Podcasts about Samwell

Send us a textIn this episode Nelson, Jeff and Kyle discuss the 27th chapter of the book "A Feast For Crows" from the series "A Song of Ice and Fire" by George R.R. Martin. In the first half of the podcast we go through the chapter chronologically with Kyle who is on his first read through (Spoiler Free), and in the second half Jeff and Nelson  dig into theories in a full spoiler section. If you have any Questions, Theories or just want to tell us anything we missed? Join our discord and talk about it with us and we can bring it up on the next episode!Checkout our discord to chat with us or for any podcast resources: https://discord.gg/2xNktUPUXD#asoiaf #asongoficeandfire Thanks to Dalton for Music!Thanks to jraijin on fiver for the art! Here is a link to his page: https://www.fiverr.com/jraijin▬ Non-Spoiler / Spoiler  ▬▬▬▬▬▬▬▬▬▬0:00 - Spoiler Free A Knight of The Seven Kingdom Show Spoilers 27:44-28:4055:55 - Spoiler Section

Spoilers, profanity, Jaime x Brienne. While Marwyn chases down the Cinnamon Wind like a cruise ship passenger coming back late from an excursion, Sam furthers both his growth and his connections to like, everyone and everywhere. A Song of Ice and Fire. A Feast for Crows - Samwell V. Close The Door And Come Here - Episode 581

Buckland Wood is no ordinary wood. This is magical temperate rainforest, a rare habitat not just in the UK but in the world. Cloaked in lush lichens and mosses, dotted with stone walls and bridges and with a beautiful river rambling through, it already looks and feels like a special place. But the Trust has big plans for its future. Join us to explore with rainforest guru Sam, who tells us about the bid to restore this globally important site and its huge potential to connect people with nature, store carbon and boost biodiversity. Hear why temperate rainforests are so special, along with pine marten reintroductions, backpacks on beetles and much more! Don't forget to rate us and subscribe! Learn more about the Woodland Trust at woodlandtrust.org.uk Transcript You are listening to Woodland Walks, a podcast for the Woodland Trust presented by Adam Shaw. We protect and plant trees for people to enjoy, to fight climate change and to help wildlife thrive.  Adam: For today's woodland walk, we are heading into the rainforest, but I am not going very far. Well, I'm going quite far, but not to the Amazon, or South America. I'm going to to the temperate rainforest, which isn't as well known, but is actually even rarer than the tropical rainforest. It's also known as Atlantic or Celtic rainforest. And as I said, exceptionally rare. You do find it on the West Coast of Scotland, North and West Wales, Devon, Cornwall, Cumbria, parts of Northern Ireland, which sounds like a long list, but it really isn't. And what's wonderful actually is that Britain is really the place in the world to find these things. We have a very high proportion of the global area of temperate rainforest. I'm heading to Devon to see some temperate rainforests. Anyway, enough from me. Let's go talk to an expert about Devon's temperate and exciting rainforest.  Sam: So I'm Sam Manning. I'm the project officer for the Woodland Trust Rainforest Recovery Project. We are here in Buckland Wood, which is a new Woodland Trust acquisition on Dartmoor in the Dart Valley.  Adam: Fantastic. And it's it's super new because the place we came down didn't seem to have a sign on it or anything. So when did the Trust acquire this?  Sam: So we've literally just acquired this this month and it's an extension really of two other sites that we own in the Dart Valley, Ausewell Wood, which we bought about five years ago and Grey Park Wood, which we've owned for a couple of decades.  Adam: Right. And and what are we gonna do? Where are you taking me today?  Sam: So we're going to have a walk around the wood and I'm going to show you some of the aspects of the restoration work that we have planned here, we're going to go down to the Dart River, which is a really special river. It's 26 miles long. Very, very ecologically biodiverse, very important for, in terms of temperate rainforest, and look at how we can restore that through various different natural flood management methods.  Adam: Right. Lead on, Sir. So you already mentioned the keyword temperate rainforest. Is that what this is?  Sam: Yeah. So this is sort of prime what we call hyper-oceanic temperate rainforest.  Adam: You just have to say that slowly. Hypo what?  Sam: Hyper-oceanic.   Adam: Hyper-oceanic, OK.  Sam: Yes. So there's there's two different kinds of temperate rainforest broadly. There's southern oceanic, which is any rainforest woodland that receives over 1.5 metres of rainfall a year.  Adam: Right.  Sam: Or hyper-oceanic and that is 1.8 metres of rainfall and above, so slightly techy and scientific. But what it means is is that you get two distinctly different communities of lichens or lower plants, which is what makes these woodlands particularly special.  Adam: Sorry, I've already forgotten. Are we in the rain type of temperate rainforest that gets more rain or less rain?  Sam: More rain.  Adam: More rain.   Sam: Yeah it rains a lot here.   Adam: So that's the the non-oceanic one gets more rain.  Sam: The hyper-oceanic gets a lot of rain, yeah.  Adam: Hyper-oceanic. OK, so you can see I'm a poor student. OK. So, but luckily extraordinary, I mean, it's a bit there's a chill, but it's it has been lovely weather and it's definitely dry today.  Sam: Hmm yeah, this is this is quite strange for Dartmoor really, I think this is sort of the driest March in 60 years or something. So we are we are beginning to experience much, much drier springs and summers, but one of the functions of these rainforests is they are very, very good at producing their own rain and and in 2020, during the COVID lockdown, there was a real blue sky dry sort of drought level day in that March-April period. And I remember walking through this valley in the middle of the day and there was a thunderstorm and that was occurring nowhere else even in Devon or the wider country. And that's because they're effectively these sponges that accumulate a lot of rain in winter, store them, and then produce them more in summer.  Adam: Wow. And and I mean also we we think of rainforests as basically Brazil I suppose. But but we have temperate rainforests in the UK and my understanding is, I mean, they're extraordinarily rare on a, not just the UK, a global level. Just give us a sense of how special and unusual these environments are.  Sam: Yeah, that's right. So they're they're found only on 1% of the earth's land surface. So they are rarer by area than tropical rainforest.  Adam: Right. Do you happen to know? Sorry, are we going down there?   Sam: Down there yeah.   Adam: OK, so 1% temperate rainforests. Do you know what tropical rainforests are to give us a sense of proportion?  Sam: I actually don't know that, but I suspect it's probably around somewhere between 10-15%.  Adam: OK, well, I'm not gonna hold you to that *both laugh* but but that gives us a sort of sense of just how rare these are and tropical rainforests are fairly rare anyway, but OK. So these are very, very unusual environments. And what are you trying to do here then?  Sam: Well, a lot of these temperate rainforests are ancient woodlands, but they are plantations on ancient woodlands, so they are woodlands that have existed in perpetuity for as long as records go back. But a lot of them, as you can see here, have been coniferised, so they would have been cleared of their native tree species like oak, to be replaced by non-native timber crops from places like the Pacific Northwest, which which that's also ironically a temperate rainforest landscape, but those species are not co-adapted to the species we have here. So you you get these plantations that are very, very unbiodiverse, very dark, very shading and really don't work in tandem with a lot of the light-demanding rainforest species that we have, like rowans, hawthorns, oaks, that kind of thing. Of those sites I've talked about, almost half of it is conifer.  Adam: So your your first job, ironically, is to take trees out?  Sam: Well there'll be a sort of two-pronged approach really of using natural processes to diversify the forest, make it more structured, diverse. But we will need to intervene at certain times, particularly if we have really, really rare species. So in Ausewell for example, there's a species of lichen called bacidia subturgidula, so it's got a mad Latin name,   Adam: Wow, OK I'm definitely not saying that *laughs*  Sam: *laughs* But that species, for example, we have a quarter of the entire world's population of that species of lichen in Ausewell.  Adam: Right in Ausewell, which is quite a small place.  Sam: Yeah, exactly. That's about 100 hectares, so...  Adam: And that's a quarter of the global population of this lichen is in that...  Sam: Of that species, yeah. So when it comes to that, it's really about almost surgically intervening.  Adam: That's interesting. Let's let's carry on, you you better lead on, I've no idea where I'm going. So but that's interesting because I I can see planting trees, I've never heard of people actually planting like them, I didn't think that was even possible.  Sam: Yeah. So we call it translocation and and that's really only a last a last sort of nuclear option really when it comes to lichen conservation, if we have a tree where they have a really, really rare form of, a rare population of a species, then moving that to another tree may be the difference between that going extinct or not. But here now we've had this happen, what we're going to be doing is seeding it with those rainforest tree species to start to get that regeneration and there's loads over here.  Adam: What I'm still not clear about is why is the rainforest so special? It might be, oh it gets a lot of rain, who cares? A place gets a lot of rain, so does Wales, so does a lot of bits of London. It's clearly something special, it's not the trees, so what, why is having a temperate rainforest actually a good thing, what makes it special?  Sam: Well, there's there's there's a few different things. One of them is, and this is the real key one we focus on, is the biodiversity value. So the real bad, Britain in general is quite a wildlife poor place. We have quite a low species diversity, but these rainforests are absolute wells of biodiversity globally. The key ones are these epiphytes, so we're talking about lichens, bryophytes, so those are the mosses, liverworts and hornworts. Britain has over 2,000 species of lichen, it's one of the most biodiverse places on Earth in terms of lichen species, so we're really punching above our weight in terms of biodiversity in that sense, and they're only really found in these temperate rainforest habitats.  Adam: And lichen, I love lichen, and it's a real sign of air purity and everything, they're beautiful. How much do they support, like wildlife? I'm not aware of animals feeding off lichen very much, I don't think it has much nutrients in it?  Sam: Not too much at a macro level, but if you were to delve into that microscopic world, they are absolute keystone species in terms of forming the bedrock for so many invertebrates for so much sort of microbes. But they're also functionally, and this is something I'm I'm really passionate about, is looking at these forests in terms of what they can give to us functionally and the environment functionally, they are really good at fixing nitrogen. They're very, very good at fixing carbon, but but so in terms, that's what that's what makes temperate rainforest really good in terms of climate change mitigation is they hold that water, but they also are incredible carbon stores far more carbon is stored in these forests than traditional forests in the UK.  Adam: And that's lichens playing a big role in this?  Sam: A huge part, yeah, because of the pure, like the biomass of those lichens and mosses.  Adam: Ohh interesting. OK, so where are we going?  Sam: So I would quite like to go down to that river.  Adam: I'd love to go down to the river! Can I just ask, we're not going that way, are we??  Sam: No, I think we're gonna, that's one we may drive down, I think.  Adam: Drive down there?? No no we're not going to drive down there, that's not possible! *both laugh*  Sam: Yeah, we might have to go to a scenic detour around.   Adam: OK, well, there let's go down to the river. You have to lead. You look like...  Sam: So I think if we head up back to the car, shoot down, yeah.  Adam: OK. Ohh I see. OK, OK. But we're not driving down this this hill.  Sam: No, no, I think let's go down to the main Dart actually and then you can...  Adam: OK. And then get and get back, OK. Brilliant. We have come down to the river, remind me what the river is called?   Sam: This is the Webburn.   Adam: The Webburn, which leads into the Dart. We are on proper Hobbit territory now. A moss-covered stone bridge over the Webburn. We passed a little a beautiful little cottage, actually there's a number of beautiful cottages here. So explain a bit about where we are.  Sam: So we're stood on the Webburn, the Webburn watercourse and just behind us is the confluence of where it enters the Dart River and this kind of where it feeds into our aspirations for the restoration of the site. It's what many people would consider to be quite a natural looking river or natural looking watercourse. But this really as you can see it's very straight, it's very cut down into into the ground. So we call that incision and that's a product of centuries of draining and of artificial domestication of this watercourse to allow the land around it to be drier, which makes it more kind of productive for forestry.  Adam: So that's not natural?   Sam: No.  Adam: Are you gonna do anything about that? I feel like a teacher, ‘are you going to do anything about that?'!  Sam: *laughs* That that is the plan.  Adam: How how do you change, I mean, the river has cut, therefore quite a a deep edge into the land. What would you be able to do to to change that then?  Sam: Yeah. So a couple of years ago I went out to the Pacific Northwest, Canada, Vancouver Island to see their temperate rainforest and have a look at how old growth sort of ancient temperate rainforests function, but also how they restore them. And they, I asked them to take me to a river that was their best example of a really healthy rainforest river with really good salmon populations with great biodiversity that would have been unaffected by humans. And they took me to a place called Lost Shoe Creek. And and from the bottom of the watercourse where it entered the sea to the head waters, it was, you couldn't see the water. It was absolutely covered in wood, so huge trees that had fallen in, trees bank to bank, pinned against the bank. And what that does is it creates a much more dynamic river system that doesn't go in a straight line, but also holds back a lot of the gravel with the sediment and the silt that in this kind of river is making its way to the ocean. And causing a lot of damage.  Adam: So it's allowing or maybe placing actual dead trees into into the water and we can see one tree's already there, presumably that just naturally fell in.  Sam: That's right. Yeah. So if we left this for 1,000 years, it would fill, it would be effectively be a giant log jam, and we'd start to get a lot of that naturalised process happening. And then you get much more biodiversity because there's more invertebrates in the river, there's more shelter for fish and birds, there's more habitat. But what we're effectively planning on doing is is doing something what people call stage zero restoration, so taking,  accelerating that that thousand-year process and taking it back to a more naturalised river.  Adam: It's such a a spot. I think it's time for a bit of social media video, so I'll film that and you can see that on the Woodland Trust and my sites, and then we'll crack on. Sorry, I know this is really important, but this is an amazing fallen tree over a drystone wall covered in moss, I mean, I just had to stop for a moment. Look, you talked about lichen. I know, I ask you a question then stop you answering it *both laugh*. I love this lichen, it's all on this tree. It is really, really beautiful.  Sam: So this is called seastorm lichen which is one of the few lichens that has actually a romantic sort of English name that isn't Latin.  Adam: Wow. Well, very cool. Whilst you're talking, I'm gonna take a photo. OK. Yeah, go on, seastorm lichen.   Sam: Yeah, and and so a lot of the lichens will, as you can see, grow on the branches where the light is greater. So there's almost a canopy world of biodiversity up there, and what we're doing by increasing the light levels is, is drawing these lichens down to the forest floor by increasing the light levels. But this is a really, really good example of the kind of levels of deadwood we actually want to aspire to. So in, as you can see, in most of the forest, it's completely denuded of deadwood. So we'd be lucky if we get sort of 5 cubic metres of wood per hectare. In the forest of, the temperate rainforests of Canada, they have sort of 600 cubic metres a hectare of deadwood. So you you could barely even move through their forest.  Adam: And that's super, because often people want the deadwood cleared cause you go, ‘oh well it's untidy', but that's a sort of oasis of of biodiversity.  Sam: That's right. It's a whole layer of ecology that we're missing from our forests. And we recently did a study on something called the blue ground beetle, which is a an endemic rare species to temperate rainforests. We didn't know where they went in the day, so we didn't really know anything about them, they're very elusive. They come out at night, walk up the trees, and they reflect the moon off of their blue, kind of shiny carapace. They're our biggest beetle. So we did a study with Exeter University where we put GPS tracking backpacks on them.  Adam: On a beetle?  Sam: On a beetle, to find out where they went. And lo and behold, we found that they were going into these deadwood habitats and so it just it just shone a light on how important increasing deadwood in these forests is for all of those species.  Adam: Amazing. All right. I I do encourage you to follow the Woodland Trust's social media, Insta and all the rest of them and my Bluesky and Twitter or X or whatever it is you wanna do. And I'm now gonna take a photo which hopefully you'll see on any of that social media. So do follow them all. And we're going to take a pause as I pose *laughs*. Right, I'm back from my photographic expedition. Right. So you can answer the question again now about this public debate about access and and what have you. Go on, you lead on whilst we're talking.  Sam: So yeah, Dartmoor is really kind of the centre of gravity for a wider story around public, an increasing demand from the public to access land for wellbeing, recreation, connection to nature, that has been kind of growing here, particularly in this area.  Adam: Right.  Sam: There are, I think we actually sorry, we do need to go that way, I think they've blocked the path.  Adam: OK fair enough.  Sam: We're not having to scramble.  Adam: And I think we're going back to where we came from. Alright. Although that path there looks blocked.   Sam: This one looks good. Yeah.  Adam: Oh OK.  Sam: Go through this end.   Adam: Through the little stone wall. OK. Ruby's following doing social media. Ohh OK. Yeah, sorry, carry on.  Sam: So, I suppose the concern of some people might be that increasing footfall, public access to these really important fragments of temperate rainforest, it could have a damaging effect on the biodiversity here. But the reality is that in order for people to connect with, understand and care about nature, they need to have access to it. And so we need to bring people into these habitats in a sensitive and considered way to educate people about them, but the other key thing is we need to expand these habitats. So we're part of something called the South West Rainforest Alliance. And our goal collectively is to increase the amount of temperate rainforest in Devon and Cornwall, to triple it by 2050.  Adam: OK. I mean that's worth pausing on that for a moment. That's an extraordinary task. I mean it sounds a bit, I have to say I'm a bit sceptical about that, it sounds like you plucked that out the air. How on earth would you get to tripling the cover you've got?  Sam: Well, we think we can do that mostly through buffering existing temporate rainforest, so planting around them which can then make those bigger, better, more connected, but also just by introducing trees into farmed landscapes but not in a way that damages the farming. So agroforestry. But also the inclusion of hedgerows that connect up those fragments and there's been a lot of work that's being done currently in partnership with Plymouth University to model how we would do that effectively.  Adam: And the other thing that strikes me when we talk about ancient woodland, we're talking about, well, we can't create ancient woodlands, the clue's in the name, it's got to be ancient. It is different for temperate rainforests, isn't it? These things which I've heard about are achievable in a relatively short period of time. Is that right?  Sam: That's right. So we think we can create new temperate rainforest within our lifetime. So within a kind of 40-50 year woodland establishment phase and as part of the Rainforest Recovery Project, we have a strand of work that we're calling the temperate rainforest creation trials and that includes long term scientific research to tell us how best we can create rainforest the quickest. So is it doing closed canopy woodlands like this or is it individual trees in farmland? Or is it open space woodlands or maybe even natural regeneration?  Adam: Amazing. We're by the river. Let's move on with our tales from the riverbank. One thing I I wanted to ask you, I arrived here last night. And I met well, an old friend of mine called Chris Salisbury, who runs a local sort of adventure, an ecological company, taking people for adventures in the woods and telling stories and all sorts of really interesting things, and he was telling me two things that he's noted. One is the reintroduction of pine martens which I think is talked about, but also he's seen wild boar in these woods and I've never heard of that. Are those, have have you come across those stories?  Sam: Yes, so we were actually involved in the reintroduction of pine martens last year and that was a partnership between us and Devon Wildlife Trust and various other charities. And and that was a sort of very controlled planned, strategic reintroduction of a species that's been really successful. We've brought the public along with us, and they're now part of that increasingly biodiverse and resilient temperate rainforest landscape.  Adam: Right before we move on to wild boar, just educate me, what is a pine marten? Not sure, not entirely sure I know what one is.  Sam: A pine marten is a mustelid, so it's in the same family as sort of the badger, the stoat, the weasel.   Adam: Right, what's it look like?  Sam: It's it's sort of the size of a small cat, it's brown with a white bib and it looks quite a lot like a weasel, but it's larger, but they're very much arboreal mammals, so they spend most of their time in the trees.  Adam: And were they native to this land?   Sam: Yes they were.  Adam: Hunted out were they?  Sam: Hunted to extinction for their pelts and and things like that. Yeah.  Adam: So you're reintroducing them. How successful has that been?  Sam: That's been really successful. So we've reintroduced 15 animals to Dartmoor last year and we think that that will be enough of a seed population for them to start spreading naturally now.  Adam: OK. And I've heard about what, the reintroduction in other parts of the country of pine martens. Wild boar. A a harder issue I would have thought ‘cause these are quite big beasts?   Sam: Yes.  Adam: Did, did any, presumably the Trust didn't introduce them? No.  Sam: No. So they haven't been, in the same way as pine martens were, formally introduced. There's been more of a sort of natural creep, or in some cases, so there's a term that people use now called ‘beaver bombing', which which people use completely straight faced in a lot of circles now. And that is effectively guerilla reintroduction of species.  Adam: Right. OK. So these are just people who feel that they should be rewilded and just did it without any any authority or talking to the local community they just brought them in?  Sam: Exactly without going through that sort of more defined process.  Adam: And and look, clearly this is not a Woodland Trust policy, so I'm not asking you to defend it, but but the effect of that, I mean, have you noticed anything?  Sam: I think, I mean, it's a huge subject, but I think in general, if you don't bring communities along with you by educating them, by mitigating the effect of a species, it it can damage the movement in in the longer term. The other thing I'd say about boar and those larger sort of herbivores, which would have been a really important part of our ecosystem for diversifying them and keeping that process going, they will really struggle unless we have bigger, better, more connected woodlands that are more natural anyway.  Adam: Right. I understand. So we're just going through talking about this being the rainforest, but it has been amazingly dry in the spring and now you can hear that in the crunchy undergrowth of very dry leaves. You're gonna, I'm I'm an idiot anyway, but I'm concentrating on too many things so I've forgotten the name of the river for the third time *laughs*.  Sam: It's the Webburn.  Adam: The Webburn, why can't I remember the Webburn? All right. We've come down to the Webburn, to the riverbank side. It's beautifully clear this water, isn't it? There I mean it, it's it's wonderful clear. I so want to stand in that and then I'll have wet feet for the rest of the day and the journey back to London. So I'm not going to do that. How much of a threat is this sort of environment under?  Sam: So temperate rainforest once covered about 20% of the UK and they would have clothed our western seaboard which receives that amazing sort of oceanic rainfall and temperature we've been talking about. That's been reduced now to about 2% in the UK.   Adam: OK, from 20 to 2%?  Sam: From 20 to 2, so 90% loss.   Adam: Over what sort of period?  Sam: So we're talking about millennia really. So this is they would have been at their zenith about 5,000, 6,000 years ago during the Bronze Age and that progressive multi-generation story of increasing farming, of draining, of forestry, has led to the fragmentation that we see today. In Devon and Cornwall, we think it would have covered about 75%. That's now been reduced to about 8%. So a similar 90% loss both regionally and nationally.  Adam: And are you optimistic that that's about to change? Are we now seeing a different story?  Sam: I feel really optimistic, but mostly that's because I think we're facing a lot of these holistic problems at the moment around the biodiversity crisis, around climate change, and I think rainforests are an actually incredibly cheap, scalable way of restoring nature, which will help us with the biodiversity crisis, but also protect communities from climate change. By doing some of this rewetting work, by increasing increasing tree cover, we can massively reduce flooding and massively mitigate the effect of drought on our farming and on our communities as it gets worse. We are hoping to raise £2.8 million to help us achieve the goals we have here and and the site will be open once we've achieved that goal towards the end of the year. And people can go to woodlandtrust.org.uk/southwest to find more about that appeal.  Adam: So just repeat that website again so if people want, if they, if you've got your pen or your computer keyboard ready, here is the website to go to.  Sam: Thats woodlandtrust.org.uk/southwest  Adam: And they can learn learn more about it, but also contribute there can they?  Sam: That's right. Yeah. And if they want to learn more about the Rainforest Recovery Project, we are launching a website this week called rainforestrecovery.org.uk.  Adam: So by the time you hear this podcast, all of that will be available to you at the moment I can edit it all together. It is an amazing, amazing site. I am really privileged to be here. What a wonderful place. Sam, thank you very much indeed.  Sam: You're welcome.  Thank you for listening to the Woodland Trust Woodland Walks. Join us next month when Adam will be taking another walk in the company of Woodland Trust staff, partners and volunteers. And don't forget to subscribe to the series on iTunes or wherever you are listening. And do give us a review and a rating. If you want to find out more about our woods and those that are close to you, check out the Woodland Trust website. Just head to the visiting woods pages. Thank you. 

As property managers, you know how important communication is. Building solid relationships and creating trust is crucial in the industry, especially when trying to bring on new clients and doors. In this episode of the Property Management Growth Show, property management growth expert Jason Hull sits down with Sam Wakefield from Close it Now to talk about how you can level up your sales game to close more deals at a higher price point. You'll Learn [00:54] Vendor and Property Manager Relationships [09:43] Why You Attract Cheapo Clients [15:33] Building Trust in Sales [21:14] Shifting Perception: It's Not A, It's B [27:43] Learning to Improve Your Sales at DoorGrow Live 2025 Quotables “Truly all that sells is just communication.” “The second you start to develop a trend in your life, look internally because you are attracting exactly who you are.” “If we don't build the right culture, it's on us as a business owner.” “As business owners, we want to not give up big chunks of our life for just money. We want to be able to have something scalable.” Resources DoorGrow and Scale Mastermind DoorGrow Academy DoorGrow on YouTube DoorGrowClub DoorGrowLive Transcript [00:00:00] Sam: A lot of times property management companies think all the companies are the same, so they're looking for maybe cheaper, whoever's cheapest, a cheaper price. [00:00:07] Sam: But then what they get is a company that doesn't communicate and doesn't show up when they say they're going to, and it's really the old adage, you get what you pay for.  [00:00:14] Jason: All right. I am trying a new platform today. This is Jason Hull and I am a property management growth expert. If you're not familiar with me, I help grow and scale property management companies and I am really good at that. And so our company's DoorGrow and we are the world leaders of growing and scaling property management businesses. [00:00:35] Jason: I've helped thousands of property managers do that. And today my guest is Sam Wakefield. Hanging out here with Sam. Sam, welcome to the show.  [00:00:44] Sam: Thanks for having me on, man. I'm glad to be here.  [00:00:46] Jason: Hey, good to have you. So, I'm really excited to get into this. We had some really nice dialogue back and forth. You coach. [00:00:54] Jason: Well, I'll let you tell. What group, category of people do you coach and you help with them with sales and closing more deals, so.  [00:01:01] Sam: Yeah, absolutely. Yeah. So we do sales training and basically sales systems, whole operation systems within companies, but mostly sales focused for home services. So everything from HVAC, plumbing, electrical, and then even outside of that. Garage doors, or you name it. If someone improves a home, then we help the communication side of all of those companies.  [00:01:27] Jason: Got it. So in my industry, property management people would call those vendors. That's usually what they call them. They're like, "these are the vendors." And so we thought it was fun. I went on your podcast, we had this really fun dialogue. [00:01:39] Jason: I highly recommend you go check out Sam's episode with Jason Hull and go check that out. We were going back and forth because we had done a survey each to our audiences, like what's frustrating about HVAC companies and what's frustrating about property management companies. Right. And just seeing the disconnect that existed there. [00:01:56] Jason: Which was interesting. So, before we get into this, I want to read a quick message from our sponsor. This episode's sponsored by KRS SmartBooks. Do you have properties manage, and zero time for bookkeeping headaches? KRS SmartBooks is your secret weapon. They specialize in finances for busy property managers like you, with 15 plus years of real estate knowhow and skills in AppFolio, Yardi, and more imagine monthly reports magically appearing, and zero accounting stress. Sound good? Head to krsbooks.com to book your free discovery call, integrity, quality, and a dash of bookkeeping brilliance, that's KRS SmartBooks, and that's K as in Kansas, R as in Rogers, S as in Sam. Sam. All right, so cool. Now let's get into this. [00:02:45] Jason: So we're going to talk about closing deals, but why don't you give us my audience a little bit of background. How did you get into sales and then starting your own company, helping people with sales, and like, how'd you how did Close it Now come to be?  [00:03:00] Sam: Yeah, for sure. Thanks for that question. So, I've spent almost 20 years now in home services. [00:03:05] Sam: Most of my time has been in HVAC. I've done solar. I've done a lot of different trades over the years and, you know, so I launched the Close it Now company in 2019 because I really just recognized a place where there was not a lot of modern training because truly all that sells is just communication. [00:03:26] Sam: You know, it's how do we communicate clearer and in a way where we can educate so somebody can understand, one, what we're talking about, and two, why they should care and how it's going to make a difference in their life. So at the essence of that, so I was looking for some more modern training for my people at my company that I had at the time, and I didn't find anything out there. [00:03:48] Sam: So I just said, well, now we have a space for, you know, I have communication skills. I can train people. So that's when I launched the company in 2019 and so much of my career built up to that point of, and specifically how it affects here and why I'm here today. You know, I've worked with so many property management companies and individuals across 20 years of doing this. Yeah. So I've definitely learned a lot of best practices and a lot of the things not to do, you know? Got it. I all own my mistakes as well as, you know, coming across maybe property managers that I wouldn't work with again. Right. Yeah. So from all of that experience, you know, I started the training company, so I work with those home service companies to communicate better. [00:04:33] Sam: You know, a lot of it is, you know, of course, working directly with homeowners. But also there's a huge portion of all of those companies that, you know, rely on it and need property management companies to, you know, really help them stay in business and in turn they can turn around and, you know, help those property management companies to efficiently take care of properties. [00:04:58] Sam: But there's always seems to be this kind of struggle of, you know, that back and forth. So that's obviously why we're here today is a big part of that. But that's some of my history. I've been doing it 20 years. I started Close it Now six years or in, coming up on... yeah, April this year, next month is six years anniversary. [00:05:16] Sam: Nice. Of the company. And it's been a fun ride and we've definitely helped lots and lots of organizations to you know, to grow in a way.  [00:05:24] Jason: You're helping them close it now. All right. Yeah. Got it. All right. So you're just, you're helping these vendors close more deals, right? [00:05:31] Jason: So, property managers, I think would love to hear. You're on the other side of this relationship between property managers and vendors. What have you seen and what's the general feedback that you're noticing of the property management industry? What's kind of the vendor's perspective? [00:05:46] Jason: Because I know property managers, they get frustrated with vendors, right? They're like, "oh, the vendors like say you need something when you don't and like they don't like, it's difficult to reach them or this or whatever." Right. What are some of the complaints and gripes about property management companies? [00:06:03] Sam: Yeah. Complaints and gripes about property management companies. One of the big ones is, a lot of it is kind of the same thing is lack of communication. Okay. That's always one of the biggest complaints that comes up is, you know, we will get, you know, say someone, a property manager will call in for us to go evaluate a property. [00:06:21] Sam: We'll take an air conditioning issue or something like that, so we'll show up and then we're trying to call ahead. There's no clear information was given on who to call ahead to. Then we show up to the appointment, maybe the tenant's there, maybe not. A lot of times they're not there. [00:06:36] Sam: Okay. Then we can get ahold of the property manager to even get in the place. So now we're like dancing around in the circle of, okay, who do we contact? You get frustrated, move on to the next call, then the property manager calls and "Well, why'd you leave? Somebody was there." [00:06:50] Sam: Well, nobody was there. And so all of this just seems to happen very often. [00:06:55] Sam: Too often. Yeah. So it creates a stereotype. When the stereotype is created, that means of course there's a reason for it. Yeah. And so this is one of the big ones is the lack of communication. And I know that I've heard that the other direction as well. But so that's one of the things I hear the most. [00:07:11] Jason: Yeah. Got it. Yeah, so I'm sure when a vendor finds a property manager that does communicate effectively that there's clarity in that communication happening, and they've got good systems in place. The tenant's there, the tenant understands what's going on. Everybody's informed. Then those can be really great relationships to have. [00:07:34] Sam: Absolutely. Yeah. Those are, you know, the last the last organization I was at, I was with them, I was a sales manager and trainer for six years there. And I went through about 18 different property management companies to find two to three that were worth working with. Wow. And that was, you know, just sadly. We were always open to when a property management company came to us and we're like, "Hey, we, you know, we need you to do some work. We're looking for a new vendor." We're like, "sure. Absolutely. We'll try you out as well as you're trying us out." Right. But sadly, you know, the two or three that we did find great relationships with. They were fantastic relationships because yeah, we, you know, part of my ethics is our team was like, we will show up on time no matter what. [00:08:19] Sam: Right? We always do what we say. We will never, you know, recommend something that's not verifiable from our, you know, from our testing. We're not going to just guess at this because we're not guessing with anybody's, you know? Yeah. Investment. And at the same time when we, you know, say we're going to do the work, we do the work, and we show up to do the work, we say we're going to. [00:08:43] Sam: So that was my ethics statement I always led with. And then basically I would ask the property management company, can I expect the same thing from you guys? Right? And sure enough, the second that we met in the middle and said, yes, this is how we want to do business, those relationships were always the very best ones because sure, were we a few more dollars than the other contractor down the street? Sure. Yes. But we showed up when we said we were going to and we did the right work right the first time. And so, right. That's a big part of that disconnect, I think, is it seems like so many you know, a lot of times property management companies think all the companies are the same, so they're looking for maybe cheaper, whoever's cheapest, a cheaper price. [00:09:22] Sam: But then what they get is a company that doesn't communicate and doesn't show up when they say they're going to, and. It's really the old adage, you get what you pay for.  [00:09:30] Jason: You know, property managers have the same sort of problem is that a lot of people that are looking for a property manager are just looking for the cheapest price. [00:09:38] Jason: And they hate that. They're like, "we're not all the same." Right. So I, yeah, I think it's really important. I think this is dictated by the morals, the ethics, and the values of the business owner. It's always a top down thing. And so if the business owner is a cheapo, they attract cheapo clients and they deal with vendors through this cheapo lens, and this is where there's going to be a lot of mess and a lot of communication issues, and a lot of times the business owner, and this goes for any business and any industry, has a blind spot to the fact that they're cheap. But they're, you know, you're a cheapo if you're the person that's always looking for the stupid coupon code every time you buy everything online, you're always like hunting for that like. I don't have time to do that. [00:10:21] Jason: Like that's a massive waste of my time to go find, save 10% on some stupid a hundred dollars thing online, right? Right. Like, Ooh, I'm searching around. Right. Oh, I saved $10 even though I could have made a hundred thousand dollars. Like if I just like built something awesome, right? So I think there's a mindset issue is that these property managers or vendor business owners are not valuing their time enough. [00:10:45] Jason: If you value your time, you value other people's time. You then show up on time. You then like try to make sure, like your schedule is tight, you want to make sure your schedule is full. Like you, because you value your time and you feel that it's important. And if you really value your time enough as a person, you get things like assistance. [00:11:03] Jason: You get team members, like you get support because your time is so valuable that you want to go buy other people's time because it's less valuable than your time. Right, and this is how we scale our businesses over time is we are buying other people's time that are like they're willing to trade and give up their life chunks of their life for money. [00:11:24] Jason: And as business owners, we want to not give up big chunks of our life for just money. We want to be able to have something scalable. And so I think there's a mindset thing that we have to not be cheap. We have to operate with integrity, and then our team members need to have these values instilled in them, and if we don't build the right culture, it's on us as a business owner. [00:11:45] Jason: And if we don't build the right culture, we then don't have longevity in our business. We don't get return business, we don't get return clients. We don't get to have that really good vendor to continue to work with. We don't get to have that property owner continue to want to work with us, right? [00:12:00] Jason: Because we have showcased that we are not on top of things, or that we don't have the right values or that we don't have healthy mindset. And so I feel like. At the foundation of everything. It always comes back to mindset. A lot of times  [00:12:13] Sam: I a hundred percent agree with that. It, you know, it's funny that you're kind of started this conversation going down this path. [00:12:19] Sam: This is something that's been a very basically a soapbox for me, a big hot button. Yeah. You know, when I'm coaching... [00:12:26] Sam: jump on that soapbox, Sam. Let's go.  [00:12:27] Sam: Yeah. When I'm coaching and training people lately, especially at this last week especially... yeah. You know, I'm training people with sales and that type of focus, and they, of course, people always come to me, "Hey, how do I overcome these sales objections?" [00:12:43] Sam: You know, somebody says, "I want to get three bids, or somebody says, your price is too high, I want to shop around, or I need to think about it." Yeah. And instead of just going straight to, "well, here's the word track and how to handle these objections." Yeah. We always start with: anytime that you find a trend in your life, [00:13:00] Sam: so if you're getting the same consistent objection, say somebody's getting every single time they get to the end of their appointment and the homeowner or whoever they're talking to says, "I want to think about it." It's like the second you start to develop a trend in your life, look internally because you are attracting exactly who you are. [00:13:17] Sam: I would be willing to bet that person does the same thing when they shop. So then no wonder you're getting every single one of your clients is telling you, "I want to think about it." Or if when you shop, do you ask for say, "oh, I've got to get some three bids on this thing. I got to look around." Yeah. Well, no wonder the people you're selling to always have to get three bids because we attract who we are. Yeah. And it starts right here in the mind. And it's incredible how that works.  [00:13:43] Jason: Yeah. because if we're anxious, if we have that energetic sort of anxiety of that, like things are, it's expensive, and we go into that trying to sell it to somebody. Then they can feel that and we present it differently. And so we're like, "here's the price." And like, yeah, and it's worth it. And they can just, there's so many little subtle clues they pick up on that, Hey, this seems a little high. And because sometimes like if you're presenting to somebody and they're not what I call a cheapo, there's three types of buyers, cheapos, normals, and premiums I call them. [00:14:16] Jason: And normals are like, you typically like 60%. They're like the majority, 61%. The smallest group are usually the premium buyers, supposedly. But the idea is this: if you're a premium buyer and I present a price and I'm not even going to like flinch telling you about it, I'm like, "yeah, we've got this and this is what it costs and this," and they're going to go, "oh, this person feels really confident." [00:14:36] Jason: And it's just energetically how we present it. There's no like, "Hey, I'm trying to prep you for this price, you know, reveal because it's going to hurt a little bit." Right. Or if they just have the confidence and they know they're expensive, they might even just say, "Hey, we're one of the most expensive, but we're also one of the best. Let me tell you about your options." Right? So maybe they start with a pre-frame like that, but either way, they have this confidence that they know they have value and that it's worth it, and then they present it like that, then people would go, oh, okay, but if you have that anxiety deep down related to price and you know, you're this person if you're always looking for the coupon code or the discount code or you're trying to find the cheapest way to do something, then you've got a bit of that going on. [00:15:21] Jason: Because that's your identity. And so I've noticed this. Like in order to get people to be better salespeople, I can't just give them tactics. I have to give them identity. And so, and this is why my greatest sales hack, I call the Golden Bridge Formula. It's like it's the most authentic way to sell, which is your personal why connected to the business why connected to the prospect's why. Because we always trust motives. And the default assumption in sales, if I don't know your motive and you're trying to sell to me, is you want my money. [00:15:54] Sam: Right.  [00:15:54] Jason: And if I think that's your only motive is you want my money and you're willing to do whatever it takes to get that, then you're probably maybe even willing to be unethical in order to get that might be the assumption. [00:16:05] Jason: Right? So that's kind of the default assumption in sales. And so to correct that, if I tell somebody, "Hey. I'm Jason Hull. My personal why is to inspire others to love true principles. And so what that means is I love sharing what works and learning what works and teaching to others. I would do that for free, for fun, and so I created DoorGrow and our why at DoorGrow is to transform property management business owners and their businesses. [00:16:27] Jason: And so if our whole belief system is around helping people transform their businesses. So that allows me to basically feed my addiction to learning, coaches, masterminds, books, whatever, and turn around and be able to share what's working with others. And that's just fun for me. So I have a business that basically fulfills my lifestyle and allows me to have fun and do what I want to do. [00:16:51] Jason: And you, Mr. Property management, business owner, who I'm maybe selling to, want to grow your business. And so our interests are in alignment. My business is the bridge that connects your why to my why. We both get what we want. It's the ultimate win-win, right? Everybody wins. And so I've been able to take really terrible salespeople that are really bad at selling, and I just get them clear on their own identity. [00:17:14] Jason: Mm-hmm. Who they are, why they do what they do, and have them relate that to people and then people trust them. And sales and deals happened at the speed of trust.  [00:17:22] Sam: Oh my gosh, I love this so much. It's insanely powerful too when I'm teaching people how to do just introductions, you know? A super quick formula too for the property managers out there that are listening to that, even if you're property manager, you have to get good at sales. [00:17:38] Sam: Yeah, you have to be good at communication to be able to bring more doors into your portfolio. And so the way you know, a really easy formula for those homeowners when you're having that conversation, first of all, they've got to know who they're talking to. Yeah. You know, this belief, identity, you know, matrix that I actually I love to call, I just did a keynote. [00:17:59] Sam: It's funny for everybody listening. It's almost like Jason and I have read each other's notes, but we haven't. Just did a keynote, well that's maybe a month ago in Minnesota, that the entire talk was your thoughts, create your belief about yourself, your totally belief about yourself creates your identity, and then your identity creates your outcomes. [00:18:16] Sam: Yeah. And, but we have to go back and start with those thoughts. And so, but a simple, easy formula for property managers out there having this conversation is first of all, start asking permission for things. Yes. We can't just tell, right? If we can ask it as a question, ask it as a question. [00:18:36] Sam: So ask permission, like, "Hey, before we get started, do you mind if I take a quick minute and just introduce you to our company and myself."  [00:18:44] Sam: yeah.  [00:18:45] Sam: And so first of all, anytime a conversation starts, there's always this period of icebreaking, right? Yeah. Anytime anything new is introduced in anyone's environment, there's always stiffness until that moment of rapport happens and we relax a little bit. [00:19:00] Sam: Yeah. So taking a couple of minutes to just. "Hey, before we get started, do you mind if I introduce the company and a little bit about myself? Would that be all right?" Yes. So permission to it and then just take a few minutes because I mean, so many times we'll go through this crazy presentation and then we're asking somebody to buy from us and they don't even know who we are. [00:19:21] Sam: We never took the time to even introduce ourselves. Right.  [00:19:24] Jason: Yeah.  [00:19:24] Sam: Or they don't know thing about the company.  [00:19:25] Jason: Trying to immediately shove the product or service down their throat.  [00:19:28] Sam: Yeah. No wonder they need to think about it. They don't even know who you are. And so we introduce that first. [00:19:34] Sam: It's huge. And to just getting into the things. So that's the flow. It's like, okay, now that you know a little bit about us, tell us a little bit about you. What are you looking for? Right. So then you start that discovery process, and I'm sure you trained this but the discovery process is everything. [00:19:51] Sam: We have to understand the motive behind why they want to do things. Somebody just says, "Hey, I'm looking for a property manager." Okay, great. That's one thing. "Why do you would need a property manager? What are you trying to solve? What do we want to accomplish by having a property manager for your property?" [00:20:09] Sam: So we find out, what are the pain points? What are the issues that they're wanting to overcome? And then from there, we can create a, you know, craft a conversation around it. But until we know that, we're just stabbing in the dark and just guessing it. Yeah. Well, hopefully this will work.  [00:20:23] Jason: Right. Yeah. If we just jump right to offering solutions when we don't even ask what they need it's not very effective. [00:20:30] Jason: And then they're going to have a ton of objections.  [00:20:32] Sam: Yeah. Yeah. Absolutely. But yeah, that's the some of the complaints we have are the communication and the other one is just not responding once we find solutions, then give them to the property manager. [00:20:45] Sam: And then it's like ghosting for who knows how long until finally somebody gets back. And so that's the other side of the communication is not getting resolution once we actually, you know, we can do this work, but we're not going to sit around here all day to wait to get it approved. We have other appointments. [00:21:02] Sam: So do we want to reschedule?  [00:21:03] Jason: It's treating the vendor like they're high value, they're going to treat you like you're high value and they're going to prioritize you. And so it really is a mutual respect relationship that needs to be built. So, Sam, I also want to bring up to our audience, you are going to be coming [00:21:19] Jason: to speak at DoorGrow Live. Yeah. And you're going to be teaching some really cool stuff. Could you just touch on real quick what you're going to be sharing at this because I wanted to come bring you to expose my clients and my audience to what you're going to be sharing and maybe you can get some people pumped up for DoorGrow Live, so. [00:21:38] Sam: Absolutely. Yeah. So thank you for the invite as well. I'm super excited to be speaking for DoorGorw Live. It's my passion, in fact to be able to help people in their daily lives, especially in conversations like this, to make it easy. I am such a firm believer that sales should be easy. If it's not easy, we're overcomplicating it. And so what we're going to be talking about at the event is I'm going to give some really simple keys to better communication so people actually not only listen, but they understand what you're saying and, more importantly, why should they care? [00:22:18] Sam: So we're going to talk about something called, the benefit lens. We're going to talk about some easy word substitutions. We're not going to be learning scripts or anything. We're going to be, we're going to show any really easy ways to get immediate buy-in to what our conversation is. Nice. And how to recruit people to be raving fans and be on board. [00:22:38] Sam: And how to ask and get referrals because that's huge in...  [00:22:44] Sam: absolutely.  [00:22:44] Sam: ...something like a property management. If every third door you added also added another one from a referral, what would that do to your business? Yeah, absolutely. So not just asking for referrals, but actually asking in a way where actually get them. [00:22:57] Jason: Right. Yeah. If you're getting enough referrals, one, because you have a good reputation, you're doing a good job, but also because you have an intention and you're asking appropriately, you create this kind of virus of growth in your business where it's multiplying. [00:23:13] Jason: Every client becomes more clients.  [00:23:16] Sam: Yep. Absolutely. In fact, we can do a quick little as an example of some of the things we're going to cover. Are you open to doing a quick little role play with me on...  [00:23:24] Sam: all right. Let's do it.  [00:23:25] Sam: Some of the conversation here. Yeah. I love role play.  [00:23:28] Sam: Let's have fun.  [00:23:29] Sam: Yeah, for sure. [00:23:30] Sam: So I'm property manager. So before we do, give me a quick little context of what is a premium price property manager and what is like a middle range property manager. And so I'll know what I'm working with here. [00:23:44] Jason: Oh yeah. Usually our clients have three different price points for that reason. So, perfect. But let's say like, real typical in the marketplace is 10% is pretty normal. Okay? And this is not what we recommend. because our clients close more deals more easily at a higher price point. [00:23:59] Jason: So we have some special pricing models, but let's say 10%. Premium, maybe 12%, and the lower would maybe be like 8%.  [00:24:08] Sam: Got it. Got it. Perfect. Alright, so I'm the project manager. So I'm going to be a premium 12%. Yeah. So what we're going to do in this conversation, I'm going to ask for the business and you're going to give me a little bit of a price flinch with, "well, the other guy was only 10%." [00:24:23] Sam: Okay. And so we'll show a quick, easy way to handle that. All right. In a way that will make sense for everybody. So, alright, Jason, so, sounds like everything that you've talked about, can you see how all the things we do will take care of the concerns that you have? [00:24:38] Sam: Yeah, absolutely. Sounds great.  [00:24:40] Sam: Awesome. Perfect. So the next steps to get moving is you know, so we're just 12% of the monthly as for us to be able to take care of all of that. And this will just need a quick authorization on this form here and we can get started right away.  [00:24:55] Jason: Ooh, okay. Well, I was expecting, you know, I talked to a company down the street, they were like 10%, which seems to be a bit more normal. [00:25:04] Jason: I don't know.  [00:25:04] Sam: More normal?  [00:25:07] Jason: I've talked to a couple companies and a lot of them all do it at 10%. Could, like, is it possible you could do it at 10%?  [00:25:13] Sam: Oh, gotcha. So listen, I mean, so we were just 12%, but listen, we're not 2% higher or 2% more expensive. We're 2% better. Can I explain to you why that is? [00:25:25] Jason: Sure.  [00:25:26] Sam: Absolutely.  [00:25:27] Sam: So at that point, as a great company, you're going to have a hit list of all of the reasons why you're better than everybody else, and what makes you that premium company. I like it. So the minute we get that permission question in of, "Hey, we're not 2% more expensive, we're 2% higher, we're 2% better." [00:25:43] Sam: Then the permission question is, "can I show you why, or can I show you how?" And they say "Yes." Then we're going to, "okay, so what we do, it's..." never talk bad about the competition. Sure. But it's always with that perspective. "So what we do is this, and what we do is this, and what we do is this. We're always going to have the availability to be in contact, you know, 24/7 or you know, whatever all of the benefits is. [00:26:10] Sam: We're going through this huge benefit list. Yeah. And then when, once we, and it works like magic, once you get to about 10 or 12 things, especially when you know, those first 10 or 12 things are things the other companies don't do. Yeah. So many times that person will go, "you know what? You're right. You know what? You're right. Let's just go ahead and do it." Yeah.  [00:26:31] Jason: I mean, you go through those things you say, "so does that make sense why maybe we're 2% better?" And they're going to be like, "yeah."  [00:26:38] Jason: You've got agreement.  [00:26:39] Sam: Cool. Absolutely. And the other thing to do in this conversation, and this is really powerful too, so, you know, we'll take you know, what's a, what's the average rent that we'd be taking that percentage off of? [00:26:50] Jason: Let's say 2000 bucks.  [00:26:51] Sam: So 2000 bucks. That's what I was going to use. "So we're talking about 2% difference. So we're looking at $40 a month or $10 a week. Is it worth it to you for $10 a week to potentially fight the headache of, you know, your property management company not responding when you need them to respond, your tenants being really unhappy, the tenants turning over and over, for, I mean, $10 a week. Is it worth it to you for that?"  [00:27:22] Jason: Yeah.  [00:27:23] Sam: So if, I mean, if you're willing to roll the dice and take that chance, then of course you could do what you want. But if you want it done right and done once, so you're headache free and you're not going to have to, because the reason you hire a property manager is to be hands off. [00:27:35] Sam: Right? Yeah. Perfect. That's why what, that's what sets us apart. Next to any of the other companies around.  [00:27:43] Jason: Got it. So hypothetical property manager, Sam here, like believes. You can tell by listening to him, he believes in what he is selling. He believes he's worth that 12%. He believes he's worth that value, and I love that reframe. [00:27:58] Jason: One of the NLP hacks I teach clients is, it's not a, it's b, and he's like, "it's not that we're expensive or higher price, it's that we're 2% better." And so you're saying this is how you are looking at it. Here's how I want you to look at it. And that's a really cool correction. I love that right there. [00:28:16] Jason: Very powerful.  [00:28:17] Sam: The other part of that too is when you take, we're not talking about the total monthly, you know, we're talking about what's 12% or 10%? We're talking about 2% difference. Yeah. Is it worth it to you for a 2% difference to take the chance on having to deal with this, having to manage your own projects, having the headache, having the you know, the angry tenants or we don't have that problem. [00:28:42] Sam: And here's proof: review, testimony. Other people in the area, for people that use us just like you guys.  [00:28:49] Jason: Yeah. Awesome. Perfect. And you're going to share some really cool stuff I know at DoorGrow Live. I'm excited, man. Me too.  [00:28:56] Sam: Let's just tip of the iceberg. [00:28:57] Jason: For a salesman to be able to like build a coaching business, teaching sales like these are the best in the world at sales, and so I'm really excited to have you come. I've sold millions and millions of dollars of stuff. I love, I'm always learning more about sales, like this is something you can always continually learn more, so I love that little reframe. [00:29:17] Jason: That's a good one. I'm excited to hear what else you have to share. This is going to be really awesome. And if you're interested, go to doorgrowlive.com and get your tickets. Get your tickets. Our theme this year is innovating the future of property management, and we are bringing future ideas. [00:29:32] Jason: I'm going to be going over hybrid pricing, a new pricing model for property managers. This is the future. We're going to be sharing our DoorGrow hiring system. This is the future of how you're going to need to do hiring, so you're not making mistakes with hires, we're helping a lot of people replace their entire team. [00:29:48] Jason: So anyway, DoorGrow Live is going to be really freaking cool. So, yeah, and it's a holistic conference as well. We're bringing people from outside the industry, people that are related to different things. I've got a biohacking expert. We've got different things just to optimize your life as an entrepreneur and to make you better at what you do. [00:30:05] Jason: So this is going to be really cool. So, well, Sam anything else we should touch on?  [00:30:10] Sam: You know, there's so much we could cover.  [00:30:12] Jason: There's a lot. We'll save it for DoorGrow Live. How can people that, if they're listening, they're like, I'm a vendor, or I've got this, or I could really use Sam's help. [00:30:21] Jason: How can they get ahold of you?  [00:30:23] Sam: Yeah, absolutely. They can go to, of course the website is closeitnow.net. That's NET so closeitnow.net. They can email me directly, sam@closeitnow.net. On an Instagram at @therealcloseitnow. Okay. Or basically search Close it Now anywhere and I pop up all over the place. [00:30:44] Sam: All right. I'm kind of everywhere on social media and on the Googles at this point. All right.  [00:30:50] Jason: All right, well we're going to close this show now, so appreciate you coming on, Sam. It's been great having you. And for those that are watching, listening, if you could use some help from DoorGrow reach out to us. [00:31:00] Jason: You can check us out at doorgrow.com. We are the world leaders at coaching and scaling property management companies. And so if you are dealing with operational challenges, team challenges, hiring challenges, or you just don't know the right strategies for adding doors or business development, we can help you with all of that. [00:31:18] Jason: So reach out to us, check us out at doorgrow.com and until next time, to our mutual growth. Bye everyone. 

In this episode, Harmat finds out the book is over.Discord: https://discord.gg/h8QBg3RGfxEmail: popculturesymposium@gmail.comInstagram and Facebook: @popculturesymposiumMusic by Maria Mihaylova (Maria's YouTube)Support the show

Spoilers, profanity, Jaime x Brienne. We've come to that climatic moment in the series where we conclude that fat is not a bad thing, but that Sam is bad at the morning after and George is bad at sex scenes. A Song of Ice and Fire. A Feast for Crows - Samwell IV. Close The Door And Come Here - Episode 571

Hello and welcome to the NotACast, the one true chapter-by-chapter podcast going through A Song of Ice and Fire! In this episode, Sam is ready to take on the Others, but maybe not a mouse. Poor little guy (meaning both Sam and the mouse). Next time: we set sail for Braavos in A Feast for Crows, Arya I!  Emmett's twitter: twitter.com/PoorQuentyn Manu's Twitter: https://twitter.com/ManuclearBomb  Manu's patreon: https://www.patreon.com/ManuclearBomb Our patreon: www.patreon.com/NotACastASOIAF Our merch store: https://notacastasoiaf.threadless.com     Our twitter: twitter.com/NotACastASOIAF   Our facebook: www.facebook.com/groups/289889118235797/   Our youtube page: www.youtube.com/channel/UCmmDfPdG…iew_as=subscriber   Our Instagram: https://www.instagram.com/notacastasoiaf/ 

Send us a textIn this episode Nelson, Jeff and Kyle discuss the 16th chapter of the book "A Feast For Crows" from the series "A Song of Ice and Fire" by George R.R. Martin. In the first half of the podcast we go through the chapter chronologically with Kyle who is on his first read through (Spoiler Free), and in the second half Jeff and Nelson  dig into theories in a full spoiler section. If you have any Questions, Theories or just want to tell us anything we missed? Join our discord and talk about it with us and we can bring it up on the next episode!Checkout our discord to chat with us or for any podcast resources: https://discord.gg/2xNktUPUXDThanks to Dalton for Music!Thanks to jraijin on fiver for the art! Here is a link to his page: https://www.fiverr.com/jraijin▬ Non-Spoiler / Spoiler  ▬▬▬▬▬▬▬▬▬▬0:00 - Spoiler Free 49:05 - Spoiler Section

Send us a textA Feast for Crows comes to an end when Sam reaches Oldtown and the Citadel. He gives his news to Alleras, as well as Maester Marwyn who promptly departs for Essos. Simon, Jenny, and Mackelly review the murder's banquet.Chapter Review:The Cinnamon Wind makes its way through the Redwyne Straits towards Oldtown. Signs of the trouble being caused by the Iron Born are everywhere, and the approaches are patrolled vigilantly. Samwell Tarly wonders if even Horn Hill would be safe for Gilly if the Ironborn are this bold, but he can't think of a better plan.When they arrive in the city, he makes his way to the Citadel to fulfill the two parts of his mission: to enroll and to share the news from the Wall. The seneschal's acolyte keeps him waiting for hours until Alleras (the Sphynx) points out that the man is expecting a bribe. Sam, triggered by this nickname, blurts his whole story to Alleras, who suggests that Sam forget the seneschal and the archmaesters. None of whom would believe him anyway, and instead tell the story to archmaester Marwyn.Sam agrees and by the light of a burning obsidian candle he repeats his tale. Marywn immediately departs for Essos where he intends to advise and protect Daenerys Targaryen from the Citadel. He's convinced that the maesters will try to destroy the dragons. He advises Sam to forge his chain quickly.Characters/Places/Names/Events:Samwell Tarly - Brother of the Night's Watch, friend to John Snow. Slayer of Others.Gilly - Daughter of Craster. Beloved of Samwell.Xhondo Dhuro - Mate on the Cinnamon Wind. From the Summer Isles.Quhuru Mo - Captain of the Cinnamon WindAlleras - Acolyte of the Citadel, known as the Sphinx.Marwyn - Archmaester of the Citadel. Known to dabble in magic. Pate - Believed murdered novice of the Citadel.Redwyne Straits - Separating the Arbor from the Mouth of the Honeywine. Support the showSupport us: Buy us a Cup of Arbor Gold, or become a sustainer and receive cool perks Donate to our cause Use our exclusive URL for a free 30-day trial of Audible Buy or gift Marriott Bonvoy points through our affiliate link Rate and review us at Apple Podcasts, Spotify, podchaser.com, and elsewhere.Find us on social media: Discord Twitter @GhostsHarrenhal Facebook Instagram YouTube All Music credits to Ross Bugden:INSTAGRAM! : https://instagram.com/rossbugden/ (rossbugden) TWITTER! : https://twitter.com/RossBugden (@rossbugden) YOUTUBE! : https://www.youtube.com/watch?v=kthxycmF25M

In this episode, we finally get the prophecy that has been haunting Cersei for years.Discord: https://discord.gg/h8QBg3RGfxEmail: popculturesymposium@gmail.comInstagram and Facebook: @popculturesymposiumMusic by Maria Mihaylova (Maria's YouTube)Support the show

Spoilers, profanity, Jaime x Brienne. Sam is in hell, but honestly, Sam, get the water yourself and stop whining. Everything sucks, but specifically Dareon. Arya shows up and Sam (and we) are thrilled to see her. If only Aemon had gotten to Dany and/or Oldtown we wouldn't have to write AU fanfic. A Song of Ice and Fire. A Feast for Crows - Samwell III. Close The Door And Come Here - Episode 562

OK, Brittni Huyck was gone for a minute but she's back now, and she has a new story to tell, literature(ly). The local author, hairstylist, and Three Rivers native dropped by Keep Your Voice Down Thursday to promote the fourth (and possibly final) book in her Iron City Heat Series "Someone Like Him."Doug, Alek, and Brit discuss the obstacles she encountered between writing her third and fourth book, why she may be done writing romance novels, how "Someone Like Him" is different from her three previous books, and may be her best work yet."Someone Like Him" officially drops on December 31 but you can pre-order your copy today on Amazon. Brazen Beauty Bar (56964 N. Main St. Suite 4, Three Rivers) will host a launch party for Brittni's new novel on Friday, January 10 from 6-8 p.m. where you can get a signed copy of the book and meet the author.Following Brittni's interview (54:07), Alek and Doug fill listeners in on what's happened in their lives since the last time they recorded an episode, and Doug gives a moving tribute to his late cat Samwell. The show's theme is “Howling at the Moon” by D Fine Us, and this week's outro music is “Big Leagues” by Vic Sage. You can support Keep Your Voice Down and Watershed Voice with a donation here.

Send us a textIn this episode Nelson, Jeff and Kyle discuss the 6th chapter of the book "A Feast For Crows" from the series "A Song of Ice and Fire" by George R.R. Martin. In the first half of the podcast we go through the chapter chronologically with Kyle who is on his first read through (Spoiler Free), and in the second half Jeff and Nelson  dig into theories in a full spoiler section. If you have any Questions, Theories or just want to tell us anything we missed? Join our discord and talk about it with us and we can bring it up on the next episode!Checkout our discord to chat with us or for any podcast resources: https://discord.gg/2xNktUPUXDThanks to Dalton for Music!Thanks to jraijin on fiver for the art! Here is a link to his page: https://www.fiverr.com/jraijin▬ Non-Spoiler / Spoiler  ▬▬▬▬▬▬▬▬▬▬0:00 - Spoiler Free 1:18:20 - Spoiler SectionWellness Thru Reading Greetings and salutations book lovers. Welcome to Wellness Thru Reading. A podcast...Listen on: Apple Podcasts Spotify

In this episode, there are cameos upon cameos!Discord: https://discord.gg/h8QBg3RGfxEmail: popculturesymposium@gmail.comInstagram and Facebook: @popculturesymposiumMusic by Maria Mihaylova (Maria's YouTube)Support the show

Send us a textAboard the Cinnamon Wind, Sam and Gilly mourn the loss of Maester Aemon. The old man succumbed as the ship neared Dorne. Their tears bring them into each other's arms and Sam's vows are history. Simon and Mackelly sprinkle rose petals in the bathtub and try to light a scented candle.Chapter Review:Samwell Tarly eulogizes Maester Aemon to the crew of the Cinnamon Wind. The Summer Islanders honor their elderly and their funeral rites involve drinking and love-making. The news of the dragons that Xhondo provided put a spring in Aemon's step, but it couldn't last and as the ship made its way around Dorne, he succumbed after a period of sporadically lucid dream and prophecy. Part of which was a realization that the Prince Who Was Promised is in fact Daenerys. Drunk on rum, Sam and Gilly make love in the women's section of the boat. Sam has fleeting regrets about his vows, but they're swept away by his feelings for Gilly. The next day the regrets are in ascendancy, and he avoids Gilly all day. Sam has paid for passage with the books intended for the Citadel, and with his labor. But the captain assures him that the Citadel shan't miss out - he'll sell them the books and make a healthy profit from them. He uses the excuse of work to avoid Gilly but eventually he's taken aside by the captain's daughter Kojja who tells him to go to Gilly or swim. Characters/Places/Names/Events:Samwell Tarly - brother of the Night's Watch, friend to John Snow. Slayer of Others.Gilly - Daughter of Craster. Beloved of Samwell.Maester Aemon - 102 year-old maester of the Night's Watch. Xhondo Dhuro - mate on the Cinnamon Wind. From the Summer Isles.Quhuru Mo - captain of the Cinnamon Wind.Kojja Mo - Daughter of the captain.Narrow Sea - Separating Westeros from Essos. Support the showSupport us: Buy us a Cup of Arbor Gold, or become a sustainer and receive cool perks Donate to our cause Use our exclusive URL for a free 30-day trial of Audible Buy or gift Marriott Bonvoy points through our affiliate link Rate and review us at Apple Podcasts, Spotify, podchaser.com, and elsewhere.Find us on social media: Discord Twitter @GhostsHarrenhal Facebook Instagram YouTube All Music credits to Ross Bugden:INSTAGRAM! : https://instagram.com/rossbugden/ (rossbugden) TWITTER! : https://twitter.com/RossBugden (@rossbugden) YOUTUBE! : https://www.youtube.com/watch?v=kthxycmF25M

Programa 3x47 de "La Canción Continúa", podcast dedicado a la relectura de Canción de Hielo y Fuego y análisis de House of the Dragon (La Casa del Dragón). Esta semana os traemos el análisis del tercer capítulo de Samwell Tarly en Tormenta de Espadas, en el que él y Elí huyen hacia el sur buscando el Muro. En la oscuridad de la noche, son alcanzados por los espectros y salvados en última instancia por un extraño hermano de la Guardia de la Noche. ¡Esperamos que os guste! Las ilustraciones de las miniaturas de los podcasts de relectura son obra de Andrea Angla, a la que podéis encontrar también en su podcast Senpai y Co. La música del final del podcast es una versión a trompeta de Jenny de Piedrasviejas, regalo de nuestro estimado y talentoso oyente Sergio Antón Melgarejo. ¡Descubre nuestro Patreon! https://www.patreon.com/lacancioncontinua Síguenos en: Instagram https://bit.ly/33DkuVI​​​​​​​​​​​ Twitter https://bit.ly/2Uxre38​​​​​​​​​​​ Facebook https://bit.ly/3bnz9XV​​​​​​​​​​ TikTok https://www.tiktok.com/@lacancioncontinuapod ¡También estamos en la plataforma morada! https://www.twitch.tv/lacancioncontinua ¡Mira nuestras camisetas en La Tostadora! https://www.latostadora.com/lacancioncontinuapod Puedes escucharnos también en iVoox https://bit.ly/2J7JlYv​​​​​​​​​​​ Spotify https://spoti.fi/3dweXok​​​​​​​​​​​ Apple Podcasts/iTunes https://apple.co/2Jo65mU​​​​​​​​​​​ Conviértete en miembro de este canal para disfrutar de ventajas: https://www.youtube.com/channel/UC9qd9hxlw3MtLNJDIXlrSgg/join

Spoilers, profanity, Jaime x Brienne. Gilly has our heartstrings as she and Sam are on the cruise from hell. We would have figured out a way to smuggle two babies out. Meanwhile we're all getting old. The Eyrie might be a good place for a weekend but we wouldn't want to live there. A Song of Ice and Fire. A Feast for Crows - Samwell II.   Close The Door And Come Here - Episode 549

3BG's worse film of 2022! Oh no! The moon is gonna kill us because it's being controlled by an ancient A.I. our ancient ancestors made during a utopian era of technology! Save us Halle Berry, Patrick Wilson and Samwell from Game of Thrones!

Hello and welcome to the NotACast, the one true chapter-by-chapter podcast going through A Song of Ice and Fire! In this episode, Sam puts up with Stannis for a while before manipulating everyone in the Night's Watch to voting for Jon Snow as Lord Commander. Next time: our friend Grant aka heathen king joins us for the angstiest Jon chapter of them all, ASOS Jon XII!  Emmett's twitter: twitter.com/PoorQuentyn Manu's Twitter: https://twitter.com/ManuclearBomb  Manu's patreon: https://www.patreon.com/ManuclearBomb Our patreon: www.patreon.com/NotACastASOIAF Our merch store: https://notacastasoiaf.threadless.com     Our twitter: twitter.com/NotACastASOIAF   Our facebook: www.facebook.com/groups/289889118235797/   Our youtube page: www.youtube.com/channel/UCmmDfPdG…iew_as=subscriber   Our Instagram: https://www.instagram.com/notacastasoiaf/ 

Send us a textThe war between the two queens has finally kicked off....and Cersei was out to get her licks back. This episode, Jon Snow and Davos goes to meet with Daenerys Targaryen on Dragonstone. He is there to ask for help in the form of dragonglass so he can beat the White Walkers. In King's Landing, Euron Greyjoy pulls up to greet Cersei, to deliver Ellaria Sand and Tyene Sand. He trying to slide in. Over at the Citadel, Samwell and Archmaester Ebrose examine a healed Jorah Mormont, and Sam is both questioned and "punished" for what he did. In Winterfell, Sansa Stark is reunited with her brother Bran Stark who refuses to be Lord of Winterfell. At Casterly Rock, the Unsullied infiltrate and capture the castle, but Euron's Iron Fleet arrives and leaves them on stuck. And finally,  Jaime goes to take Highgarden, and to extract Cersei's get back on OG Olenna T. And like the true G she is, she went out with a bang.If you want to keep the fun going with us throughout the week, come join our Facebook group. THE WATCH DEM THRONES FACEBOOK GROUPhttps://www.facebook.com/groups/126567443834910/?ref=share&mibextid=NSMWBTTO WATCH AND SUBSCRIBE:YouTube:https://youtube.com/@blackwithnochasertv?si=8T-igBt_CbKC1STVFacebook:https://www.facebook.com/blackwithnochaser/Twitter:https://twitter.com/BeBlackNoChaser?t=pVFV06lBFdZRu72ot4uCjA&s=09Twitter:https://twitter.com/WatchDemThrones?t=q0ngrYPlugf0ttzM2jo39A&s=09Apple Music: https://podcasts.apple.com/us/podcast/watch-dem-thrones-by-black-with-no-chaser/id1641754247Spotify:https://open.spotify.com/show/1qI1bJ1vIlobu502w6zrtN?si=mtsa3gZYRZW_3FmlCrv7UgBWNC RADIO: https://apps.apple.com/us/app/bwnc-radio/id6443800363Amazon Musichttps://music.amazon.com/podcasts/45279c3a-c09f-47d1-a3a3-88e6e2507230/watch-dem-thrones-by-black-with-no-chaserIHeartRadiohttps://www.iheart.com/podcast/269-watch-dem-thrones-by-black-101286659/?cmp=android_share&sc=android_social_share&pr=false#gameofthrones #demdragons #blackwithnochaser #houseofthedragonhbo #dragonseeds #theblacks #thegreens #houseofthedragon #youtube #targaryens #podcast #podsincolor #applemusic #spotifymusic #podsincolor #starks #lannisters #Velaryon

Send us a Text Message.Sam tries to find the increasingly flighty Dareon and someone who knows something about dragons - to fulfill the dying wish of Maester Aemon. He gets bruised knuckles, a lungful of canal water, but he does meet a sailor who knows about the dragons. Simon and Mackelly share his pain.Chapter ReviewSamwell Tarly is in desperate straits in Braavos. Gilly is inconsolable, Maester Aemon is dying, and Dareon is MIA. Between overreaching on their accommodation, paying for passage to Oldtown that they missed because of Aemon's ill-health, and the cost of a doctor to visit and tell them that a 102-year-old man with a nasty cough is probably dying - they've nothing left for food and fire.Dareon can make coin with his singing, but he promptly spends it on drink and women. He has no idea why Gilly keeps crying, and even she cannot blame him for wanting to be elsewhere. Aemon wants to hear more of dragons. He remembers them. Sam thinks that is an exaggeration, but Aemon insists that he and his brothers always dreamed of dragons. Sam braves the night and almost gets into a fight with a couple of wannabe-bravos. He's saved by a young girl selling cockles, who calls herself Cat. Sam finds Dareon in a brothel and gets into a fist fight. He's thrown unceremoniously into the canal, where he almost drowns before being saved by a sailor Xhondo. He's a Summer Islander and a mate aboard the Cinnamon Wind. He knows about these dragons and he'd be happy to share his story.Characters/Places/Names/EventsSamwell Tarly - Brother of the Night's Watch, friend to Jon Snow. Slayer of Others.Gilly - Daughter of Craster. Beloved of Samwell.Maester Aemon - 102-year-old maester of the Night's Watch. Dareon - Brother of the Night's Watch renowned for his singing voice. Being sent south to recruit new brothers.Cat - Arya Stark's latest moniker.Xhondo - Mate on the Cinnamon Wind. From the Summer Isles.Braavos - One of the Free cities in Essos. Support the Show.Support us: Buy us a Cup of Arbor Gold, or become a sustainer and receive cool perks Donate to our cause Use our exclusive URL for a free 30-day trial of Audible Buy or gift Marriott Bonvoy points through our affiliate link Rate and review us at Apple Podcasts, Spotify, podchaser.com, and elsewhere.Find us on social media: Discord Twitter @GhostsHarrenhal Facebook Instagram YouTube All Music credits to Ross Bugden:INSTAGRAM! : https://instagram.com/rossbugden/ (rossbugden) TWITTER! : https://twitter.com/RossBugden (@rossbugden) YOUTUBE! : https://www.youtube.com/watch?v=kthxycmF25M

In this episode, we announce the heir to the Symposium Throne. Currently accepting applications for co-heir. Discord: https://discord.gg/h8QBg3RGfxEmail: popculturesymposium@gmail.comInstagram and Facebook: @popculturesymposiumMusic by Maria Mihaylova (Maria's YouTube)Support the Show.

Send us a Text Message.In this episode Nelson, Jeff and Kyle discuss the 79th chapter of the book "A Storm Of Swords" from the series "A Song of Ice and Fire" by George R.R. Martin. In the first half of the podcast we go through the chapter chronologically with Kyle who is on his first read through (Spoiler Free), and in the second half Jeff and Nelson  dig into theories in a full spoiler section. If you have any Questions, Theories or just want to tell us anything we missed? Join our discord and talk about it with us and we can bring it up on the next episode!Checkout our discord to chat with us or for any podcast resources: https://discord.gg/2xNktUPUXDThanks to Dalton for Music!Thanks to jraijin on fiver for the art! Here is a link to his page: https://www.fiverr.com/jraijin▬ Non-Spoiler / Spoiler  ▬▬▬▬▬▬▬▬▬▬0:00 - Spoiler Free 47:00 - Spoiler Section

Spoilers, profanity, Jaime x Brienne. George R. R. Martin is absolutely using Sam as a self-insert in this chapter. Does Sam not understand he can check books out of the library? Jon knows his Stannis situation looks bad from the outside. Does Jon need to go this hard at killing the boy? We're all Team Gilly. A Song of Ice and Fire. A Feast for Crows - Samwell I.   Close The Door And Come Here - Episode 539

Send us a Text Message.In this episode Nelson, Jeff and Kyle discuss the 76th chapter of the book "A Storm Of Swords" from the series "A Song of Ice and Fire" by George R.R. Martin. In the first half of the podcast we go through the chapter chronologically with Kyle who is on his first read through (Spoiler Free), and in the second half Jeff and Nelson  dig into theories in a full spoiler section. If you have any Questions, Theories or just want to tell us anything we missed? Join our discord and talk about it with us and we can bring it up on the next episode!Checkout our discord to chat with us or for any podcast resources: https://discord.gg/2xNktUPUXDThanks to Dalton for Music!Thanks to jraijin on fiver for the art! Here is a link to his page: https://www.fiverr.com/jraijin▬ Non-Spoiler / Spoiler  ▬▬▬▬▬▬▬▬▬▬0:00 - Spoiler Free 37:00 - Spoiler Section

Sam is miserable aboard the ship headed for Braavos. Gilly is inconsolable and he's seasick. He can't understand her tears until Maester Aemon points out that she left her own baby at Castle Black, and that she's nursing Dalla's child. Simon and Mackelly try to keep down their breakfast.Chapter Review:Samwell Tarly is seasick aboard the Blackbird. He takes solace in his companions' hopeful futures: Gilly will be a maid at Horn Hill, Dareon will recruit for the Night's Watch using his singing, and Maester Aemon will retire at the Citadel, safe from Melisandre's fires.Gilly and her baby are miserable, rarely leaving their cabin. Sam's fear of the sea dates back to his father Randyll Tarly's harsh swimming lesson. This voyage is only his second, the first being a traumatic trip to the Arbor where he was bullied and rejected as a foster child by Lord Paxter Redwyne.Dareon complains about Gilly's distress. Sam defends her, understanding her fear of the unfamiliar ocean. Maester Aemon reminisces about his voyage to the Wall with Ser Duncan the Tall. Aemon enjoys the rain but becomes ill from exposure.Violent storms batter the ship, intensifying their misery. The sailors blame their bad luck on having a woman aboard. When Sam asks Aemon for a remedy for Gilly's distress, the maester reveals her sorrow is due to grief, not fear. Gilly's baby is not her own; she left her child at Castle Black and took Dalla's baby instead. Lord Commander Jon Snow orchestrated this swap to protect the child from Melisandre's fires.Sam is horrified and questions his involvement in making Jon Lord Commander. As the sea briefly calms, Dareon mocks Sam's prediction of more storms, calling him craven. Burdened by the weight of recent revelations, Sam knows the worst is yet to come.Characters/Places/Names/Events:Samwell Tarly - Brother of the Night's Watch, friend to John Snow. Slayer of Others.Gilly - Daughter of Craster. Beloved of Samwell.Maester Aemon - 100 year-old maester of the Night's Watch. Dareon - Brother of the Night's Watch renowned for his singing voice. Being sent south to recruit new brothers.Blackbird - Ship of the Night's Watch.Skagos - Large island in the Bay of Seals. Notorious for its savage inhabitants.Braavos - One of the Free cities in Essos. Support the Show.Support us: Buy from our store Buy us a Cup of Arbor Gold, or become a sustainer and receive cool perks Donate to our cause Use our exclusive URL for a free 30-day trial of Audible Buy or gift Marriott Bonvoy points through our affiliate link Rate and review us at Apple Podcasts, Spotify, podchaser.com, and elsewhere.Find us on social media: Discord Twitter @GhostsHarrenhal Facebook Instagram YouTube All Music credits to Ross Bugden:INSTAGRAM! : https://instagram.com/rossbugden/ (rossbugden) TWITTER! : https://twitter.com/RossBugden (@rossbugden) YOUTUBE! : https://www.youtube.com/wa...

Hello and welcome to the NotACast, the one true chapter-by-chapter podcast going through A Song of Ice and Fire! In this episode, Sam finally makes it back to Castle Black, only to find a whole new set of problems to deal with: birds, babies, and elections, oh my! Next time: we stay right here at the Wall for ASOS Jon IX, in which Stannis makes Jon an offer he can't refuse. (But he does anyway.) Emmett's twitter: twitter.com/PoorQuentyn Manu's Twitter: https://twitter.com/ManuclearBomb  Manu's patreon: https://www.patreon.com/ManuclearBomb Our patreon: www.patreon.com/NotACastASOIAF Our merch store: https://notacastasoiaf.threadless.com     Our twitter: twitter.com/NotACastASOIAF   Our facebook: www.facebook.com/groups/289889118235797/   Our youtube page: www.youtube.com/channel/UCmmDfPdG…iew_as=subscriber   Our Instagram: https://www.instagram.com/notacastasoiaf/ 

In this episode, all of our takes are for no reason at all.Discord: https://discord.gg/h8QBg3RGfxEmail: popculturesymposium@gmail.comInstagram: @popculturesymposiumMusic by Maria Mihaylova (Maria's YouTube) Support the Show.

Spoilers, profanity, Jaime x Brienne. Sam gets his electioneering on. Melisandre gets to talk to someone who already knows about Azor Ahai and we get to fall in love with peak Stannis. Game of Thrones. A Song of Ice and Fire. A Storm of Swords - Samwell V.   Close The Door And Come Here - Episode 529

Programa 3x34 de "La Canción Continúa", podcast dedicado a la relectura de Canción de Hielo y Fuego y análisis de House of the Dragon (La Casa del Dragón). Esta semana analizamos el segundo capítulo de Samwell Tarly en Tormenta de Espadas, en el que el apodado Mortífero es testigo de un motín hacia el Lord Comandante Jeor Mormont llevado a cabo por algunos de sus hermanos de la Guardia de la Noche. Las hijas de Craster piden ayuda a Sam para huir con Elí y su bebé. Las ilustraciones de las miniaturas de los podcasts de relectura son obra de Andrea Angla, a la que podéis encontrar también en su podcast Senpai y Co. La música del final del podcast es una versión a trompeta de Jenny de Piedrasviejas, regalo de nuestro estimado y talentoso oyente Sergio Antón Melgarejo. ¡Descubre nuestro Patreon! https://www.patreon.com/lacancioncontinua Síguenos en: Instagram https://bit.ly/33DkuVI​​​​​​​​​​​ Twitter https://bit.ly/2Uxre38​​​​​​​​​​​ Facebook https://bit.ly/3bnz9XV​​​​​​​​​​ TikTok https://www.tiktok.com/@lacancioncontinuapod ¡También estamos en la plataforma morada! https://www.twitch.tv/lacancioncontinua ¡Mira nuestras camisetas en La Tostadora! https://www.latostadora.com/lacancioncontinuapod Puedes escucharnos también en iVoox https://bit.ly/2J7JlYv​​​​​​​​​​​ Spotify https://spoti.fi/3dweXok​​​​​​​​​​​ Apple Podcasts/iTunes https://apple.co/2Jo65mU​​​​​​​​​​​ Conviértete en miembro de este canal para disfrutar de ventajas: https://www.youtube.com/channel/UC9qd9hxlw3MtLNJDIXlrSgg/join

Spoilers, profanity, Jaime x Brienne. Sam is back at the Wall where George knows nothing about breastfeeding and they're convening the equivalent of the papal conclave to elect a lord commander. We consider questions such as: is life with Craster enough training to survive Randyll Tarly? And just what does freezer burned mammoth taste like? Game of Thrones. A Song of Ice and Fire. A Storm of Swords - Samwell IV.   Close The Door And Come Here - Episode 525

The highly-anticipated sci-fi series, 3 Body Problem, from Game of Thrones creators David Benioff and D.B. Weiss debuted today on Netflix, and star John Bradley returns to talk about it. He shares how and when he found out about the project, what it's like having a part written specifically for you, and the real-life references that inspired his character's name, Jack Rooney. He talks about the 18-month shoot, filming with green screens, and why this series is more about humanity than aliens. He also has plenty of stories about Game of Thrones and Samwell Tarly, including his thoughts on Samwell's story arc over 8 seasons, the series' controversial finale, dealing with fame, and life after GoT. Plus, bits on flavored crisps and chips, JLo, and Michael Keaton's Batman! STAY CONNECTED:TikTok: @ChrisJerichoInstagram: @talkisjericho @chrisjerichofozzy Twitter: @TalkIsJericho @IAmJerichoYouTube: https://www.youtube.com/c/ChrisJerichoFozzyWebsite: https://www.webisjericho.com/

Lord Commander Jon Snow sends Sam to Oldtown to earn his maester's chain. Gilly, her baby, and maester Aemon are to go with him. Simon and Mackelly dream of a warmer future.Chapter Review:Samwell is scouring the Castle Black libraries for information on the Others. Pickings are surprisingly slim. He's tired and hungry so he heads up to the castle. In the yard, he's met by Edd, Grenn, and Pyp. Jon wants to see him.The guys think that Jon is too good for them now he's Lord Commander, but Sam defends his friend - he does have a lot on his plate. First order of business is rebuilding the stairs up the Wall, and training every single brother in archery.Sam meets Gilly at Jon's door. She's upset and he's clumsy in her presence. Within, Jon tells Sam that she was begging for Mance's life on behalf of Val, but Mance's crimes are unforgivable even if Stannis and Melisdanre didn't have an eye on Mance's royal blood for their magic. Jon wants Sam to take Gilly, her baby, and Maester Aemon to Oldtown. There Sam is to earn his chain as Aemon's replacement. Sam is conflicted - he wanted to be a maester but his father forbad it. At dawn the next day, they ride toward Eastwatch, with Aemon and a tearful Gilly in a wayn.Characters/Places/Names/Events:Samwell Tarly - Bother of the Night's Watch, friend to John Snow. Slayer of Others.Stannis Baratheon - Claimant to the Iron Throne.Gilly - Daughter of Craster. Beloved of Samwell.Jon Snow - New Lord Commander of the Night's Watch.Melisandre - Priestess of R'Hellor, advisor to King Stannis.Maester Aemon - 102-year-old maester of the Night's Watch.  Support the showSupport us: Buy from our store Buy us a Cup of Arbor Gold, or become a sustainer and receive cool perks Donate to our cause Use our exclusive URL for a free 30-day trial of Audible Buy or gift Marriott Bonvoy points through our affiliate link Rate and review us at Apple Podcasts, Spotify, podchaser.com, and elsewhere.Find us on social media: Discord Twitter @GhostsHarrenhal Facebook Instagram YouTube All Music credits to Ross Bugden:INSTAGRAM! : https://instagram.com/rossbugden/ (rossbugden) TWITTER! : https://twitter.com/RossBugden (@rossbugden) YOUTUBE! : https://www.youtube.com/wa...

They say the best businesses are built on the foundations of friendship, and that's exactly what Samuel Loo and Singchuen Chiam, childhood pals, prove with their journey from elementary school to dominating the matcha scene on Amazon. Their tale is not just about the green goodness of matcha but a story of two friends who took divergent paths—law and business—only to converge into a powerhouse duo. With Sam's sharp legal acumen and Sing's Alibaba experience finesse, they've brewed up Naoki Matcha, a brand that resonates with quality and customer delight, nurturing it from a side hustle to a multi-million dollar success. Our conversation steers through the meticulous craft of standing out in a saturated market, with Sam and Sing revealing their three-year grind to perfecting their matcha blend. They share the trials of juggling full-time jobs while planting the seeds for Naoki Matcha, a testament to their enduring patience and entrepreneurial spirit. Their business acumen shines as they discuss the potency of Amazon PPC in propelling their revenue growth, and the strategic decision to maintain a premium on their product—ensuring Naoki Matcha is not just another tea on the shelf, but a premium experience for the discerning consumer. As we wrap up, the future of Naoki Matcha gleams with potential, from its lean operational approach to its plans for product diversification and international expansion. Their story isn't just an inspiration for Amazon FBA sellers and matcha aficionados but to anyone with entrepreneurial dreams, demonstrating that with the right blend of passion and strategy, even the smallest idea can grow into a thriving E-commerce empire. Join us as we toast to the success of Sam and Sing, and keep an eye on your social media feeds—you might just catch the upcoming viral sensation of Bradley Sutton's matcha flan!   In episode 542 of the Serious Sellers Podcast, Bradley, Samuel, and Singchuen discuss: 00:00 - Childhood Friends Start Successful Matcha Business 08:35 - Exploring Opportunities With Macha Tea  11:33 - Journey to Success 14:50 - Product Growth From Gradual to Significant 20:46 - Brand Growth Through Market Analysis 21:26 - Strategic Growth of Naoki Matcha Brand 24:37 - Matcha Market Segmentation and Competition 28:56 - Success in their Amazon Business 30:15 - Amazon PPC Advertising Strategy Effectiveness 33:37 - Matcha Success Story and Plans For Future Growth ► Instagram: instagram.com/serioussellerspodcast ► Free Amazon Seller Chrome Extension: https://h10.me/extension ► Sign Up For Helium 10: https://h10.me/signup  (Use SSP10 To Save 10% For Life) ► Learn How To Sell on Amazon: https://h10.me/ft ► Watch The Podcasts On Youtube: youtube.com/@Helium10/videos Transcript Bradley Sutton: Today, we've got two childhood best friends from elementary school who linked up as adults and started a matcha Amazon business that now does millions of dollars a year. How cool is that? Pretty cool, I think.   Bradley Sutton: Black Box by Helium 10 houses the largest database of Amazon products and keywords in the world. Outside of Amazon itself, we have over 2 billion products and many millions more keywords from different Amazon marketplaces, from USA to Australia to Germany and more. Use our powerful filters to search through this database for pockets of opportunity that you might want to get into with your first or next product to sell on Amazon. For more information, go to h10.me/blackbox. Don't forget you can save 10% off for life on Helium 10 by using our special code SSP10.   Bradley Sutton: Hello everybody and welcome to another episode of the Serious Sellers Podcast by Helium 10. I'm your host, Bradley Sutton, and this is the show that's completely BS free, unscripted and unrehearsed organic conversation about serious strategies or serious sellers of any level in the e-commerce world. And we are going to the opposite side of the world today, to I believe they're in Singapore, and it's funny because the way they were introduced to me by Crystal and somebody else from Amazon she was like oh yeah, I want you to meet the Macha Bros, but I don't think that's their official name, so I'll let you guys go ahead and introduce yourselves to our audience. This is the first time we'll be on the show   Sam: Sure. So my name is Sam and this is my business partner, Singchuen. We're not actually brothers, but we work together quite closely on a business that we started together. Our business is called Naoki matcha and, as the name suggests, we sell matcha green tea powder in the United States, in the United Kingdom and in Singapore.   Bradley Sutton: You know what I've known you, of you or about you? I literally thought you guys were blood brothers entire time, not just because of that name, and so I've already learned something new. I literally thought, you guys were.   Sam: No, no. We get that a lot. We get that a lot.   Bradley Sutton: Brothers from other mothers.   Sam: Yes, I think we can go with that, yeah.   Bradley Sutton: Okay, all right, hold on now. Let's you know like I already learned something new, so let's just take it. Take it way back, both of you born and raised in Singapore.   Sam and Singchuen: Yep.   Bradley Sutton: How did you guys meet? Did you meet like some story, like you met in university, or how did you guys meet each other?   Singchuen: Sam and I met oh, this is Singchuen, by the way, so I'm the business partner. Sam and I met in primary school, so we have known each other for quite a long time.   Bradley Sutton: So that is a good story, all right. And then you just went to that. You went to the same one, or? Or you just met in the neighborhood, or what?   Sam: We went to the same one and we actually were in the same school so like 10 years, and then our paths kind of diverged for a little while. But we reconnected in university because we were both interested in like business and entrepreneurship and I think that's how it kind of like reconnected and we started exploring different things and that's how we started working together again.   Bradley Sutton: What did both of you major in in university?   Singchuen: I studied business and Sam, he was actually a lawyer.   Sam: Yeah, I studied law at university.   Bradley Sutton: Upon graduation, did both of you guys go into that field that you had studied law and business?   Singchuen: I guess in a sense that because we started a business, business would be quite relevant. But in that in another, in another complete sense, it wasn't really that relevant because the things that you studied in school were geared to get you a role in a company, so it wasn't very practical. But the concepts, they were useful.   Sam: Yeah, so after graduation I did practice law for like a couple of years and then, while doing this business, and then at the end of the two years, I realized that, like you know there was I had two opportunities and like this one kind of showed itself to be a bit more, have more potential, so I left the law and I went into e-commerce.   Bradley Sutton: Who discovered e-commerce first? Was it you, Sam?   Sam: Yeah. So I think I really found out about this opportunity on Amazon and FBA the ability to like sell in another country that is not yours. I think back in like 2015-2016 this is like early days, right but at that point in time I was still like a university student at Seoul 6th year, so we really didn't have like the kind of resources that we needed to really tackle this, this, this opportunity, right. So we spent some time like learning about how to approach it and we only really launched it like late 2016 and from then we went on our careers. We kind of like grew it slowly along the way and then after a few years, we realized that okay, the time is right, this is a good time to go all in.   Bradley Sutton: Okay. So in 2016 you guys had reconnecting, like, hey, let's do something together while still having day jobs at that time.   Singchuen: Yeah, exactly, Sam was a lawyer. I actually worked in e-commerce as well. I worked in Alibaba for quite a number of years, so it helped that I could bring a certain kind of context to how the Amazon platform worked, and so we decided to start this sort of like to see where this would be going, because it was exciting, it was an opportunity and we always wanted to have our own business. So that was sort of like the paradigm in which we started off on.   Bradley Sutton: And so at the time in 2016, when you first just started dabbling in e-commerce, it sounds like you weren't all in. Was it matcha that you got into? Was that your first thing, or was it other things?   Sam: Yeah, so when we first started, we started, as most people do, with like a search query on Alibaba.com. The first products we actually sold were like these glass teapots, so we realized that they were not too bad to sell. Actually, we reached like five figures in multi-revenue by like within a year, but we met the same problems that I think a lot of people encounter, which is that after a while, people see that you're somewhat successful and then they'll try to launch a complicated product and therefore, when we found that happened to us and we found it very difficult to grow, so we really were like scratching our heads to think about like what other types of products or categories that we could do, and that's why we landed on matcha.   Bradley Sutton: Okay, so when you landed on matcha, were you still working your day jobs, or by that time you were all in on Amazon already?   Sam: No, we were still working out day jobs because for matcha category and the grocery category we found that, like you know, it's not so much of like a quick win kind of situation. You need to invest the time and energy and you need to have quite a lot of patience before your results actually bear fruit, and for us that took actually a number of years because you need to kind of like build your credibility and gain experience in what you're selling as well.   Bradley Sutton: Are we still talking 2016? Are we already now in 2017 in the timeline, or where are we at when you guys decided matcha?   Sam: Right. So in 2016, we dabbled in matcha and then we spent the next two years essentially trying to improve the product and better understand the category and the product market fit as it is in the US, and we took like a couple of years to do that properly, and I think it was only about 2020, you know, right after COVID hit, when we realized that, okay, the product is good, we have a good product that can stand up against the other competitors in the space, and you're going to go all in and grow this thing.   Singchuen: On the side of this, because our matcha green tea is from Japan and there was a requirement I want to say it's a hard requirement, but there is an understanding that in order to get the good product in Japan, especially from suppliers, you kind of need to cultivate the relationship a little bit and take some time for them to trust you. And so it's not as though, as we didn't want the best product right in 2016. Number one it's not. It's a learning process, right, especially when what the market is telling you of a certain kind of taste that they prefer. But it's also bringing back those requirements to the suppliers and the factories to let them know this is the taste that we want and, barring communication barriers, there's still that they need to feel, feel each other out to exactly ascertain what we're looking for. And that took quite a bit more time than what you would be doing on Alibaba.   Bradley Sutton: That's what has been curious. This is not something you would just like find on Alibaba. So where did the like, how did you guys land on matcha? Was it something you guys just liked? Was it because you were doing tea cups and you just like it was a side thing? Like how in the world? Or did you find it in Helium 10? Or how in the world did you say you know what? I think there's opportunity in matcha. Let's go ahead and examine this further.   Singchuen: In Singapore, generally we are exposed to Japanese culture quite a little bit already, but more closely, I guess it's also because I liked green tea. So at the point of time I didn't drink a lot of matcha, but I knew about it. So we explored that as a potential item to try to sell and in a sense it checked all the other boxes as well right. Whether it is for the economics, the logistics, the business, fit, branding, pricing. And that's how we started off on like taking the first step.   Sam: I think also at that point in time this is like 2015, 2016, right, I think matcha was just beginning to get popular in the US. So, yeah, that's when I think the craze started, right. So I think we were also at like the right time in the right place and we realized that, you know, we could marry like our interests and the market opportunity in front of us, and that's how we really landed on matcha.   Bradley Sutton: I don't have any matcha shirts or anything, but you mentioned like Japanese culture. So I got my Astro Boy jacket here. I got my old school Japanese Tokyo Giants hat here. You know, I used to live in Japan when I was younger and and that was why you know, like matcha is not exactly a natural thing for an American person to like, but I kind of liked it. Before it was cool and now, now, like you said, it's just like booming. Everybody's like, hey, matcha, you know you can go to Starbucks and get matcha, this and you can get matcha, and you know non Asian markets, which before it was different. So that was, you know, a little bit of foresight. Now, when you first started with the matcha, you know you had said, until then you were doing dabbling in other things, were you profitable on the Amazon side? Or, up to that point, you still hadn't made profit in the first year or so of your Amazon business.   Singchuen: We tended to search for products that were more profitable on the first sale. So in that sense, the first products that we went to more like glass cups, g-ports, things like that they were already profitable. So it's not as though, as we were dabbling in things that were really difficult to do, low priced or otherwise.   Bradley Sutton: Your first matcha product that you launched? Was that the one that was successful, or did it take a couple of tries before things really started taking off?   Sam: Well, I think it is still the first product that we launched, but what we had to do was tweak the formulation over the years several times and each time we're trying to improve it and fine tune it to better suit, like the feedback that we were getting. So it is the same product, it looks the same, but they're always like tweaks over the years and this kind of like helps build that, I guess, average review score. That goes up because, like you know, you're getting closer to what people like with each iteration.   Bradley Sutton: To find that like perfect blend and everything. You kind of mentioned it and I know this about your history. So can you talk a little bit about, like we just said, this wasn't something. Oh, let me find something in Alibaba, let me just put my sticker on it. How did you look for I don't even want to call it factories, but producers of matcha in Japan like we said, it's not on Alibaba and then talk about the long process of? Actually, I believe you would fly to Japan and meet different places and try things. Talk about that long process how long did it take and what were the steps involved in that.   Singchuen: At the start, we asked for samples from willing factories and once we tasted them and we realized that this was something that could be in a ball pack of what's considered as good tasting to the market, we would ask the supplier whether they are willing to sell us a certain volume of matcha. So there are several factories in Japan that do just green tea, and their idea was sort of branch out to selling matcha as well, because there was where the growing market was, and these were the factories that were more suitable for us to go into, and once we spoke to them their experience with matcha may not be the best at the point of time, mind you, but they were willing to work with us and over a period of time, once we let them know exactly what we're looking for and they were willing to tweak to our preferences, that's when we got a good fit and from then, as our volume started going up, more and more, various factories started.   Bradley Sutton: Until that part, though. How long was that? Were we talking a month? Were we talking multiple months?   Singchuen: No, that actually took quite a long time. I think about three years at least so around 2016 to 2019,. On the marketing side, Sam was trying to define a market fit, but on the supply side, we were just trying to make sure that factories produce what we needed and the trust and formulation. That takes a while.   Bradley Sutton: How can somebody have that kind of patience? That's very rare, not just in matcha industry, but just Amazon or business industry to have that kind of patience to you know to like, hey, I'm spending two or three years to get this right. Like, is that just in your nature or what's going on there?   Singchuen: To be fair, I think we were not so much in a hurry, just to share a little bit. Personally, it's a little bit more of we always wanted to get a business eventually, but the timeline wasn't so important. We weren't in a rush. Sam, as Sam has mentioned just now, both of us had decent careers, so we were optimizing on that front as well and we're happy to wait.   Bradley Sutton: Like you said, you still had your day jobs, you know, for a time. So it wasn't like you know, like you were about to go out of business and I think that's important. You know, like people sometimes just like, all right, I'm going to quit my job before they even have like a viable business and that's what you know. That's not going to allow somebody to have the patience. That's interesting. Now, at what point in this three years did you finally have like a product just start taking off? And was it just random, like it was just one day that it started going viral and never looked back? Or was this something where it was like, all right, you know, over a few months you were selling 10 units a day, then 15 units, then 20, was it a gradual thing? Or when did what? Was that moment where it's like, oh shoot, we got this right and this is going to take off.   Sam: Yeah, I think it was really like a gradual process. But that point for us, I think, when the old shoot moment, I think, was when we realized that, like the monthly sales for this Macha product alone was quite significant and this was enough to basically sustain ourselves, number one and number two provide a good base and recurring cash flow to kind of grow the business from there. Yeah, and this was really about, like you know, as I said, 2020, mid 2020, early to mid 2020, after COVID started, where we realized that, hey, this thing has snowballed into something quite significant. So it was really a gradual process.   Bradley Sutton: If you can recall either of you, what was your sales the year before, in 2019, when you were still just dabbling in Macha and maybe still had some of the other products?   Sam: I would say that it was like maybe like six figures a year, low six figures a year, and then, okay, yeah, we was at that point in time. We were, we were often optimistic about, about close to doubling each year. So that was, that was where we were at.   Bradley Sutton: And then. So at that point, obviously still working full time jobs. And then it was at 2020, when it took off, and then you quit in 2020, your jobs or you still, even though it started taking off, you still were working your full time.   Sam: I wouldn't say it took off right. It was just at that point in time with, like, the good momentum that like we know that there's some something to stand on. So that was when we decided, okay, time to go all in. And then we know that the product was ready. And then we started doubling down on marketing in order to kind of know that, you know, this optimized product is available to everyone. And then that's how we kind of grew from there.   Bradley Sutton: What kind of marketing? I mean, obviously Amazon PPC is part of it. Was that it or other things as well?   Sam: So we did try a bunch of things at first, but by the late by late 2020, we realized that Amazon advertising PPC mainly is that engine that's going to give us the growth for the next few years, because we realized that, like on a cost acquisition basis, like you just can't beat it.   Bradley Sutton: You said 2019, low six figures. What about 2020, that your first really good year. What did you end approximately with?   Sam: I think we were just under seven.   Bradley Sutton: And then how about 2021?   Sam: Yes, somewhere, seven.   Bradley Sutton: All right. So now it's like you guys knew you had something. It wasn't just a fluke, you know. You had some consistency. Do you mind if I show your product on screen right now? For those watching this on YouTube?   Sam: Oh yeah, go ahead.   Bradley Sutton: So let me pull it up here. Was this variation family here of the superior ceremonial blend it says here, was this like your first product that you got into?   Sam: Yes, it was.   Bradley Sutton: Okay, now I'm looking. Now it's like you know, according to Amazon, according to Helium 10, you are selling throughout this variation family here, thousands of units, multiple six figures per month, just with this, with this fam variation family. So this is the one that is your, your big seller. So I mean, if I'm looking at these numbers correctly, unless this is just a very nice month here, you're like what in the you know mid seven figures now, or higher?   Sam: I think that's fantastic yeah.   Bradley Sutton: Okay and explain this product. You know there's a lot I like matcha. I understand it, but there's a lot of people who might like think like what? Like? Do you just like dump this in tea or do you actually use it to cook something? Like what? Like? How in the world are you selling almost 10,000 units of this a month? Like, what are the people buying this to use?   Sam: Right, I think the way to look at this product is that it's a form of tea and in Japan it's enjoyed as a form of tea. Now in America it's usually enjoyed in a, in a form of a latte. So imagine you have a tea and then I think in some parts of the US, like milk tea is popular, right. So in the same way you can add milk to matcha and then you get a Matcha Latte. So because people find that coffee is not working for them for various reasons whether like they feel, like you know, nervous or anxiety after that they try to find something else, right. So matcha kind of ticks all the boxes because it's got a little bit of caffeine, so you don't feel that like that anxiety that you get with coffee sometimes, and also there are like amino acids inside that help you stay alert for a longer time. So that was kind of like the health food appeal of matcha. But that's, I think, why it got popular and that's why people drink it. So we also wanted to kind of share a bit of that Japanese heritage of matcha in our product, which is why it looks the way it does, because in Japan actually the traditional way of preparing it is to take like a teaspoon of the powder, add some water and then whisk it up with this bamboo whisk until it becomes like nice and froth.   Bradley Sutton: I see that here in your A plus, your premium A plus content, so I can see a little bit of that here. You're telling that story. Really great branding here, I like that.   Sam: So they whip it up into like this frothy little mixture and I guess if you could kind of relate it back to coffee culture, I would say like it's like a Matcha Americano. That's the way that they would drink it and that's the main way it's consumed in Japan.   Bradley Sutton: Okay, now you've got just a beautiful listing here. You know, looks like premium A plus content. You're educating people here. You have a frequently asked questions, and then obviously you've got some great pictures here where you've got infographics. You've got, you know, like kind of like a history lesson of matcha. You have pictures of it. I mean what else? Like you even show the origin. I think I saw somewhere there's like different cities where this comes from. Where is that here, here? It is here Like you're like oh hey, this one is from Kyoto, this one's from Fukuoka. You have the city. So like I'm assuming that I mean, did you start this from like day one such in depth like information here, or is this just gradually how you were able to kind of hone your branding?   Sam: I think we didn't know that it would take this form at the very start. We knew that, like you know, instinctively this is the branding angle that we want to work with. But as we grew with time we know we were reacting to what's happening in the market right and how we need to kind of distinguish our brand and our product from other people and to make sure that, even though, like, they like the product but they need to have like some visual reference to kind of like make that association, to know that like, oh okay, this is now Kimatcha and I like now Kimatcha.   Bradley Sutton: You know what I'm going to check something. Hold on, let me see, I'm actually gonna run Cerebro on one of your products. I'm curious, you know you mentioned, hey, people are actually searching for Naoki Matcha. I'm just curious, like, what kind of brand recognition you have. So I'm just running Cerebro on here on our YouTube and podcast version. We'll speed this up. Let's see here, because I have a feeling, you know you've been selling for a while now and you're doing so well that there are literally people who just search for your brand name. So let's take a look at how many people are searching for your brand name here. Hold on, all right, here in Cerebro I'm gonna put phrases containing Naoki and let's apply that filter and wow, there's 45 different keywords that have Naoki in it and with thousands of search volume a month. So people like know your brand. You know just Naoki Matcha by itself has 1200 search volume and there's 45 other versions that people are actually searching for. So I mean that's kind of like what the goal is. When you're selling on Amazon, hey, sure you want people to buy you on the generic searches, like you know, Matcha Tea or Matcha Powder or something. But you know you've kind of made it when there's actually search volume for your brand.   Bradley Sutton: You guys are getting, you know, using expensive you know matcha directly from the source in Japan. You know I'm sure there maybe are some competitors going like a cheaper route. Or maybe you know, like I'm just looking here in the search for Matcha Tea and I even see you know listings that are like $9, you know $9.95. And you guys are at like $40, $39. I see some that are, well, that's a different product, but like $7, you know $15. How can you guys stay at around the top? Like I'm looking at the BSR, you're like one of the top three in the whole Matcha category. Like some people think, oh, I have to. You know, like if cheaper sources come on, I'm just going to have to try and price match and then you know race to the bottom and I like to tell people no, no, no, there's ways to still succeed even at a higher price point. What's your guys secret where you can stay at this $40 price point and still make a lot of sales despite these cheaper alternatives coming into the market?   Sam: Well, I think it's all about getting people to try it once. And once the person tries it once, right, and then they compare it to like the cheaper one that they bought before they realize, like you know, the difference is like night and day, right. So what we want to do is to make sure that they realize that they're getting like a good price for this level of quality, and once that kind of barrier is unlocked and then they realize that, hey, actually, if I pay $25 for one ounce, right, I'm getting a lot more value if I'm paying $40 for like 3.5 ounces, so the $40 one actually becomes like a good idea, even though, like it's like four times whatever is available on. You know the results when you search for matcha.   Singchuen: Just to add on to that, the cheaper matcha products are by nature of how it's grown and how it's produced. It tastes incredibly different from how matcha products of a certain price level are like because of how much more expensive it is to produce. So matcha is actually in quite a bit of a supply crunch and so there is actually not that much matcha supply to go around at the higher quality price range. In that sense, because it's so expensive, it's not possible to match the quality level if you're to go below the price. So the market kind of like segmented itself in a way. So we, as Sam has just mentioned just now, as long as we are sort of value for the price that we are offering, it's good enough for us and that's how we managed to stay above the competition. If you notice that there are other competitors that are also doing well with high BSR and they are similarly high priced. But once you do the math you realize that in addition to our better tasting product our price per gram, if you want to put it that way it's still much better than our competitors.   Sam: It's pretty competitive still.   Bradley Sutton: What's the future hold? Now you actually have Naoki Matcha in the brand name. So if you just stay with this brand, you're kind of I don't want to say limited, but it's not like you can start selling something completely off the wall under this brand, like do you have are there still enough new kinds of variations and blends that you can come up with to keep this brand going? Or have you considered, like maybe we should start something completely different, like I start a new brand? Or what's your goal for growing the business?   Sam: Right. I think for this brand there's still some room for growth, because actually so far we haven't touched the whole products that deal with, like matcha accessories. We're just starting that this year and also there are different grades of matcha right. So honestly, we are really at like that middle to high kind of grade, but we haven't really touched the other grade so far. So those are kind of like the growth opportunities that are available to us, yeah, but of course, once we hit there's a ceiling for category, once we hit that, yeah, I think you do have to choose another brand.   Bradley Sutton: Obviously, Amazon USA is your main market. Are you selling on other Amazon marketplaces? If so, which? And then also other marketplaces at all, like Walmart, Shopify or other websites?   Singchuen: We are in the UK. We're selling the exact same brand in the UK as well. It's sort of like an offshoot. We started it because some fans who have tasted it in America have gone back to the UK and so they are wondering why aren't you in the UK? So we decided to launch it over there as well, and so far the growth is okay, but not as high as in America, obviously, and in Singapore. We are on e-commerce platforms as well, and I'm not too sure we can confidently say this, but we are in the top few brands on those platforms selling decently well too.   Bradley Sutton: You know, talk about some specific strategies that you guys think have helped you get to where you are, because it's not just like I mean somebody could spend 10 years and develop like the most perfect, pure form of matcha known to mankind in history and it's meaningless, you know, without the strategy that is going to get it in front of people. So what are some of the things that set you apart from maybe the 10 other matcha people who maybe have started and gone out of business, you know, because they didn't have your strategy? What do you think set you apart from others?   Sam: Well, I think a handful of things. The first one is okay, so I think you can use. You can rely on Amazon PPC. You can look at your search term impression share reports. You can look at your keyword ranking and all that kind of stuff and that will help you in the short run. But honestly, the thing that really helped us the most was patience and making sure that your product is on a sensory level it's actually good and people like it. Once you have those two things covered, then you know you just need to get people to try to get them to tell their friends, and then, like people, their friends who are interested in matcha will buy, and then they are buying again and then this whole thing kind of grows by itself. Your PPC and all of these other tools that you have are really just like fuel that you add to this engine   Singchuen: And on the other side of things is obviously you kind of need to make sure that you treat your supplier well as well. Make sure that they understand what you're going through and make sure that you try to understand what they're going through. If language is a barrier, hire an interpreter, right, it's not too difficult. Decency goes both ways. So you may be pressed, but you got to recognize that the factories themselves, they, are pressed as well. So working together for compromise, understanding each other and not drawing too much, just to be a little bit more understanding towards each other, goes a long way. I think what tends to happen is that if you're not patient, as Sam has mentioned, you may cut off communications with factories that may help you in the future, and you don't want to do that.   Bradley Sutton: Now I'm looking, speaking of PPC, I'm looking at just what I see on Amazon and I see everything. I see sponsored product ASIN targeting campaigns right here on this one page I see you're targeting your own ASIN and sponsored display ad. I see sponsored brand ads in the search for Matcha tea. I saw sponsored brand video, regular sponsored products. So you guys are just like going all out with all the different kinds of PPC that Amazon provides. Any one of those, like you think, has performed better for you or gives you the best ROI, or is it kind of just kind of even across the board?   Sam: Well, I think at the start sponsored products perform very well, but as you get more and more ad types and different you know SV, SD, SP you mix that in. You have some DSP thrown in. The attribution for which ad actually did the sale for you gets a bit more tricky.   Bradley Sutton: That's true. That's true, yeah, because you know. But the good thing about that is you're just your top of mind because you're advertising everywhere you can. You know, like sure, maybe you don't know exactly what got the attribution, but the point is you have such a big share of voice you know, potentially, maybe compared to your competitors, that you're your top of mind for your, for your customers. Okay, so PPC is important for what's on Amazon. I'm sure you use Amazon data points as well. What about Helium 10? What's your favorite tool in Helium 10 and how has it helped you?   Sam: I think, honestly, the keyword coverage and Cerebro is still like my favorite tool. I've been using it since like 2017, when it first launched.   Singchuen: As you use, you search on Amazon and you search on other platforms take a look at how Helium 10's are like compared to others. You always use that. There's a certain sense that Helium 10's information is letting you after it. It's more of a sense. I can't really explain it, and then that really goes a long way, I think.   Bradley Sutton: Now for either of you. If there was something on your wish list for Helium 10, like, like something, maybe we don't do right now, you're like, wow, it would be so cool if Helium 10 could do this. Here's your chance to tell me what is on the matcha bros top wish list, for what Helium 10 can help now give matcha with?   Sam: Right. So I think my number one wish list would be cohort analytics. So if, for example, I can see in January how many new customers are acquired and how much, and how much of that repeat over the next 12, 24, 36 months, that would be awesome. I don't think there's none of the big analytics platforms do this. There are some specialized ones that do it that we subscribe to, but they're expensive and I'm pretty sure that you guys can do a better job.   Bradley Sutton: Awesome, awesome. Now my last question is just, you know, you guys have reached this level of success, selling millions of dollars. Obviously you two are working together. How many people total does it take to run the Naoki Matcha machine? You know like, are you guys doing 100% of the work? Do you have virtual assistants? Do you have, you know, in Singapore staff? How many people does it take to run your business?   Singchuen: Right now we are actually quite an entity, Sam, as I'm sure you can tell from this conversation. Sam does most of the marketing and I do more of the supply side operations kind of activities. So in total we have about five people running the entire business.   Bradley Sutton: Well, this has been very enlightening. I've you know, despite knowing about you guys, almost 95% of this I think was completely new information to me and obviously new to our audience. It's great to see this success story. I love matcha, so I'm going to have to purchase your, your product, and make some. I'll be your influencer. Make some matcha, some kind of matcha. Let's see I'm going to. I wanted to make a matcha flan flan like a. I don't know if you guys know what that is. That's like a Mexican dish. So that's, I'm going to make something and then it's going to go viral on TikTok and make you guys another few million dollars just for me.   Singchuen: Thank you for your support.   Bradley Sutton: You could take me out to dinner   Sam: Yeah. Thank you and looking forward to that.   Bradley Sutton: Thank you so much for coming on, and let's have you guys back on the podcast in 2025 and let's see how you guys have grown at that time.  

On this episode, we continue our rewatch of Game of Thrones with season 7, episode 2. Arya takes the road less traveled, Jon makes an announcement, Samwell saves a life.

Sam and the men vying for Lord Commander of the Night's Watch attend an audience with King Stannis. Stannis wants a Lord Commander chosen tonight. Sam hatches a plan to consolidate the votes between the leading contenders. Both men agree a new candidate might suffice. Sam knows just the guy. Simon and Mackelly pick up what he's putting down.Chapter Review:Samwell Tarly assists Maester Aemon to a summons by King Stannis Baratheon. They are accompanied by the current vote-getters for Lord Commander of the Night's Watch. King Stannis has had enough of waiting for the brothers to agree on a leader. He wants this wrapped up today. When Janos Slynt suggests King Stannis offer guidance to the brothers, Stannis says anybody but Janos should suffice.King Stannis has other needs from the Night's Watch, and the Lord Commander should have a say in the matter. He wants the Gift and the abandoned castles. The brothers don't take this news well. Stannis says he needs to rebuild the castles to garrison a force to stop the Others' attack.Before leaving, Maester Aemon asks to “see” Lightbringer. Sam describes the beautifully glowing sword to the blind maester. Afterward, Aemon finds it odd the sword gave off no heat. Later, Sam hatches a plan to stop Slynt from being voted Lord Commander. He asks Cotter Pyke to back Ser Deny Mallister. Pyke has no interest. Sam asks Ser Denys to back Pyke. Again, no interest. Sam suggests a different candidate. To Ser Denys he touts the mystery brother as well-educated, from old blood, castle trained, and highly trusted. To Pyke he describes the man as a good fighter but a bastard. Both men agree this unnamed candidate has potential.Characters/Places/Names/Events:Samwell Tarly - Brother of the Night's Watch, friend to John Snow. Slayer of an Other.Stannis Baratheon - Lord of Dragonstone, rightful King of the Seven Kingdoms.Denys Mallister - Commander of the Shadow Tower.Cotter Pyke - Commander of Eastwatch-by-the-Sea.Janos Slynt - New recruit to the Night's Watch. Formerly commander of the Gold Cloaks in King's Landing and briefly Lord of Harrenhal.Maester Aemon - 100 year-old maester of the Night's Watch. The Gift - The lands south of the Wall that are owned by the Night's Watch. Support the showSupport us: Buy from our store Buy us a Cup of Arbor Gold, or become a sustainer and receive cool perks Donate to our cause Use our exclusive URL for a free 30-day trial of Audible Buy or gift Marriott Bonvoy points through our affiliate link Rate and review us at Apple Podcasts, Spotify, podchaser.com, and elsewhere.Find us on social media: Discord Twitter @GhostsHarrenhal Facebook Instagram YouTube All Music credits to Ross Bugden:INSTAGRAM! : https://instagram.com/rossbugden/ (rossbugden) TWITTER! : https://twitter.com/RossBugden (@rossbugden) YOUTUBE! : https://www.youtube.com/wa...

Programa 3x19 de "La Canción Continúa", podcast dedicado a la relectura de Canción de Hielo y Fuego y análisis de House of the Dragon (La Casa del Dragón). Esta semana analizamos el primer capítulo de Samwell Tarly en Tormenta de Espadas, en el que el joven miembro de la Guardia de la Noche huye, junto con el resto de los supervivientes, de la masacre del Puño de los Primeros Hombres. Quedándose rezagado con Grenn y Paul el Pequeño, un Otro aparece ante ellos. Las ilustraciones de las miniaturas de los podcasts de relectura son obra de Andrea Angla, a la que podéis encontrar también en su podcast @senpaiyco ¡Descubre nuestro Patreon! https://www.patreon.com/lacancioncontinua Síguenos en: Instagram https://bit.ly/33DkuVI​​​​​​​​​​​ Twitter https://bit.ly/2Uxre38​​​​​​​​​​​ Facebook https://bit.ly/3bnz9XV​​​​​​​​​​ TikTok https://www.tiktok.com/@lacancioncontinuapod ¡También estamos en la plataforma morada! https://www.twitch.tv/lacancioncontinua ¡Mira nuestras camisetas en La Tostadora! https://www.latostadora.com/lacancioncontinuapod Puedes escucharnos también en iVoox https://bit.ly/2J7JlYv​​​​​​​​​​​ Spotify https://spoti.fi/3dweXok​​​​​​​​​​​ Apple Podcasts/iTunes https://apple.co/2Jo65mU​​​​​​​​​​​ Conviértete en miembro de este canal para disfrutar de ventajas: https://www.youtube.com/channel/UC9qd9hxlw3MtLNJDIXlrSgg/join

Sam and Gilly have made to Castle Black. Gilly has taken on a second baby to feed. Sam has a crafty idea to ensure Gilly and son are cared for. Janos Slynt is making waves in the vote for Lord Commander. Mackelly and Simon consider voter fraud to keep Slynt out of the top spot.Chapter Review:Samwell Tarly, Gilly, and Gilly's baby have finally made it to Castle Black. Gilly has begun feeding Mance and Dalla's newborn son. Dalla's sister Val has heard that Melasandre plans to burn Mance and asks that he be allowed to see his son first. Jon Snow says he'll ask.Later, Jon asks Sam about his feelings for Gilly. Sam says he knows there's no future for them but tells Jon of a plan to send Gilly and the baby to Sam's mother at Horn Hill. Sam will lie and say that the boy is his. Jon thinks it could work, but it depends on the type of man the boy grows up to be. It is killing Sam to keep a secret from Jon. Sam knows that Bran is alive but swore multiple times not to reveal it, and he holds true to his word.That night the men vote on a new Lord Commander. Nobody is close to the two-thirds vote necessary to win. Denys Mallister and Cotter Pyke are the front-runners but Janos Slynt continues to climb in the voting. Sam knows that if Mallister and Pyke could agree on only one of the men running, they'd be very close to having the numbers. However, Sam is too craven to raise the idea to his superiors.Characters/Places/Names/Events:Samwell Tarly - Brother of the Night's Watch, friend to John Snow. Slayer of Others.Gilly - Wildling daughter/wife of Craster.Jon Snow - Bastard son of Ned Stark. Member of the Night's Watch.Stannis Baratheon - Lord of Dragonstone, rightful King of the Seven Kingdoms.Denys Mallister - Commander of the Shadow Tower.Cotter Pyke - Commander of Eastwatch-by-the-Sea.Janos Slynt - New recruit to the Night's Watch. Formerly commander of the Gold Cloaks in King's Landing and briefly Lord of Harrenhal.Mance Rayder - The King Beyond the Wall, a former brother of the Night's Watch.Val - Sister to Mance's woman Dalla.We've got four new sustainer tiers on our Buy Me a Coffee site. Something for every budget and level of interest. Check it out! Support the showSupport us: Buy from our store Buy us a Cup of Arbor Gold, or become a sustainer and receive cool perks Donate to our cause Use our exclusive URL for a free 30-day trial of Audible Buy or gift Marriott Bonvoy points through our affiliate link Rate and review us at Apple Podcasts, Spotify, podchaser.com, and elsewhere.Find us on social media: Discord Twitter @GhostsHarrenhal Facebook Instagram YouTube All Music credits to Ross Bugden:INSTAGRAM! : https://instagram.com/rossbugden/ (rossbugden) TWITTER! : https://twitter.com/RossBugden (@rossbugden) YOUTUBE! : https://www.youtube.com/wa...

Hello hello! Today I've got for you another between-season bonus episode. This time we're breaking format to talk about i know the end, a module I published earlier this year about going back home after a long time away and all the horrors that entails. Because if you can't occasionally publish something self-indulgent in your podcast feed, what's even the point of having one?My cohost for this is my friend Nico MacDougall, the current organizer of The Awards, who edited i know the end and had almost as much to say about it as I did.For maximum understanding of this episode, you can pick up a free copy of the module here and follow along (or skim it in advance).Further reading:The original i know the end cover artThe “oops all PBTA moves” version of i know the endThree of my short filmsMy previous written designer commentaries on Space Train Space Heist and CouriersJohn Harper talking with Andrew Gillis about the origins of Blades in the DarkThe official designer commentary podcasts for Spire and HeartAaron Lim's An Altogether Different River, which comes with a designer commentary versionCamera Lucida by Roland Barthes, a photography theory book that we talked about during recording but which I later cut because I remembered most of the details about it incorrectlyWhat Is Risograph Printing, another topic cut from the final recording because I got basically everything about it wrong while recording (the background texture of the module is a risograph printed texture)Before Sunrise by Richard LinklaterQuestionable Content by Jeph JacquesSocials:Nico's carrd page, which includes links to their socials, editing rates, and The Awards.Sam on Bluesky, Twitter, dice.camp, and itch.The Dice Exploder logo was designed by sporgory, and our theme song is Sunset Bridge by Purely Grey.Join the Dice Exploder Discord to talk about the show!Transcript:Sam: Hello and welcome to Dice Exploder. Normally each week we take a tabletop RPG mechanic, bait our lines with it, and cast them out to see, to see what we can catch. But you hear that different intro music? That means this episode I'm doing something much more self indulgent, a designer commentary on a module I released earlier this year called I Know the End.And just a heads up here at the top, to get the most out of this, you probably want to have at least read through the module in question before, or as, you're listening. I threw a bunch of free copies up on itch for exactly this purpose, so feel free to go run and grab one. I'll wait.Anyway, I love designer commentaries. You can find a few of my old written ones, as well as links to a few of my favorites from other people, in the show notes. But I wanted to try releasing one as a podcast, because one, that sounds fun, and two, what's the point of having a podcast feed if you can't be ridiculously self indulgent in it on occasion?And I picked I Know The End to talk about because it is... weird. I don't know. It's weird. I describe it on itch as a short scenario about returning home and all the horrors that entails. But you'll hear us take issue with, I don't know, maybe every word in that sentence over the course of this commentary. It was a strange experience to make this thing, and I figured that might be interesting to hear about.It was also the first time I ever worked with an editor Nico MacDougall my friend and the organizer behind The Awards since 2023. Nico was excellent to work with and you can find their rates and such in the show notes and they are with me today to talk through this thing in excruciating detail as you probably noticed from the runtime we had a lot to say. Definitely contracted two guys on a podcast disease. Anyway, I hope you enjoy this. But regardless, I'd love to hear what you think of it. Should I do more? Never again? Want to organize the Dice Exploder Game Jam we mused about doing at the end of this? Hit me up! I'd love to hear from you. And now, here is myself, I guess, and Nico MacDougall, with a full designer's commentary on I Know The End.Nico: Well, Sam, thanks for being here on your podcast to discuss your... adventure.Sam: You're welcome.Nico: Yes.Sam: for having me.Nico: Very first question is adventure: is that really, like, the right term for this?Sam: Are we really starting here? Like, I, I don't know. I, I feel like I got, I really went into this thing with true intentions to write a proper module, you know? Like I was thinking about OSR style play for like the first time in my life, and like, we were both coming out of the awards 2022 judging, and a lot of the submissions for 2022 the Awards were modules. I thought that was great but it really was sort of like opening the floodgates of this style of play that I knew basically nothing about. And, at the same time that we were reading through all 200 submissions for the awards, I was also reading Marcia B's list of 100 OSR blog posts of some influence.And so I was really drinking from the fire hose of this style of play, and also, I wasn't playing any of it. Like, I was experimenting with Trophy Gold a little bit, which is this story game that is designed to try to play OSR modules and dungeons as, like, a story game kind of experience. And I was kind of figuring out how it works and like how I wanted to run it and how to make it go And Joe DeSimone, who was running the awards at the time was just encouraging everyone to make weirder shit and like, that was his ethos and those were the people that he got to submit to the awards. Like, it was just the weirdest stuff that I had ever read in the RPG space and... That's probably a lie. There's some weird stuff out there.It was just like so much weird stuff. It was like stuff on the bleeding edge of a whole side of the hobby that I didn't participate in in the first place. My intro to this part of the hobby was the bleeding edge of it. And I was like, alright, I, I just wanna make something there, I wanna try playing around there and see what happens.And Joe tweeted out the tweet was like, Now we're all making modules based on songs that make us cry. And I was listening to the Phoebe Bridgers album Punisher on loop at the time to inspire a screenplay I was working on. And the last track is called I Know the End, and just ends with this, primal scream.And it was, it was a hard fall for me, at the time. And the primal scream felt really cathartic. And I was spending a lot of time in the, small town where I grew up. And, this horror monster idea of a town that is, itself, an entity and like is a whole monster, and like, what does that mean exactly? I don't know, but intuitively, I like, understand it, and we're just gonna kind of drive... towards my intuitive understanding of what this thing is supposed to be. I just decided to do that and see what happened. And did that give us an adventure in the end? I don't know. Did that give us a 32 page long bestiary entry in the form of a module? Like, that sounds closer to right to me, but also, taxonomies are a lie and foolish anyways.I don't know, I made a weird thing, here it is. Nico: Yeah. So I was scrolling back in our, in our conversation to where you first shared this with me, and I... I would like to share with the audience the text that accompanied it. It was the Google Doc, and then it said, This might be completely unplayable, it might actually be a short story, or, like, a movie, but I'm gonna publish it anyway, and, you know... If that isn't exactly it, like...Sam: Yeah I like that stuff. I don't know, another thing I've been thinking about a lot this fall is writing by stream of consciousness. Like, I realized that I don't have a lot of confidence in any of my work that I feel like I created quickly. Like, the RPG thing I'm most well known for, I think, is Doskvol Breathes, which I just pumped out in an afternoon. It was just a thought that I had on a whim about how you might play blades in the dark maybe. And I finished it and then I released it and people were like, this is amazing. And I still get complimented on it all the time. I'm still really proud of it, but it, I don't have any confidence in it because it came so quickly.And, like, I know that this is something I need to, like, talk about in therapy, you know, about, like, It's not real art unless I worked on it for six months straight, like, really worked my ass off. But this process, I sort of looked back over my career as a screenwriter, as a short filmmaker, as a game designer, and started realizing just how many of my favorite things that I've made came from exactly that process of the whole idea kind of coming together all at once in like one sitting. And even if it then took like a bunch of months of like refining like it's wild to me How much of my favorite work was created by following my intuition, and then just leaving it be afterwards.Nico: Yeah, I actually did want to ask about the similarity between your, like, process for TTRPG design versus screenwriting, cause... While I have read, you know, edited this, but also, like, read your your game design work and know relatively well your thoughts on, like, you know, just game design sort of theory and stuff in general, I have never read any, like, screenwriting stuff that you've done. Although, lord knows I hope to see it someday. Sam: Well, listen, if anyone listening to this wants to read my screenplays, I'm on Discord. You can find me and I'll happily share them all. My old short films are largely available on the internet, too. You know, maybe I'll link a couple in the show notes.Nico: oh yeah,Sam: But I I think of my process for screenwriting as really, really structural.Like, I, I'm a person who really came out of needing a plot and needing to know what happens in a story, and to really especially need to know the ending of a story so I know kind of what I'm going towards as I'm writing the thing. I outline like really extensively before I write feature or a pilot, like there's so much planning you have to do, I think it is really, really hard to write any kind of screenplay and not have to revise it over and over and over again, or at least like plan really carefully ahead of time and like really think about all the details, revise a lot, run it by a lot of people for feedback over and over. But especially for me that, that having an ending, like a target in mind when I'm writing is so important. I just don't know how to do it without that.Except occasionally when I get some sort of idea like this one where I have a feeling of vibe and I just start writing that thing and then eventually it's done. And I, I've never had that happen for a feature film screenplay or like a TV pilot kind of screenplay.But I have had a couple of short films come together that way where I don't know what the thing is, I just know what I am writing right now, and then it's done, and then I go make it. And I I don't know why that happens sometimes. Nico: Yeah, I mean I would imagine length plays a factor in it, right? Like a short film, or, I mean, gosh, how many pages did I know the end, end, end up being? Sam: 36. Nico: But I find that really fascinating that, too, that you say that when you're screenwriting, you have to have it really structural, really outlined, an end specifically in mind, when, to me, that almost feels like, well, not the outlining part, but having an end in mind feels almost antithetical to even the idea of, like, game design, or, I guess, TTRPG design, right?Even the most sort of relatively pre structured, Eat the Reich, Yazeeba's Bed and Breakfast, like, Lady Blackbird games, where the characters are pretty well defined before any human player starts interacting with them, you can never know how it's going to end. And it's kind of almost against the idea of the game or the, the sort of art form as a whole to really know that.Even games that are play to lose, like, there are many games now where it's like, you will die at the end. And it's like, okay, but like, that's not really the actual end. Like, sure, it's technically the end, but it's like, we have no idea what's gonna be the moment right before that, or the moment before that. As opposed to screenwriting Sam: yeah, it's a, it's a really different medium. I still think my need to have a target in mind is something that is really true about my game design process too.Like the other game that I'm well known for, well known for being relative here, but is Space Train Space Heist, where I was like, I have a very clear goal, I want to run a Blades in the Dark as a one shot at Games on Demand in a two hour slot. And Blades in the Dark is not a game that is built to do that well, so I want to make a game that is built to do that well, but like, captures everything about the one shot Blades in the Dark experience that I think is good and fun .And that may not be a sort of thematic statement kind of ending, like that's what I'm kind of looking for when I'm writing a screenplay, but that is a clear goal for a design of a game.Nico: Yeah. even In the context of I know the end, and to start talking a little bit about my role in this as well, as, as the editor, I think the point of view, the vibe, the, like, desired sort of aesthetic end point Was very clear from the start, from the jump. And I think that in many ways sort of substitutes for knowing the end of the story in your screenwriting process.So that really helped when I was editing it by focusing on like, okay, here's the pitch. How can I help sort of whittle it down or enhance it or change stuff in order to help realize that goal.And sometimes it kind of surprises me even, like, how much my games shift and change as they reach that goal. Like, sometimes you can, like, look back at old versions of it, and you're like, wow, so little of this is still present. But, like, you can see the throughline, very sort of Ship of Theseus, right? Like, you're like, wow, everything has been replaced, and yet, it's, like, still the thing that I wanted to end up at.Sam: Yeah, another thing that is, I think, more true of my screenwriting process than my game design process is how very common that in the middle of the process I will have to step back and take stock of what was I trying to do again? Like, what was my original goal? I've gotten all these notes from a lot of different people and, like, I've done a lot of work and I've found stuff that I like.And what was I trying to do? Like, I have, all this material on the table now, I have, like, clay on the wheel, and, like, I just gotta step back and take a break and refocus on, like, what are we trying to do. I Think it's really important to be able to do that in any creative process.To Tie together a couple of threads that we've talked about here, talked at the beginning of this about how much this felt like a stream of consciousness project for me, that I really just like, dumped this out and then like, let it rip.But also, I mean, this was my first time working with an editor, and I think you did a lot of work on this to make it way better, like really polish it up and make those edges the kind of pointy that they wanted to be, that this game really called for. And that makes this, in some ways, both a really unstructured process for me, and then a really structured process, and... I don't know what to make of that. I think there's something cool about having both of those components involved in a process. Nico: Yeah, it is. I I very much agree that like, yeah, most of my sort of design stuff have, has proceeded very much the same way of just kind of like sporadically working on it, changing stuff, like revamping it, whatever. And it's like, it's sort of, yeah, in a constant state of fluxx up until the moment where I'm like, okay, I guess it's done now.What I was gonna say, I was gonna jump back just a point or two which is you mentioned Clayton Notestein's Explorer's Design Jam. And I was curious, like, what was your experience, like, using that design template? Sam: Yeah I really enjoyed it, I really had a good time with it. I had already gotten really comfortable with InDesign just teaching myself during lockdown. Like, that's what I did for 2020, was I, like, laid out a bunch of games myself and they all looked like shit, but they all taught me how to use InDesign as a program.And I think templates are really, really valuable. Like it's so much easier to reconfigure the guts of another template than it is to create something from scratch.And I like Clayton's template. I think it's nice and clean. I think you can see in all the publications that have come out using Clayton's template, how recognizable it is. How little most people stray from the bones of it, and on the one hand, I think it's amazing that you can just use the template and go really quickly and like, get something out.And also I just want to push on it a little bit more. I want something, like the template is designed to be a template. It is not a suit tailored to whatever your particular project is. But also, I think if I had tried to lay this out without a template, it would look substantially worse, and there are a few notable breaks here and there that I, you know, I enjoyed experimenting with. I like the use of the comments column for little artwork. I think that was a nice little innovation that I added.And, you know, I didn't write this originally to have that sort of commentary column as a part of it. Like, all of the text was just in the main body of it. And I like the way it turned out to have that sort of, like, director's commentary thing hanging out in the wings. lot of people have talked about how much they like that in Clayton's template. so I, I don't know, like I, think that on the one hand a template really opens up a lot of possibilities for a lot of people and really opened up a lot of possibilities for me, and on the other hand I do still look at it and I see the template And I'm like, I hope this doesn't look too much like every other person whoNico: Right, right. I mean, that is definitely the difficulty of providing those kinds of tools, because like, it makes it very easy to make things especially if you're sort of just getting started, or if you don't have a lot of confidence or familiarity with it inDesign or anything like that. But ultimately, I feel like Clayton himself would say that the Explorer's Design Template is not intended to be, like, the final template, right? It's intended to be, like, a tool that you can use to varying effects, right?Yeah, I was thinking about it when I was going through this earlier, and I was like, Oh, yeah, like, you only use the comments, column a few times, and then I literally only realized maybe five minutes before you said it, I was like, oh, wait, all the little artwork is also in that little column thing, like you just said, and I was like, oh, that's like, that's actually a really cool way to use the template, because that space is already provided if you include that column, but just because you have the column that's, you know, quote unquote, intended for commentary, doesn't mean you have to use it for commentary, doesn't mean you have to put text in there.Sam: Yeah, you definitely like learn a lot of stuff about the guts of the thing as you start playing with it.Nico: Yeah. is probably getting on the level of, like, pretty pointless, sort of what ifs, but I'm curious... If Clayton hadn't done the Explorer's Design Template Jam, or if you had, for whatever reason, like, not been inspired to use that as the impetus to, like, make this and get it edited and laid out and published or whatever, like, Do you think you still would have tried to use that template, or would you have just tried to lay it out yourself, like you've done in the past?Sam: Honestly, I think without the jam this wouldn't exist. I have like a long to do list of things at any given time, like creative projects I wanna on, youNico: Oh, yeah,Sam: know? And the thing that brought this to the top of that to do list was just wanting to have something to submit into that jam. You know, I wanted to work with you as an editor. I Always want to clear something off the to do list. I always want to have some kind of creative project. And, I wanted to submit something to that jam, but I think if you took any one of those away, I might not have put the thing out at all. Nico: Yeah, that's really interesting. But I guess that's also, again, kind of what a good template or layout or just tool in general can help is actually get these things made. Sam: That's what a good jam can do, too, right? I mean, there's a reason the Golden Cobra contest is something that I love. It's like 40 new LARPs every year and they only exist because the Golden Cobra is throwing down the gauntlet.Nico: That's very true. Well, maybe it's time to move along to more practical concerns Sam: Maybe it's time to do the actual commentary part of this episodeWe've done the waxing philosophical part, butNico: we, yeah, checked off that Dice Exploder box. Now it's time to do the actual game talk.Sam: your bingo cards Nico: Yeah, Sam: Yeah, so let's start with the cover.Nico: Yes, the cover, which I only realized it was a teeth, that it was a mouth with teeth open when you said in the outline, ah yes, it's a mouth with teeth. And I looked at it and I was like... Oh my god, it is. Like,Sam: I did my job so well. I wanted it to be subtle, but I always like looked at it and was like it's so obviously teeth, I'm never gonna get this subtle enough. But I'm I'm glad to hear that I succeeded.Nico: I truly don't know what I thought it was before, but it definitely wasn't teeth.Sam: Yeah. Well, it started as I'll share this in the show notes. It started as this image. It was like a 6x9 layout, and, the teeth were still there, and it was like, all black, and the teeth were this much wider, gaping maw, like, inhuman, unhinged jaw kind of situation. And then, in the middle of it, was a, like, live laugh love kind of Airbnb sign with I Know The End on it. It was like the mouth, like, eating the sign.And I liked that. I felt like, the problem with that was that... As much as creepy, live, laugh, love sign is kind of the like, vibe of this, I didn't really want to bring in the like, kitsch of that at all, like, I felt like that kitschiness would hang over the whole thing if I made it the cover, and I mean, this whole thing is just about my own personal emotional repression, right? And my feelings about my small town that I'm from, andabout like, my ambition, and, exactly, yeah.But I, I write a lot, and I make a lot of art about emotional repression , and I think the particular vibe of this game's repression doesn't have space for irony, or satire, or like, Do you wanna live, laugh, love? Like, I don't know how else to put it. Like, it just felt really wrong.It was like, if you put that into the space at all, it's gonna curdle the whole feeling. Nico: it's about the framing of it. I, know that Spencer Campbell of Gila RPGs has written something about this on his blog. I don't remember specifically what the context is, but he's a psychologist by training and is talking about how, like, the way that you frame something matters a lot to how people respond to it, right?So you like, if you're framing it as like, oh, you have, twelve things and I take away six from you, versus like, oh, you have nothing and then you are given six things. It's like, both scenarios, you like, end up with six but Sam: One feels like a letdown and one feels great. Yeah,Nico: yeah, and so I think in his article he was talking about in the, yeah, you know, tying that into the game design context, obviously.And I think it matches here where like, sort of runs the risk of like, priming people to expect kitsch, and I don't think that that's really present in the rest of the game. And that kind of mismatched expectations could really, like, lead to some problems when people are trying to, like, play the game.Sam: Yeah, absolutely. Yeah, I mean this cover is just kind of like, oh. Like, it doesn't it doesn't really tell you much other than just like there's something back there that's maybe vaguely menacing, and that's kind of it. That's kind of Nico: Yeah.Sam: Alright, speaking of which can we, can we talk about my favorite interaction between the two of us as we were working on this?Nico: Oh, yeah, I was not sure how to bring that up. yes, please do. Now that we're moving on to... For everyone following along at home, we are proceeding to the credits page.Sam: The comment I got from you while you were editing this was, IDK if it would look different in print, but having the text so close to the edge of the page is activating my fight or flight response. And I just replied, working as intended.Nico: It yeah, I had the feeling, I think, even when I sent that, I was like, this, this is not like an accident. Like, like, like no one makes this like no one does this by accident. But, yes, truly, I hope that you are following along at home because I believe that Sam generously gave a whole bunch of community copies of this game, or made them available. Sam: I believe it was 42, 069 I'm usually doing some number like that. This game, I might have done a different number, but that's, the other games that I've done.Nico: So, but the text on this, for credits page specifically, it's truly, like, at the edge of the page. Like, it looks like it could be cut off. It's like, in print, it would be like, cut off by the process of actually like, making it. In fact, feels like if you try to send it to a printer, they could almost send it back and be like, you've gotta give us some space there. Like, you simply can't do that. There needs to be a gutter, or bleed, or whatever the term is. Like, Sam: I love it. maybe one day I will print this. Honestly, like if I become a super famous game designer or something, like, this is one of the ones that I Nico: screen, slash screenwriter.Sam: yeah, yeah. This is one of the ones I'd like to go back and hold in my hand, but I also I don't know, I just love it. I, I love designing for digital as, like, a primary thing, because I just feel like most people who play the thing are gonna play it out of digital.And I don't know if that's, like, the primary audience for a lot of modules. Like, I think there are a ton of people out there who just, like, buy the zine and hold the zine in their hand and probably never get around to playing it. But I, I love the digital. I've always loved the digital. I don't know, I just like making for it.Nico: Well I mean I was even thinking about it in the context of like, you know, how you talked about how you changed the aspect ratio, I was like thinking about that and I was like, I mean, it's not like that would be impossible to print, but like, most standard commercial printers operate in like, one of the more standard like, page sizes. Even the risograph you said is what it's called, right?Sam: The, the RISO. Yeah, I don't know if it's Rizzo or RISO, but I'm gonna sayNico: The RISO background also makes the, again, just from like a fully practical point of view, it's like you're adding color to the whole thing,Like there are many potential barriers to this as like a physical product that would, that are simply not there when you're designing for digital, so like, it is nice to have that sort of freedom, like, when you're thinking about how to lay this out or, or put stuff on here, it's like, you're freed from a lot of those practical considerations.Sam: There's a few other details I want to talk about on this page just kind of like references I'm making that are not obvious.So the first is that the header font and title font of I Know The End is a font that I ripped from Lilancholy, which is this amazing book by Snow, which is ostensibly a game, but but also a reflection on childhood and personal relationship to emotions and trauma.And I love the look of the font, but I also intentionally wanted to reference that game while I was making something that felt really personal in a similar vein. And another another reference here is that the color of the whole game, like this red, is pulled from the cover art for the Phoebe Bridgers album Punisher that I know the end is off of. I, I just found the, like, most saturated red pixel that I could on the album and was like, that's the color! I love hiding little references in every little detail that I can. Nico: Yeah, it's so interesting because I did not know any of that, you know, prior to this conversation or seeing that stuff on the outline. What did you sort of hope to achieve with those references, right? Because I can't imagine that you're plan was like, for someone to look at it and be like, oh my god, that's the Lilancholy font, and that's the Phoebe Bridgers album Sam: that's one pixel from that album cover.Yeah.What am I trying to achieve? I don't know, like there's, so the Paul Thomas Anderson movie Phantom Thread Is an amazing movie, and it's about Daniel Day Lewis being incredibly serious, scary Daniel Day Lewis, making dresses, being a tailor, and an element of the movie is that he hides his initials inside the dresses, like, when he's making them, he, like, sews his initials in.And that's a real thing that, that people did, and maybe it's just for him. It's also kind of an arrogant thing to do, you know, that all these, like, women are gonna be walking around wearing these dresses with, like, his initials kind of, like, carved, it's like this power thing. But my favorite part of it is that Phantom Thread is PT, also known as Paul Thomas Anderson.Nico: Ha Sam: And, like, like, I, I just feel like when you're doing that kind of thing, it's just, what an act, it's just so beautiful and arrogant and satisfying. Like I think doing that kind of little reference and joke for myself brings me into the mindset of what I am trying to convey with the game.Like, if I'm thinking in the detail of the font selection, what do I want to reference? What do I want to bring to this game? Then, I'm gonna be I'm gonna be thinking about that in every other choice I'm making for the game, too. And even if half of those choices end up being just for me, I will have been in the headspace to make the other half that are for everyone else, too.Nico: Mm hmm. Yeah. Yeah. like, You could almost even call these, like, Easter eggs, right?But it also made me think about, I had to look this up actually as you were talking, because I was like, about that, the CalArts classroom number that like all of the animators that studied there fit into like Pixar movies and stuff, like, A113, A113. And I think that's also sort of a good example of it in some ways, because it's like now, with the advent of the internet, and you know, and a certain way of engaging with media, like, everyone knows what that, what that means now, or they could if they just looked it up, or they just see some BuzzFeed, you know, article that's like, you know, 50 easter eggs that you missed in the latest Pixar movie.But yeah, it's like, it's very interesting because it kind of asks who is the movie for? What's the intended or imagined audience for all of these things? And it sort of shows that, like, you can have multiple audiences or multiple levels of engagement with the same audience, like, at the same time. Maybe, I would say, it's very unlikely that any random person would just like, look at the cover of I Know The End and be like, oh, that's the Lilancholy font, but,Sam: I have had someone say that to me, though. Yeah.Nico: but, so, what I was just gonna say is like, but I don't think it's hard to imagine that like, the type of person who would, who would buy, who would be interested in I Know The End or Lilancholy, I think there's a pretty decent chance that they would be interested in the other if they're interested in one of them, right?And so it is interesting as well, where it's like, I am often surprised by like the ability of people to sort of interpret or decipher things that far outweighs my sort of expectations of their ability to do so.If only just because I have the arrogance to be like, well no one could ever have a mind like mine. Like, no one could ever think in the specific bizarre way that I do. Then it's like actually a surprising number of people think in a very similar way. Sam: Another thing I think about with making these really, really tiny references, easter eggs, it's the, not making a decision is making a decision, right? CentrismNico: Oh,Sam: Like, if you have literally anything that you have not made a choice about with intention, that is a missed opportunity, I think.And... I have so much respect for people who will just pump something out, like, write a page of a game and, like, upload as a DocX to itch. Like, Aaron King is a genius, and I know a lot of games that are put out that way, and I love that stuff. But for me, like, the kind of art creation process that I enjoy and like doing is so based on finding meaning in every crevice, finding a way to express yourself in every detail. just love doing it.Nico: you are the English teacher that the, the curtains are blue meme is referencing, in fact.Sam: Yes.Nico: The curtains are blue in I Know The End because,Sam: Well, and I know the end they are red, but Nico: yes.Imagine that being the new version of the meme: the curtains in this are red because there's a Phoebe Bridgers album that has a single pixel that is that color.Sam: Yeah, I don't know. It's true, though.Nico: Exactly. it is in fact true. But so would, in some ways, any other interpretation of...Sam: Yeah.Nico: of the red color, right? It's like you picked it because of the association with the album cover. Someone else could be like, Oh, it means this otherthing. And like that interpretation is correct. Sam: Yeah, I mean, I also picked it because of its association with blood, you know, like I, I wanted to kind of evoke that feeling too, so.Shall we do the table of contents? HehNico: Yeah, absolutely. I mean, I think the most interesting thing to talk about, and I want to know when this entered the sort of the design process, is the blacked out Table of Contents entry which corresponds to an almost entirely blacked out, or in this case, redded out,Sam: Yeah, Nico: messily redacted,part of, the book,Sam: Yeah, I think this was always there, I think I started writing a list of locations very early on, and on that list of locations was, like, I work in Google Docs to begin with for most of my stuff, and it was a bullet pointed numbered list, and the last list item was struck through, and it was your mom's house.And I just thought that was a funny little joke. It's like really dark? Another, just like a little detail, I have such a great relationship with my parents. Like really just a better relationship with my parents than anyone I know. And, so much of my art ends up with these like, really bad, fucked up relationships with parents, and I don't know what that's about.But, there's, there's something about, there's a piece of your hometown that is like so traumatic that you can't bring yourself to look at it. There's a piece of yourself, or your childhood, or like, where you came up, there's something from your origin story that you can't bear to face is a lot of what this is about. And even as the climax of this thing is I think in a lot of ways turning to face everything that you left behind.I mean the whole module is about that but I think fact that even when you are doing that, there's one piece of it that you can't bear to look at is really tragic and a mood to me. You know, it really felt right. Nico: it's sort of like, yeah, I'm finally gonna stand my ground and face my fear, or whatever, except for that thing. That thing, that part over there, for whatever reason, because I'm actually just very afraid of it. It really, as always, is sort of like the exceptions to the rule make the rule, or emphasize the rule. You're kind of carving out the negative space around it. And it makes it clearer in so. so Well, Yeah, so like, then the first thing of the game text itself, so to speak, is like the front and back of a postcard. And where's the picture from? It looks kind of old timey in a sort of non specific way.Sam: It's from Wikimedia Commons, I believe. I was looking for pictures of old postcards, and I wanted a small town, and, this is what I found.The postcard image is actually like a hell of a photo bash too. The stamp on it is from a real postcard I received from my cousin. The handwriting was me on just like a piece of paper that I scanned, and then the postcard is another like open source postcard image.Nico: Yeah. I am, once again, sort of showing, showing a lot of my bias here. I am often kind of against a lot of little, like, accessories, or sort of, like, physical things that are often part of crowdfunding, like, stretch goals, you know, like, it's, I don't know. I don't think it's, like, ontologically evil or anything like that, it's just, I understand, it's part of the reality of crowdfunding, and, like, attracting attention, and yada yada yada, I just personally don't love that reality. Which, of course, is easy to criticize when you're not part of a project is trying to do that, but that aside, I think it would actually genuinely be very cool to have, like, this postcard as, like, a physical object like, if the game were to be printed.Sam: You gonna make me like, handwrite every one of the postcards too? Cause that isNico: I did not say that. Oh, is that really? Well, but then, then you have it already, you can just print it off, like, or you make that the, like, I don't know, the hundred dollar stretch goal, you know, they back it at that level and then the postcard just appears inside their mailbox. Like,Sam: That wa that is creepy. I will tell you that,Nico: You say that as though it's happened to you before. You're like, well, let meSam: well, I'm not, I, I revealing nothing. How autobiographical is this? Nico: Yeah. so I guess, yeah, so getting, So this is the introduction page, the background, the introduction, giving the context to what this module, extended bestiary, what have you, what it is. My question here from a sort of meta perspective is like, how much are you trying to sort of give away at the start of this? How do you pitch this to , like to someone you know?Sam: that's a great question. I'm pretty proud of the execution here. I think I do a good job of, like, leaving some juicy hints here as to what might be going on without giving anything away. Like, the fact that I advertise this as maybe closer to a bestiary entry than a module, like, uh, what? Like, like you, you have an idea of what that means, but also like, where's the monster, what is the thing that I'm looking like, that is kind of planted in your mind in a way that I think is intriguing and sets expectations without giving the whole thing away.And, also, this is just me, like, trying to figure out how to describe this thing in real time as I'm writing. It really came from intuition. Nico: yeah. I know that, you know you're on, very much on record talking about how, you know, like, taxonomy is fake and, you know, et cetera, et cetera. Sam: As much as I love it.Nico: right, right, exactly, I mean, I feel the same way, but I, I am curious as to like if you were trying to sell someone on the idea of even just playing this game, like, how effective do you think it is of like communicating whatever this is, you know, like, is it effective to say it's kind of this, or it's not this, or maybe it's this, like, Sam: I think this is going to be really good at reaching the kind of person who will love this, and really bad at selling this to like a mass audience, you know? But luckily, I'm not trying to sell this to a mass audience. I'm like trying to make Joe Dissimone proud, you know? Like I'm trying to make like something as weird as fucking possible.and I think there's a kind of person who really appreciates that and this struggle to define what this is using existing terminology, I think is going to really appeal to the people who like this.Nico: yeah, I agree, I think it signposts well hey, you, there, like, look at this thing. Isn't that interesting. And if they're like, If they're like, no, that's confusing and I don't know what to do with it, and they go somewhere else, in some ways, it could be argued that that is like, working as intended, right, likeSam: I kind of find it interesting in the sidebar here to watch me sort of like struggle with how you're supposed to play this game, like what rule system are you supposed to use?I do think with some distance from this, the best way to experience this is as a solo game. Like to just read the thing but pause and journal about your character's experience as you sort of walk through it. I have started playing more solo games since I wrote this in preparation for a Season 3 episode of the show, and I think this would serve that experience really well.I considered even, like, rewriting this to be more of explicitly a solo experience, but I, ultimately was really happy leaving it in its sort of nebulous, provocative, what if, is this, what is this sort of state. Nico: Yeah. I would genuinely be interested to have like, the two of us play the game, like this game, like one running it, one as the player, because I don't necessarily disagree with what you said, might be better suited as a solo game, but I really do think that there is something that can be gained about, like being in a room with, like, one other person, or, you know, being on a call with one other person, or whatever and going through this,Sam: Yeah, yeah, I can feel the intensity of that as you describe it. And it sounds harrowing and... Amazing. I do, I do have this dream of like running a Mork Borg dungeon, like over the course of like three sessions, and then like taking one of the players who survives and being like, I've got another module that I think we should play with the same character. Nico: yeah. Anyways, you go home and you think you're safe, but actually, like, Sam: I do think that this as a response to OSR play is really an interesting way to try to play the game, like to Nico: just sort of experienceSam: Yeah, to try to take the kind of character that you would have coming out of that and the experience you would have coming out of that and then like get tossed into this, like that disorientation I think would serve this really well and would do something that I found I really like to do with the OSR kind of play of like finding ways to bring in more character stuff, to just have people to reflect on their person, rather than on the logistical problem solving.Nico: Mm hmm. Which, of course, in some ways also is like, I don't want to say direct contradiction, but like, moving perpendicular to a lot of the sort of OSR principles, rightSam: But yeah, I mean, fuck em. Nico: exactly, I mean, I'm not, saying that to discourage you from doing it, I'm just saying, like, I just think it's an interesting for those to come into sort of, conflict or, or whatever in, in that specific way.Sam: I mean, that's what the bleeding edge of something is all about, right? It's like, what are our principles? What if we throw them out? What does thatNico: Right, right. What if we smash things together that, like, should sort of repel each other like magnets? Like,Sam: Yeah.Nico: Let's move on to the town?Sam: Yeah. So this is the, like, GM spoiler page.Nico: Right.Sam: I don't know that I have a lot to say about this particular page. It's, it's the town. There are, like, two suggestions in the first chunk of this book that came from you that I think are really valuable to this. Like, the first is that the town is always capitalized throughout. Which I like sort of was doing, but you really emphasized, and I think was a great decision.And, the second is that there aren't any contractions in this book except for possessives. And, that was another suggestion that came from you, to have this sort of stilted, formal, slightly off kind of language of not having contractions, that I think serves it really well and is just really cool.Nico: Yeah, I have to give credit for that, to the Questionable Content webcomic, which is a webcomic that has been running forSam: God, is it still going?Nico: oh, it very much is still going, I, it updates Monday to Friday, and I, am reading, I am seated and reading,Sam: stopped reading that like a decade ago.Nico: It is officially 20 years old. It started in 2003.but so one of the characters in that she initially never uses contractions. It is always, it is, it is never, it's. Do not, not, don't, you know, is not, not, isn't and over time, as the character sort of gets more comfortable and starts to open up about her kind of mysterious past, and they'll deal with a lot of the sort of like, serious emotional turmoil that is present in the character, she like, starts to use contractions.And so, it's a specific device that is very weirdly ingrained in my head at this point, because I remember, like, realizing that when it was called out the first time, and then I will fess up and say I have re read the webcomic from the beginning several times. I have a lot of time on my hands sometimes. And it is always kind of a delight to go back to the beginning and see this character and to really notice that device because you know where she ends up and how much more comfortable she is and so to see that difference in the beginning makes it very effective on a reread in a way that is sort of present in the maybe subconscious the first time on the way through.Thank you. And I feel like it's similar here, not quite the same because I don't know if you would ever necessarily actively realize, like, oh, there are no sort of contractions here.Sam: and the town is never gonna stop being a entity of repression.Nico: Yeah, exactly. And so it's giving this like underlying anxiety kind of like,like, you're just like, Ooh, this is Sam: Yeah. It's like, what is going on? What's wrong with the language here?Nico: Yeah. And you might not even really be able to, articulate it because it's sort of hard to articulate the absence of somethingSam: And like, that's the feeling of the whole module. yeah, It's, it's just, it's a great decision. Nico: Yeah. And then of course, capitalizing town, you know, are you even really a game designer if you're not capitalizing some random words in Sam: yeah. gotta have one at least, come on.Sam: I will say I really enjoy the fact that I give no origin story for the town. I think that's also really powerful, of leaving a hole that people can fill in if they want.The mom repression stuff is kinda like that too, the like, the blacking out sharpie. Of like, that's a hole you could fill in in play if you wanted to, but I, I'm not going to. I'm gonna intentionally leave that hole there.Nico: It also is the kind of thing, right, of like, oh gosh, Nova was saying this in the Dice Exploder Discord recently, where like, part of the reason the OSR can be so sort of rules light and stripped down is because like, it is relying a lot on the sort of cultural script of like, what is a fantasy role playing game, or even just like a fantasy story in general, you know? What your knowledge of an OSR game is.And this, in a similar way, is sort of like, you know what a hometown is. Like, you know, I don't need to tell you what the backstory of this is, because you know what it's like to be from somewhere. Cause it's also worth saying, like, this game does not give any character creation instructions, right? I mean, actually, I guess that's not entirely true, because underneath the postcard, you know, it just says, A decade or more gone since you fled the small backwater town that spawned you.And it's like, yeah, that's basically all the sort of character creation information you need, like,Sam: yeah, yeah, like wait, gonna play yourself and you're gonna be sad about this, like uh, Nico: Right, or, like, or if you're not playing yourself, you are playing a person who's sad about it, like, you know, it's like, it's kind of all you really need, Sam: you have internalized the tone of this thing, like, your character is in ways the negative space of the voice of the text. Nico: Like, a weird relationship with your small hometown, we just don't need to spend very much, time covering that broad background. It's much better spent covering the specific, like, locations and people in this town that also sort of help to convey that, feeling, that information.Sam: Temptations and terrors?Nico: Yes, probably The closest thing to a system that is in here, inasmuch as it's taken roughly verbatim from Trophy Dark Sam: yeah, I do think it is notable that when I wrote this I had not played Trophy Dark, and Trophy Dark is the one where you definitely die,Nico: Right. Right. Sam: My intention was not that you would definitely die in this. I really want escape to be a big possibility at the end and so it's interesting that I went with Trophy Dark as, like, the obvious system.Yeah, I like these lists. This is just a lot of tone setting, basically, right? I don't have a lot to say about the details here. The first terror, a children's toy, damp in a gutter, is a reference to another song that makes me cry. The Rebecca Sugar song for Adventure Time, Everything Stays.But most of the rest of this is just, vibes. Here's some vibes. I don't know, I re read these lists and I was like, yeah, they're fine, great, next page. But I don't know, is there anything that stands out to you here?Nico: I mean, I think the most important thing about these lists, these kinds of things, you could maybe even sort of broaden this to like pick lists in general, is that, they kinda need to do two things, like they need to both give you a good solid list of things to pick from, if you're like, at a loss, or if you just are like, looking through it, and you're like, this is good, I want to use this.Or, the other purpose of using it is to have it sort of identify the space that you're playing in to the point where you can come up with your own thing that like, could just be the next entry on that list, right? For me at least, the whole point of like, buying a game is like, I want something that I like, can't essentially come up with by myself, you know? Because I like to be surprised, I like to be sort of challenged, I like to be inspired, and so I think a really good game is one that you sort of like, read it, and you're like, okay, like, there's great things to use in here that I'm excited to use. I also, after having read this, am coming up with my own ideas. Like, equally long, if not longer, list of things that like, fit into this perfectlySam: Bring the vibes of your small town. Nico: Yeah, exactly, that I could also use. It's like, and so it's like, it's kind of funny that like, for me at least, the mark of a good game is like oh yeah, you both want to use everything that's contained in it, and also you immediately get way more of your own ideas than you could ever use when you're running the game.Sam: Yeah. Next?Nico: Yes. Act 1. Sam: I love this little guy, I love Wes he's just kind of a pathetic little dude, and I feel sad for him.Nico: It's so funny, too, because this particular little guy, like, doesn't look very pathetic to me. Like, he looks like he's kind of doing okay. Sam: I definitely like drew, like all the art in the book I drew, and I did it by just drawing a lot of little heads, and then assigning them to people. Like, there were a couple where they were defining details about how the people looked, that I knew I needed to draw specifically. But in general, I just drew a bunch of heads and then doled them out, and like, this is the one that ended up on Wes. And, I think that the contrast between, like, in my mind, Wes is this skinny, lanky, little kid, you know, he's like early 20s, finally making it on his own, and he has no idea what the hell's going on with the world, and he always looked up to you, and he's finally getting out of town. And then he's, he's like overcompensating with the beard for the fact that he's like balding really early, and like, you know, he's, I don't know, like, I think the contrast is just fun.Nico: I love this whole life that you have for this, this little, this little guy, like, which is, I can't stress this enough, mostly not contained in the text,Sam: Yeah. yeah. I think a good NPC is like that. I think it's really hard to transcribe the characters we get in our heads.Nico: yeah, Sam: I really like the, the pun in the Town Crier, I mean like the Town Crier feels like a horror movie trope, like the old man who's gonna be like, You got don't go up to the cabin! But it's also, like I wrote that down first and then just started describing this Wes guy and then I was like I'm gonna just like make a pun out of this.This is something I did all the time while writing this, was I had, like, a little oracle going, actually, at a certain point, like, in the same way that you would in a solo game with an oracle. Like, if I was stuck for an idea, I would just roll on the oracle table and then, like, fill in a detail that was somehow related to the oracle. Nico: Mhm. Sam: That, that didn't happen here, but the idea of, Oh, I want a little bit more description for this guy, like, what should I do? I, like, pulled the word crier, and then was like, Oh, that's really interesting, like, when would this guy have cried? Like, oh, that's a great question, let's just, like, put that to the player. I'm always, like, a thing in screenwriting that is really hard to do, and that I'm always looking for is, like, really good, pithy character descriptions.Like, a friend of mine loves the one like, this is a woman who always orders fajitas at a Mexican restaurant because she loves the attention that she gets when the fajitas come out.She hates fajitas. And that description just says Nico: That's Sam: much. It's so good, right? And that one's even a little bit long for like a screenplay, but it'd be great for like an RPG thing, right?And something about like Here's a little bit about this guy. You remember when he was crying once, like a baby? What was the deal with that? Like, it's such a, like, defines everything else about him. Like, I, I, I'm really proud that.Nico: Yeah. No, that's, that's how I felt a little bit with I ran Vampire Cruise at Big Bad Con this year. And that game has some of, like, the best random NPC generating tables that I've, like, ever seen and played with.I remember one specifically, it was, like, I was like, rolling to generate a passenger, and I think it was like, the secrets part of the table, or something like that, and what I rolled was like, regrets that she never got to see the dinosaurs, and it's like, what does that mean?Like, like, Sam: She had a traumatic experience at a science museum as a kid, or maybe she's like 10 million years old, like, I don't...Nico: or, yeah, or she's just like a weirdo who like really loves dinosaurs? It's like, it's, Like, it really gives you sort of what you need to just sort of like, spin a world out of that specific detail. Sam: It's weird because I like completely agree with you, and you know, I was tooting my own horn about like this question about Wes sobbing and also like, in every single spread of this thing, I'm taking like two full pages to talk about like one or two NPCs, which is a terrible way to do the thing that we are talking about doing. Like,Nico: That is true, that is, it must be said,Sam: it makes it feel so much more like a short story, or maybe like a solo game, right? It's like, eh, spend two pages, like, getting to know this guy. Nico: who won't come up again, spoiler alert, Sam: Yeah, it feels like the right call for this thing where like, I mean it's like the text is forcing you to sit with the memory of this guy, it's like forcing you to come in and like spend more time than you would like to like back at home with these people.And there's some like location context built into all these descriptions too, and we like learn about the bakery thing here and like old stories and stuff. And like, already it's like, do we need that shit to run this game? Like, absolutely not, like, get, get out of the way, like, but also, I don't know, it feels right?And it's one of the things that makes all this weird and, you know, unrunnable.Nico: Which is of course the goal, we don't want people to run this. Yeah, no, that's something that I've thought about in my own games as well, is, is, and just sort of like, my life, I guess, is sort of like, what makes a place that place, you know, like, what makes a town a town, what makes a city a city, like, is it the people who live there? Is it the places? Like, again, kind of back to the sort of Ship of Theseus metaphor, it's like, if everyone you know leaves, and a lot of the stores turnover, like, is that still your hometown? Like... Does your relationship to it change?And so I, in defense of, of what we're doing here, it makes a lot of sense to spend so much time thinking about the people and the places that are here because that also basically is the game, right?Like, like, this is not a dungeon crawl, right? Like, this is not a hack and slash thing, It's not a dungeon crawl, like, Sam: it's a person crawl. Nico: Yeah, exactly, you're yeah, the point of you coming home is you're trying to find Sidra, the person who sent you this postcard, asking you to come home, and yeah, you're basically doing a point crawl, trying to find this person.And then there are various conditions that need to be in place for you to actually find them = And yeah, so it's like, using more words than a sort of your standard OSR like dungeon crawl or point crawl or whatever, or hex crawl, but like, it's kind of the same way where it's like, yeah, but like, that's the game, that's the adventure, like, Sam: yeah, yeah. Another detail here I'm really proud of is the like, offhand remark about how Wes and Sidra aren't talking for what are probably romantic reasons. Because the implication, there's like a strong implication that you, player, have some sort of romantic history with Sidra, like, whether it was ever consummated or not. And I love the just sort of, like, offhand, Wes and Sidra had a thing that didn't work out, because it both... leaves open your potential romantic relationship with Sidra, but also like complicates it and like darkens it from whatever sort of nostalgic quote unquote pure like memory of it you had.And I love that it just sort of brings a little complexity into what happens when you leave for 15 years. And then like what it feels like when you like, hear, oh yeah, your ex has been like, dating someone for a couple years. What were we talking about? Like just that, like sometimes like a bolt of like, information about like, someone from your past that like, you care a lot about will just hit you and you'll be like, oh, wait, what? And we're just I'm supposed to just like, take that and move on? Like, yeah, yeah, Nico: It's also a very small town, right, where it's a sort of like, oh yeah, passing reference to this because everyone knows this already, right? Like, this is old news as well as, like, in a small town, it's like, there's a small pool of people your age that you're interested in, so, not like you're gonna get with all of them inevitably, but it's like, yeah, there's a pretty high chance that you might.Last thing I did wanna say on this, do you wanna share what Wes's name was in the first draft of this that I received?Sam: What was it? I don't rememberNico: It was Glup Shitto. It was, it was one of the first comments I left! It was one of the first comments I left! I was like, Sam, you've gotta know this can't be the final thing, right?Sam: knew it couldn't be the final name. But there was something really funny to me about like the one person who like doesn't fit into town, like this little fucking Star Wars fanboy like schmuck kid is just Glup Shitto. And he's leaving town cuz like when you got that name, it doesn't fit anymore. You gotta get the fuck out of there.No wonder the town couldn't absorb him. His name was Glup Shitto.Nico: I want to say, like, I might have, like, made my first round of comments because I was, like, yeah, feeling the same way of, like, okay, obviously this is not the finalSam: yeah, yeah, I just didn't change it and you were likebruh Nico: and then, yeah, and then you, like, made changes based on the comments that I left, and I went back to it, and I'm like, it's still Glup Shitto. Like, it simply can't be this! It's not allowed! It's, it's not legal! Like, Sam: there ought to be a law.Nico: yeah.Sam: Alright, let's do Act 2 gosh.Yeah, so I made this little map. I like the little map. This is just my hometown, incidentally. Like, there's so much in this that is just, like, pulling details directly from my hometown. That oracle that I mentioned earlier, like, Northfield, Minnesota was, like, one of the things on the oracle. And you can see that here in like, the riverwalk and this little bridge over it was very Northfield. the Rube, which we're getting to next, these two bars, the kind of cowboy themed bar thing was a thing.Nico: Again, it's a very small town of just like, no sort of reasonable business person would have these specific Sam: yeah, but they, they exist here for some reason Nico: it almost feels like the kind of thing where it's like, like they can exist in a really small town, because it's sort of like, well they're the only things here, and they can exist in like New York City Sam: yeah. Nico: everything's in New York city, and like every kind of place is there, but like anywhere in between, people would just be like, I don't understand, and then it goes out of business,Sam: Exactly. Yeah. Yeah, doctors always also a big portion of my childhood and my past always coming up in my stuff just because I spent so much time in hospitals as a kid. So the, inclusion of a doctor here is also very much something coming out of my hometown.I like the little mechanic here of, like, rolling and you, like, add one every, every time. I think that's a nice sort of way to handle trying to find Sidra. Nico: as like a classic Nico mechanic 'cause I simply haven't made and published that many things. But in my mind, my narcissistic fantasy, it is a classic me mechanic.Sam: I believe that came from you.Nico: I fucking love a table that like evolves over time.And it's not like I invented it, but like, I think my more standard thing is sort of like you have a table of like 12 things, and then you change which die you roll on it, you know, it's like, oh you can do like a d4 through d12 or whatever and that's like, I really like the ability to sort of go back to a table and, like, use it multiple times as opposed to, like, Okay, we have one table for this, we have a different table for that, you know.Sam: Additional persons. I really like this format for sort of generic NPCs, like, I'm not gonna tell you anything about this person, but I am gonna tell you what you think about them and your relationship to them.I think it's a really cool way of doing... Oh, do you just need to, like, bring someone in? You, like, met someone on the street or whatever? In a lot of other settings, you would just have, like, a random person, and it would be, like, the Vampire Cruise thing. If you give them an interesting detail in here, it'd be a cool thing.But I think, especially in, like, a small town format, the, like, here's your relationship to this person, because everyone knows everyone, and, every character that comes in, like, is gonna have to inspire some kind of feeling and past in you. I think this works really cool, reallyNico: It also feels very sort of true to life in terms of, at least, how I often GM things. Someone will be like, hey, can I, like, ask just, like, the next person I see on the street what they know about this thing? And I'm like, I mean, I fuckin I guess, like, it'll shock you to learn I don't have a name for that person, but, you know, I just have to, like, come up with, like, here's a weird voice, and like, a random thing they know, and like here's a name, Sam: This is a great way to turn that experience back on the player.Nico: exactly, yeah, there's this random person, you're like, alright, this is someone who owes you an apology, why is that?Like, Sam: yeah, Nico: I also wanna say that I feel like this was actually a relatively late addition to theSam: Yeah, it was. I always intended to write these, but it was like the last thing that I wrote.Nico: Yeah.Sam: Yeah.Nico: There was definitely some time when I sort of came back and looked at it, and all of a sudden there was this relatively large additional persons section in here, and I was like, huh, interesting.Sam: Yeah. I'm happy with how it came out. I think these are my best little guys. Nico: Oh yeah, Sam: I really like the unfinishedness of these little guys that you can project a little bit of yourself onto them while there's still some, like, major details there. This someone you seek vengeance upon looks a lot like a penis, and I don't know how I feel about that one, butNico: I was gonna say, I find that one fascinating as the ide

In this episode Nelson, Jeff and Kyle discuss the 47th chapter of the book "A Storm Of Swords" from the series "A Song of Ice and Fire" by George R.R. Martin. In the first half of the podcast we go through the chapter chronologically with Kyle who is on his first read through (Spoiler Free), and in the second half Jeff and Nelson  dig into theories in a full spoiler section. If you have any Questions, Theories or just want to tell us anything we missed? Join our discord and talk about it with us and we can bring it up on the next episode!Checkout our discord to chat with us or for any podcast resources: https://discord.gg/2xNktUPUXDThanks to Dalton for Music!Thanks to jraijin on fiver for the art! Here is a link to his page: https://www.fiverr.com/jraijin▬ Non-Spoiler / Spoiler  ▬▬▬▬▬▬▬▬▬▬0:00 - Spoiler Free 47:15 - Spoiler Section

On this episode I'm joined by Nychelle Schneider, also known as Mistletoe Kiss, a moderator from the Blades in the Dark discord and contributor to The Wildsea, the upcoming Dagger Isles supplement for Blades, and Underground Maps & Passkeys among others.Nychelle brought on the idea of customizing existing games, homebrewing mechanics for your table (or even publication). This is... a big conversation, chock full of cool ideas that I hope people take and run with. There are so many games out there, and I think there's so much to be gained by making stuff that can plug into and enhance other people's art.Nychelle also has so many interesting trains of thought about in this episode, many of which I didn't follow up on as much as I wish I had. So I encourage you to listen to what she says, and then take those ideas an run with them. I hope that every week, but especially with this one.Further reading:A post-show blogpost about Sam's joke Blades playbook The BoogeymanBlades in the DarkNychelle's Blades playbook The SurgeVincent Baker's blogpost Apocalypse World Custom AdvancementTim Denee's Dogs in the BarkSam's Blades crewsheet Spirit ChasersSam's Blades downtime hack Doskvol BreathesSeveral zines by Aaron King of PBTA moves that exist outside of games: Reading the Apocalypse, PbtA23 January Digest, and PbtA23 February Digest Socials:Nychelle's website, Twitter, and itch.The Blades in the Dark DiscordSam on Bluesky, Twitter, dice.camp, and itch.Our logo was designed by sporgory, and our theme song is Sunset Bridge by Purely Grey.Join the Dice Exploder Discord to talk about the show!Transcript:Dice Exploder: Nychelle===Sam: Hello and welcome to the season 2 finale of Dice Exploder. Each week we take a tabletop RPG mechanic and pull it apart like your dad fixing a broken vacuum. My name is Sam Dunnewold, and yes, this is the end of Season 2. We've laughed, we've cried, we've funded a whole friggin Kickstarter, and we are now going to take one hell of a break, because damn am I tired.I'm expecting Season 3 at the end of January, but we'll see how it goes. And in the meantime, keep an eye out for a number of bonus episodes I got planned. I've got that Mork Borg and accessibility episode recorded. I'm plotting out a, like, let's celebrate this year in RPGs panel show near the end of the year, and I may have a couple of other treats for you too.But this week, my co host is Nychelle Schneider, also known as Mistletoe Kiss. I knew Nychelle first as a moderator on the Blades in the Dark discord, where she's a community leader and just General encourager of everyone who stops by. Just a lovely human being. But she's also contributed to like a million projects the Underground Maps and Passkeys charity bundle of Blades content I put together a few years ago, the Wildsea, the upcoming Dagger Isles supplement for Blades. She's made A lot of Blades content. And when I asked her to come on the show, I was delighted that Nychelle wanted to talk about just that: adding your own mechanics to existing games. This is a big conversation. It's so full of cool ideas that I hope people really take and run with. There are so many games out there, and I think there's just so much to be gained by making stuff that can be plugged into and enhance other people's art. I've done this a lot with Blades myself, and I just never get enough of it. And Nychelle has so many interesting trains of thoughts about how to do this in this episode, many of which I didn't follow up on as much as I wish I had.So I really encourage you to listen to what she has to say carefully, and then keep pushing at those ideas. I hope that every week, but especially this week. So, with that, here is Nychelle on adding to existing games. And be warned, we get right into it, no hellos or anything. Okay, uh, here we go, prepare your ears for game design.Nychelle: I think a lot of times in game design, we can get caught up a lot in making sure that things function a certain way or are laid out in a certain way that's very easy for the audience or the reader to pick up the book, read it, and then go ahead and produce it.And I think a lot of times that we can get bogged down in mechanics to where we're like, oh, this is the only way you can do this.Sam: Mm-hmm.Nychelle: So like D&D, everyone knows d and d. Everyone's also like, oh, well, we obviously fight them. No, that's not the only thing you can do, but why is it baked that way? Why is our assumption perspective always that? Oh, it's because of how it's written or how it's presented, gives you a certain paradigm for you to interact with the material in a certain manner.And so for me, I like playing with that. How can I interact with the same thing? If I'm handed the same object 14 times, how can I interact with that object 14 different ways or give flexibility to somebody else who play with it in a different way that I didn't even think about. And so that's what I really do do a lot of thinking of what I create mechanics is how much fluidity is built in while it's still having a structure.Sam: Yeah. Interesting. So I think it would be useful to like immediately jump into like some examples of what you mean. So what's one example of what you're talking about?Nychelle: Oh gosh. I would say a really good example of this is in the Blades in the Dark custom playbook that I created called The Surge, which for those who are listening, you can find it on my itch. And one of the abilities is called Can I Learn Rising Moon? And essentially you can gain temporary access to a veteran ability you currently do not have, and you start a four segmented clock. So anytime you go to access this ability, you have a clock that begins, or you add a tick to this clock. And then when the clock fills, the GM will bring in a special entanglement or situation or something that happens. And that is one way that I've really got to enjoy a twist to mechanics and games is adding more flexibility because it opens up a whole new possibility of how you can play with a particular dynamic.Sam: Yeah. Part of what you're talking about here and part of just knowing your history as a designer is that you seem to really enjoy making moves and making abilities and custom content for other games than making your own games from scratch. Do I have that right?Nychelle: Yes, it's a really weird thing. But I find that my creativity, especially when it comes to game design and mechanics, I can talk mechanics all day long. I've got a really, really good grasp of game mechanics. But I also love to build things fiction first. I am definitely a fiction first, mechanic second gm. I've had a regular table, oh gosh, I think we've been playing now like seven plus years or something together and I absolutely love baking and things, but I also love jumping off of somebody else's creativity.So like when I wrote for Wildsea, it was a ton of fun because I got to go through all of the course material and whatnot that Felix had written. And it was really great being able to take little hints or tips that he kind of wove into the core and build upon that and flush it out into something that was even greater than what initially he had planned.So, yeah.Sam: Yeah, just to, to speak personally, like I think it is really hard to come up with an idea from scratch, but it's much easier to find your groove in someone else's framework. Making custom content for games is like that. And to that note, I really wish more people did it. I think you see a lot of people making custom modules and adventures and stuff in this sort of OSR and the NSR scene. But for the story game scene, the tradition is much more to make your own game from scratch. Or at least like, to make a game that is inspired by, but functionally different from and standalone to another game. As opposed to making content that can be used with something like Blades in the Dark or The Wildsea.And yeah, I think it's easier to get started from making content for other people. I think it's really, really validating, and I think more people should do it.Nychelle: Yeah, I also think that, it could be something that is within the industry, but I think there's a lot of expectations of hat wearing when it comes to technical writing or game design specifically, because everyone thinks, oh, I have to do everything. I have to learn how to do layout. I have to learn how to do editing. I have to do the writing. I have to learn the artwork or find somebody who's willing to work with me on that. I have to learn publishing, I have to learn finance regarding hey, am I, publishing this to individual game shops or a big name? Contracts? Like there's so many different hats that we just expect to discover ourselves.Which is great. It's a wonderful way for a person to diversify their skills, learn something, being like, Hey, I really enjoy layout, but I really hate editing. Or like, I have high respect for people who do edits because they come in and they change like four little words in this one paragraph, and suddenly like, I sound so much more eloquent than I was before. But there's alsoSam: I, I just worked with an editor for the first time and it wasNychelle: oh my God. Yeah.Sam: Go on.Nychelle: But you can also learn in so much when you work together as a team. So like with the Blades in the Dark Dagger Isles expansion that we did, there was so many writers that were a part of that.I did the playbooks and crew sheets. But there were so many different writers and people who were doing the setting and the factions and the lore and like the crafting. And I would go ahead and run games for them and then we would just sit back I would just hear all these stories and wonderful aspects of like, oh, well, that's actually a piece from our culture, and you can connect that to this and that. And then we would just have a brainstorming session and I would have so many notes from every single session of like, oh my God, this is amazing. And then I'd try to weave that into the crew sheets and everything, and I have so much fun with that.Something I, I learned at residency for grad school was, what are your verbs doing? What is your verb poetry? And I was like, what is this thing you're talking about? Because we had to bring in pieces and workshop them and. It was so amazing 'cause I had one mentor who essentially like took everything out of this one scene and just read the verb poetry of it.Sam: Hmm. Nychelle: And it was like, what are your verbs doing? And then changing up like two of them, legit, only two of them, and removed another thing that didn't need to be in there. And then the verb poetry was just so different. So thinking of like how to apply that to like gain, like what verbs doing a certain passage is just like a whole different way to view it.Sam: Well there's, I was just talking on some server about this, how I was playing The Exiles, em's game, and, in the middle of the campaign I was playing, she put out like a very slightly tweaked version of the rules where essentially all that had changed was a couple of words here and there in order to make the layout, the graphic design of a rules reference page feel a little bit better.And a couple of the words that had left changed the entire vibe of like a whole move in a way that I thought was much worse. And so I just kept using the old rules because I wanted that, like two words of poetry to be in there. It made such a difference at the table. Nychelle: It really does. And I think that's another thing too, is like when you get in the editing, like I don't like editing, first off. I will hands down like editors are amazing, wonderful people and I will 100% hands down pay them what they actually deserve, like the, the work that they do. But there's also, I was talking to Felix about it, when he was doing layout for Wildsea and there was a phrase that he used, but you can't leave off with only like two words or like one word on a sentence. Like if it's the end of a paragraph or something and you start a new line and there's only like two words, you have to cut two words, so it goes back up into the other one. Otherwise it doesn't look correct. Mm-hmm. You can't have, your orphans there. Yeah, that may have been the term he used. But sometimes the words that they wanna cut are the poetry words, Sam: I know Nychelle: and it's like, oh gosh, I can't have you cut that. It's like, you take out my two words, Sam: yeah. You Nychelle: ruined the entire thing. My words have no meaning now.Sam: Sometimes, when I get that note, I'm like, what if I just add a couple of words instead? And, like, that doesn't always work. Sometimes you need the space. But sometimes it does make sense to like inflate the duration of a sentence so that you can keep a couple of those poetic words I think.Nychelle: But also I think that changing up how your verb poetry happens or something else that one of the mentors mentioned was we, especially nowadays, are such in a... not political correctness, it's probably the wrong term for it... we try not to have infliction, personal infliction upon something we say. It's passive versus active voice. You're separating yourself and it's, it becomes passive. And so when you have that in your work, even if it's a technical writing such as game design, you are already putting a barrier between your audience and the words for them to be engaged.And then if your verb poetry is a certain manner and adds another barrier, and by the time they get down to the end of a passage or something, they're not engaged. They don't have the buy-in that you want, and so they're gonna go ahead and walk away.And that's another thing too that got mentioned is a lot of, just kind of like a little side tangent, but a lot of people who are not English first speakers, when they write in English, it becomes passive, not active. 'cause that's how a lot of other languages are set up. So it's kind of a weird thing where they're almost at a disadvantage from being engaged, with their audience. It's kind of interesting thing.But we do the same thing in technical writing. In game design, we do that passive versus active. Sam: Totally totally. So, I want to veer us back to the subject of hacking games for your table. And specifically, I want to talk about one of my favorite blog posts in the hobby. Uh, which comes from Vincent Baker, designer of Apocalypse World, called... Apocalypse World Custom Advancement. In which he gets the question from a reader: “is there any solution that lets players play the same playbook potentially forever?”And Vincent's answer is, yeah, just hack the game. Keep hacking the game so that you can keep playing the same character. And specifically how, like hacking the game such that the rules accommodate really powerful characters because a game like Apocalypse World or Blades can I think really see the characters outgrow the setting that they're in pretty easily. And at a certain point it starts making sense to change the game so that the world can keep up with the players.And Vincent in this post has a bunch of good ideas for how to go about doing that. And you know, there's some great ones too, in the Apocalypse World Rule book and in the Blades in the Dark hacking the game sections.I think the idea of you're going to extend your time with one campaign and one game by bringing your own custom moves to it, by bringing your own hacking and custom materials to it, is really cool.Nychelle: Well, a game core isn't supposed to be the only material we take into a game, is it? It is meant to be a diving board, a foundation for us to go ahead and move on from it. That's the whole point of any particular game system core is, okay, now here's your foundation. Now go on, evolve it, build upon it, take parts out, change things like that's, that's a whole dynamic of what happens at a game table.And one campaign I did for Blades in the Dark was we wanted to really interact with the faction game. How does the mechanics behind factions really interact with each other? And so we did an entire campaign for a year and a half just on factions. And brought in our own factions and did different clocks and things like that. But like we learned and also grew so much just out of taking one particular mechanic and saying, okay, how are we gonna play with this here? And how can we grow this? Because the core should never, I think that's one thing is we should never limit ourselves to strictly one particular thing. We, we should forever be evolving and changing it to make what we enjoy because that's the whole point of playing games is to do something we have fun with. Right?Sam: Yeah. Yeah. That's really fucking cool. Because you are absolutely right, like fundamentally what you are doing at the hobby is making your version of Blades in the Dark.A theme of this season of Dice Exploder has really been that the flavor level of a game is as much mechanics as the like rules level of the game. And every group is bringing their own flavor to play and thus hacking the game. And sometimes you get like, you see someone like Tim Dinee putting out like on the one hand, Dogs in the Bark where you're playing Blades in the Dark as a pack of dogs, which totally works. This supplement is so simple and quite short andNychelle: Dude. I have done like a mini campaign with this. It is legit the best, especially when you play some of like the rat factions as if they're from like Brooklyn and New York. It like the, oh man, it's it's amazing. Sam: It's amazing. And then of course, when you switch back to regular Blades, like suddenly every rat and dog in the city is gonna be like someone you know. Right? It is gonna be amazing, but. Also, it's such a goofy take on the game.And on the other hand, he has also put out Blades in '68, which I guess isn't out yet, but is this moving the tech level like a hundred years in the future for Blades into this like seventies themed almost setting where war is over, superstition is gone and we're doing a much different vibe on the original thing. It's gonna feel really different.And then of course, like I'm coming in like hey, you should, play Doskvol Breathes, this downtime hack where you're just taking like three sessions to play out one downtime. And other people are coming in saying, yeah, I uh, I just like pick my two downtime actions and move the numbers around on my character sheet and get back to the next score 'cause that's the thing that I like.And all of those versions of the game are really valid and really exciting.Nychelle: Oh yeah. Now there was one experiment I did and I've kind of done it throughout Covid. I have run one particular, one shot, six different tables. Same setting, same scenario, everything. Not a single ending was identical. Six different tables, and it was like, it's the same scenario, it's the same setup. You have the NPCs and everything do the exact same thing, and there was a different ending for every single six of those games, which was just amazing.When you think about what a player and what a group of players being a variable can do to a game, so if you're doing that with mechanics, if you're changing a variable in a mechanic, you know that you're gonna get something completely different.Sam: Yeah. Yeah. Yeah, and I think people should not, like a mantra I have about doing this, I don't know if I picked this up from someone else or not, is nothing is safe. Like you should change everything when you're doing this. Just play with everything for your table and what it means. I think this is actually from the Vincent Baker article I was talking about earlier, that really if there's a mechanic that you are using, mess around with it and see if there's something else you can do with it, but do it with intention. Like try to figure out what the purpose is for the thing that you're trying to accomplish. Like I just wrote a custom move last week playing in my regular game where it's like a pirate themed game and someone got a necromantic book. It's me, I'm the someone, I got a necromantic book that can summon a kraken when you cast a spell right. And we just like wrote a move for what happens when you try to do that? 'cause it should be a little bit bigger than just pickin' up some dice and rolling to see if you did it. You know, there should be a little bit more to it than that.And having, this is something I love from this Vincent Baker article, from the Blades in the Dark hacking the game section, is the encouragement to write moves, special abilities, mechanics, whatever you wanna call them, specifically for like named people and objects and locations in your game.There's a, an example one from the Vincent Baker article that goes: “If Groam gets his hands on you, he ties you to a table and you know he is really fucking good at that. If you try to escape, roll plus hard.” And like, then there's a bunch of options for like, specifically what happens when Groam has tied you to a table because he's really good at that.It's just so specific. It's so tailor made, bespoke to whatever table had this character Groam at it and doing that in games is just so exciting.Nychelle: Oh yeah, one of my favorite things as a GM is I've had plenty of players that will just fill out a character sheet and they're just like, yeah, my name's Bob. I'm this alignment. Or sometimes they, they won't fill out the descriptors or, or like, what they look like. They're just like, it's Bob. It doesn't matter what he looks like. But no, no, Bob actually matters. Tell me how Bob looks. Does Bob have a particular person he really likes to talk to and why? Tell me if Bob has a special butter knife that he does and he only uses it on scones. Why does Bob only use this particular butter knife on scones? Well, there's a story behind it.And drawing that story out or encouraging your table to do that, I just absolutely love because then I can have this whole thing on Bob's scone butter knife, or maybe it's a flashback score where, you know, Bob really wanted to stick it to the man, and this is how he does it because he stole so and so's butter scone, you know, for, for being outed a coin or something. Like when you start customizing or home brewing, even if it's just at your table and for anyone who's listening, you don't have to be a game designer or this person that has like all this knowledge of what not to change your game.You simply focus on your table, what you guys are comfortable with, what intention you have behind it and go from there and build it out and change it that makes sense for you guys. Sam: Yeah, the, the secret is if you're playing these games, you're already a game designer Nychelle: Exactly. Sam: But don't tell anyone. Yeah.Nychelle: Everyone's a game designer in a certain flavor or aspect. But yeah. No, it's really great when you start doing that because it also makes 'em more personal. I had a recent conversation with Allison Arth. And we were talking and discussing what does gaming actually mean? And we essentially brought it back around to it is an intended and created community. And I think that really also speaks to game design too, or changing the game, is being really intentional about how you curate and cultivate a community that you're interacting with through game design, mechanic change, maybe even the environment that you're playing with at the table.Sam: Have you ever like, changed a major rule of Blades that's not like a special ability or anything like that, but like, a more generic rule at the table?Nychelle: Mm. One I haven't really played with too much though I am looking forward to it, is magnitude. This mechanic that I feel is very much a backbone in an aspect of how you can do the thing, but also it doesn't really get brought up a lot. I find, and I feel that it doesn't really get brought, it's more of like a backseat mechanic that gets done. I.Sam: Yeah. Gosh, I should have uh, pushed us to talk about this as the whole framing device for this conversation. But that reminds me of Broken Spire, which is a blade supplement by Sean Nittner where you are starting from a place of trying to kill the Immortal Emperor. You're already on that score. Then every time you do something you like flashback to an entire score of setup in which you prepared another thing in your final attempt to kill the Immortal Emperor.And the downtime system in Broken Spire works like mechanically very similarly to Blades, but the downtime actions have all been changed so that they have much more impact on the game. Nychelle: Because you're, you're working not in micro anymore. You're working on a macro scale. And, and I think that's a, a thing that we a lot of times really get stuck in the micro. And don't realize how much the micro can impact the macro of what is actually going on or how much it doesn't impact what's going on in macro.Sam: Yeah. Yeah.Nychelle: I, I have not had a chance to play broken Spire, but had a couple of conversations with Sean about it, and I am like, dude, I, I need to play this. Sounds so badass. Sam: The, the idea of like one of the downtime actions is “say how you shift your heat to another faction. Roll for your action.” So instead of like reducing your heat, you're taking all of your heat and dumping it onto an enemy. And another one is like you just reduce the tier, the entire tier of an enemy faction. Which is wild. There's like, you're just gonna like casually in your downtime, fuck up an entire organization. Maybe it happens off screen.Even the idea that you could be taking Blades in the Dark, which by default is so much a game about like scrapping your way up from the, like bottom of the streets, you get just a couple of changes and suddenly you are monarchs of the underworld destroying factions left and right at your whim. It's so cool.Nychelle: Oh yeah. And I don't even think you're necessarily just of the underworld at that scale. You're impacting the politics, not only locally but the faction and, and the consequences of those actions across the Shattered Isles. Like there's so much that could be going on here. It's really fascinating to think about, but also to consider that of like, yeah, no, that's, chump change.Sam: Yeah. Yeah. Another, related idea to all of this that I've been pouring over in my mind a lot is the idea that the scarce resource in RPGs for me, right now anyway, is not new games and new systems, it's new settings and especially new scenarios.Like for example, I don't need another variation on Powered by the Apocalypse. Like even if someone's gonna write like a hundred beautiful moves across seven playbooks and all the rest, I'm sure they'll do a better job than me, but the thing that excites me about a new game is not what is it doing differently mechanically, it's what is the premise of the thing itself.Nychelle: Mm. Sam: in part because I know I can bring all of the tools that we're talking about here, of ways to change the game, to take a different system and change it to fit whatever the idea for this game is whether or not you've included a package of rules with your, your setting. Premise or you haven't. And that's just another thing I wanna put out into the world again, that I want to see more weird stuff to do, not ways to play the game. I have plenty of ways to play RPGs. I want more weird ideas, like story ideas that I can bring to my table that I otherwise wouldn't have had myself. Nychelle: Well, that's why you play fiction first, Sam. No, I'm joking. But no, it pretty much is because honestly, learning how to hack the game, learning how to really grasp mechanics, and like lines and veils and like, there's a whole plethora of things that each of us take. Experiences and all that stuff. But really when you pack it down, it's all tools in your toolbox, right? It's everything that you, that you sit down with at a table and you open up your box and you have all the tools there to go ahead and play and tinker with whatever is on the table. But I think that's a thing of especially when it comes to traditional RPGs, I'm going to say, and this probably will be spicy, is I think we get a little too focused on the toolbox that we bring to the table and not actually what the thing is on the table. Sam: Exactly.Nychelle: And I think that's where we really need to focus is, yes, we have the toolbox. A toolbox will evolve. Sometimes you'll, you'll be like, man, this hammer, I use this hammer every single time. It's been my friend for years. And then you switch over to a screwdriver or something else, like your toolbox will always be there. There's plenty of things to help you better utilize your toolbox. But getting the fiction, getting the narrative, and honestly getting that community together where you're creating something completely new and beautiful and it, it takes a life of its own.That's where it's really at to be quite honest.Sam: Yeah, like I am so excited to receive an ultra power badass like nail gun for Christmas, right? I'm excited to add that to my toolbox, but let's not forget that we're trying to build something.Nychelle: Yeah. Sam: The thing that we're building together is, is the exciting. Nychelle: We're trying to build a birdhouse, you know? Sam: Yeah. Yeah. And I want more birdhouses and fewer hammers. To come back out of the metaphor, I feel like I've had a couple of groups that I've played with for many years, and sometimes in those groups I feel like we've found a really comfortable groove, like a kind of story that we come back to again and again. And I, you know, that groove is a hit. I am happy to keep telling the story of that groove in variation.But I also, I'm excited when someone is able to bring me an idea for a new kind of story that's gonna like knock us onto a new groove to find a new space to play in. And mechanics are not the thing that's going to do that very often unless those mechanics are really in support of the new cool story idea.And the new cool story idea to help knock me and my longtime friends into some new place to help us explore some new story? That's the thing that gets me really going in RPGs right now. Bird houses, not hammers.Nychelle: I, I think it also comes down to being willing to explore new things. Sam: Yeah. Nychelle: it is, having that understanding of my paradigm and my perspective and how I'm viewing this game isn't the only one out there, and I want to see the game from as many different angles as possible. And I think that that is one wonderful thing that can happen is how many different bird houses do you end up seeing? if we're staying with the, with the narrative here of like, how many different bird houses do we end up making? How, how many different bird houses do we end up seeing? And again, I think it goes back to that intention of community is what are you doing with intention?Sam: Yeah.Nychelle: Sorry. I know you guys came here to talk about mechanics and we're talking about philosophy of gameplay.Sam: No, no, no. I, I gave up 40Nychelle: Uh, true. Sam: talking about mechanics. So I, I, I kind of knew what I was gonna get to with this episode topic anyway. No, I think oh, here's, here's the variation on the metaphor I wanted to say. I feel like I've made a lot of different birdhouses and I wanna make some fucking chairs now. Like, like I want, like the thing I want out of the RPG design community at large is for people to bring me some new shit to make other than birdhouses. Yeah, and I also, the other thing I wanna say is it's perfectly fine to just love polishing hammers and to really just be on that side of things and to not give a shit about what you're making. And it's perfectly fine too to just make birdhouses and only birdhouses for the rest of your gaming life. If that's what you're enjoying, like more power to you. But for me personally, the thing that I am excited about is something new. And something new on the fiction side rather than, than the mechanics side.Nychelle: I do think we're getting there in the indie gaming space. I think we're moving away from mechanic speak. It seems to be going in a very certain direction in the last few years, and I, I think we're getting more to the story and the process of building other things besides birdhouse. It's like, how many different things can we build with this? What can we build with this? It's really interesting to see like in like five years down the road, I wouldn't be able to tell you what we would build.Sam: Yeah. Make shit weird and make weird shit as uh, Joe DeSimone says. Nychelle: Oh yes. Sam: Thank you so much for coming on Dice Exploder.Nychelle: Thank you for having me, Sam. I greatly appreciate it. You've been a wonderful host.Sam: Oh, you too.Thanks again so much to Nychelle for being here. Like I mentioned in my intro, I think there's so many threads in this one to follow up on, and I want to underline two things that I really took away from it. first, making content for other people's games is just a joy in and of itself. Just like there's joy in the creating of all new games, there's joy in exploring the crevices of others. And it's often a lot easier to do. So go spelunking into someone else's head and set up camp. Second, game design is community building. The goal of these storytelling games is to sit with your friends and tell a story. And the sitting with your friends part of that is just as much something to prioritize and design for as the story part. Maybe more so. Like, deciding what snacks to buy is game design for your playgroup. Love your friends and the people you play with. And I think that's a lovely note to go out on for season 2 of Dice Exploder. If you want more of what this episode is talking about, I do have a post up on the Dice Exploder blog breaking down a custom Blades playbook that I made for playing a character named John Wick. I think it's pretty fun and gets into a little bit more examples of what we talked about today. You can find Nychelle on Twitter at mistletoe trex, on itch at mistletoe kiss itch. io, or on the Blades in the Dark Discord. As always, you can find me on the socials at sdunnewold, Blue Sky and Itch preferred. And there's a Dice Exploder Discord! Come on by and talk about the show, if you like. Our logo was designed by sporgory, and our theme song is Sunset Bridge by Purely Grey.And thanks to you for listening this season! I'll see you in a few months! This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit diceexploder.substack.com

Thomas Manuel of the Indie RPG Newsletter and the Yes Indie'd podcast joins me to talk about Secondary Missions, a mechanic from Band of Blades by Off Guard Games.In Band of Blades, a grim military fantasy forged in the dark game, you and your party go off and do missions. Meanwhile, there's a whole other squad out there doing a whole other mission! What's up with them? This mechanic tells us. It's such a change in the mouthfeel of Band of Blades compare to other forged in the dark games.We get into how it supports the genre and themes of the game, all the tough choices it puts in front of players, and how mechanics like this one that couldn't exist in any other game are often our favorites.It's a classic Dice Exploder deep dive this week. Enjoy.Further reading:* Blades in the Dark* Malazan Book of the Fallen* Band of Brothers* Darkest Dungeon* The Watch* Dream Askew // Dream ApartSocials:Thomas on itch and Twitter.Sam on Bluesky, Twitter, dice.camp, and itch.Our logo was designed by sporgory, and our theme song is Sunset Bridge by Purely Grey.Join the Dice Exploder Discord to talk about the show!Transcript:Sam: Hello and welcome to another episode of Dice Exploder. Each week we take a tabletop RPG mechanic and have its back as we head behind enemy lines. My name is Sam Dunnewold, and my co host is Thomas Manuel. Oh, so exciting. Thomas is an Indian playwright, journalist, and game designer. He runs the Indie RPG Newsletter, for my money one of the best sources of IndyRPG news on the internet and an easy subscribe. Plus he's the current host of the excellent Yes Indeed podcast. He's also the designer of This Ship is No Mother, a card based take on the kind of Mothership genre that's very much worth your time. Thomas is great, And he brought on a mechanic from Band of Blades, a grim military fantasy forged in the dark game from Off Guard Games and Evil Hat. Specifically, Thomas brought secondary missions.In Band of Blades, while you and your party are off doing one mission, there's a whole other squad over there doing a whole other mission's worth of stuff. What's up with them? This mechanic tells us.Secondary missions, have a deceptively big impact on the mouthfeel of Band of Blades. We get into how it supports the genre and themes of the game, all the tough choices it puts in front of players, and how mechanics like this one, that couldn't exist in any other game, are often at least my favorites. It's a classic Dice Exploder this week, a deep dive at its very best. Here is Thomas Manuel with Secondary Missions.Thomas, thanks for being here.Thomas: Thank you for inviting me. I'm so excited to talk about Band of Blades.Sam: Hell yeah. What is Band Blades?Thomas: Band of Blades is a sort of dark fantasy military take on the forge in the dark framework. Sam: Yeah. A band of Blades kind of play on Band of Brothers is where the name is coming from. Right?Thomas: Yeah, I, I assume it is a play on that, but it is also different enough from that show that I don't think people should use it as a touchstone. The premise of the game is that you play The Legion, which is an army that has just lost the decisive battle for the fate of humanity.There is an undead horde that is an existential threat to humanity. And we fought that battle and we lost it. And now the legion is in retreat. And it ends up being a kind of a point crawl where you're retreating from the location of the battle to a fort where you hope you can hold up there and figure things out and, you know, other pockets of the legion might end up there as well and that could be the last stand.Sam: Yeah. So we, before we get into specifics of what mechanic you brought from this I just wanna say, first of all, this game has like six different mechanics in it that I would be excited to do episodes on. Like truly there's so much innovative design in this game.And also I. I, I think it's okay. Like, I think it's a great game that was like an okay experience for me. It was like a little dark, like parts of it didn't quite, quite fit with me. Like, my experience with Band of Blades was that I'd started running a campaign in January of 2020 and it was going okay. We were like, kind of getting a feel for it when you know uh, March happened of 2020 and we were all like, this might be a little crunchier and darker than like, we wanna play right now.And I, I never really felt like it was something I was super drawn back to because I prefer a little bit more at that like minimalism level and there's, there's just so much game in this game but I, I really love so much of, of the innovation that went into this game.Thomas: I, I also think that this game is extremely innovative, like has, really interesting design. I think Off Guard Games, uh, Stras and John kind of have done so many interesting things that I am constantly coming back to it and learning stuff about design and like getting inspired by it. I ran, I think this is probably 2021. I, I ran the whole campaign uh, sort of reskinned for Malazan: Book of the Fallen and kinda set in that world if that, which, you know, I'm a big fan of that series. It's also sort of military fantasy and we ran the whole campaign and I, I really enjoyed it. I think it is, yeah, it does have some crunch. It does have some darkness, but I think it kind of balances it out really well for me. And yeah. I'm, glad we picked this one because this is in the spirit of taking something small that is not particularly discussed in the text and then kind of exploding it like, this is a great choice. Sam: Yeah, totally. So let's get into it. So what mechanic specifically did you bring?Thomas: So, yeah, we are gonna talk about secondary missions which I think in the text might be, you know, a page at most. And the idea is that like Blades or other games, one of the phases of play is a mission phase where you are going to take your player character and go out and do a mission that is going to help the legion.And then you come back and there's a second mission. There's a second mission that is other members of the Legion people you aren't controlling, what they did while you were out. And that is resolved with one dice roll. It's basically just the engagement roll. It's the same procedure as the engagement roll for the primary mission. You're gonna roll that engagement role and then just based on the result of that, of that one role, you're going to narrate how the secondary mission went. And yeah, it often goes really badly.Sam: Yeah, I mean, you have to do really well for like many people to not die. And band of Blades like has troupe play, so you're constantly rotating between characters. So you're often like sending out some of your faves onto this secondary mission. And whether or not they fucking die is gonna be determined by a single die roll.It's, it's hardcore.Thomas: It is. It is. And you know, I think it brings in that... like a war game needs to have a certain level of gravitas. And I think that's what the secondary mission is, is bringing.Sam: Yeah, totally. So, yeah, why did you bring this? Like what is it specifically about this that really made you wanna bring it on the show to talk?Thomas: Okay. So I have not seen a mechanic like this in another game. That isn't to say that it doesn't exist, but my experience of the secondary mission was that we would go on this primary mission ,and because this is a forged in the dark game, like our characters are awesome. We are going to go up against impossible odds and we are going to somehow, pull success out of the jaws of victory. And we are going to come home battered and bruised, but triumphant.And then we come back. And then we'd roll the secondary mission and we'd be like, fuck. War is hell. War is hell, and we can't save everybody. And it was often really powerful moments that led to things like, people like talking about like mourning and like how, you know, a character just died. Like how do we, how do we respond to that? Like what are the traditions around that stuff? Like in the Legion, it led to some really great moments. Yeah.Sam: Yeah. Another thing that it does with that sort of, you go off and like kick ass, then you come back to camp, is it gives you that feeling of you can't be everywhere at once. Like the Legion is bigger than just your playgroup. Like what? Any four of you, they're out on a mission or whatever. That there's all of these other people, like both doing their best and succeeding at times away from you and coming back victorious, but also often failing without you, and you just have to... it, it makes you feel small in this way that I think is really appropriate to that war setting.Thomas: Yeah. Yeah. I think through play is again, one of those other things that we could have been talking about today. And this is, yeah, it, it slots into troupe play like really well. And what it does and what true play really does is it makes this the story of the Legion.Sam: Yeah,Thomas: Like every individual character is, their own saga, living and dying. They have all the humanity that we associate, you know, that we want to inject into them and all of that stuff. But the story is the story of this Legion, which is, something greater than any individual.Sam: Yeah. You know, I was just in the Dice Exploder discord, hashtag Dice Exploder discord, this afternoon. We were having this like long conversation about the crew sheet in Blades and whether or not it's effective at what it's doing. Because a lot of people I think feel like the idea of the cruise sheet is really great and also people get attached to their own characters and don't want to... like you're focused on your character. You're not focused on the crew in the way that like Blades, I think, wants you to focus more on the crew at least according to my reading of the text.And I think Band of Blades really succeeds through troupe play explicitly and through mechanics like secondary missions at really doing the thing you're saying at, at foregrounding the story of the legion of the crew more than any individual in it.And that's really impressive.Thomas: Yeah, absolutely. I think that sort of gentle confusion about Blades as priorities is a part of the text. I think John Harper leaves the door open for troupe play but is also like, you know, people like to play their characters. So I'm gonna, I'm not gonna take a strong stance on that.But Band of Blades is like, there's a role called the Marshall, and they decide who goes on the mission, and they decide who's playing who.And I'm like, amazing.Sam: Well, it's, another thread from this conversation from this afternoon was like, a lot of people feeling like a lot of the mechanics on the Blades crew sheet are a bit unnecessary or just like not their favorite or a little bit more like paperwork like, as opposed to the mechanics on the playbooks. And band of Blades actually, like this is another mechanic from this game we could have spent a whole episode on like it's dividing up like the GM role in some ways and like all of this paperwork stuff among different roles at camp that all the players get to play like the Marshall, like you're saying. But somehow like bringing in even more crunch to that the, that crew role basically it, instead of feeling like, oh my God, I'm like drowning in the crunch, it, it really does pull you up into that Marshall level, that bird's eye view of the legion as a whole, as opposed to being down with your individual guy or, or whoever.Thomas: Yeah. Yeah. I think, you know, in terms of GM load, Band of Blades is doing something amazing with that restructuring that we're talking about. And in that sense, the secondary mission roll is also a part of that because what, what the secondary mission does, it takes the pressure off you as the GM to drive home a kind of misery in the primary mission.Like if you as the GM are like, I'm playing a war story. I need to bring these elements of tragedy into it, like the primary mission, players should and can succeed. And because the secondary mission and the design of the game is going to help you hit those notes and that is such a huge relief that the game allows you to simultaneously be a generous and a fan of the players while still still able to experience those themes, you know.Sam: yeah, yeah. Yeah. Another thing I like about it is how the choice of what mission is going to be the primary mission, what mission is going to be the secondary mission. And sometimes you have like a third mission that you just can't do because you don't have the people and you automatically fail it.And that choice of which of these are we gonna prioritize is a really interesting choice every time. I think a lot of that theme that we've been talking about of this being a game of is clearly a game about war and making almost like resource choices almost that like the kind of cold math you have to do in war with human life, I think it, is really highlighted every time you have to choose what mission is gonna be primary and what's gonna be secondary.Thomas: Yeah, I think there are a series of games, especially video games that have this trend of what you're actually doing is you're playing the world's worst HR manager. You know what I mean? Like, like Darkest Dungeon is a good example, right? Like, you are just sending these folks into a bad situation and then you're like, putting them in a, in a bar a church and saying, deal with your stress and come out and then you go back in.And there is a certain kind of inhumanity in that, that that cold calculating thing that you're doing. And I think Band of Blades for me specifically does a better job of that than those games. Like there is in some sense because it's a role playing game. Like you are never really treating anybody as a pawn, like you're feeling their feelings. And it is always like this hard choice to be like, Um, the most common result of the secondary mission roll is the four to five, right? Like that is, you know, it's very common to get one to three, but maybe six. And the critical result is the only result in which nothing bad happens. So, on the four to five, you are given this difficult choice of saying either fail the mission and all the troops return unharmed, or you succeed the mission, two squad members die and all the specialists take some harm. Which are wounds.And what is interesting is while so much of the game is very clear about who makes what call - Commander, you decide whether the Legion moves. Marshall, you decide who goes on the mission - the question of how the table decides this call is not explicit. The only way for us to decide, you know, it isn't the Marsh's decision, it's we all sit and we go like, oh my God, if we succeed, who is dying? And everyone has to kind of like have that thing of like, I don't, I, I don't know. And sometimes it's fine. Like it's a really important mission. You're like, we have to succeed. But sometimes you are like, nah, let's, let's fail this. Like we can eat the failure, but you know, we can't lose people.Sam: I will not have my wonderful bug man die. Like I'm too in love. Like... and no, that's, that's a great observation about Not having a specific person make this choice, unlike a lot of the rest of the game. It almost feels like you all have to get your hands bloody in this choice. Like, it's not letting anyone off the hook. You all have to put your stab into the murder victim's back, like,Thomas: Oh, that is so good. Yeah.Sam: It's, yeah, no one gets to sit this one out.Thomas: Yeah. And yeah, often you fail and then you just feel that failure. And that's, in some sense, that's easier. It's, it's simpler. It's simpler than the four to five, likeSam: If everyone is just sad, at least they're alive. But like sometimes, sometimes also the mission is like save a small town from being eaten by zombies and you're like I mean, they're probably gonna die when the zombies get here anyway. We'll save our two guys. Let's, let's move on. Let's move on. And it's, it's like, it's hard. It's hard choices.Thomas: Yeah, it is. It is. I think that is... a lot of this game is supposed to be hard choices, but I think there are various kinds of hard choices. There's the tactical choices, which is, you know, a lot of the crunch of the game is like, let's make cool tactical decisions about, you know, setting us up for success when we reach our, our destination, which is Skydagger Keep.But a lot of the, the decisions are also just emotional you know, just in terms of like what narrative we want and we've talked about like not letting people die. There's also this moment of your like, I think it's this character dies and I think that is appropriate. I think there's a moment in the Band of Blades actual play on the Actual Play channel where I think they fail a secondary roll or they get a four, five or whatever and they, two, two characters just had a fight in the, in the previous session, in, in the downtime phase or whatever, and they're like one of them died and the other person is going to have to live with the fact that the last thing that they interacted with this person was a fight. Sam: Yeah. Thomas: You know, and I'm like, awesome.Sam: We touched on this, but I really wanna highlight explicitly how this mechanic forces you into the position of doing the math with human life, but it does it without dehumanizing people. That the exact moment you just described is always the thing that you're thinking about as you make this decision that largely comes down to numbers.I, I also wanna say like, I think fundamentally the most interesting part of roleplaying games, oh, story games for me is characters making hard decisions. And not just this mechanic, but this game is absolutely riddled with hard decisions. You also were just saying that, but I, I just think it's so cool to see a mechanic that is so explicitly and reliably, that's the other thing, reliably putting a hard decision in front of people.Thomas: Yeah. You can play Band of Blades and you will have the experience that this game wants if you're willing to engage with the game on its terms and like treat these characters like as people and all this stuff, which most people playing this game will do.But that hard decision stuff, like, yeah, I think it's perfectly fine to flag that that can become grinding down. Like I know some people, Paul Beakley, I think on the Indie Game Reading Club has an article about Band of Blades. He describes how at the end of the campaign, everyone was kind of tired. And that was not my experience, but I, I get it. Like, I guess, you know, that is something that can happen both thematically and mechanically Sam: Yeah, of course. Yeah. Yeah. That's like in a lot of ways that exhaustion I think is part of what the game is about.Thomas: But I, I mean, I think it's still supposed to be fun.Sam: Yeah. Yeah. It is. It is. And we did a whole episode in season one on The Watch. Right? Which is also, I think a lot about not like, can you win the war. But what is the cost of war? How do you live with the cost of war? And, and this is another game that is even more explicit about that, I think, than The Watch is, which is already pretty explicit about it.Like, you, you're not winning. You lost, like, what, cost are you gonna pay?Thomas: Yeah, I think if you are making a war game, you have to be really conscious about, you know, what you're saying about war. And yeah, both of these games, I think The Watch is, kind of using war as, as metaphor and Band of Blades is again, sort of like, very consciously stripping the glory out of this.Like, this is not that game. Which Band of brothers to some extent does have, right? It's, it's a show that it know, you know, war is awful, but like these characters are, are noble and brave and righteous and all of that to some extent. And this game is like, if we focus on the fact that it's a retreat, we can tell an interesting and sometimes under explored facet of war stories.Sam: Yeah, I should state for the record, I've never actually seen Band of Brothers, so I, I, I cannot actually speak to it, but but the, the other thing I wanted to just touch on in all that is just how brutal this game can be and like, very clearly and, and intentionally. And this particular mechanic as we've kind of discussed, I think is especially about brutality. Like when you fail, just three people die. And like several more are like critically wounded. Like you could just wipe out and every person who dies like Thomas: half a squad. Sam: And like the morale is hard to keep up in this game. And you fail one secondary mission and you're just, the whole legion is in so much trouble.It's a hard game. There's a, but you know what? You know what rule we really should have done a whole episode on is the single sentence in Band of Blades "this is a game you can lose." Like it's, yeah, it's a lot.Thomas: Again, like why is that sentence there? Why is this game that you can lose when role playing games usually aren't? And I think, again, that all flows from the decision to make a game about war. And you touched upon this adjacent mechanic, which is morale, which we should clarify that. Like, anytime a member of the legion dies, the legion loses morale and, you lose enough morale, you lose the game.Sam: Yeah. Yeah.Thomas: And other things also, but like yeah. Worse situation. Yeah. The game's over. And yeah, one failure can demoralize the squad in a huge way. And also like if you lose three squad members, a, a squad is like five people. They've lost more than half your squad. All your specialists are, you know, who went on the mission are beaten up. Yeah, it is. It is awful. And so what usually happens is that people will look at the primary mission and say, okay, we are going on this, so we failed the resource here. The fact that we are awesome and we can do stuff, let's load out the secondary mission with the best, best, you know, assets we can give it like Quartermaster, can we send them with like extra supplies? Like, you know what, what do we have to like, increase the odds there? And, and I think that is also like a kind of fun and meaningful choice. Yeah.Sam: There's something really nice in that, about how this mechanic is sort of indirectly encouraging you to be empathetic to that secondary squad. It's like, don't you love them? Don't you like feel for what they're about to go through? Like you should care about them, you should give them the extra ammo.Yeah, Is there anything about this mechanic that you have trouble with or that bumps you?Thomas: It can, if your primary mission has gone badly, it can be a second punch in the face. Like, I think, I think that is that is a thing. But otherwise nothing specifically that I can, that I can think of that is like an issue I have with it or I will change the design or something. Sam: Yeah. Thomas: Yeah. Sam: Another thing, look, one of the first things you said on this episode was that you've never seen another mechanic like this one. And I think that's a testament to how specific to the setting and genre and story that Band of Blades is telling this mechanic is.And I always love it. I love it when I see mechanics like that because I literally just before this recording, moments before this recording, wrapped up a forged in the dark Pirates campaign with one of my home groups where we just weren't using an established setting. We just like have played a lot of Blades and we were like, eh, I'll make up some special abilities and go. And it worked totally fine and for a lot of ideas I can just do that.But it, it takes. Like the new systems, the new games that are really interesting to me are the games that have mechanics like this one that are so bespoke, so tailor made to what this game is doing. And I really love that. I really really respect mechanics like that.Thomas: Yeah, and it is again a testament to band Blades, good design, and why I want to talk about, 'cause I think it's completely like under-discussed. I think we should all be talking about it all the time, is the fact that all of this is so like, enmeshed together. Right? In some sense the secondary roll is necessitated because forged in the dark is such an empowering framework for players.Right. Like, how do I tell a war story with this? And you, and you started that question and then something like this is almost, almost required. I would, I wouldn't have thought of it, but it does, it does like something like this is needed once you decide to go with this framework. And I think, yeah, it is, It does feel like something bespoke and tailor made that has then through play testing kind of integrated into everything smoothly and perfectly.Sam: Yeah. So after you've made the secondary mission roll and you've kind of determined the results of it, there's then this moment that the book encourages of you to sit at the table and sort of flesh out the story of what happened on that secondary mission. Like, you know what the goal of the mission was and you know how many people got fucked up and or died on the mission.But there's a lot between point A and point B there. So it kind of sets you up to devise this short story together of what happened on this secondary mission.And I think it does a good job of giving you enough handholds of what was the beginning and what was the end of that story, to kind of flesh it out such that it doesn't really need a framework of doing that in between. And that in itself is like pretty impressive to me.Sometimes you'll be given a mechanic as you're playing a game, like the game will present you with a mechanic where it, it has a little bit of that, like now draw the rest of the owl feeling to it. Where, where it's asking you to, fill in the blanks on something that it has not set you up well enough to fill in the blanks on. And this moment of fleshing out what happened on the secondary mission in some ways feels like drawing the rest of the owl, but in a way where like I feel empowered to draw the rest of the owl. And that's, that's cool.Thomas: And you know, one reason is that as a GM, before the Commander makes the decision of which is the primary and secondary mission, you fleshed out both equally, right? Like you have as much information on one than the other. So you're starting off in a good place, you're not taking it lightly.And then, yeah, when we get to the result, like there is this question like immediately that comes to mind of like, how did this happen? Like, you know we chose that as a secondary mission 'cause maybe we thought it was safer. And you know, we have to now, now sort of at the table discuss and figure it out because also we might be in the next primary mission playing the people who went on this mission, right?Like, we want to, we want to reflect the fact that, you know, I just broke my shoulder like last time and I'm coming like half patched up into this one. Stuff like that, like, yeah.Sam: Maybe we encountered like a new type of zombie for the first time. And so Thomas: Mm. Sam: that specialist is the only one who's seen that type of zombie before and that's gonna come up next time. They can be the person who's like Uhoh on the next mission and, and do that foreshadowing, but all that, all that.And they can also be like the person telling the horrible war story, like around the campfire, like the ghost story almost of what happened. That can be in itself, a cool downtime scene.Thomas: Yeah, I think that is actually a thing that comes up regularly often where you want to contextualize what happened on a mission to the other characters, not necessarily the players. So you wanna see it through one character's eye, like what they experienced and stuff like that. 'cause if you're going to limp home limp back to camp, you know, half your squad gone, people know it went horribly wrong. And you know, there is like, there is just this sense of like, you know, at some point we need to know why. And often it's at like the Commander Marshall level where, you know, you might role play like having a character debrief the senior officers going like, this is, this is what happened. And the senior officers had to sit around going, Yeah, it's our fault, you know, like, we made that call and we have to settle with it. Yeah.Sam: Yeah. Or like maybe you decide that one person who came back alive really was at fault and you hold a disciplinary meeting for them. Right? Like Thomas: Oh, wow. Yeah. Sam: Um, a specialist who comes back injured and carrying tons of guilt, like, yikes, I, let's do it.There's another line at the end of the procedure here that is, if any squad members died, ask someone what they remember most about one of them, which is really just like sticking a finger in the wound. Right. It, it, it's making sure if it wasn't clear enough already, like you are supposed to feel these deaths.Thomas: Yeah. Yeah. It is again, just and, and if people are sort of hearing this and going, oh, this is a bit, this is a bit much like I cannot overstate how much the primary missions can be just a joy, like a complete, like you can, you can be in this dark fantasy world of zombies. And you know, the humanity has lost the war.But like when you start a primary mission, like when I was playing it very often my players would absolutely flub the engagement roll. And they would start in like a desperate position and I'd really kind of revel in like, how screwed they were. And then they would just go, okay, flashback, this was the plan all along, this is the diversion. I'd be like, shut the.Sam: Flashback this, resist that. Yeah. I've got some explosives in my back pocket. It's all fine. There's, you, you say there's a broken themselves, one of the head zombies coming in to kill us? Like that's fine. We'll just collapse a church on their head. It'll be fine.Um, Thomas: We prepared for this all along.Sam: Yeah. Yeah. It's cool to have both of those dualities in the game, like to have the wild successes. 'cause that also feels like a part of war is like sometimes you do get those miraculous victories too.Thomas: Yeah, I will say that, and this is something that I'm still unpacking, but it can't be overstated how much culturally we have this fantasy, especially for young men of like the greatest destiny being that you gave your life on the battlefield, right? Like that you took a bullet for your comrade.Like that is such a powerful you know, cultural feeling, I think. So And it is hard to sort of have that feeling in games that don't, at the end of it, make you go, okay, yeah, I think we might have glorified war there.Sam: Yeah.Thomas: and it is this game this game lets you do that.So I am, I am going to unrelentingly recommend this to folks even though it can be dark. Like I think you have control of that dial to a huge extent. And you can You can make sure that this is a fun and pleasurable experience.Sam: All right. What mechanic from Band of Blades should I do an episode about next?Thomas: I mean, I think the immediate one that comes to mind is the idea of roles. That the one thing that players have continuity on is that they're either the Commander or the Marshal or the Quartermaster or optionally the spy or, and the Lorekeeper, I think.And yeah, they just, they just divide the GM role in a nice way. Primarily because like, those are now player responsibilities, right? It's the Marshal's responsibility to name every member in the squad as in when they need a name. It's not the GM's job, you know. And that you know, you might think that a small thing, but it's, it's a big thing.So I, I think that's an obvious other thing to kind of discuss all the ways in which Band of Blades gently and, sophisticatedly kind of divides that, GM experience.Sam: Yeah. It both distributes all the paperwork and bookkeeping that the GM or someone would have to be doing among several people so that no one person is fully responsible, and by doing so, it puts more hard choices into the hands of each player.Thomas: Yeah, and it also facilitates their mutual cooperation, right? Like when, when you have a sense of like, whose final call this is, like that doesn't mean you're not gonna discuss it. You're gonna discuss it and then someone has final call and you're going to respect that. And that does a lot for having straightforward and fluid like conversations.Sam: Yeah. Well maybe I'll have you back in a year or two uh, to do that one. Um, But uh, this was excellent. This was great. Thanks for for being here and talking about secondary missions with me.Thomas: Thanks so much. I am thinking about Band of Blades like all the time, you've just given me an opportunity to like talk about it, but if you had it, it'd just be me in my head thinking about it.Sam: Thanks again to Thomas for being here. You can find him on socials at chaibypost, C H A I B Y P O S T, but in my opinion, you're better off just subscribing to the Indie RPG Newsletter and the Yes Indie'd podcast. Links for all that in the show notes. As always, you can find me on socials at sdunnewold, bluesky, and itch preferred, and there's a Dice Exploder Discord! Come on by, talk about the show, and if you've backed the Kickstarter, claim your fancy pants roll. Our logo was designed by sporgory, and our theme song is Sunset Bridge by Purely Gray.Thanks, as always, to you for listening. See ya next time. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit diceexploder.substack.com

Spoilers, profanity, Jaime x Brienne. Sam's chapters continue to be just an exquisite horror story, so, of course, we feel especially bad for the animals. Speaking of animals, what's up with those ravens? Game of Thrones. A Song of Ice and Fire. A Storm of Swords - Samwell III.   Close The Door And Come Here - Episode 496

This beauitful sun-dappled illustration of Jaime and Ser Ilyn is by Pojypojy and you can see it here! https://www.deviantart.com/pojypojy/art/ASoIaF-Jaime-and-ser-Ilyn-63845302In these chapters, Jaime is on a tour of the charming countryside in Westeros with an agreeably silent traveling companion, and Samwell is stranded in Braavos with a "brother" who abandons him. Both of them end up hitting someone.Thanks for listening, and I will see you again soon with a new episode!Credit to MetroGnome for the theme song, you can download it free and listen here! https://www.youtube.com/watch?v=XA6a7sYKeeAIf you'd like to join our Discord and get in on some of the convo, check it out here! Non-patrons welcome! https://discord.gg/rEF2KfZxfV

Spoilers, profanity, Jaime x Brienne. Sam's living in a Craster powder keg, but somehow Grenn is shirtless so it's not all bad news. Sam's imposter syndrome gets the better of him again, but he's not the only one who doesn't know what they're doing. Jeor Mormont, how long have you been Lord Commander? Everyone wants a piece of Bannen. Pets taste sad. Game of Thrones. A Song of Ice and Fire. A Storm of Swords - Samwell II.   Close The Door And Come Here - Episode 483

Sam and Gilly are lost, exhausted, and hungry. They find an abandoned wildling village for shelter but receive unexpected house guests. Sam wrangles the wight of an old friend. When all hope seems lost, a new friend emerges. Simon and Mackelly sing a song for the Stranger. (Really, we do.)Chapter Review:Samwell Tarly, Gilly, and Gilly's baby come across a wildling village, on their trek back to Castle Black. Sam hopes it's Whitetree, a village the Great Ranging stopped at on their way north. They hunker down in a hall for the night. Sam wonders what he's going to do with Gilly when they reach Castle Black. However, he decides to put it out of his mind until the time comes.While eating, he shares stories of his life at Horn Hill and even serenades Gilly with a children's song. That night he dreams of hosting a great feast as the lord of Horn Hill. He wakes to a frigid cold temperature. The wight of Small Paul shambles into the hall. Sam fights Paul, while Gilly and the baby escape. Sam eventually destroys the wight and hurries out to give Gilly the good news. Instead, he faces with a horde of wights surrounding Gilly and the baby.When it looks like there's no way to save Gilly and baby, a large unkindness of ravens descends upon the wights. With the wights distracted by the ravens, Sam runs to Gilly. He's unsure what to do next when he hears a voice call, “brother.” A man wearing Night Watch blacks and riding a huge elk calls for them. When he helps the trio onto the elk, Sam realizes the man's hands are as cold, black, and hard as a wight's.Characters/Places/Names/Events:Samwell Tarly - Brother of the Night's Watch, friend to John Snow. Slayer of Others.Gilly - Daughter/Wife of Craster.Craster - Wildling who marries his daughters and disposes of newborn sons. Considered a friend of the Night's Watch by some.White Walker (Other) - Ice beings from north of the Wall. Able to reanimate the dead to their cause.Castle Black - Headquarters of the Night's Watch.ThBookTV Thriller AudiobooksFree thriller audiobooks presented by BookTV!Listen on: Apple Podcasts Spotify Support the showSupport the podcast: Buy merch from our store. Buy us a Cup of Arbor Gold, or become a sustainer and receive cool perks. Make a donation to our cause. Use our exclusive URL for a free 30-day trial of Audible. If you like what we're doing, consider rating and reviewing us at Apple Podcasts, Spotify, podchaser.com, and anywhere else.Find us on social media: Discord Twitter @GhostsHarrenhal Facebook Instagram @GhostsHarrenhal YouTube All Music credits to Ross Bugden:INSTAGRAM! : https://instagram.com/rossbugden/ (rossbugden) TWITTER! : https://twitter.com/RossBugden (@rossbugden) YOUTUBE! : https://www.youtube.com/watch?v=kthxycmF25M

Hello and welcome to the NotACast, the one true chapter-by-chapter podcast going through A Song of Ice and Fire! In this episode, Sam and Gilly are hunted by some bad zombies, only to be saved by a...good zombie. Confused? So are they!  Next time: ASOS, Jon VI, in which Jon finally comes home to Castle Black, only to find nothing but bad news. And the Red Wedding hasn't even happened yet!  Emmett's twitter: twitter.com/PoorQuentyn Manu's Twitter: https://twitter.com/ManuclearBomb  Manu's patreon: https://www.patreon.com/ManuclearBomb Our patreon: www.patreon.com/NotACastASOIAF Our merch store: https://notacastasoiaf.threadless.com     Our twitter: twitter.com/NotACastASOIAF   Our facebook: www.facebook.com/groups/289889118235797/   Our youtube page: www.youtube.com/channel/UCmmDfPdG…iew_as=subscriber   Our Instagram: https://www.instagram.com/notacastasoiaf/ 

NOW is the time to get your financial shit together! Mollie can help! Get in touch for a free consultation here: http://m3virtualaccounting.com/This gorgeous illustration of Brienne when she was still part of the Rainbow Guard is by Thaldir and you can see it here! These chapters are Brienne and Samwell, and it's the first time we're in Brienne's POV which is a fun change of pace. She's sweet in a way that blends the innocence of her ideals with the harsh lessons she's experienced, and it makes for an interesting mind. Samwell, meanwhile, falls into a total panic when he's told that he's going to become a Maester, and RoShawn and I are left wishing that Jon were a little bit less of a Leader and a little more of a Friend in this scene. Credit to MetroGnome for the theme song, you can download it free and listen here! https://www.youtube.com/watch?v=XA6a7sYKeeAIf you'd like to join our Discord and get in on some of the convo, check it out here! Non-patrons welcome! https://discord.gg/rEF2KfZxfV

NOW is the time to get your financial shit together! Mollie can help! Get in touch for a free consultation here: http://m3virtualaccounting.com/This illustration of Arya and the Hound is by kyla79. You can check out their deviantART here! https://www.deviantart.com/kyla79/art/Arya-and-the-Hound-376062656These chapters are Arya and Samwell, and they're the ones where Arya finally gets revenge on Polliver in a frenzied and brutal way, while Samwell has returned to the Wall much to the amazement of his black brothers. There's an election on, and Samwell has strong feelings about it, but doesn't have strong actions.Credit to MetroGnome for the theme song, you can download it free and listen here! https://www.youtube.com/watch?v=XA6a7sYKeeAIf you'd like to join our Discord and get in on some of the convo, check it out here! Non-patrons welcome! https://discord.gg/rEF2KfZxfV

A.Ron, Jim, and Anthony discuss the new House of the Dragon trailer. Then comic Steve Ausburne reacts to Samwell's barf montage and the Ed Sheeran cameo. Theme song: Game of Thrones (80's TV Theme) by Highway Superstar Check out https://support.baldmove.com/ to find out how you can gain access to ALL of our premium content, as well as ad-free versions of the podcasts, for just $5 a month! Join the discussion:  book@baldmove.com | Discord | Reddit | Forums Follow us:  Instagram | LeDonneBooks.com Leave Us A Review on Apple Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices