Last summer, my heroes over at Evil Hat Productions released Bubblegumshoe. Unusually for Evil Hat, the game is based on Pelgrane Press‘s GUMSHOE system, rather than on Evil Hat‘s own Fate Core system ((Though, to be honest, I think the niche of teen-hero-Fate-game is kind of already filled by The Young Centurions.)). It is ((As it says on the cover.)) a teen detective story game, drawing heavily on stuff like the Veronica Mars TV show, Nancy Drew and Hardy Boys and Three Investigators book series, Scooby Doo cartoons, and so on. You play kids who are trying to solve mysteries.
I got a couple of my friends ((Thanks, Chris and Sandy!)) to agree to giving it a try ((Talking my friends into playing games, even trying new ones, is not much of a challenge. What is more challenging is trying to fit another game into everyone’s schedules.)), so over the winter, we played through a limited campaign. It was a single mystery spread over three sessions, with an intro session devoted to setting the game up. We had a lot of fun with it.
The physical book is a digest-sized volume, about the same size as the Fate Core rulebook. It’s 272 pages, on sturdy, glossy paper, with a lot of black-and-white art throughout, a clean and open layout, and wonderful little elements of marginalia ((Not as dense and focused as the DFRPG marginalia, but it’s a nice visual touch to the design.)). There are the requisite chapters on the system mechanics, building characters, and such. There are also a few chapters on getting the right feel for a teen mystery game, and a number of different settings – with rules tweaks for many of them – allowing you to set your game in different environments.
One of the nicest features of the book is that it contains five example mystery spines – essentially outline examples of how to put together your own mystery. One of these then gets an in-depth write-up, showing you how to take a simple spine and flesh it out into an entire scenario. I found that looking at the spine and the fleshed-out version was really helpful in figuring out what kinds of things I needed to think about in building my own story.
The GUMSHOE Bits
If you’re not familiar with GUMSHOE ((Shame on you! No, no. Sorry. No shaming here. But I think you should check it out.)), it’s a system designed for investigatory games. It’s built to address the problem that running investigations in other games often encountered – a bad roll could derail the entire game, as they players then don’t get a clue that they need to solve the mystery. With GUMSHOE, you have a set of investigatory abilities and, if you say you’re using the right one in a situation where there’s a clue to be found, you find that clue ((That’s not a great explanation. It makes it sound like a guessing game, where the player just lists all his or her abilities, and when the right one comes up, the GM gives them a plot coupon. I talk in more detail about how the system works in general in this post.)). For other things you try and do that aren’t directly gaining clues – running, jumping, climbing trees ((As Eddie Izzard says.)) – there’s a very simple d6 system.
One of the big things with every GUMSHOE game is that the list of abilities is tweaked to match the setting and reinforce the themes. Bubblegumshoe‘s abilities are focused on the kinds of things that make sense for teenage sleuths. Some particular tweaks to the system that I liked:
- Grownup Face replaces Cop Talk from a lot of other GUMSHOE games. It serves the same function – gives the character credibility and access with authority figures – but instead of letting you be taken seriously by police, it lets you be taken seriously by adults. Important for teenage detectives.
- The Cool ability functions effectively as both Health and Stability in normal GUMSHOE games. You run out of Cool, you’re out for a while. This, along with some changes to the Fighting ability, does a great deal to minimize a potentially problematic element: it means that you don’t necessarily have to have teenagers beating each other to death in your game. It also reinforces teen drama tropes, by making embarrassment and social power plays effectively life-or-death ((Which is the way I remember them feeling in the long-ago time when I was a teenager.)).
- For investigative abilities, the list is very focused on what a teenager might reasonably have access to. So, you get a Photography ability, and you get a Reasearch ability, but you don’t get a Forensic Pathology ability. And to make sure that you can still have access to some of the more esoteric investigative abilities, the game gives you Relationships.
Okay. So, your fifteen-year-old yearbook editor may be really good sussing out whether someone’s kind of out-of-place with the clique they’re hanging with, but not so much with running a license plate to see who a car is registered to. That makes sense. But it does impose some limits on the types of clues you can reasonably expect your players to be able to collect.
Well, similar to the Sources idea I talked about in Cthulhu Confidential, Bubblegumshoe gives each character a number of Relationships – people that they know and that are important in their lives. And these Relationships can have abilities that the characters don’t otherwise have access to. So, your character doesn’t have any hope of using forensic accounting to unravel the community centre’s finances, but her aunt is a CPA who can take a look at the books and give you some insight.
In Bubblegumshoe, though the Relationships serve the same mechanical function as Sources in Cthulhu Confidential, their roleplaying dimension tends to be more important. You need to spend time and effort ((That is, scene time during play.)) maintaining your relationships. You need to keep your mom happy and not get kicked out of school. You need to diss your high school nemesis and back up your BFF.
This keeps things closer to the kinds of source material stories the game tries to emulate – real life ((You know what I mean.)) often intrudes upon and complicates your cool mystery-solving efforts.
I mentioned earlier that Bubblegumshoe uses the Cool stat as both Health and Stability ((Which is to say, as both HP and Sanity points.)). This alone does a fair amount to help turn combat non-lethal, which is, I think, a necessary element, both in modeling the source material and in making it more comfortable for adults to play this game ((The idea of running a game where having a modern teenage player character decide that the optimal strategy is to kill a rival is a little too close to some of the more horrific real-life news stories I’ve seen. I do not think I would play that game.)).
Now, there are ways to hurt other characters physically in the game. The Fighting stat lets you, well, fight. Note that, in keeping with most of the source material, most fights are bare-knuckle affairs, schoolyard scuffles. Pulling any kind of weapon is a huge deal, and is usually ((And most effectively.)) used as an intimidation tactic. Getting hurt is serious – there are four levels of health: fine, scuffed, injured, and dead. Without a weapon, it’s hard to get to injured, and really hard to get to dead. With a weapon, it’s a lot easier, but it takes some Cool and other ability spends to ramp up to being able to seriously imperil the life of another.
So, physical combat is fairly quick and dirty, with serious in-world penalties for doing it – suspension, grounding, criminal charges, law suits, etc. Social combat, on the other hand, gets it’s own mechanical subsystem.
Social combat is the focus of most confrontations in this game. Shaming, frightening, or otherwise dominating your opponent ((Preferably, but not necessarily, in public.)) is the equivalent to a big combat set piece in other games. Getting the quaterback to back down from a confrontation, or tricking the cheating popular girl into incriminating herself, or making the villain so angry he or she takes a swing at you – all of that comes down to a Throwdown.
The Throwdown system is a little bit involved, factoring in allies on both sides, who’s taking the lead, who’s on their home turf, and who has things to support their side of the combat. Taking hits reduces Cool, and running out means you lose – you get laughed at, or lose your temper, or say something stupid, or everyone just turns on you. There are techniques and strategies you can employ, just like in physical combat in most games ((In Bubblegumshoe, there are more techniques and strategies available in Throwdowns than in physical combat.)). It can turn pretty intense, which is what you’re looking for.
One thing I love about Fate Core is that it has good, structured methods for building your setting and game milieu at the start of play. Bubblegumshoe has incorporated that piece into the game, letting you and your players build the location and environment for your campaign, fully integrating the themes, places, and characters you want to see in play. The book leads you step-by-step through the things you need for your game, plus it gives you a lot of background discussion to help you make the decisions during play, and to understand what is and isn’t going to work.
And if you don’t want to do that, there’s a fully fleshed-out town already built and written up in the book: Drewsbury ((Drewsbury is good, but I found it to be a very American place. That’s not a bad thing, but keep it in mind if you’re planning to use it.)). In addition to Drewsbury, the book has eight other settings, not as fully statted, but with enough background – and some rules tweaks – to show you how to use them with the basic setting building method to get a good start for the game. These include some paranormal elements, some science fiction elements ((Gotta give a shout out to Veronica Base, Mars for the effort to use the name without violating IP law.)), dystopian societies, super heroes, and scouting. It gives you the tools to play everything from a Smallville-style game ((Though for that, I recommend digging up the Smallville RPG. But still.)) to a Lumberjanes scout troop to a Scooby Doo gang, complete with animal sidekick.
One last thing I want to point out about settings: there is an actual mechanic for modeling the bad part of town. Locations where your character isn’t supposed to go – because of age, because of gender, because of clique or social class or neighbourhood or whatever – get thresholds. This is a number of Cool points you have to pay to take part in a scene in that location. So, if you want to go into the Teacher Lounge at school, or the biker bar across the tracks, you need to pay a point or two of Cool, reflecting that you are out of your element and at risk. I just think this is a great little mechanic for getting players to worry about going places that their characters would worry about going.
As I mentioned way back at the start of this post, I got a couple of friends together to try the game out. We wound up creating a small town on an island in the Queen Charlotte Strait of BC ((That’s British Columbia, a province of Canada, for my non-Canadian readers.)) in the early 90s. My players decided they wanted to play younger characters – 13 years old – and that they wanted some supernatural elements in play.
Character and setting creation took a session, then I put all our notes into a setting bible ((I’m not sharing the setting bible. I thought about it, but I wrote up some stuff about one of the coastal First Nations groups that is the result of very light research, and I’m not comfortable sharing something that I, as a white dude, wrote about another racial/cultural group that I did that little research on.)), and mapped out the mystery. The plan was for a three-session game, so I made a mystery that I thought we could get through in that time, revolving around the vandalism of a mural at the local community centre. Scheduling meant we needed to take a bit of an extended break over the Christmas season, but we got the three sessions in and finished the adventure. Everyone had fun.
That said, I learned some lessons that I think are useful, so I’m sharing them.
First, if you’re using some supernatural elements in the game, you need to be careful that they don’t overshadow the main mystery. My initial plan was that the mystery itself was mundane, but the created disharmony between the town folk and the nearby First Nations village caused some supernatural events. And the characters latched on to those elements as the focus of the investigation, because of course they did. They were far more interesting than somebody breaking a window and writing a slur on a mural. So, bad planning on my part. Distracting.
Second, make sure you and your players have a solid shared understanding of what it means to play kids. This was especially important because of playing such young characters. Teenagers just don’t have the freedom and agency that adults do, and are heavily constrained by society and parents and peers. That limits the ways the characters can deal with some standard RPG obstacles so, as a GM, you have to make sure there are ways for the characters to get clues that are appropriate for their age. And, as players, you have to remember just how frustrating it can be to have your options limited by your age, and how you used to get around that. So, a discussion of these types of expectations before we started playing would have been helpful.
Finally, and this applies to all investigative games, it’s easy to get caught up in the roleplaying but, as a GM, your focus must be on getting information to the characters. They can’t proceed without the information and, especially when their options are limited by the age of the characters, you need to make sure they always have something to do, some thread to follow.
Just my thoughts.
Bubblegumshoe rocks. It’s well-written, really evokes the source material, and is a great deal of fun to play. If you like teenage detectives and investigatory RPGs, this is a must-have. It gives you the flexibility to play light games or dark games, modern or historical or futuristic games, and to add in pretty much any element from YA media that interests you. The system is robust and simple, though the paradigm of GUMSHOE can take some getting used to if you’re coming from more traditional RPGs.
So, yeah. Get it. All the cool kids are already playing it.