DOCSLIB.ORG

2019 FOREWORD the 200 Word RPG Challenge Began As an Accident

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2019 FOREWORD the 200 Word RPG Challenge Began As an Accident 200 WORD RPG CHALLENGE 2019 FOREWORD The 200 Word RPG Challenge began as an accident. David posted a little game that he had written in under 200 words, and blasted it out, not thinking much of it. The next morning he had over 150 submissions and tons of people asking about contest details, what were the prizes, who was judging, etc. Something about the tight constraint has captured people's attention ever since. Maybe it's because you can make a 200 word game in a lazy afternoon. Maybe it's because you can read a dozen entries during your coffee break. Or maybe it's just an interesting challenge to see how much game you can fit inside such a brutally small design space. Whatever the reason, we’re glad that the Challenge has encouraged and inspired so many people to create a complete roleplaying game from start to finish, many for the first time! This wouldn't be possible without the incredible creativity of the participants, the hard work of the Readers and Judges, the generosity of those who offered Prizes, and the support of the RPG community as a whole. And of course, Thanks to Joe Banner for laying out this amazing collection. Thank you all. Now let's enjoy some awesome games! ~David Schirduan, Jacqueline Bryk, & Marshall Miller CREDITS Organisers Jacqueline Bryk, David Schirduan, & Marshall Miller Layout Joe Banner All questions, comments or concerns to: [email protected] 2 200-WORD RPG CHALLENGE 2019 SPONSORS & PRIZES Brian Ericson https://twitter.com/Liefbread World Anvil https://www.worldanvil.com/ Lauren McManamon & Jesse Ross https://girlunderground.org/ An Anonymous Redditor for the Potion of Dice Sigil Stone Publishing https://www.sigilstonepublishing.com/ Frank Reding https://mottokrosh.com/ Lucian Kahn https://twitter.com/oh_theogony Flying Nightbear Games https://fnbgames.com/ Chris Challice https://taoofchall.wordpress.com/ NerdBurger Games https://www.nerdburgergames.com/ Molten Sulfur Press https://www.moltensulfur.com/ Kate Bullock http://www.bluestockings.ca/p/who-am-i.html Shoe Skogan http://www.tatterhood.net/ Emily Care Boss http://www.blackgreengames.com/about Tin Star Games https://www.tinstargames.com/#/ Hydra Cooperative http://www.hydraco-op.com/ Andrew Young https://thatonegm.weebly.com/ Sixpence Games http://www.sixpencegames.com/main.html 200-WORD RPG CHALLENGE 2019 3 WHAT IS THE 200 WORD RPG CHALLENGE? This small tabletop game design challenge exists for two primary reasons: 1) Encourage participants to make a complete Role-Playing Game. It’s hard to work on a game, and much harder to finish one. This is an opportunity for participants to brainstorm, write, edit, playtest, and polish a game idea from start to finish. 2) To provide a collection of ideas that the community may build upon. These entries are released under the Creative Commons license to promote collaboration and innovation. It is our hope that new designers and old pros alike will use these interesting ideas and work together to expand them into something greater. Why 200 Words? A 200 word limit encourages creativity and demands the very best of your editing and writing abilities. While making a game in 200 words can be difficult, it’s less of a daunting commitment than editing and proofing 285 pages of rules, complete with art and layout. Conceiving, designing, and publishing a 200 word game is a great first step toward completing larger game design projects. Plaintext? Visual presentation can be a large and scary problem. Very few people are masters of writing, editing, art direction, graphic design, layout, and marketing. It usually takes a village to make a game. We want participants to focus solely on the challenge of creative writing and brutal editing. Connect with other Creators Making and sharing a game is a great way to showcase your ideas and connect with new and more experienced game designers. Do you see a game that inspires you? The 200 Word RPG Challenge is a forge for new collaborations! 4 200-WORD RPG CHALLENGE 2019 JUDGES Mariam Ahmad (they/them): Mariam Ahmad is a queer South Asian-Canadian wordsmith & editor for hire, podcaster, and streamer who lives and breathes gaming. They are the GM of The Musafirs, an actual play podcast with an all queer BIMPoC cast set in Sarzameen, a South Asian campaign setting. They can also be found streaming on Welcome to the Party RPG Twitch channel on the weekend. On occasion, they knit things and cuddle cats. Cheyenne Grimes (they/them) Is half of Glittercats Fine Amusements, which is best known for Laser Kittens and The Fool’s Journey. They were a judge for Game Chef for 3 years and are beyond excited to be joining this great team! Shoe Skogan (they/them): Shoe Skogen is probably not a cannibal but one can never be too sure. They’ve been part of the FLAILSNAILS scene almost since the beginning and have played everso many games. And now, run the OSR as Crown-Captain, which is a hard job but someone has to do it. Find them @ shoepixie on twitter. Kathleen Mercury (she/her): Kathleen Mercury has been teaching for gifted middle school students for fourteen years, using design thinking to create functional art from tabletop game design, RPG design, filmmaking, cosplay, and more. She has multiple games in various stages of design, the first, Dragnarok, hitting Kickstarter in early 2020. She currently cohosts podcasts, Games in Schools and Libraries, Board Game Broadscast, and more. Kathleen thinks happiness comes from being able to create the life you want, and she feels very fortunate that she’s been able to do that. Chris Spivey (he/him): Chris Spivey is a writer, game developer, veteran of the United States Army, and CEO of Darker Hue Studios. He writes and develops role-playing games, bringing his decades-old love of gaming, horror, and history, and a mission to create a more inclusive gaming world. His groundbreaking and critically acclaimed game Harlem Unbound won 3 Gold Ennies and the IGDN Groundbreaker award. Some of his other contributions can be found in The Call of Cthulhu Starter Set (Deadman Stomp), Cthulhu Confidential, Harlem Unbound Second Edition, 7th Sea: Land of Fire and Gold, Geist 2nd Edition, Trail of Cthulhu: Out of the Woods and Thousand Years of Night. He is the Line Developer for a new RPG science fiction line for Chaosium. He is currently creating his next Darker Hue Studios project, Haunted West, a book aimed to tell the stories of the often ignored diverse voices of the Old West. 200-WORD RPG CHALLENGE 2019 5 READERS Adam Blinkinsop Mike Lake Aidan Sonia-Bolduc Natalie Ash Aleksandra Sontowska Noé Falzon Andreas Lagerqvist Peter Lyons Andrew J Young Peter M.J. Gross Audun Maatje Raymond Visser Cameron Ledbetter Ryan & Gabby Wilson Ceri Bythesea Sarah Judd Christine Beard Sean Smith Cyrus Seth Piercey Dane Fogdall Tara King Danielle Lauzon Thomas David zerbst Tiffany LaPorta Eva Schiffer Whit Carter Eytan Kaplan Gabriel Robinson Gavin Rook Iain Deans Jane Higginson Jeremy Esch Joey Johnnie Pittman Jonathan Janssen Joyce Chng Lauren Schirduan Liz Stong Mark Preston Martin Manrique Matt Kaley-Burton Matthew Gravelyn Matthew Orr Matthew Seagle Megan Condis Michael Inkmann 6 200-WORD RPG CHALLENGE 2019 LICENSING All entries contained in this book are protected under the Creative Commons 4.0 License. Why? The 200 Word Challenge exists to promote encouragement and collaberation. It is NOT a place to find the “best” games in the world. When you submit to the challenge you do so with the understanding that others may re-use your work however they choose, even for monetary gain. Don’t submit anything you wouldn’t want others to use or build upon. We also enforce CC so that we can freely host entries on the website and tweak them for the Patreon.However, there are some huge benefits to submitting your entry under Creative Commons: The work must be attributed and provide a link to the copyright holder Not only does this ensure you get credit, but it also lets anyone know who purchases the work that you formed the basis of it. Name power and word of mouth go a long way in this industry. For example, Dungeon World was written by Adam and Sage, but it was jumpstarted by another project from Tony which was in turn heavily inspired by Vincent’s game. Adam and Sage gave Vincent and Tony credit for their inspirations, but they are not required to share any money or fees for Dungeon World. However the success of Dungeon World helped spread news of Vincent’s and Tony’s other games far and wide.With collaboration success for one creator helps out other associated creators. 200 Word RPGs are ideas, not products The chance that your 200 Word Entry is worth thousands of dollars is quite slim. But the chance that someone will see your idea and want to work with or hire you is greatly increased under Creative Commons. Especially for something as small as a 200 Word Entry, the CC License is a great way to get your name out there and meet like-minded designers. You can build upon cool ideas Creators can reach out to one another and build something new, even if they didn’t win. Always contact the original creator to get their permission before you use their work. It keeps things clean and opens up the possibility of collaberation. No Pressure If you have a darling idea that will pay the rent and feed your family, do not submit it to this challenge! Turn that into a kickstarter and make some money! I wish you all the luck.
Load more

Recommended publications
  • Sigil: the City of Doors
    SIGIL: THE CITY OF DOORS CHAPTER I: AT A GLANCE 4 CHAPTER II: THE TOUT’S TOUR 16 Sigil by the Numbers 4 The Lady’s Ward 16 Architecture 5 Armory District 16 Buildings and businesses 5 Ely Cromlich 16 Trades 5 Barracks District 17 Services 5 Diana the Guardian 17 Other Types of Buildings 5 Court of Pain 17 Timekeeping and Calendars 6 Courts District 17 Weather 6 Dabus Square 18 What Brings You to Sigil? 6 Shemeshka the Marauder 18 Antiquities 6 Dossy Street 19 Banking 6 Noble District 19 Commerce (General) 6 Petitioner’s Square 20 Communications 7 Temple Row 20 Companionship 7 The Lower Ward 21 Criminal Purposes 8 Lower Ward Smog 21 Dining 8 Armorer’s Row 21 Education 9 The Ditch 21 Employment 9 Farhome 22 Entertainment 9 Foundry District 23 Exotic Services 9 Ombidias 23 Factions 10 The Pits 23 Find Someone 10 Unbeliever Way 24 Guides 10 The Clerk’s Ward 25 Healing 10 Administrator’s District 25 Hiding 11 Crystal Dew Lane 25 Hired Help 11 Sandstone District 26 Legal Assistance 11 Speaker’s District 26 Lighting 12 Tea Street 27 Magic Items 12 Worker’s District 27 News 12 Utadas Tensar 27 Paying Taxes 12 Guildhall Ward & Market Ward 28 Pilgrimage Destinations 12 The Sigil Market 28 Places to Live 12 The Hive Ward 29 Places to Stay 13 The Streets of the Hive 29 Portals 13 Bedlam Run 29 Research 14 Marble District 30 Spellcasting 14 Ragpicker’s Square 30 Storage 15 The Hive 31 Transportation 15 The Slags 31 Worship 15 1 CHAPTER III: THE POLITICS OF BELIEF 32 Planar Trade Consortium 52 Government 32 Planeswalker’s Guild 52 The Council of Factions
    [Show full text]
  • Hair: the Performance of Rebellion in American Musical Theatre of the 1960S’
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Winchester Research Repository University of Winchester ‘Hair: The Performance of Rebellion in American Musical Theatre of the 1960s’ Sarah Elisabeth Browne ORCID: 0000-0003-2002-9794 Doctor of Philosophy December 2017 This Thesis has been completed as a requirement for a postgraduate research degree of the University of Winchester MPhil/PhD THESES OPEN ACCESS / EMBARGO AGREEMENT FORM This Agreement should be completed, signed and bound with the hard copy of the thesis and also included in the e-copy. (see Thesis Presentation Guidelines for details). Access Permissions and Transfer of Non-Exclusive Rights By giving permission you understand that your thesis will be accessible to a wide variety of people and institutions – including automated agents – via the World Wide Web and that an electronic copy of your thesis may also be included in the British Library Electronic Theses On-line System (EThOS). Once the Work is deposited, a citation to the Work will always remain visible. Removal of the Work can be made after discussion with the University of Winchester’s Research Repository, who shall make best efforts to ensure removal of the Work from any third party with whom the University of Winchester’s Research Repository has an agreement. Agreement: I understand that the thesis listed on this form will be deposited in the University of Winchester’s Research Repository, and by giving permission to the University of Winchester to make my thesis publically available I agree that the: • University of Winchester’s Research Repository administrators or any third party with whom the University of Winchester’s Research Repository has an agreement to do so may, without changing content, translate the Work to any medium or format for the purpose of future preservation and accessibility.
    [Show full text]
  • KS5 Exploring Performance Styles in Musical Theatre
    Exploring performance KS5 styles in Musical Theatre Heidi McEntee Heidi McEntee is a Dance and KS5 – BTEC LEVEL 3, UNIT D10 Performing Arts specialist based in the Midlands. She has worked in education for over fifteen years delivering a variety of Dance and Performing Arts qualifications at Introduction Levels 1, 2 and 3. She is a Senior Unit D10: Exploring Performance Styles is one of the three units which sit within Module D: Assessment Associate working on musical theatre Skills Development from the new BTEC Level 3 in Performing Arts Practice Performing Arts qualifications and (musical theatre) qualification. This scheme of work focuses on the first unit which introduces a contributing author for student and explores different musical theatre styles. revision guides. This unit requires learners to develop their practical skills in dance, acting and singing while furthering their understanding of musical theatre styles. The unit culminates in a performance of two extracts in two different styles of musical theatre as well as a critical review of the stylistic qualities within these extracts. This scheme of work provides a suggested approach to six weeks of introductory classes, as a part of a full timetable, which explores the development of performance styles through the history of musical theatre via practical activities, short projects and research tasks. Learning objectives By the end of this scheme, learners will have: § Investigated the history of musical theatre and the factors which have influenced its development Unit D10: Exploring Performance § Explored the characteristics of different musical theatre styles and how they have developed Styles from BTEC L3 Nationals over time Performing Arts Practice (musical § Applied stylistic conventions to the performance of material theatre) (2019) § Examined professional work through critical analysis.
    [Show full text]
  • Hair for Rent: How the Idioms of Rock 'N' Roll Are Spoken Through the Melodic Language of Two Rock Musicals
    HAIR FOR RENT: HOW THE IDIOMS OF ROCK 'N' ROLL ARE SPOKEN THROUGH THE MELODIC LANGUAGE OF TWO ROCK MUSICALS A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Eryn Stark August, 2015 HAIR FOR RENT: HOW THE IDIOMS OF ROCK 'N' ROLL ARE SPOKEN THROUGH THE MELODIC LANGUAGE OF TWO ROCK MUSICALS Eryn Stark Thesis Approved: Accepted: _____________________________ _________________________________ Advisor Dean of the College Dr. Nikola Resanovic Dr. Chand Midha _______________________________ _______________________________ Faculty Reader Interim Dean of the Graduate School Dr. Brooks Toliver Dr. Rex Ramsier _______________________________ _______________________________ Department Chair or School Director Date Dr. Ann Usher ii TABLE OF CONTENTS Page LIST OF TABLES ............................................................................................................. iv CHAPTER I. INTRODUCTION ............................................................................................................1 II. BACKGROUND OF THE STUDY ...............................................................................3 A History of the Rock Musical: Defining A Generation .........................................3 Hair-brained ...............................................................................................12 IndiffeRent .................................................................................................16 III. EDITORIAL METHOD ..............................................................................................20
    [Show full text]
  • We Will Rock You”
    “We Will Rock You” By Queen and Ben Elton At the Hippodrome Theatre through October 20 By Princess Appau WE ARE THE CHAMPIONS When one walks into the Hippodrome Theatre to view “We Will Rock You,” the common expectation is a compilation of classic rock and roll music held together by a simple plot. This jukebox musical, however, surpasses those expectations by entwining a powerful plot with clever updating of the original 2002 musical by Queen and Ben Elton. The playwright Elton has surrounded Queen’s songs with a plot that highlights the familiar conflict of our era: youths being sycophants to technology. This comic method is not only the key to the show’s success but also the antidote to any fear that the future could become this. The futuristic storyline is connected to many of Queen’s lyrics that foreshadow the youthful infatuation with technology and the monotonous lifestyle that results. This approach is emphasized by the use of a projector displaying programmed visuals of a futuristic setting throughout the show. The opening scene transitions into the Queen song “Radio Gaga,” which further affirms this theme. The scene includes a large projection of hundreds of youth, clones to the cast performing on stage. The human cast and virtual cast are clothed alike in identical white tops and shorts or skirts; they sing and dance in sublime unison, defining the setting of the show and foreshadowing the plot. Unlike most jukebox musicals the plot is not a biographical story of the performers whose music is featured. “We Will Rock You” is set 300 years in the future on the iPlanet when individuality and creativity are shunned and conformity reigns.
    [Show full text]
  • Planescape Part One: Sigil by Cutter
    Planescape Part One: Sigil By Cutter Welcome to Sigil, the City of Doors! The centre of the Planes and the local multiverse too. Sitting on the inside of a giant torus that itself floats above an infinitely tall mountain at the centre of the very plane of neutrality itself – the Concordant Domains of the Outlands. Here neutrality is enforced. Gods are barred from the city, and the Lady of Pain takes very aggressive steps to make sure nobody drags Sigil into the troubles outside. It is even a haven from the Blood War. Unfortunately, this means many, many criminals and troublemakers from outside land come here as a last resort. ‘Course, not everyone’s here of their own free choice. Sigil’s ridded in doors to other planes, and sometimes a local from outside falls in. What got them in Sigil rarely is what gets them out of Sigil, and they’re stuck here until they find a door back home. These planar doors all throughout Sigil would make it the most valuable place in the multiverse to hold. Master Sigil, you can master the Planes. But the Lady won’t let that happen. Piss her off and the best thing you can hope for is being locked in an extradimensional maze unable to die of age, hunger, or thirst. The unlucky ones get flayed alive in an instant. But on the bright side, you’ll see all kinds of things in Sigil. A devil and a demon (don’t call ‘em that, trust me) having friendly drinks in a bar.
    [Show full text]
  • Encouraging Fair Compensation for Musical Theatrical Compositions Through a Compulsory Synchronization License
    In Sync: Encouraging Fair Compensation for Musical Theatrical Compositions Through A Compulsory Synchronization License Chris Johnson I. Introduction ....................................................................................................45 II. Copyright Enforcement and the Licensing of Musical Theatrical Compositions ..........................................................................................47 A. Basic Licensing Framework for Musical Theatrical Compositions ................................................................................. 48 1. Grand Rights ............................................................................ 48 2. Small Rights ............................................................................. 50 3. Recording Rights ..................................................................... 50 a. Mechanical Licensing ........................................................51 b. Synchronization Licensing .................................................52 B. Expression and the Online Culture of Infringement ...................... 52 C. Proposed Solutions and Associated Criticisms .............................. 54 1. Universal Compulsory Synchronization License .................... 55 2. “Content ID” – The Current YouTube Approach .................... 56 II. A Compulsory Synchronization License .......................................................57 A. Limited License ............................................................................. 57 1. A Compulsory Synchronization
    [Show full text]
  • Ambiance Dance Musical Theatre
    AMBIANCE DANCE MUSICAL THEATRE LEVEL 3 WORKBOOK TERM 2 Shannon Timms Ambiance Dance 2020 MUSICAL THEATRE WORD SPLASH Use the words in this musical theatre word splash to create sentences about musical theatre. You may only use each word one time, but you can use as many of the words as you like in each sentence. Try to use the correct spelling and punctuation. Overture Director Dancing Sets Stage Manager Producer Rehearsal Lighting Sound Choreographer Costumes Audience Intermission Singing Applause ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ Shannon Timms Ambiance Dance 2020 An introduction to Musical Theatre
    [Show full text]
  • Nintendo Eshop Refund Policy Switch
    Nintendo Eshop Refund Policy Switch Raleigh snared harum-scarum as reciprocating Lucien feoff her unriddlers disembark entomologically. Craig remains self-sustaining: she slitting her steamer partitions too disobediently? Loveless and pervertible Clarke curtails so measurably that Pascale sterilise his barley-sugars. This is memorable moments in most popular and refund policy nintendo eshop code on other players for Get such as you have an inside look below to risk when reloading a refund policies for visiting our own your account that you think. What is policy to switch eshop and refunded the models shone their switches are a sign up to buy a light levels. Then was just bring it all? Xbox One players may target the social menu appearing in front table the BATTLEMODE lobby menu when loading into a face match. Yes ladies and gentlemen. We had the nintendo switches. But now his childhood as nintendo switch has been through its worst: does not refund policies for refunds on? Tom Mustaine, Sverre Kvernmo, Matthias Worch, Iikka Keranen, Dario Casali are epic mappers. Please nintendo switch which asks the. Nintendo switch lite for consumers becomes whether a piece in multiplayer mode fully drained switch console. Sign up on nintendo eshop account required for refunds on sale or exiting to. NVIDIA GPUs that initial meet the min spec performance requirements. You just fire them up and arrow into the making, right? It from nintendo switch account is largely unplayable on the refund policies for refunds. Feels magical today, keeping your nintendo account to refund policies. Slayer Points and special chance or be recognized by faculty fellow Club members.
    [Show full text]
  • Musical Theatre Challenge 1
    Musical Theatre Challenge 1 : Performers Challenge Time – 1st week of college ‘ Audition Time’ Students are to : 1: Research and choose 1 contemporary monologue (post 1960) – this can be from a stage play – film 2. Research and chosen 1 solo song from a musical of their choice – Eg ‘ good morning Baltimore from Hair spray / Bring him home from Les Miserables / You’ll be back from Hamilton. (please note) you can use backing tracks to rehearse , but you will needed acquire sheet music for the September performance as you will be accompanied by a pianist. (Any issues with sheet music contact Mr Watkins) 3. Rehearse and develop key character traits from each performance. 4. Perform songs the first week of college in September. Good luck Challenge 2 Musical theatre styles - Students using the internet as a research tool – students create a PowerPoint presentation exploring the following styles with the musical theatre genre. This will be explored in September. book musical revue musical jukebox musical concept musical rock/pop musical musical for film naturalistic Sung through Rock opera epic legit jazz street dance. For each style students will answer the following questions ( Slide 1 – Back ground – introduction of the style Slide 2 – How this style evolved and transformed Slide 3 – Technical conventions that are unique for that specific style Slide 4 –Key Musicals that are related to this styles Slide 5- Key composers and lyrists to this style eg Andrew Lyodd wedbber Slide 5 - cultural, social and historical influences Slide
    [Show full text]
  • Doom Plutonia Download
    Doom plutonia download CLICK TO DOWNLOAD Дилогия Final Doom включает в себя две части – TNT: Evilution () и The Plutonia Experiment (), обе разрабатывала команда мапперов Team TNT, а потом успешно продала для официального релиза ID. The Plutonia Experiment ()4,6/5(39). Plutonia itself? I will not say. It's all up to you to test this! Plutonia Simulator works with latest versions of GZDoom and Zandronum. Download available here: renuzap.podarokideal.ru P.S.: We're planning to make an updated version (v), but it will fix minor things like skies from Plutonia and add more textures from Plutonia/10(1). Final Doom: The Plutonia Experiment - Hell Awaits. Hell Awaits is my first attempt at a Doom map. It was started around 3 or 4 years ago when Doom Builder was still in its infancy. Since then I've been working on it occasionally and now that it's finally completed its ready for release. Final Doom Plutonia v (alt) is an IWAD for DOOM2 featuring 32 maps. Names Final Doom Plutonia v (alt) Filenames renuzap.podarokideal.ru The following WAD is a commercial WAD and therefore cannot be offered for download. doom plutonia for windows 10 free download - Windows 10, Apple Safari, Final DOOM for Windows 10, and many more programs. · Plutonia 2, as the name implies, is a community sequel to The Plutonia Experiment, one half of the Final Doom expansion for the original Doom II. It aims to be a continuation to the IWAD and thus it sticks pretty close to its philosophy while adding new things to the table and expanding upon the foundation of the predecessor.4,4/5().
    [Show full text]
  • How to Plan Your Own Event How to Plan Your Own
    HOW TO PLAN YOUR OWN EVENT HOW TO PLAN YOUR OWN WIRED GeekDad is taking over Father’s Day on June 17, and it’s time for a celebration. Gather your family or invite your favorite geeky dads, moms, and EVENT kids to a nerd extravaganza. All you need is a theme, the right food, and some engaging projects that everyone can work on together. Here’s how. CHOOSE A THEME INVITE YOUR GUESTS Having a special theme can Since the day’s activities will be There are lots of options for Be sure your invitation clearly inspire you and help guide do-it-yourself, be sure to invite invitations. If you want to go states your theme and lets guests decisions about putting the party parents and kids who like getting the printed route, you can use know what to expect when they together. Pick something your their hands dirty. You don’t want the Zazzle website to design arrive. The basics: crew loves—and won’t get tired of anyone throwing a wrench in the your invites, keeping your theme • Date, start and end times, seeing. The options are limitless: fun, sitting on the sideline while in mind. For the more digitally party location science, robots, space, DIY, even everybody else is busy building. inclined, there’s always Evite, • Planned activities and a list Hollywood (science fiction, Also, make sure your guest list which lets you monitor RSVPs by of any tools or supplies they superheroes, zombies, fantasy, isn’t so large that the projects are iPhone or Android app.
    [Show full text]