Young At Heart

A Sports Drama Storygame

By Fraser Simons
 * baseball * nostalgia * rolepl
* story game
gam e
y ing
p la
Fraser Simons’
o l e
r g
YOUNG AT HEART
Introduction
You’re not young anymore. Now, young
children buy baseball cards of you. You’ve
come far; once a rookie, now you’re going to
be in the hall of fame. One of the greatest
still playing a game steeped in a history
you’ve always loved. Getting paid to live out
your dreams has always felt like a privilege,
not a job.
For what has seemed like countless years
you’ve given everything you had to the game.
Game after game, you put on your glove and
aying g
ame
*
sto
ry
am
e
pitched your heart out. Always believing that
win or lose, putting everything you’ve got into
something is what really matters.
And now, standing on what sometimes feels like
the loneliest place in the world, you’re at a pivotal
crossroads in your life. Maybe the most important
decisions you’ll ever make will be made here and
now, during this baseball game, on the pitching
mound of Yankee Stadium.
It’s time to lift that tired old arm of yours one
more time in order to really give this game, maybe
your last game, everything you have left.
In this roleplaying game you and some friends are
going to work semi-cooperatively to get an all-
star ball player through the most difficult, and
maybe the most defining day of their life.
Young at Heart does not concern itself with
simulating the game of baseball. Instead, it
focuses on getting into the headspace of the
pitcher and what they are going through on the
mound in order to keep throwing that ball, and
throwing it well. What do they think about? How
does it feel? Where does their inner strength come
from? How does the act of committing to playing
a game their whole life affect the rest of their life?
As you experience the inner struggles of this
individual, know that you’ll also be carving out
a future for them as well as creating their past
memories. Collaboratively, you’ll be defining the
moments of a person who has given their life to a
game they’ve played ever since they first put on a
glove and began to play catch. All in order to see
where they end up after one of the hardest days
of their lives.
Playing Young
at Heart
At its heart, this game aims to touch on
tropes associated with 90’s drama flicks.
First and foremost, For Love of the Game,
but other films fit as well. As examples,
movies like Bull Durham, Rookie of the Year,
The Natural, A League of their Own and The
Rookie come to mind.
Most people have seen these types of movies
before, but if you or the other players haven’t,
you should be able to draw on your own
experiences when you play. We all love or
care about something passionately, and we
have all experienced our pride getting in
the way of our lives, and I’m sure, had some
drama too.
You can use your own story to add to this
one, sharing some of yourself with the other
players, or use your consumed knowledge in
order to do so, both should serve you just
fine.
Hitting the
right tone
The game plays best with two to four people.
The more people that play the game, the less
play time each individual person will get, so
keeping to smaller numbers allows for more
engaging play. Young at heart typically also
plays fairly quickly, usually ending in around
two hours depending on how long you like
to linger on the details and cut your overall
scenes.
Earlier I mentioned movies, in particular
drama flicks, because, just like a movie,
scenes should feel cinematic.
They should strive to carry a particular
point and undercurrent of a dramatic nature
that helps fuel the story and the others
playing the game with you. This may take
some practice to get the hang of but is very
rewarding.
Most of the scenes will be memories. As such,
they tend to be quick and fleeting, never lingering
on the minutia or the unimportant. This is what
makes for a quick and compelling story. By
striving to only talk about what is interesting
and cutting out the rest, we do our best to make
the game as fast as possible and as memorable as
possible.
Physical
components
To play, you’ll need some index cards to be used
to write pertinent information about the cast
members who will be characters you portray
in the collaborative story you will be telling
with one another. You’ll also need some pens or
pencils to write on the cards with and at least
two six-sided dice. Ideally, two dice that can be
distinguished between in some way, whether by
colour, shape, or size. Finally, you’ll need some
type of counter to keep track of the resources
you’ll be managing in the game.
You can use more six-sided dice, poker chips,
beads, or even just keep track with a pen or
pencil, though a physical, visual aid is always
best. If you’ve got a ton of dice, the easiest thing
to do is to have around twenty-five six-sided dice.
A lot of people won’t have this many six-sided
dice! In this instance use anything you like in
order to keep track of what you need.
Overview
A typical game of Young at Heart follows
this procedure in order to create the story:
Players first setup the main cast of the
game, followed by dividing themselves into
teams that complete for a specific resource.
At the end of scenes teams always pass
narrative control to one another. The goal
of these scenes initially is to establish the
tone of the story and pose the overarching
questions that frame what the game is going
to be about, these are called opening scenes.
Once this is established, scenes transition
into short flashbacks or montages that the
Pitcher has while actually pitching in a game.
These flashback scenes are they are named,
tell the backstory of the Pitcher while at the
same time, drive toward an answer to the
overarching questions posed as well.
Once everyone on each team is satisfied with
the answers to the overarching questions,
scenes move from flashback sequences into
real time again to create very specific kinds
of scenes that lead to the end of the story.
Players first share narrative control to create
the final pitch of the game, dictating the
final score of the game being pitched and any
other details players want cemented into the
present day of the story.
Then, to completely wrap up, teams will each
do an epilogue scene after that final pitch,
tying off any loose plot threads particularly
targeting the overarching questions from the
opening scenes.
Getting started
In this game, you and your friends take turns
framing scenes around the main character, the
Pitcher. When it’s not your turn and you do not
have narrative control you will be portraying
the other characters in the scenes. So first
things first, you need to set up each character
collaboratively and should be able to do it in ten
minutes or less, bringing character creation for
all three to a maximum of thirty minutes. You’ll
notice that the opening paragraphs for each are
read out loud by whomever so chooses, in order to
get all players on the same page.
The Pitcher
[Read out loud] The Pitcher is about to be put
in the hall of fame and has had an outstanding
career. They’ve devoted themselves to the game,
their team, and the mound of every field they’ve
played in. New players don’t understand the
fundamental aspects that came with the life the
Pitcher has led; the heart they have for this game,
the sacrifices they’ve made to become a hall of
fame legend, and the special kind of pride only
the old guard in the game have.
• Approximately how old is the Pitcher and
where were they born?
• What is their name and primary physical
characteristics people notice about them right
away?
• What are their gender pronouns?
• Who taught them how to play baseball?
• The next game is the last game in the season
for their team; how long have they been playing
baseball and is the team doing well or poorly?
• What is the name of the baseball team?
• What about them drives a wedge between
themselves and new players?
• In which ways in their life are they still a child
at heart, other than playing baseball?
• They’ve given baseball everything they’ve got,
but what did they have to neglect to have such
an amazing career?
Going around the table, describe how the
Pitcher looks. Add at least one characteristic
you see in a fellow player or yourself.
Anything will do, from being tall or well
built, hair or eye colour to a nervous tick or
quirk of personality. Whether it’s a physical
characteristic or a character trait is up to
you. The end goal is to have the Pitcher
reflect, at least in part, all the players at the
table.
The Best Friend
[Read out loud] They’ve never been the star
athlete like their best friend, but they’ve
always been there for the Pitcher. Their
success in the game though, is intertwined,
because they are also the catcher for the
Pitcher. They tell them how they should
throw the ball, how hard, and other details
that come with pitching in a game in order to
win. They’ve been the catcher to one of the
greatest pitchers of all time. Unfortunately,
that doesn’t come with the same notoriety
but they are playing the game they’ve always
loved with their best friend, it could be
worse.
• What is their name and primary physical
characteristics people notice about them
right away?
• What are their gender pronouns?
• What have they had to sacrifice along the
way to support the Pitcher?
• What do they know about the Pitcher that
no one else does?
Going around the table, add at least one
characteristic the best friend has for each
person playing to help each person personify
them.
The Lover
[Read out loud] They have never allowed
themselves to be defined by the fact that
they’ve been romantically entangled with the
Pitcher for quite some time now.
Between their career and the Pitcher’s, they’ve
always been proud of their life and achievements,
even when they are gone. Life so far, has only
allowed them the solace of one another between
the spaces of both of their other commitments in
life.
• What is their name and primary physical
characteristics people notice about them right
away?
• What are their gender pronouns?
• What career are they successful in?
• What have they given up in in the past
or present in order to make room for this
complicated relationship?
• Just how serious is their relationship with the
Pitcher right now, given the nature of both of
their careers?
Going around the table, add at least one
characteristic the Lover has for each person
playing in order to complete your main cast.
Picking a team
After the main cast is set up, divide yourselves
into teams. Pick either Heart or Pride, bearing
in mind what type of scenes you’ll be working
towards should you choose one or the other.
If you pick Heart, you’ll be looking to feed the
Pitcher’s interests that aren’t typically considered
masculine.
The desire to be intimate and speak
sincerely despite possible judgement from
fellow baseball players, friends, or society,
stems from Heart. It’s also their childish
hopes and dreams in relation to their lover,
their parents, hobbies, interests, etc. Heart is
also what probably sparked the Pitcher’s love
of the baseball in the first place.
Pride is the armor one has that shields them
when they should stumble and fall. The
Pitcher is admired and loved for the things
they have accomplished and could not have
had them had they not been strong, confident
and unyielding at times.
They have a gift that they use in the spirit
of the game they love, which gives them the
confidence they need to test themselves
against the very best in the game.
It’s important to note that both are
absolutely essential to the Pitcher’s life and
are very subjective, this is on purpose.
Part of Young at Heart is seeing what other
player’s interpretation of Pride and Heart for
the Pitcher is, and just how intertwined one
really is to the other despite them initially
feeling so disparate. And, without either, they
arguably would not have had a such a prolific
baseball career or played baseball at all.
They are two sides of a coin that are both
integral, which means neither is good or bad.
Both are the root of the Pitcher, so you are
not choosing who is good and who is bad,
rather what is most interesting to you or,
possibly what you identify the most with.
Just as important within a scene, the two
will create diverging and interesting paths
in the story. Young at Heart uses the struggle
for each resource in order to have no player
know what will happen next — that way
everyone is playing to find out what happens
next.
Starting
Resources
At the start of play, everyone begins with a
communal five Talent and no other resources.
You can never gain more Talent, but you will
be increasing your Heart or Pride in scenes,
depending on the scene. The two main types of
scenes you’ll be using to play out your story are
opening scenes and flashback scenes.
Outline of Play
A session of Young at Heart can be broken
down into the following steps and each step
is further detailed on page 8:
Opening scenes outline:
• Create the main cast of the story
• Divide yourselves into teams representing
either Heart or Pride
• Choose someone to frame the first scene or the
youngest person is selected to do so
• They frame a scene in which one question from
the opening scene list must be answered and
events in said scene also lead up to the Pitcher
actually pitching in the game
• At the end of the scene each team rolls a
single six-sided dice and the team with the
highest die result increases their resource by
one
• If it is a tie, both teams increase their
resources by one
• Narrative control passes to the team that
hasn’t gone yet
• Once all the questions are answered the next
scene will be a flashback scene
Flashback scenes outline:
• Each team now frames scenes with
the Pitcher being on the mound of the
stadium, pitching a game and recalling
their life in short flashback scenes that
are defining moments in the Pitcher’s
backstory
• Whomever has narrative control starts
linearly in the Pitcher’s past and always
leads the scene to a point called a Fork.
This is when the player with narrative
control wants the Pitcher to do or say
something that would increase their team
resource
• When this point is reached the scene is
paused and each team rolls their six-sided
die with the highest number deciding
which team both gets narrative control of
the scene moving forward, but also
increases their resource by one
• Play then resumes and the team with
narrative control completes the scene,
having the scene reflect which resource
was increased
• Decrease your Talent by one at the end
of each flashback scene and when you
no longer have any, the next scene is the
pushing through scene found in detailed
play
• When all the Talent resource is gone, at
the end of each flashback scene, consume
one Pride and one Heart, if you cannot do
so, instead go to the epilogue scenes
• If you can, narrative control goes to the team
who did not start with narrative control last
scene and begins the new scene. Regardless
of who ended with narrative control, it always
passes from who began with narrative control
to the team that did not
• Flashback scenes end when both teams have
solidified their answers to the overarching
questions in the opening scenes
The final pitch scene outline:
• All players from both teams count how many
resources they have without mixing them
together
• For each resource from both teams, players
work together to create a blow by blow account
of what happens in this scene by adding a
Moment for each total resource
• This last scene is a slow motion, dramatic
finale to the baseball game that is both used to
establish the final score of the game, as well
as end the game in the most spectacular and
dramatic way possible
• Once this scene is over, proceed to the epilogue
scenes
The epilogue scenes outline:
• Whichever team with the most resources
frames a final scene in which the Pitcher acts
out their desired outcome for their overarching
questions in opening scenes
• The player currently
narrating for said team
will bring the scene up to
a point when the Pitcher
would do or say something
to result in the answer of
that team’s question, which
results in the scene being
paused so that team's die
can be rolled
• The team rolls their six-
sided die and, in order to
succeed, the result
of the die must not be
greater than the number of
resource tokens the team
has.
 If it matches, the team remains in
control, if the die result is greater than
the team’s resources, the other team takes
over narrative control of the epilogue
• The next team does the same process for
their overarching question and the game
is over when narration of the final scene
stops
Purview of all scenes:
• No matter what scene you have
narrative control in and are narrating or
participating in, you can never dictate
the score of the game until the final pitch
scene. From the circumstances happening
during the game the Pitcher is playing in
that cause a flashback scene to occur, to
who is in the stands, it’s all yours to do
with as you like. But who gets on base,
who scores, if a ball is caught or not, etc.,
Is not within the purview of the players
until the final pitch mechanics allow you
that purview.
Detailed play
Opening scenes
Play always starts with opening scenes, and
during the first one players choose whomever
has an idea of what they want an opening
scene to be, or whoever is the youngest if
there is no volunteer.
This player narrates a scene, with a very
specific purpose in mind. Chiefly, to answer
one of the following questions to create the
overarching questions the Pitcher needs to
answer during the course of their flashbacks
detailed after this. Just know, these
questions mold your story so treat them as
such.
With every opening scene, one question must
be answered. These questions are:
• Why and how did your Lover tell you they
were leaving tonight and where are they
going?
• Why do you have to decide whether or not to
retire or be traded at the end of this game?
• Why does your Best Friend have to catch for
you this game and who is proposing they don’t
and for what reason?
These opening scenes are also what will
introduce the Pitcher, the Best Friend and the
Lover. So, treat each scene like that of a movie,
and also work in answering a question. Show
where these people are and what they are like.
The type of chemistry they have or don’t have
with each other, the uniforms they may wear, their
demeanor, mannerisms, and even so much as the
music you think might be playing if this story
were actually a real movie or TV show, are all
great things to contribute. Anything you think is
pertinent to your own vision of what would make
for a great story should be touched on in every
scene you have narrative control over.
At the end of each opening scene, both teams
roll one six-sided die and generate either Heart
or Pride depending on who has the highest die
result. If there is a tie, both teams increase their
resources by one. Once that’s done, regardless of
who ends the scene with narrative control, the
team that did not start the current scene with it
always gets it next.
Once all of these opening questions are
answered, the next person to frame a scene
begins with flashback scenes.
Flashback scenes
The focus of these flashback scenes now shifts
focus towards making a cohesive timeline for the
Pitcher’s backstory while they are pitching the
game. This means that after the opening scenes,
as time passes in the flashback scenes, so too is
time passing in the baseball game, we just do not
focus on the game.
Weaving in and out of this game into flashback
scenes is completely fine and adds a lot of great
flavor. However, always remember that you do
not have purview as a player to decide any of the
score of the game, everything else however, is fair
game.
From when the Pitcher began learning
baseball, until the events that led up to the
game the Pitcher now finds themselves in,
can and should be used in flashback scenes
to encapsulate the backstory. Making it so
these scenes progress in a linear fashion to
current events is also best practice and
a very satisfying way to tie a bow on your
story, though invariably sometimes this won’t
be possible when players have specific scenes
they want to have happen, and that’s fine.
Each scene should also strive to figure out
what each team will do about the overarching
questions they must deal with at the end of
the game, which is finalized in the epilogue
scenes. These questions are:
• Do you retire or allow yourself to be
traded to another team?
• What, if anything, are you going to do
about your Lover?
Always try to drive exploration of the
Pitcher’s past while trying to eventually
come to a conclusion as to what the Pitcher
will do about either problem they face as is
revealed by their backstory you now create.
At the end of each flashback scene, you also
must decrease your Talent. You always begin
with five Talent, and at the end of each
flashback scene, decrease it by one until you
have none left. When you no longer have any,
the pushing through scene takes place with
the next person who has narrative control,
not another flashback scene. As long as you
still have Talent though, flashback scenes
proceed as normal.
Pushing through scene
When all your Talent has been consumed, the
next player to portray the Pitcher answers both of
these questions with their next scene. This scene
temporarily shifts focus from the flashbacks to
the present ball game. Remember, your Talent is
your golden arm, your raw natural ability, and
right now it’s gone! What does that look like for
the Pitcher?
• Why is it so hard to continue to pitch right
now? Is it a past injury, old age, etc.?
• What is it that makes you push through
whatever this problem is, in order to finish the
game?
At the end of the scene once both questions are
answered, both teams roll their six-sided dice
and the winner increases their resources by one.
Narrative control passes as normal and flashback
scenes continue.
But, at the end of each flashback scene going
forward, you must decrease both your Pride and
your Heart resources in order to keep pitching. If
you cannot do that at any time, you immediately
move to the epilogue scenes.
The Last Pitch scene
It’s the last pitch of the game. Both teams work
together to add Moments to this special finale
scene. Think of it as a slow motion dramatic pitch
in a movie. Each die either team has, is used as a
currency you spend in order to detail a play by
play description of everything in this scene
focusing on the finale of the game.
While the dice should remain in separate teams
still and should not be actually taken away as
they are spent on Moments, everyone should work
together to spend all of the accumulated dice
from both teams. Who is at the stadium, what
kind of pitch do you throw, does the batter hit
the ball, what is the final score of the game?
These are all questions that can be answered in
this scene with Moments.
For instance, if both teams count their dice
and all of them add up to six, everyone
working together could add the following
Moments to their final pitch scene:
1. An incredible silence fills the stadium
as the Pitcher strains himself to throw a
curveball that visibly hurts them.
2. The ball slows down and the camera pans
into the point of view of the ball as the
batter swings and we see the bat connect
with the ball.
3. The ball swings up and out and the
scoreboard shows a perfect game so far.
4. The ball touches down mid field and
bounces off a random teammate’s glove.
5. Another teammate slides in and throws
the ball to first base.
6. The ball travels into the glove of the
first baseman just a few seconds before
the runner gets there and it’s declared a
strike.
Once everyone is happy with the outcome of
the final pitch scene (and however many
Moments you have corresponding to the
number of dice each team has are spent)
proceed to the epilogue scenes to see what
happens next.
Epilogue scenes
After the final pitch scene is complete, both
teams now use their separate die pools to finish
story threads off that still linger. Alternatively,
this scene is used for what happens if you cannot
continue to pitch due to not having enough
resources. You simply explain in the story why
they could not continue and still try to get your
desired outcome, bearing in mind you could not
finish the baseball game.
These scenes are specifically meant to adequately
satisfy the questions: will the Pitcher do something
about their circumstances with their Lover? And,
will the Pitcher choose to retire or be traded?
Either team can choose to answer a question if
they think it falls within their narrative control.
Each team decides on a final scene for either
Heart or Pride respectively, building up to a fork
in the story like a flashback scene, with the end
goal being to answer what the Pitcher is going to
do about that specific question. This time though,
that team rolls their own die in order to see if
it a success or not. They count their resources
and when they roll they must meet that number
exactly or get below it in order to succeed.
For instance, if you have 3 Heart and roll, to
succeed you need to roll a 1, 2, or a 3 in order get
the complete success you hope for. If you do not,
instead narrative control goes to the other team,
Pride in this case.
Just like normal they describe
what may have happened instead,
still making an interesting story
and tying it to Pride. Always keep
in mind that all players can help
one another to come
up with what that might be. A
failure does not dictate that the
opposite happens, it only means
that team does not get their
desired perfect outcome. If you’re
going after the love of your life,
for instance, and the fork is that
you see them with someone else –
let’s say Heart decides they want
to win them back and they fail!
Maybe when Pride takes over what actually
happens is they can’t bring themselves to
go over and talk to the Lover, who seems
happy without them now. Or, possibly the
Pitcher does go and talks to them, but only
to say goodbye. Whatever makes for the sort
of ending that seems in keeping with the
backstory of the Pitcher, as well as what all
players think would make for a good ending
to your story!
Advice on
playing Young
at Heart
Playing with an odd
number of players
If you do not have an equal number of
players for both teams, each time a player
frames a scene and is the Pitcher, there
needs to be a way to know if they are
framing a scene towards Heart or Pride.
You can have the teams solidified with two
players and have the last one swing back and
forth from team to team, or perhaps have the
teams alternate with every player each turn.
If neither appeals to you, another option is to
have the player whose turn it is simply
decide their team while playing out a scene,
based on how they want the Pitcher to act
and have the other players rolling to oppose
them.
Conventional equal teams have a natural
tendency to want to one up one another,
lending itself well to this kind of story. That
said, I have had wonderfully successful and
great games using the described methods for
odd numbers of players as well.
Best practice is to decide what mode of play
is most appealing to everyone involved, and
go with whatever you think would be the
most fun for everyone.
Ties
Just in case of a tie, in a normal scene, both
teams work together to narrate something in
which the Pitcher would plausibly generate both
resources in the scene if it is a flashback. This
does not mean the reaction of the Pitcher at the
fork in the story when dice are rolled should
generate both, as sometimes that just won’t be
possible. Instead complete the scene from that
point forward hitting on both as would befit the
story, not with the goal in mind to have both
happen at the same time but with telling a good,
interesting story. If it is an opening scene, both
teams are simply awarded one of each resource
with nothing else needing to be handled in the
scene.
Making new characters
Sometimes you’ll introduce new characters that
aren’t cast members to the story as you narrate
the Pitcher’s past. Simply take an index card,
write down their name, what occupation they
have, and how they know the Pitcher and proceed
with play. When the scene ends, return the index
card to the table so that anyone can play them in
a future scene, from that point on they are up for
grabs just as the main cast members are.
Flashback scene advice
Just like our own memories, as well as in the
movies this game emulates, these flashbacks are
memories and are very often quite quick. Just
as often in media, they are shown as a montage,
a series of quick scenes used to get across a lot
of information in a short amount of time. In
this game, scenes will obviously take longer than
montages and flashback sequences in other media,
but you should always keep in mind that scenes
shouldn’t linger longer then they need to. As soon
as they have the essential elements conveyed, and
the players are satisfied, cut out and move to the
next player so they can play the Pitcher and keep
the momentum going.
Everyone is trying to make the best story
they can. Because all players personify
the Pitcher at some point, both teams are
invested in creating the best story possible.
That means if you feel you have great idea
for the next scene, by all means share it in
the spirit of telling the best possible story,
even if it’s an idea that benefits the other
team!
It is important to note that in flashback
scenes the duality between Heart and Pride
is being highlighted, the intent is not to
comment on either being bad. Both are
ultimately needed. Don’t try to make one
side clearly the desired outcome. Instead,
use Pride and Heart as context dictated by
the die result to colour your scene and let
the story take shape with both forks in the
story being interesting and how the story
was ultimately meant to go anyways. Both
ways in which the Pitcher will act will be
compelling and because we don’t know which
team will have narrative control until the
result, there is no way to predict what will
happen next. This means both teams come
up with creative and interesting ideas for the
plot and an unpredictable story.
Dice rolls are not meant to ever be
punishing, they foster creativity to come up
with something interesting and hopefully
also help to avoid defaultism in regards to
typical sports narratives. It can be really fun
to be forced to come up with something that
subverts the common tropes, so try it out!
The Long Game
This game lends itself well to one shot play,
however, going forward after playing this
scenario, it would be very easy to adapt
to long term play as well. Do away with
the current overarching questions in the
opening scenes for completely new ones or,
replace only some of them with others to tell
a different story–retaining only what you
yourself liked about it. This template can be
applied to many different kinds of stories,
all you would need to do is tweak the main
cast questions, swap the opening scenes
questions, which naturally will lead to different
epilogue questions, and you have a very different
kind of story. Sports related, or otherwise.
Something that may be of interest as well is to
lower the stakes of the questions posed at the
beginning and make each game a smaller chunk
of an overall narrative. If you wanted to simulate
a woman making history and pitching in the
MLB, like in the show Pitch, for example, you
could have opening questions that were episodic
in nature. Each gunning towards a specific theme
each time, while feeding into the overarching
story as well.
Intentions of
Young at Heart
The kind of story engrained in this game is
derived from a specific story, one that means a
lot to me. Ever since I was a young boy and I first
read For Love of the Game, I’ve taken away a lot
of different things from such a simple story. There
have been a lot of times in my life where the
duality of heart and pride have caused conflict.
From people I loved being lost due to the things
I wish I could say but never did, to moments that
mean a lot to me still, all because my heart told
me to do something and I acquiesced. All of
them I feel are integral to who I am, painful or
otherwise.
There has always been what felt like a precarious
balancing act that sometimes ends up being a
lesson or truth for myself that changes me. These
precarious choices are in lots of aspects of life
and certainly not just the romantic. They bleed
into my overall outlook and choices that go into
how I end up treating all people on a daily basis.
All I can speak to is my own perspective of
course, but I posited that a lot of people struggle
similarly, as do the heroes we place on pedestals.
Athletes, and often all heroes, make it look so
easy when we watch them from afar. But what
really goes on in their heads? Our heroes are just
as fallible as us and in drawing parallels between
the two we might realize that we too, are capable
of just as amazing feats, physical or otherwise. In
the end, everyone is built up of these
imperfect moments that constitute their
past. There is something moving I found
Credits
in the realization that there is something
profoundly human in the failures of even
those we hold in high regard.
Game design & writing
My goal for this game was giving complete Fraser Simons
strangers and friends a window into some
of my own struggles via a story I care
about deeply. I think sometimes people just
need a good excuse to start to speak to one
another, at least I do. Why not let the
developmental editing
common ground be a sport that has always
fostered a great deal of love in its fans Jason Cordova
coupled with a story that means a lot to me?
I find myself feeling lucky after playing this
game, as a part of me I don’t usually let out
always manages to find its way into the story,
no matter how many times I play. I think
layout & image manipulation
doing it in this manner makes it easy for me,
this safe buffer between characters, no Oli Jeffery
matter how small the veneer, is often enough
pretense to start telling some of my own
story. As such, a story I recalled from my
past, rooted in a sport that is known for its
simplicity, symmetry, and a primal duality playtesters
between pitcher and batter– is where you
may well end up finding me should you listen. Richard J. Rogers, Jeff Stormer,
Kyle Simons, YG Mitchell, David
All these things and more I hope you find in LaFreniere
Young at Heart.