to keep track of the blog where numerous authors talk all things worldbuilding. It’s updated sometimes.
How can you grow an audience for your writing on the Internet? Sharing books, stories, and writing is impossible on social media, isn't it? Peter Chiykowski has cracked this game, and so many other things. This episode is for anyone who wants to build an audience for their unique art, or who is curious how such a thing is done!Check out Peter's stuff: https://shorteststory.com/https://storyenginedeck.myshopify.com/Peter's things: https://lookitspeter.com/Join my creator newsletter: https://www.crowdfundingschool.org/fansSend in your questions: fanfundedpodcast@gmail.com
On this episode of Stab Wounds Horror, we have two tiny pieces of terror for you. The Town With No Name, was written by Peter Chiykowski. Visit his website at http://shorteststory.com/. Sorry for This, was written by Om Bhatt. (redditer moreddit2169). You can read the original at https://tinyurl.com/y6hv56aq. Both were read by Bruce Priddy. Follow him on Twitter @MrSpookyBruce. If you have a story of 500 words or less that you'd like to submit, please contact us at StabWoundsHorror@gmail.com.
Rock, Paper, Cynic creator Peter Chiykowski talks to Gregory and Justin about writing webcomics & micro fiction, the nature of viral content, and the fear of bouncing new ideas off of people. Subscribe to Super Pulp Science Magazine: www.patreon.com/gmbchomichuk Check out Peter's web comics and shortest stories: www.rockpapercynic.com Questions or comments? Tweet them to twitter.com/gmbchomichuk or twitter.com/chasingartwork Production: Dan Vadeboncoeur Titles: Jesse Hamel & Nick Smalley --- Send in a voice message: https://anchor.fm/gmb-chomichuk/message
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