Tag Archives: hipbone games

De Profundis

Quite a while ago actually, I wandered into a local game shop and happened to start looking through the small press roleplaying games. There were several that struck me as interesting, but one in particular not only struck me but has stuck in my mind. Thinking over the last month or more about ALA’s National Gaming Day, which was today, I found myself thinking about this game once again.

De Profundis is a game created by a Polish designer Michał Oracz, and has been translated to English in two editions. The first edition was from Hogshead Publishing, and is still available through Chaosium. The second edition is available directly from Cubicle 7, as a PDF and print bundle, or many other outlets, such as in a downloadable PDF via DriveThruRPG.


What struck me at first about this game is that it outlines a way to play through correspondence, whether that’s physical snail mail, through email or maybe even in an online forum; and that play progresses not through rolling dice and consulting tables, but rather through the players telling the story of their characters as part of a collective narrative.

“Sometimes when I’m working on the game I enter a strange state of consciousness, as if someone were whispering things in my ear. Have you heard of ‘automatic writing’? You must have. Well, it’s like that. Or almost, because I still need to use my brain. In the next letters, ‘ll describe the game. I wonder what you’ll think. I have this eerie impression that if only I had the right key, and unlocked the right door in my brain, the whole game would just fall out, complete, finished, as though it were already there somewhere, and I just had to peep through the keyhole to see it. I can feel it’s close, but I can’t reach it; I just grab at bits of it and piece them together like parts of a torn photograph. Not everything fits yet, but I know they’re parts of a coherent whole.” — De Profundis

So, the participants in this build a emergent narrative by weaving together their separate personal narratives. The letters develop a story that has a life of its own. And, not only that, but that story then becomes part of the life of the participants.

“So, imagine a tree with many branches, walking on three legs. That’s what De Profundis is like: like a symbol for the three-legged form of Nyarlathotep. It has three parts, rests on three pillars: part one is Letters from the Abyss, part two is Phantasmagoria, and part three is Hermitage. They’re all inextricably interconnected, together forming a whole game.” — De Profundis

These three parts, “Letters from the Abyss”, “Phantasmagoria” and “Hermitage”, are three kinds of psychodrama which are acted out via correspondence, in the field and solo, by the player alone. So, the whole is characterized as different modes of psychodrama. It was when I read the description of the nature of pure psychodrama that this game became stuck in my mind, and if you’ve participated in any group trance work, you’ll recognize this immediately.

“Psychodrama is close to a role-playing game, but without a game master. The players create everything themselves, from their characters to events in the game world. Every participant is a player and a game master at the same time. You don’t need anything to play a psychodrama session: a description of the world, character sheets, rules, a scenario. The players – gathered in a darkened room – simply close their eyes, and one of them describes a place. They all go there in their imagination.” — De Profundis

The primary mode of play is the first, “Letters from the Abyss”, and it is formed by the interwoven letters of those participating. If you aren’t sure what that looks like, just remind yourself by taking a look at the text of Bram Stoker’s Dracula and some of the complete works of Lovecraft.

The other two modes are both more personal and more real than the first, each a kind of escalation of the magical, archetypal and narrative practice, where the game develops a kind of feedback loop into the reality of the participants, and the whole emerges greater than the sum of its parts or the individual participants.

This kind of diceless and personal narrative driven roleplaying reminds me of of many things, but in particular of both Amber and Toon. In Amber, the system developed to roleplay in Roger Zelazney’s stories, dice are not used but rather there is a reliance on narrative. Also, I remember reading the instruction in Toon, a roleplaying game about being cartoon characters, that if a player could explain some way that to do what they want to accomplish, and the more bizarre and convoluted the description, they should be allowed to do so, no matter what the rules might otherwise say.

The creative and narrative nature of this game also suggests to me some of the same foundation as can be found in HipBone Games’ Glass Bead Game which I posted about earlier this week.

A collection of the letters and journals from a complete session might look very much like the text of Dracula or a fully formed Lovecraft tale, but is moreover a kind of magical journal for not just a personal practice but a record of a group trance.


I’ve been exploring a bit of the influence of esoterica on fiction, and visa versa, over at the Cadaver Synod: Esoteric Fiction and Fictional Esoterica. What if, instead of setting the game within the Lovecraftian tales of the Cthulhu Mythos, a bunch of people interested in the Western Esoteric Tradition, including gamers, writers, readers, magicians, Jungians, and who ever else might be both creative and crazy enough to want to join, were to tell each other a strange emerging tale, a shared narrative, using this method, using shared, sequential narratives and perhaps, for recording field and solo modes, personal journal entries. Now that would be interesting!

All that would be needed is a venue, such as a dedicated website or a blog, where correspondence and journals could be posted, a framework for the setting of the story, and a bunch of crazy kids interested in forming a secret psychodrama cult club … you know, maybe not something to start up smack in the middle of NaNoWriMo, but what about starting that up in the coming New Year?

HipBone Games’ Glass Bead Game

I want to introduce you to a website, a game designer and a very interesting and peculiar game. Moreover, I then want to invite you to play this game with your friends and then send me the record of your most interesting games to publish on the Hermetic Library blog.

The American Library Association’s National Gaming Day is Nov 12th, so I’ve been finding myself thinking a lot about games in general and specifically games that I play which resonate with my personal practice, or, you know, might be considered to actually be part of my personal practice. A number of years ago, I was looking for interesting game dynamics, such as those found in Andy Looney’s Fluxx (which can be found in any good game shop and also via Amazon at Fluxx 4.0) and Peter Suber’s Nomic (which appears in both an appendix to Peter Suber’s own out-of-print The Paradox of Self-Amendment and Douglas Hofstadter’s Metamagical Themas: Questing For The Essence Of Mind And Pattern), and I ran into the website for HipBone Games. HipBone Games is the site of a game designer named Charles Cameron and is the home to an interesting “family of meditative and educational games in the genre of Herman Hesse’s ‘Glass Bead Game’“.

You may want to explore the entire HipBone Games site, but especially check out “Here’s your invitation to play the HipBone Games” and “HipBone: dreams and other reasons you might want to play …

Here’s a description of how to play a HipBone Game competitively:

“Two players play a game by each naming an idea in turn to one of the ten positions on the board. Ideas can be placed in any unoccupied position on the board.

Ideas can take the form of text, sound, or image: a quote, an equation, a musical theme, a video clip, or a photo or graphic are all acceptable. Essentially, a move can be made out of anything in the three worlds… so long as it can be named.

Players score by claiming links between the idea in their own move and the ideas already in play in those positions on the board connected to it by the lines of the board in question. A link can be any form of association – similarity, opposition, cause-and-effect, metaphor. Fanciful links may be made and enjoyed — or hotly contested.

The idea placed in the first move cannot score, since there is no other idea on the board for it to link with. The idea placed in the second move cannot score either, to keep the playing field even. Thus each player gets to make five moves on a ten position board, of which only four are scoring moves.”

And, a description how to play HipBone Games collaboratively:

“Collaborative games are usually played with either aesthetic or meditative intent. A score can still be kept, but it is far from necessary — the purpose of the game being to come up with the most interesting, curious, eccentric, far fetched, elaborate, imaginative, beautiful, or insightful and profound links. The HipBone games can also be played solo, again usually with aesthetic or meditative intent.”


To get an idea of what this game can be like, check out “Yeats and Jung” an example game between LeGrand Cinq-Mars and Charles Cameron being played on the TenStone board, which is a stylized Tree of Life. You may recognize the name LeGrand Cinq-Mars since he’s the author of a review article and a couple of other book reviews that appear in the archives of Caduceus.

“LeGrand and myself chose to explore together two of the great figures of this century, Yeats and Jung, in our Game. We decided to play the TenStones board, since it is based on the Sephirotic Tree of Cabala — which Yeats was familiar with as a member of the Golden Dawn, and which Jung mentions in a fascinating passage in Mysterium Coniunctionis, and presumably discussed with his friend, Gershon Scholem.”


There are a number of other example records of gameplay on the site, but including “The Play’s the Thing: an essay on game design — played on Psyche’s Board”, a curiously meta example of gameplay:

“This game shows how the moves in a game can ‘build’ on one another until an almost three-dimensional structure of ideas appears. This is a fairly scholarly game composed of ten quotes about time, written to explore the various ways we can think about time and their impact on narrative structure in the arts, and gameplay in computer games…

Let me emphasize here that the specific content of each move is the indented quote: in other words, it’s the quotes that are being played off one another, and that constitute the game. The surrounding text provides both setting and commentary — and hopefully allows the piece as a whole to be read “straight through” as an essay…”


Check out this curious and interesting HipBone game, and if you’re inspired to play a game around themes of interest to esotericists consider sending a record of your session to me so I can share it here on this blog to help the Hermetic Library celebrate National Gaming Day in a unique and fun way.