James Wallis levels with you

Cork Board Game Design Workshop

I’m a special guest at Warpcon XXV at University College, Cork at the end of January (23rd-25th). I’ll be running a mix of Paranoia and Once Upon a Time playtests and probably some new Baron Munchausen material too, but I’ll also be hosting a session of my Board Game Design Workshop.

The Workshop is a three-hour yomp through the principles and practice of game design. It starts with a brief introduction to how games work and ends with everyone clutching a brand-new, complete, playable and playtested game that they’ve created. It is huge fun, a mix of creative and collaborative design and play, and anyone can take part, from complete novices to experienced game-makers.

I have run this event more times than I can remember over the last seven years, most recently as a fundraiser for the London board-game cafe Draughts, but this is the first time it’s happened in Ireland.

I don’t yet know when or where it’ll be happening. I do know that there’s a small fee to cover costs and materials, probably about €10 per person. If you’re at all interested then please email me or the convention organisers to ask for more information.

Warpcon is always a great weekend and I hope to see you there.


A game narrative reading list

Two friends with credentials (George Buckenham and Jurie Horneman) have posted recommended lists of books on game design, and as I’ve had a similar list knocking around for a while I thought I’d put it up here. Mine is more specific than either of theirs since it’s mostly about game narrative, and it overlaps with Jurie’s list more than it does George’s, but I hope it’s still interesting/useful.

(Two things. (1) This is a living document and I will add to it regularly. (2) Most links go to Wordery, which offers free worldwide delivery on all titles.)

THE HERO WITH A THOUSAND FACES by Joseph Campbell. A dissection of metamyths, the structure underlying a lot of folklore and mythology from around the world, and boiling it down to its common elements. This is where a lot of the story-structure theory and thinking comes from, in particular the ‘Hero’s Journey’ metaplot that George Lucas used for Star Wars and the Wachowskis used for the Matrix and so on. On a similar theoretical level is Vladimir Propp’s MORPHOLOGY OF THE FOLK TALE which is from 1928 and dry as bones, but it’s where a lot of this stuff started. HERO is quite old-hat these days and many people can recognise a story based on it, but it’s a key text.

SCREENPLAY by Syd Field: summarises the three-act structure of most movies and dissects Chinatown brilliantly. One of the two classic books about writing screenplays, and by extension structuring a story. The other, by Robert McKee, I don’t like nearly as much. (McKee is the seminar-running guru fellow played by Brian Cox in the movie Adaptation.)

SAVE THE CAT by Blake Snyder: takes the three-act Field model and demonstrates how to break it down into story-beats, a structured sequence of emotional peaks and troughs for the characters to experience. Has the distinction of being written by someone who actually wrote some scripts that were actually made into actual films, which is not true of most books about how to write movies or for that matter novels. Very readable, often very funny. People tend to take it as a bible, which it shouldn’t be. Horribly formulaic but by goodness it works.

INTO THE WOODS by John Yorke. ‘Not three acts! Five! Like Shakespeare!’ The most recent of the decent how-to-structure books. I don’t rate this as highly as some do, but it is a good read.

IMPRO by Keith Johnstone, and here we get into interactive story-creation although Johnstone wouldn’t recognise games as being related to what he does. I mean, probably. This is the guy who basically created modern improvisational drama and comedy, and invented theatresports along the way. This is one of my favourite books ever, it’s an inspirational work about creativity and authority and how the two can and can’t sit together, but his stuff on how to impose simple rules to create a structure that generates narrative from interaction is just brilliant. This book underlies a lot of my thinking about how and why games work. I have reread it more than almost any other book in my adult life.

HAMLET’S HIT POINTS by Robin D. Laws takes the ‘beats’ concept from screenplay writing and applies it to interactive media. Specifically Robin applies it to the mad boundary-less sandbox interactives of tabletop RPGs, but there is a lot to learn from here regardless of what bit of game or narrative creation you’re in, and Robin is an engaging and entertaining guide. He’s a master of his craft and created the multi-award-nominated narrative game HILLFOLK last year, which you should also buy because it’s brilliant and I have a bit about feuding Augustan poets in it.

PROFESSIONAL TECHNIQUES FOR VIDEO GAME WRITING edited by Wendy Despain. Nutsy-boltsy stuff on how to write stories for games, with chapters by many of the leading practitioners in the industry. Rhianna Pratchett is in here, Richard Dansky is here, the usual suspects are here. Among the best of its type in the field that it’s in.

CHARACTER DEVELOPMENT AND STORYTELLING FOR GAMES by Lee Sheldon. I’ve just got the second edition of this and haven’t had a chance to appraise it yet, but Lee is a god of the field with experience of making movies and TV as well as narrative games. From a first skim this is not state-of-the-art stuff, not cutting edge interactive narrative creation, that book’s not been written yet and I’m hoping that Playful Fiction (the forthcoming journal I am putting together) will be the bedrock of that, but this is a very solid foundation. Bit of a tome. Be warned.

UNDERSTANDING COMICS by Scott McCloud is really about building your critical vocabulary but in this case it’s more about adapting your narrative techniques to fit your medium. This ought to be essential reading for anyone involved in building narrative in any field at all. UC was the direct inspiration for Interactive Fantasy, the journal of game narrative and criticism that Andrew Rilstone and I produced twenty years ago, and which published…

I HAVE NO WORDS AND I MUST DESIGN by Greg Costikyan (web) which is explicitly about critical vocabulary and its importance to the growth of a form. Short. Brilliant.

SECOND PERSON edited by Pat Harrigan and Noah Wardrip-Fruin. A collection of essays and statements about games and stories, published by MIT. I am massively biased because I have an essay in here and it reprints The Extraordinary Adventures of Baron Munchausen as an appendix. It’s mostly a collection of approaches rather than a how-to—it’s aimed at academics, as you’d expect from the publisher—but a worthy and not too wordy read despite that. Greg Costikyan is in this one too.

and finally

MAN, PLAY AND GAMES by Roger Caillois, which you really should have read by now. One of the fundamental texts of games criticism: witty, intelligent, and still remarkably on the money even though it predates the first commercial video-game by at least fifteen years. I always feel that Huizinga was an outsider looking in, but Caillois—who hung out with the likes of Georges Bataille—was a player.

There is nothing in this list about Nordic Larp at present, because I don’t know the field well enough. George’s list includes the DJA-winning NORDIC LARP by Jaakko Stenros and Markus Montola (PDF) which is a monster and you should have read it two years ago, but it’s more inspirational than instructional. Probably the best primer on the field is THE FOUNDATION STONE OF NORDIC LARP edited by Eleanor Saitta, Marie Holm-Andersen & Jon Back (PDF), a collection of influential essays gathered from earlier works, which is also a free download. I’d also recommend Markus Montola’s PhD thesis ON THE EDGE OF THE MAGIC CIRCLE (PDF) even though it’s a PhD thesis because I am obsessed with the magic circle, I think it’s one of the things that truly differentiates games from all other media and it links all the way to consensus realities and Occupy and TAZ which reminds me TEMPORARY AUTONOMOUS ZONES by Hakim Bey, again inspirational not instructive but if you don’t finish reading it and immediately want to either change the world or make a new one then you’re going to design horrible games.

Comments? Any core texts I’ve missed?

Mountain Endings

MountainI am compiling a list of all the ways that a game of Mountain, the almost-a-game “ambient procedural mountain simulator” by David OReilly, can end:

‘You were killed by the Blood Pyramid’

‘You are ruined by a passing giant sun’

‘The Taker of Souls took yours’

Uh oh

Uh oh

‘You were killed by a xyzzyx’ (triggered by playing the Close Encounters theme: as,zb. Not sure if that’s repeatable.)

More to follow. Got any?

(I recommend playing Mountain with the Billow Observatory album looping in the background.)

Addendum: Alice pointed me at the RPS playthrough that was ‘killed by the Eye of Blindness’.

Addendum: ‘You are granted death by the eye of annihilation’, from ukslim in the comments. Another one triggered by playing the Close Encounters theme.

Addendum: The Eye of Love Unrequited. Bastard. It seems you can prolong the life of your mountain, though not indefinitely, if you zoom right out until you find the orbiting bed, and position the camera very close to it. This is a single data-point so far, but I continue to test. Also, I’ve not yet seen anyone comment on the fact that the mountain does not rotate in a consistent direction when you reload. Sometimes it goes backwards.

Addendum: A giant ice cream

'You have been killed by a giant ice cream'

‘You have been killed by a giant ice cream’

There’s an epitaph.

Death and life in Scandinavia

It is a church of modern design, its interior bright and wooden. About thirty people are listening from the pews as a man in his late sixties talks about death. Outside, nearby, there is a conference. Inside there is a magic circle, a temporary autonomous zone, a place with its own rules.

He talks about death: he talks about his own death. Cancer of the liver has come close to destroying him, you can see it in his face, and he speaks of that. Before that, some years earlier a catastrophic almost-accident with a lorry on a busy motorway. And in the sixties, not long after he became the person who introduced LSD to Sweden, around the time he was put on trial for high treason, a terrifying acid trip in which he was forced to confront the embodiment of his mortality and the destruction of all things.

Somewhere behind us music begins softly, ambient and transcendental. It is only later that we realise it is a perfect coincidence bleeding through from a dance workshop next door.

And then effortlessly he brings us around to his real subject: the portrayal and experience of death in art. Our art. Which is not like other arts.

This was absolutely the best session I have ever attended at a games event. I’ve been going to games events for more than thirty years, across three continents. I’ve created some, chaired others, run sessions and talks and workshops at many. This was not like any of them. This was something else.

This is Knutpunkt, the annual Nordic Larp conference, held this year in Sweden. I’ve been saying for a while that if you’re interested in the field of interactive story then Nordic Larp is where the really interesting stuff is happening, but that opinion was mostly based on a second-hand understanding of the scene, received from conversations and books and blogs and PhD theses. I thought it was time I actually experienced it for myself.

I can’t describe Knutpunkt. Not in detail. It’s like diving into a hot-tub crowded with three hundred of the most interesting people you’ve never met before. There is so much going on in this arena that’s barely touched anywhere else, from descriptions of epic Russian larps with thousands of attendees, to scholarly work and hour-long presentations defining a new term in the critical vocabulary of the field, to transgressive, gender-queer and straight-out sexual games, and ones that deal with sexual issues and death in a mature and moving way. Quite a lot of parties, dressing up and dancing. Dancing larps are a thing, there was a whole tango larp recently. I missed the Drag King Fight Club, but apparently there was actual pugilism, though I believe I’m supposed to not talk about it. And a talk in a church about death.

It’s a very Scandinavian event but there were more people from England and Ireland at Knutpunkt this year than ever before. Not all of them were gamers: there were theatre people, film-makers, choreographers and artists. Word is spreading that something really fresh and very cool is happening here. Next year the conference is in Denmark, and by then I hope a few more of you will have had a chance to play a Nordic larp or at least had a chance to read more about it—the award-winning Nordic Larp book by Jaako Stenros and Markus Montola is now available as a free PDF. If you do, and if you feel even the slightest interest, then even if Elge isn’t speaking about death or if there isn’t a church for him to speak in next time, four days at Knutpunkt may (with apologies to Gen Con) be the best four days of gaming you’ve ever experienced.

A Knutebook Larp Design Reader

A slide from a splendid Knutepunkt 2014 presentation by Eirik Fatland

Workshop till you drop

Runnning a game-design workshop at the Virgin Media Game Space, September 2013

Runnning a game-design workshop at the Virgin Media Game Space, September 2013. Pic by David Hayward

I run a half-day games-design workshop. It started about six years ago as a one-off that transformed into a regular lecturing gig at the University of Westminster, and has become a centre-piece of my games-consultancy portfolio. So far in 2013 I’ve run it for students (quite a lot of students), for corporate clients, at an academic conference, at games events, in the Virgin Media Game Space, and on an island in a fjord.

It’s not just one workshop, it’s one of three or four depending on who I’m running it for and what they want to learn and practise. At its most basic it’s a three-hour crash course in concepting, developing, testing and iterating a design for a creative project. The more advanced version is about learning core methodologies behind paper prototyping and rapid iteration, and the thought processes needed to use them properly. The top-dollar level is about team-structuring and nurturing, negotiation, managing creatives and creative energy, and learning how to build on failure to succeed. All through the medium of engineering a tabletop game from scratch in three hours.

(For reasons I’ll describe in a future post, I believe that games are the perfect medium for this kind of exercise. I’d do it here but I’m trying to keep this focused. But games are unusually responsive to rapid change, and it’s easy to make interations in the design on the fly and evaluate those designs quickly and effectively. Also they’re fun.)

If you’re interested in any of this—at any of the levels described above—then I’m running the workshop on the evening of Tuesday 15th October, at Hub Westminster in central London. It’s called ‘Finding the Fun: Game Design & Iteration at High-speed‘ and it’s a three-hour session, after which we will go for a drink. This one is ticketed (it’s being run by the splendid people at Event Handler, who are also organising the awesome-looking Geeky in November) but because you’re the kind of person who reads my blog, if you enter the special mate-of-James code ‘ilovegames’ at the checkout you’ll get 20% off the workshop ticket price. We tight? We tight.

If you’ve got any questions about the workshop, how it runs, its learning objectives and so on, or you want to nudge me about that post on why games are the best test-bed for rapid prototyping methodologies, or you’d like to book me to run the workshop for you, please drop me a line.


A Spot of Brother

Screenshot from Brothers: a Tale of Two Sons

I spent the day of the GTA V launch playing Brothers, a download-only title created by Swedish film director Josef Fares, developed by Starbreeze Studios and published by 505 Games. It’s a three-hour game that’s won comparisons with Journey and Fable for its story and the emotional response that it evokes.

Brothers is the story of two boys who must journey to the Tree of Life to find a way to cure their ailing father. Played with a console controller, each of the joysticks controls one of the brothers, with the triggers working as ‘do stuff’ buttons for the two characters. From these simple controls the game wrings some nuanced, involving and clever gameplay, and is refreshingly combat-light. It is also deeply entrenched in decades-old attitudes to game narrative, and the fact that it picked up glowing praise for its storytelling is sad and worrying.

First of all, the gameplay and its narrative is completely linear. Either you do what the game wants, in the order it wants, or you won’t finish it. It’s unlikely you’ll get stuck on a puzzle as this is not a taxing game, but if you did then that’s the end of your playtime. It’s not quite as bad as ‘push button, get plot’ but it’s not far off.

As the player you do occasionally get a chance to stray off the linear path, to do side-quests or take part in minor incidents that add colour to the game and achievement points to your gamer-score. On one level, this is kind of interesting: achievements in Brothers don’t function as rewards for passing checkpoints and it would be possible to finish the game without getting any. On the other hand the delight in finding these vignettes was reward enough: to get an achievement for them felt as if I was doing them for the wrong reason. An easter egg is its own reward; and in a time-critical mission getting points for spending time doing other stuff sends a very mixed message.

You’ll be glad to hear that in a game about two boys saving a man, there are female characters.  You’ll be less glad to hear that two of them are hostages who need to be rescued, one is a bitch who tries to kill you, and one is already dead. That’s it for women. No, wait, I tell a lie. You get the game’s second achievement by taking a ball from a little girl and throwing it down a well. The girl cries and you get 20 points. This serves to establish at the start of the game that your characters will be rewarded for being cruel arseholes, a theme that is not repeated anywhere else. So much for characterisation through gameplay.

Someone important dies near the end. You may have guessed this would happen, given the game’s title and theme, so I won’t go into details. But I will say that the death happens in a cut-scene and there is no way to prevent it. In fact its presentation is quite similar to the most famous video-game death of all, the murder of Aeris in Final Fantasy VII, only less affecting. Mostly it’s frustrating.

And there are the usual complaints about how bits of the world don’t fit together or make sense (people wear shorts and short-sleeves in snow, there are mine levels with no way for workers to get down or up from where they’re working, castle defences apparently constructed for the sole purpose of having boys scale them, inventors happy for a couple of vagrants to take their greatest creation: you know the score). The first three chapters are very good indeed, but there’s a big shift in tone after that and although the game’s visuals and atmosphere remain strong, the coherence begins to break down into cliche—narratively and in terms of gameplay too. Puzzles become weaker and more perfunctory, and with the exception of one sweet moment near the end, gameplay and narrative split into two. Key deaths in cut-scenes? In 2013? Really?

Brothers is not Journey or Ico, nowhere close to them. It does have similarities to Fable, another game with a troubled narrative, but Fable came out nine years ago. Is the video-game form really moving so slowly that the Daily Telegraph can say that Brothers ‘weds narrative and mechanics to captivating effect’? Apparently so.

Worth playing? If that’s what you want to take away from this then yes, it’s worth playing. You will be charmed and delighted, but I’m pretty sure you’ll be underwhelmed too.

(Correction: an earlier version said the ball-in-the-well was the first achievement in the game. It isn’t, it’s the second. Apologies.)

A fistful of updates

It has been pointed out to me that I’ve not followed up on a number of posts from earlier this year. So here’s what happened:

  • The 2013 Diana Jones Award, which I wrote about here, was won by Tabletop and Wil Wheaton. You can see Matt Forbeck’s presentation and Wil’s acceptance speech on Youtube here.
  • The CricketJam meetup, proposed here, was sparsely attended but was a fantastic day out. The match’s sponsors Davidstow had organised a village fete with various traditional English games and so I had the pleasure of demonstrating to games-people what a nasty, vicious game croquet really is. Drinks were drunk, talks were tunk, and Cleator CC from Cumbria beat Rockhampton CC of Gloucestershire in a fantastic nail-biter of a battle that went right down to the last wicket and the final few balls. Congratulations to both teams for a splendid match and some of the most entertaining cricket of the summer. There will be another CricketJam next year, and you would be a fool not to attend.
  • I have still not finished writing Alas Vegas.


The People’s Revolutionary Committee

The People's Revolution needs you, comrades!

The People’s Revolution needs you, comrades!


The People’s Revolutionary Committee is a large-scale sort-of-game, almost a larp, where everybody is gripped by a collective madness and spends a frantic session creating a new culture for the world of games, mostly by eradicating the old one. I created it almost twenty years ago, and have run it at games events and conventions around the world. It’s These rules describe how to run it: they’ve been on my hard-drive for more than a decade waiting for me to do something with them, and I finally realised that the right something is to release them onto the net.

The PRC isn’t exclusive to games events, obviously. It can be run at any kind of large gathering, but it tends to go better with people who know each other or who work in the same industry, and who have a playful spirit, so games is a natural home for it. The hands-down best session I ever ran was an industry-only gathering on the Saturday night of a Gen Con in the late 90s, when everybody was exhausted and full of piss and bile after a hard day on the show floor. It went on for hours, hundreds of people died in horrible ways (offstage there was a pit filled with grotesquely defiled corpses and, for some reason, badgers), and it remains one of the most cathartic and hilarious experiences of my life.

Anyway, comrades, here’s the rules for the People’s Revolutionary Committee, a sort-of game of public speaking, catharsis, and and making a better world by shooting people.


The People’s Revolutionary Committee

A convention event created by James Wallis

The Revolution has come, comrades! The old marching-order has been swept away by the owlbears of change, the lickspittle character-class traitors have been captured, and a glorious new dawn waits to rise over the world of gaming. You are hereby recruited to the People’s Revolutionary Committee Gaming Sub-Committee (being people, you are eligible; being gamers you are qualified; being at a games event you are probably guilty) and it is your job to put the villains of the games world on trial for their crimes against the People, give a fair hearing to the evidence for and against them, and shoot them.

The People’s Revolutionary Committee is the Moscow Show-Trials for games, or if you prefer the McCarthy Hearings for games (‘Are you now or have you ever been a Munchkin supplement?’). It is a 60-90-minute event requiring one moderator with a watch and an audience of participants. It was designed for games conventions but can be adapted to fit other types of event without trouble, and would probably work on a web forum or mailing list too. At events it works best in the late afternoon or evening, or whenever people have built up a head of spleen and want to vent it.

The tone and vocabulary are borrowed from any fringe political gathering. The audience should understand that nothing that happens in the PRC is to be taken seriously or personally, though the moderator should never say that out loud. Stating that something is ‘just a bit of fun’ is a good way of killing it dead.

The event runs according to a strict format, and doesn’t work if that format isn’t followed. Things go as follows:

1. People gather in a place, ideally where there is booze. Critical mass is about fifteen; more than that is great. The moderator, in the persona of the People’s Judge, briefly explains what the PRC is and how it works, and says ‘Comrades!’ (or ‘My fellow Americans!’) too much.

2. The moderator calls for suggestions for the first case to be tried. Anyone on the PRC (including the moderator) can nominate any aspect of gaming to be put on trial for its crimes against the Revolution. This can be a game or product, a company, a person, an event, a trend or tendency, a publication, a group, a hashtag, and so on. Nominations should be at least vaguely connected to the subject of the convention.

2a. The moderator can reject the nomination if they think doing so is valid, justified or funny (e.g. ‘We’ve already shot them three times this evening.’) Otherwise the nomination is accepted.

2b. ‘Crimes against the Revolution’ is deliberately left nebulous, as is the nature of the Revolution itself. Things may be tried for being bad, unpopular, too popular, too successful, too expensive, over-productive, under-productive, too complex, not complex enough, too intelligent, too stupid, out of date, smug, pretentious, not knowing what ‘pretentious’ means, behaving in a reprehensible manner, or being generally objectionable. Go with it. The PRC is all about letting people get things out of their system.

3. The accuser comes to the front of the room and makes a speech no longer than two minutes explaining why their nomination is guilty of crimes against the People and the Revolution. The moderator watches the time and cuts them off if they exceed it.

4. The moderator asks if anyone wishes to defend the nomination, and picks a volunteer from the audience to do this. If the nomination is someone who is present, or that has representatives in the audience, they should be the moderator’s first choice. If there is no defendant, move straight to a vote (see 8 below) because it’s usually a sign that people aren’t interested and you need to get to the next topic fast.

5. The defendant comes to the front of the room and makes a two-minute speech in defence of the nomination.

6. If things are going well and the nomination is a contentious or controversial one, the moderator can repeat 3–5 with new accusers and defendants.

7. The moderator takes points of information and points of order from members of the audience, preferably ones who have not already spoken.

7a. A point of information is a short and pithy statement about the nomination, or possibly about the accuser or the defendant. The moderator should be careful not to let this turn into a speech for the accusation or the defence.

7b. A point of order is a procedural matter concerning the running of the meeting. Often this will be that the Committee should move straight to a vote on this matter. Others may try to have members of the meeting banned from speaking on the grounds that they are biased, have undeclared interests, or were shot earlier. The moderator should judge each of these on their merits and how they’re likely to affect the tone and pace of the meeting.

8. Once there are no more points of information or order, the moderator calls for a vote on the guilt or innocence of the nomination. This is decided on a show of hands. Try to avoid counts or recounts if you can.

8a. If the nomination is found innocent, it cannot be tried again this session.

8b. If the nomination is found guilty, it is declared to have been taken out and shot. No further action is taken against them: no ridicule, and absolutely nothing physical. Some moderators choose to ban any persons shot from speaking in the rest of the session, but that is generally considered bad form and also cuts off many potential sources of humour. Some groups choose to make up imaginative punishments for their victims; this can be very funny or deeply tedious, so be careful.

8c. Each of the cases should last around five minutes.

8d. The PRC event as a whole should be fast-moving and ruthless. You should be aiming for a kill-rate around 85–90%. Clemency is a type of tangerine, not something that has anything to do with revolutionary committees.

9. At some point the moderator will find themselves on trial. This is inevitable. Don’t sweat it. It doesn’t mean they hate you. If the moderator is found guilty of crimes against the Revolution, it’s their call whether they should stand down and let someone else take over – but any replacement should know the rules of the PRC before taking the chair.

10. Once the PRC’s allotted time is over, the moderator thanks the audience for their good work in the name of the Revolution and declares that they will meet again in a month or a year. The Committee then disbands and, if not already there, goes to the bar.

The moderator has various important jobs: to make sure that all members of the audience get a fair crack of the whip, to make sure that debates don’t drag on or become hideously one-sided, to make sure that anyone shot is not the victim of any kind of retaliation and doesn’t get upset; not to hog the limelight; and to address all speakers as ‘Comrade [name]’.

Most importantly they should never forget their main job is to make the audience laugh and have a good time. The Committee should never get bogged down in bureaucracy, to-and-fro arguments over tedious or minor points, or personal score-settling. If it does, declare them all shot for slowing down the pace of the glorious Revolution and move on to the next case.

That’s it. Have fun. Long live the People’s Revolution!

Sticky Wickets: Cricket Jam at Lords

Autumn, the season of mellow teas and fruitiness, the time when the sublime meridian of the English summer, Test Match Special, gives way to the braying of Match of the Day. There is still a little cricket to be played, a few un-wasped plums left on the tree. It is time to make some jam.

I love cricket, as you may know. I love the game, I love its atmosphere, its culture, its history, its love of statistics and trivia, its rituals, and the fact that at cricket matches the bars are open at ten in the morning and everyone thinks that’s okay.

I have a proposal.

Lords, the home of cricket, lies north-west of Regents Park, close by the Jubilee Line. On Sunday 8th September (yes, this Sunday) it will host the final of the Davidstow National Village Cup final, between Rockhampton of Gloucestershire and Cleator of Cumbria.

I do not care that you have never heard of Rockhampton of Gloucestershire and Cleator of Cumbria. Neither have I, and that is the point. This is the zenith of the non-professional season. No egos; no names or faces you’d recognise. Just the game at its most beautiful.

The village cricket final is always ridiculously under-attended, and it’s twelve pounds to get in. Twelve pounds for a day of cricket at Lords, with money back if it’s rained off. It would be churlish to refuse. And—here’s the plan—not just with other people who love cricket, but with people who love games. And cricket. And games people who are intrigued by cricket but have never had a chance to experience it properly.

I’m calling a Cricket Jam. Let us descend upon Lords, bringing picnics and portable games (small ones), and sit and chat and play and eat and drink and watch the cream of British amateur cricket battle for once-in-a-lifetime-glory on the fabled sward. And listen to the England–Australia ODI at Old Trafford via TMS.

If you think that sounds like a perfect way to spend a lazy late-summer Sunday, click on this which will subscribe you to a mailing list so we can count numbers and arrange where to meet.

Gates open at ten, play starts at eleven, and with forty overs a side it should be done by six. You don’t have to be there at the start, or the end. You can buy tickets on the day, or preorder them by calling 020 7432 1000.

Hope to see you there, and please spread the word.