John Carter Of Mars: The Originals, And Why Have We Forgotten How To Have Fun?

“Edgar Rice Burroughs was, and is, the most influential writer, bar none, of our century.”
Ray Bradbury

If we could just stop letting cultural baggage ruin our science fiction, we’d have a lot more fun. And we could go back to being inspired by it, and building a better world and whatnot.

Unfortunately, we’re all activists now, and we get offended quite easily. We focus on a scavenger hunt to dredge all the things from older fiction and movies that are unacceptable now, but which were commonplace in the times in which those things were written – and we lose sight of ourselves in the process. We emphasize the divisions rather than the commonalities. Which brings me to Edgar Rice Burroughs’ Barsoom books, featuring John Carter Of Mars.

Let’s say it’s February 1912 and you stroll up to a magazine rack at a busy street corner somewhere, like this one…

…and pick up the latest All-Story Magazine. This one here:

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There’s a quirky story in there called Under The Moons Of Mars by some guy named Norman Bean (a pseudonym; it’s said he typed ‘normal bean’ – as in ‘not insane’, but his typesetter messed it up). I don’t know how it wouldn’t command your attention if you were at all an explorer, a dreamer, an adventurer at heart born in the wrong time and place for your imaginings. It’s white-hot lightning on paper, and it changed the world. I like to think you’d have sensed that might happen after reading those six installments, finishing in the July issue.

Let’s just ignore the 2012 Disney film supposedly based on the first novel because it’s terrible. I’m sorry if you loved it. That’s just my opinion based on how convoluted and boring it was – not because it doesn’t follow the books. Though it doesn’t really. I’m talking about that mesmerizing set of pulp novels that came from the same mind that created Tarzan: Lord Of The Apes. These John Carter Of Mars books brought us airships and space princesses, swashbuckling space action, telepathy and psychic powers, evil green aliens and more. It’s crazy, reading them now, just how many people who came later were inspired by things they found in these books…people and tropes you’ve heard of but didn’t know their origin. I’m talking about even things like exotic sci-fi character names and settings like dried-up seabeds, dying cities with lost technology. He dreamed those things up and blazed an incandescent trail others followed – others like Arthur C. Clarke, Robert Heinlein, Ray Bradbury, Leigh Brackett, H.P. Lovecraft, Alan Moore, James Cameron, J. Michael Straczynski, and George Lucas. And others, man! Plenty of others.

Here’s how Burroughs told the story of writing it in the 1929 Washington Post:

“I knew nothing about the technique of story writing…I had never met an editor, or an author or a publisher. I had no idea of how to submit a story or what I could expect in payment. Had I known anything about it at all I would never have thought of submitting half a novel; but that is what I did.

Thomas Newell Metcalf, who was then editor of The All-Story magazine, published by Munsey, wrote me that he liked the first half of a story I had sent him, and if the second half was as good he thought he might use it. Had he not given me this encouragement, I would never have finished the story, and my writing career would have been at an end, since l was not writing because of any urge to write, nor for any particular love of writing. l was writing because I had a wife and two babies, a combination which does not work well without money.

I finished the second half of the story, and got $400 for the manuscript, which at that time included all serial rights. The check was the first big event in my life. No amount of money today could possibly give me the thrill that first $400 check gave me.

My first story was entitled, Dejah Thoris, Princess of Mars. Metcalf changed it to Under the Moons of Mars. It was later published in book form as A Princess of Mars.”

It may be in this cynical, political age that images like the ones below hang some people up. “There’s just another invincible white dude swinging a sword, treating his woman like property and being racist!” But that isn’t it at all. John Carter just tries to do the right thing – nothing is handed to him. He had a hard life and knows how to handle himself. Good things happen to him in the end because he never gives up, no matter how frightened he gets. He just follows a code of conduct and sticks to his word. We’re not allowed heroes as much these days – isn’t it okay to have a strong male lead who tries to do good things?

And Dejah Thoris, the original space princess, isn’t dumb or a piece of wallpaper. She’s noble and brilliant, a strong inspiration to her people and considered the finest of her race. There’s no need to try and make her a scientist or technological genius in a misguided attempt to update her character – the woman is nobility itself, and she shines like it. It’s okay for a woman to fall in love with a brave man who’s trying to help her. That doesn’t demean her or make less of her.

The John Carter Of Mars books are worthy of your time. They’re incredible inspirations and true works of genius. Why not pick up the first three books in the compilation by Gallery / Saga Press here on Amazon. My suggestion is just keep an open mind, remember that what you’re reading came long before almost any science fiction with which you’re familiar, and consider just what an outlandishly brilliant masterpiece these stories are considering so little came to pave the way beforehand.

Let us know what you think – we’d love to geek out with you on this.

Till next time. Dreams are engines.

Be fuel.

Addictive Entertainment Products: What Can We Learn?

I know, man. Anybody trying to figure out what Grailrunner Publishing is all about must get dizzy skimming through these eclectic articles ranging from wargames to popular fiction and movie reviews, and begging for graphic design advice. But check out the nametag – we simply seek to inspire.

Dreams are engines. Be fuel.

That’s the point of us…giving people building blocks and inspiration to escape everyday life and politics and digital propaganda and to just be happy and dream. So today it’s a psychological model analyzing how they make certain products addictive. Crazy, right? Our hope is you dig this book and its HOOKed model, see how it might help you design something you’re building or thinking about, and that you thrive in that. But use your new powers for good, not evil. Cool?

For us, we’re putting out science fiction books and a tabletop wargame line with a branded merchandise line. It will help to have something concrete to think about as we learn this model from Nir Eyal, as described in Hooked: How To Build Habit-Forming Products. What this model offers is a way of thinking about WHY we engage with products at all, what triggers us throughout our day or week to go back to those products, and why we keep going back…or frightfully, why we might NOT return to those products.

1 & 2: Internal & External Triggers

Check out the diagram at the top of this article. It’s a loop – hopefully you see that. Starts at 1, with an internal trigger. One clear example Eyal gives is a fitness app where the designers latched onto that awkward moment when you might step into a gym or workout room and not really know what to do…which machine to go to. If you’re uncomfortable enough, you might even connect that ‘dumb’ or ‘confused’ feeling with the act of going to the gym and just stop going. That’s an internal trigger – the feeling of wanting to know what to do.

A buddy of mine told me once the hardest part for him in quitting smoking wasn’t the nicotine or taste, it was the social aspect of going out to the smoke pad at the top of the hour and networking with people…hearing all the gossip from all levels of the company. For him, the internal trigger was the top of the hour and that itch to talk to some people.

When I think about the Salt Mystic wargame we’ve been designing for a few years now, the internal trigger we’re targeting is the desire to escape into a science fiction world…the itch to laugh and talk trash with friends over a tabletop without complicated rules and lore getting in the way. More simply – the desire to dream up a story.

The external trigger piece Eyal identifies, labeled as 2 in the diagram, is how the user actually gets to the product. With the fitness app, maybe it notes your GPS location as being in a gym and flags you with a suggestion. Maybe your GPS watch notes that you haven’t moved in a while and flags you to do so, or connects you with friends through a Garmin app who encourage you to go for a run because it’s been a while. The point to remember here is the product is trying to establish a link between that internal itch the potential user feels to do something, tied to a core drive or interest, and an access point to the product.

In our case, we have no intention of building a digital tool to intrude on your life. That actually drives me crazy when my iPhone puts up those irritating red notifications on various apps. It stresses me out, so all that noise is turned off and I’ll look at the phone when I feel like it. However we’ve been spending time thinking about how to connect a desire to escape from the daily grind and dip into fun sci-fi weirdness to our Salt Mystic offerings versus all your other options. We feel like unique and striking aesthetics, memorable and relatable characters, and certain easily understood anchor points in the main storyline will help. I’m specifically thinking about the difference in lore between what you might see with Magic: The Gathering and Warmachine (complicated, confusing, not terribly relatable) and the wild success of Game Workshop’s Warhammer 40k Black Library where every single book begins with the one-page synopsis explaining the world of 40k, the Emperor Of Mankind, and the key point all of this pivots around. It gives you an easy anchor to orient yourself in the world of the game.

In fact, this very point decided it for us that there HAD to be a sourcebook and not just a rulebook to illustrate the key building blocks of the Salt Mystic world. That stuff was designed to be memorable and different, immediately recognizable as a science fiction backdrop with a western feel. We also leveraged this idea of an external trigger to decide there HAD to be a digital version of Salt Mystic available in Steam’s Tabletop Simulator, to make the game as accessible as possible. External triggers in Steam, social media, or on sites like Drivethru RPG when you’re trolling for something to do with your friends would hopefully catch you with the aesthetics and cool technology, if not the description of the game mechanics.

3: Action

I’m talking high level now about just getting someone to play the game, though there are applications within the game mechanics where we’ve also considered this point Eyal makes in step 3 – taking the simplest possible action expecting a reward. As an explanation of what this is driving at, consider the fitness app example we talked about before. The simplest action the user might take is to just click on the recommended workout the app suggested, much like you might click on a recommended video in Youtube. Doesn’t take a lot of thought or consideration, and there isn’t much at stake here given that you either ignore the workout suggestion or skip to another video. Still, it’s a simple action the user can take in hopes of getting something in return.

What are they hoping to get in return?

It’s to scratch the itch from step 1 of this model: the internal trigger. But it can’t be annoying with tons of setup and fiddly bits and long complicated rulebooks, twenty different tie-in stories you need to know, and a bookshelf full of expensive codex books needed to really play properly. A simple action, man….trying to scratch the itch.

4: Variable Reward

I’m fascinated right now with a show called Gold Rush: Whitewater that does an amazing job illustrating Eyal’s overall point behind step 4 – the variable reward. Think of the creepy old lady at the casino tied up to a slot machine looking for that adrenalin rush of the blinky lights and tink-tink of the coins dropping. Think of an exciting poker game where sometimes you draw a great hand and run the table, and sometimes it’s just a losing hand. In the Gold Rush show, those poor guys have terrible days where they get absolutely nothing done but jerry-rig some redneck equipment they should have planned and purchased beforehand, and some days they draw gold out of the water like it’s M&M’s. It’s a dopamine rush, hoping to see what comes up.

Social media has entirely nailed this, haven’t they? You troll through a feed on your favorite app, and you might be bored for a few posts, but quickly scroll to something striking that the almighty algorithm has decided you’ll love. They’re lighting off your dopamine every time you see something interesting or sexy or funny or that scares you or that pisses you off. It’s a variable reward because you never know what you’re going to get.

In the game environment, we knew we needed to have the players draw their characters rather than set them up like traditional wargames for this very reason. Drawing a card each hand is exciting. It’s variable. Sometimes you draw well. Often you don’t. And it matters to some extent how well you play, but there’s also a luck component. In that event, you’d better think on your feet! We went nuts with this variable reward element in designing the solo version of the game and the solo dungeon crawler we included in the Sourcebook.

5: Investment

This step 5 in Eyal’s model is the buildup of something the user can own that gets them to be invested, to add some switching costs so they’ll feel kind of bad if they leave. In the fitness app example, maybe you’ve added your workout data or your run times and pulse information. If you stop using that app, it’s gone and you’re starting over. With a game like Gloomhaven, you’re working through a campaign so there’s loot and additional abilities you’re picking up along the way that make it crazy to stop. Gamification researcher and speaker, Yu Kai Chou identifies something called “The Ikea Effect” whereby you value something because you’ve spent time on it. Gabe Zichermann identifies “The Endowment Effect” whereby you value something simply because it’s been given to YOU and no one else.

Quick anecdote on that Zichermann example:

Took my wife and kids to a Medieval Times restaurant and show once (reluctantly) and noticed how genius it was at the jousting tournament for them to randomly group the crowd into two sides and assign us our knights – one guy was blue and one green, or something like that. They called our knight “our guy” constantly. Some random dude whose face I couldn’t even see was assigned to me. And within moments, we were cheering like crazy for him to win. Because he was ours. That’s the Endowment Effect.

Anyway, the idea Eyal is presenting in this final step is pretty key. If the user isn’t invested, they’ll move on to other channels whereby they can scratch their itches. And that’s the reason we study this kind of thing. And to be honest, we’re still stuck on this point with our work. This is an opening for us in Salt Mystic – we know that. Maybe campaign books make sense, where you take your characters through scripted adventures and level up along the way. Maybe a sideboard mechanic makes sense, where a mystery deck is laid out alongside the battlefield with which you can level up. Maybe you have secret packages inside the War Marshal decks you only open up after you achieve certain milestones.

I don’t know, man. There’s a lot of ways to take that one. What do you think?

Anyway, that’s the model and some thoughts on application. Hopefully you find it interesting enough to go pick up Eyal’s book and read it for yourself. Fascinating stuff. If not, then just go watch Gold Rush: Whitewater. That’s entertainment.

Take care, guys. Till next time.

Dreams are engines. Be fuel.