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March 30, 2004

Sorcerer and the Dark Side :)

So in sketching out the Shannon character for this post, I became aware of a really cool 'dark-side/light-side' thing going on:

When she was setting the character up, she chose to connect Humanity to 'Mastery'. I'm naturally inclined toward connecting it to something like Empathy, but one of the example sorcerer groups (the Black Wheel) fit the Mastery idea pretty well, and I thought her history could tie into that, and that might be interesting. End result, we went with Humanity=Mastery for her, even though I didn't really have the impression that it would be a compelling definition of the Attribute.

And then she chose "Rageful/Vengeful" as her descriptor on Will.

Now, for those of you who don't know my wife, imagine she and I smirking about this and making jokes about Playing to Her Strengths -- Jackie has a... pretty easy time playing characters who channel their anger in both constructive and destructive ways -- call it a talent if you like, or art imitating life. Anyway, what we ended up with was this quiet librarian who's not very good at social situations and for whom the core of her Will is basically a hard kernel of anger and resentment... lots of which is generated by the awkward social scenes that seem to gravitate toward her. (Sounds like the bad-guy/girl for a Stalker-Thriller movie.)

Also, within the game, you can (in theory) get bonuses for using an Attribute in such as way that it dramatically emphasizes the descriptor for the Score. (Note emphasis on 'dramatically' -- I understand that it's no good to just say "I hit him, and I'm mad".)

What this boils down to is that, in the short term, it's in the player's (mechanical, game-based) interests for Shannon to 'lose it' in critical situations -- it's interesting, it's appropriate to the character, it's dramatic, and it's also potentially worth a bonus on her dice.

It's also, long-term, a bad idea.

See, the definition of her Humanity is "Mastery", remember?. There's lots of things that could cause a character to risk a drop in Humanity (contacting and summon Demons is a universal risk for anyone, regardless of how they define Humanity), but in addition to the 'standard' reason, things that cross the line in regards to your personal definition of Humanity also mean you're risking a drop in the stat.

Well, "Losing it" in some violently emotional way is one of those things that causes a Humanity test in our definition of Mastery/Humanity.

First response: Hmm... nice dynamic.

Second response: What a great, classic bit of character drama! (Particularly fun since we didn't set out to create that crisis for the character... we only realized it later.)

Do you go for the quick and easy pay-off of flipping your lid and letting out your anger or do you keep control of yourself, thereby protecting your Humanity in the long-term but robbing yourself of some easy strength at this particular moment?

Give in to your anger... Heh. Classic stuff. I'm loving this game and we've only played one session.

For the record, I like the fact that any character can, if designed right, theoretically want to do things that test their Humanity... it happens when you try to get another demon working for you, and eventually everyone wants that... but in this case I'm just really enjoying that there's a game-"carrot" out there to constantly tempt the player. :)

March 28, 2004

Failure in Trollbabe

Ron Edwards is working on a final, hard-copy version of Trollbabe, trying to get it done in time for GenCon. In a Forge Thread, he talks about the fact that he's changing the range for Social tests (making them one-better than the lower, rather than higher range, thus making them the 'middle' number of the three tests). (He also mentions a change to the way Magic is going to work as a 'conflict starter', which I haven't had a chance to really look at.)

Anyway, that's not the point. The point is, the thread became a discussion of dealing with failure in Trollbabe and the fact that what failure looks like for a Trollbabe depends entirely on the player's narration and how they interpret a low chance of success in a particular task. (Or, balancing a low chance of success with the world-view that a Trollbabe is a bad-ass at everything... even something they technically have a lower chance of success at.)

There's a great example from Bob McNamee, which I have to share here:

Logarina, number 3, a wolf-oriented mystic-type with silver hair and short blue spike horns

Fighting 1-2 handheld
Social 1-3 scary
Magic 4-10 trollish

She confronts Baron Woltmir and a bodyguard in the stableyard of an Inn. He is responsible for enslaving villagers in his mines. The bodyguard draws a sword immediately... the GM declares a Fighting Conflict

Not her best area for sure...

OK... her Goal for the Conflict is Capture the Baron. GM explains (during free and clear) that the Baron is mounting his horse to escape and is known as a keen swordsman... also, the sounds of carrousing (sic) soldiers can be heard from within the Inn.

GM declares Exchange by Exchange (best 2-of-3) conflict... the player can and does alter this to Entire Conflict, not wanting a long fight -- it's all riding on one roll.

She needs a 1-2 to win...
She rolls and Fails.

Ok... lets say she accepts a Discommode and Fails at the Goal (which is not "win the fight"; it's CAPTURE THE BARON) and narrates.

This gives a huge opportunity to influence play from this position. Really huge.

Nar possiblity #1 -- she's approaching narration with a "task resolution" mentality relating to her skill at Fighting, which means that the interpretation is "my chance of success is low, therefore I'm not a good fighter".

She draws her long knife and tries to fight past the bodyguard to get to the Baron. She takes a shallow slice across the ribs as she is driven back out of the yard. The Baron and bodyguard ride off laughing.

Nar possibility #2 -- in which she interprets her fighting skill as being fully competant... but more of a scene resolution mentality.

She draws her long knife and tries to fight past the bodyguard to get to the Baron. She deftly steps inside the bodyguards thrust redirecting his weapon with her hand as she buries her weapon in his heart. She only notices the slice in her palm after he crumples in a heap at her feet. Dealing with the guard has cost precious time, for the Baron's laughter echoes in her ears as he rides away in the darkness.

Nar possiblity #3 -- the idea that her Fighting skill is competant but an unreliable way of acheiving her Goals.

She draws her long knife and tries to fight past the bodyguard to get to the Baron. With a terrifying wolf howl she deflects the bodyguard's blow and hammers him in the head with the hilt of her knife, dropping him. She quickly crosses to the Baron before he can mount. She holds her knife to his throat and orders him to surrender. A bare second after... the Bodyguard's sword point is at her back.

Instinctively she spins with her amazing reflexes and counters his threat, with just a shallow slice to her back.

The Baron's body falls back in a shower of blood as his head is mostly severed by her spinning action... oops.

Nar possiblity #4 -- the "Succeed, but.." school of narration.

She draws her long knife and tries to fight past the bodyguard to get to the Baron.

She steps inside the thrust of the bodyguard...hammering him in the temple... dropping him unconscious.

The Baron aborts mounting, and draws his sword, with a cruel sneer. His weaves a cunning set of cuts with his weapon. She manages to step inside his guard disarming him, and sweeping his legs out from under him.

"Surrender or die"-she says

"I would surrender," says the Baron as he spits in her eyes, burning them with tobacco juice, "But it would look bad to my men."

When she wipes her eyes, she can she that the fight has attracted the attention of many of the Baron's drunken soldiers from inside the Inn. She holds the Baron between her and most of the drawn bows.

"I suggest you let me go ... I'll even give you a moment's head start running ....", he gloats.

Really really great stuff, and merely one of a dozen different ways to narrate the failure of the Goal without making your character a failure.

Sorcerer, part 1 -- the Action

(See also my previous post detailing the PCs.)

With the Sorcerer characters completed no later than 8pm (!), I wanted to do something that would introduce us to all aspects of the system with a minimum of fuss and complication. To that end, we used the Training Run from the main Sorcerer book.

Kickers
The player's kickers both had strengths and weaknesses; Sebastian's was very immediate and interesting, but didn't tie into the plot of the Test Run very tightly at all (I'm working on retrofitting it to tie in but not having much luck).

Conversely, Shannon's didn't have a lot of OMIGOD punch, but wove into the scenario well.

Sebastian
Sebastian's kicker (provided entirely by the player) was that after an uneventful evening involving relatively little debauchery, he woke to a strange smell in his (top floor, off-campus) apartment. In his walk-in closet he discovered a coed hanging from a meat hook. While he recognized the coed, he did not recognize the meat hook, nor had he seen either the night before.

Just then, someone knocked loudly on the front door.

Sebastian used his link to holler for Shade (who was lurking around the Campus peeking in windows, an activity Ryan encouraged for a number of reasons (gave him dirt on the student body and fed Need)). Shade showed up and was sent to the closet to 'figure that out' while Seb forced himself to saunter to the door casually.

The visitor was a courier with a message from his mentor that read:

Come. Immediately.

CLV

It was at this point that we realized that Ryan's mentor's initials sounded like c'est la vie, which works rather well on a number of levels. Heh.

Right. Seb tips the courier and goes back the closet where he and Shade stare silently at the girl and think about the twelve floors between them and the parking garage.

Shannon
Less immediacy here: Shannon receives a letter from her mother (now living as far away from Yale as she can get). The envelope contains a brief note from Mom ("Thought you might want to have this.") and an engraved invitation to a party this evening at the home of Alonzo Clarence Shaw. The invitation is addressed to her father, has a handwritten note at the bottom that reads "Looking forward to seeing you again, old friend", and is signed with a sigil that Shannon has only ever seen in her father's personal notes. (I made up something for the Black Wheel.)

A connection to Dad!

A party...

Ugh. Shannon is not good at parties (see her Price).

Without going into too much detail, the rest of Shannon's day is spent picking out clothes and having Bister check out Shaw on the internet (an alumni and long-time contributor to Yale who hasn't been seen in public for several months -- he has a home on the outskirts of Cambridge (matching the address on the invite), for which no photos can be found.

Back with Sebastian, the GM and the player try to work out the mechanics of what a Stamina 5 demon can be expected to carry around when they don't have Transport. Can they fetch books using Travel, or carry nothing at all? Can they just walk around, lugging a body but not using Travel? One would hope so.

Anyway, since the coed's not 'living tissue' anymore, the body is subject to Shade's Warp ability. Ryan has Shade twist the body around into a passable imitation of a piece of luggage (I know... eww) so they can get her down to the Audi TT with some degree of subtlety. Ryan knew and had in fact dated the girl several times in the past, but not in the last several weeks, and has no idea what's going on.

Once in the car, Ryan proposes dumping her in a dumpster somewhere, but Shade has something of a problem with this, since she was a decent enough girl and doesn't really deserve that kind of treatment (moral? a demon? not really... but it's not really poetic justice).

Great line:

ME: Umm... Shade has a problem with the dumpster idea.
Player: Yeah... I kinda thought he might.

Shade proposes any number of people who richly deserve to be framed for the girl's murder but Ryan eventually opts for the simpler solution of leaving her (tastefully, and warped back to her normal shape) near a stream outside of town and anonymously calling the cops.

He then heads to CLV's house, where she is chain smoking and holding an engraved invitation to a party. She's stressing about this because of what she does and doesn't know about Shaw: he's a major mover and shaker in the Sorcerous community, but she's never met him -- she has no idea why he'd invite her anywhere, but at the same time she doesn't dare turn him down. She's been agonizing over the invitation for weeks, but tonight is the night of the party and her options are reduced to nil.

She has to go, and the invite allows for a guest, so Sebastian's going to.

Ryan goes and prepares for the party, picks up CLV, and talks to her about the "coed problem" on the way out to the house (the renfrew-cat is in the back seat, crunching on a June-bug).

CLV: Did you know the girl? Ryan: We dated. CLV: I assume that's some sort of euphemism for having sex. Ryan: Hardly a euphemism... sex is what normally happens in the course of a date.

Everyone arrives at the house
Here's the point where dice start to hit the table in earnest. Sebastian has Shade with him, CLV is there and has sent her cat around the back of the house to scout around, Shannon got there a few minutes earlier and is trying merge with the wallpaper (if only she knew!) and stay out of the way, plus there's Yvonne and another NPC sorcerer I've thrown in among the crowd of professors, alumni and other film students and wannabe's in the crowd -- all in all, there were a bunch of demon and sorcerer telltales to potentially spot.

Spotting Telltales
I found it easy enough to figure out how to spot demon telltales (Lore vs. (10 - Demon's Power)), but couldn't seem to locate the formula for doing that with another Sorcerer's telltales, so I made it Lore vs. Humanity (the lower the humanity, the less you could pass as 'normal'), which worked well enough but left me wanting the 'real' rule. (edit: Turns out the real rule would have resulted in the same dice hitting the tables, so no biggie.

Amusingly, Sebastian (Lore 2) simply assumed that everything and everyone was either a demon or a sorcerer and proceeded calmly into the party with that assumption in mind and a smile on his face... the best part of that was the fact that his Humanity was high enough that no one else really picked up on the fact that he might be a sorcerer.

Yvonne (who I portrayed as Lara Flynn Boyle) showed up to give everyone the wiggins... I mean, invite them to mingle and enjoy themselves. Ryan saw and greeted "the librarian" whom he'd seen on any number of his book-hunting missions for CLV... somewhat surprised to find out that she was a sorcerer (remember, he's simply assuming everyone at the party is).

Mingling goes on... several film students try to recruit Seb for roles in their projects, etc.

Yvonne shows up again and tells Shannon and Alonso is very curious to talk to her, since he was very close with her father, and would you mind a private conversation with him, upstairs? Shannon agrees willingly and is led to a third-floor study, given a chair, and told that Shaw will be right in.

Yvonne leaves, heads back downstairs, makes an abortive attempt to seduce Sebastian (who is somewhat on his guard after noticing the human bones working in to the art on the walls), and is interrupted by CLV, who pulls Seb aside to inform him that her link with her cat has been severed in some way.

Right about then, the wings of Shannon's wingback chair reach out and grab her.

Seb has Shade use his perception to look into rooms in the house to see if he can find the cat. Shade does, and offers to go get the little blighter, but Seb demures. He asks for directions, but Shade can't give them easily -- the 'directions' work for teleport-hops, but not so well for walking there. Still, using some triangulation, they figure that they can determine what floor he's on (if they're getting closer) and find him that way... also, staying together.

The GM is bummed he can't seem to separate Shade from Seb, but conceals it well :)

Meanwhile, Shannon is struggling with the humanoid shape bulging out of her chair and grappling with her. She manages to have Bister help break her out of the Hold and heads for the door. The demon 'bulges' down into the carpet and grabs her ankles. She hits the floor with the shriek and a thump.

The two sorcerers and Shade are moving from the second to the third floor. Shade picks up noise from one of the rooms but the door is locked... sounds like some kind of struggle. Ryan has Shade Warp the door so that the lock will not be latched to anything, but the Warp doesn't work... it's not unliving material!?!? Shade tries the wall as well, with the same effect. HMMM.

Just about then, the carpet runner in the hall bulges up and tries to grab Seb. He leaps back trying (not coincidentally) to be further away from the thing than CLV so that it'd go for her first. I almost gave him a humanity check for this bit of cold-blooded behavior -- I would have if his Humanity had been any higher than it was... anyway, he avoids being grabbed.

Meanwhile, Jackie (playing Shannon), has picked up the Sorcerer book for the first time since picking out demon abilities during chargen and is reading furiously. When I turn back to her, she rips off a great bit of dialogue (highlighting her rageful and vengeful Will descriptor) and goes for a Punish... a great tactical move and completely out of the blue as far as I was concerned.

The problem: she didn't get initiative on the round, which means the Demon is going to get a chance to bite her first. She opts to 'soak' it, since he's at 1 dice either way (due to a 1-success demonic fist-attack from the last round), and hope that she can stay conscious long enough to get the punish off.

Not only does she get it off, the demon missed its attack and she can punish it without having to make a Will check to stay in the fight. Still prone, she grips the thing around the 'neck' and, screaming invective, lays on the dice: two success leave the thing writhing in pain.

In the hall, Seb gets his unspoken wish and the carpet-demon goes for CLV -- it lunges and shoves her against he wall, which promptly engulfs her up to the knees and elbows. Seb has already ordered Shade to pound on the demon, so he grabs a big brass floor lamp and attacks the door of the locked room, hoping to find a grateful ally.

Shannon immediately goes for a Banish after the Punish, reasoning (edit: incorrectly, as shown in the comments below) that the thing would be weakened by the 2-dice Punish penalty to both it's Will and Power, making it much easier to Banish (edit: nope, that should be a lowering of it's Abilities... OOPS -- oh well, we'll wave our hands and say that last round she had Bister attack it for similar effect). Theoretically, the thing would get dice bonuses for it's Binding strength, but the scenario didn't list Binding strength for the Spawns, so I just assuming a Binding of 1. (I realized later that they probably had the same Binding strength as their 'parent' (a +4), but by then it was too late... C'est la vie. :)

The door bursts open and Sebastian is treated to the bulging carpet demon getting blasted into carpet bits by the successful banish. Shannon immediately chastised Bister for not helping her out more and told it to get into the hallway fight now.

Seb asks Shannon for a bit of help in the hall and tries to burn the walls by lighting some drapes, but the House has an unspecified Protection which I decided was vs. heat & fire, so no go. Seb and Shannon put two and two together (the failure of Warping and the Walls' resilience0) and figure out that the whole house is a demon. There is much horrified swearing at this point.

Seb and Shannon try a couple punishments to get CLV out of the wall (she's not being eaten yet, but the house is trying to use her to get to the Cat-demon, who's managed to keep it at bay by staying clear of the floors and walls... its vitality has helped) while Shade and Bister beat the hell out of the last Spawn demon.

The punishments do not go well (since the pair can't combine efforts on Punish), but they do manage to get a couple successes and get the walls to spit out Seb's mentor.

Everyone rushes downstairs, which is a horror show: Yvonne is crouched in the corner, staring into the middle distance, rocking back and forth and covering her ears -- half-wall-stuck demons, faculty and alumni are being stripped of their flesh and only one other NPC sorcerer is still reasonably functional.

Everyone descends to the main hall and tries to get people free, using multiple Punishments to cause pain to the House (Seb keeps drawing different arcane runes in the walls with a knife: Pain, Death, GOD, etc., but with only a vague idea of the exact precepts of his character’s Sorcery, the player's floundering for ideas after about the third round -- note to self). Grabbed by the floor, Shannon switches to using her Confuse to keep the House from eating her or anyone else, and Seb slaps Yvonne into action -- help us or die in here, etc.

Everyone comes to the center of the room at the end of a round wherein the group collectively combines on a Banish.

Yvonne nets them nothing, the other NPC nets them one bonus, CLV nets them none, and Shannon nets + two.

Seb, between bonuses and the -4 penalty for the house's Binding strength (I was doing it as a penalty on the Sorcerer's instead of a +4 to the house's rolls, which I think is backwards, but the wording of Binding and Punish list it as a penalty to the rolls, so...) is at a base of 8 dice. He goes for an additional role-playing die by ripping off his shirt and carving a rune of warding directly into his own chest. Wow. That takes it nine dice (he'll get a one-success knife wound right afterwards), plus the three from other others, for twelve total.

The house, normally at 22 (11 power, 11 will) is now, due to a misreading of the Punishment ability (which I will now hand-wave and call damage from physical attacks), at 10 (5 power, 5 will).

They won. Of course they won :) The house melts around them and the demon is banished.

Everyone flees the house. Humanity checks for the nice banishment are handed out to the PCs and they both succeed (!). Everyone's feeling good and it was a great first run for the game, so I gave them a chance to improve their stats as well: Shannon misses her first check (to raise her Will to five), but makes it on her second check (raising Stamina to 3, which she wasn't exactly bummed about -- Shannon getting mugged in the study showed everyone that no stat can be safely ignored). Seb makes the roll to raise his Will to a 6 (!), which (with his shiny Humanity of 6 as well) makes him ripe for some pain next game :)

And that's where we left it. It's not a deep scenario, but it allowed for some nice roleplaying moments, a bit of funny, and LOTS of chances to test out non-combat, combat, and Sorcery rules (and get them a little wrong, but there you go). Everyone seemed to have a great time and it was 1 am before we knew it.

I ended up with a few questions about things like Punish (which I now know I got wrong).

On the whole, however, it was a good experience with a slick, easy to learn, and very engaging game. Good stuff we're all looking forward to playing again.

Sorcerer, part 1

So, with the Consortium out of town for the second weekend in a row, I found myself starting to suffering from gaming DTs. (You can't just cold-turkey from three-to-zero per weekend, nor do I want to).

Anyway, by Saturday afternoon I was quite ready to do something. Randy has, as a result of my raving, already picked up a copy of Sorcerer and was interested in playing, and Jackie and I had gone through most of character creation, excepting naming the character, her demon, and coming up with a kicker.

Here's the characters they came up with:

Jackie played Shannon O'Neil:
Stamina: 2 (Clean Living)
Will: 4 (Rageful/Vengeful)
Lore: 4 (Solitary Adept)
Cover: 4 (Librarian)
Humanity: 4
Price: Scarred (–1 to all casual social encounters)
Telltale: Eyes change color constantly but subtly (frex: girl in The Ninth Gate)

Shannon's background is that she inherited most of the personal effects of her Professor father when he died (her mother wanted none of it). Dad was apparently a sorcerer of some skill and everything she learned was from his own notes and books he'd collected. (I'd decided that Dad was Black Wheel, but as her character is ignorant of Sorcerous factions et al., that hasn't come out yet.) She is trying to learn more about her father-whom-she-never knew, and to that end is working as a senior librarian at Yale, where he used to teach.

Her demon is Bister, an inconspicuous who usually expressed himself as various shades of color tint on his master's person.

Stamina: 6, Will: 7, Lore: 6, Power: 7 with Armor conferred to master, Special NL Damage (NL selected to keep Shannon from making Humanity checks for Bister killing people :), Vitality (demon), Shadow (demon), Perception (darkvision), Confuse (confer to master).

His Desire is knowledge and his Need is Internet access -- he's a net junkie who reads and comments on upwards of forty-five news sites and pundit-blogs a day as "Auburn".

His telltale is that Shannon's hair changes color fairly regularly and shifts unnaturally in breezes that aren't really there. I believe the word 'undulates' was bandied about.

Whew... lots of stuff.

Randy played Sebastian Ryan
Stamina: 3 (Naturally fit)
Will: 5 (Socially Adept)
Lore: 2 (Apprentice)
Cover: 5 (Rich-prick Ivy League post-grad)
Price: Arrogant (from the book) –1
Telltale: Always perfectly groomed.

His demon is Shade, an inconspicuous who usually expressed himself as Sebastian's shadow. He has kind of a lame name because he was bound to Sebastian as an 'invisible friend' years and years ago -- Sebastian's uncaring high-society lifestyle did not lead to a happy childhood.

Stamina: 5, Will: 7, Lore: 6, Power: 7 with Armor conferred to master, Travel (demon teleports from shadow to shadow), Big (demon), Perception (demon -- seeing where he's going with Travel), Warp (demon), and Link.

His Desire is 'poetic justice' (yeah, still processing that myself) and his Need is Voyeurism -- preferably someone he knows, but in the end he can get by with anyone. This need has become more carnally-oriented as Sebastian got older, and as a result Sebastian's sexual encounters (which come easily to him -- think of the male lead in Cruel Intentions, because the player was) have become... work; mechanical situations in which he has to concern himself far too much with the angles of hidden cameras and the like -- all the joy has gone out of it for him.

His telltale is the fact that Sebastian's shadow is often distorted or (when Shade is off doing something for him) simply gone.

Since Sebastian's an apprentice, we defined his Mentor/Master (player said the former, I said the latter :) as an Anthropology professor on Campus by the name of Candace Lynn Voight (she never uses her first name, only the initial). I detailed Candace's stats privately, but basically she's built on approximately the same points as the players with a bit higher Lore and a somewhat reduced Humanity. Her only demon that Sebastian knows about is a parasite living in the body of a cat... a "Renfrew demon" (bug-eater) that neither Shade nor Sebastian have much real respect for (I used Sipe from Sorcerer's Soul, stuck in the body of a cat). Voight uses the cat as a means of getting dirt on the mundane university staff to maintain her precious tenure.


Humanity
At this point, Humanity is defined either as Empathy (the ability to imagine things from the perspective of another and thus showing concern for the well-being of others) or Mastery (having control over yourself, your life, and your abilities).

For Mastery, some actions that will trigger Humanity rolls:
* "Losing it" and acting out of high emotion or irrationally.
* Allowing your actions (especially questionable ones) to be dictated by someone with power over you.
* Contacting, Summoning, or Binding a demon

For Mastery, Humanity Gains come from:
* Successfully reasserting your control against great odds or when that control costs you.
* Banishing a demon that you didn’t summon whose Power is greater than your Will.

Mastery-based Humanity can also be rolled to determine the a way to influence another human being or to assert control over a situation. A character who hits Zero Humanity is incapable of mastery — they're meat for the beasts.

For Empathy, some actions that will trigger Humanity rolls:
* Causing pain to another living being
* Ignoring pleas for help
* Contacting, Summoning, or Binding a demon

For Empathy, Humanity Gains:
* Acting in the best interests of another at one’s own expense
* Banishing a demon that you didn’t summon whose Power is greater than your

Empathic Humanity can also be rolled to determine the needs of another human being, or to appeal to another’s empathy. A character who hits Zero Humanity is incapable of empathy—a sociopath.

Demons
Demons in this game seek to undermine humans’ capacity for empathy or mastery.

Whew! Okay, with the next post I'm going to actually talk about what happened in the session.

Resource!

Kate Monk's Onomastikon

March 26, 2004

"I don't want training, I want to know about the Death Star."

Hitherby Dragons: Applied Theology

She's my lady. The first one in my heart. Oh, sure. She's a wretched hive of scum and villainy. You walk in, you walk out, you'll get blood on your shoes. Blood. Ichor. Probably weirder things than that. But it's the place to go if you want to find out the truth. So I went to her. Mos Eisley.

"Always there are three."

There's a shriveled green kid. He's standing on the bar. He's got ears like starter flags. There's little tufts of hair in them. He's ranting to anyone who'll listen. Right now, that's me. "Always there are three," he says. "A Father. A Son. And a Holy Ghost."

March 24, 2004

"... he will rig three gods to explode..."

Oblique Sian-reference (kinda) in Hitherby Dragons: Tantalus (I/IV)

Nemesis looks to Zeus. "How many of these insults must I bear?"

Zeus meditates on this. "Fifteen," he says.

"Hey!" Tantalus and Nemesis say together.

March 19, 2004

"How could they cut the power?!?"

Via BoingBoing, Doom board game in the works.

The game itself is set to be largely modeled after id's upcoming entry in the franchise, Doom 3, and will feature sculpted plastic miniatures of the game's characters, board pieces for players to create their own custom maps, specialized oversized dice, and a number of different weapon types.

Sounds a heck of alot like SpaceHulk, which is probably one of my favorite games of all time.

March 18, 2004

I'm not really a forum guy, but that just seems to be where the thinking's at these days.

The Masters' Council :: Gamemaster Workshop Forum.

Drawings of Robots

ROBOTS!

March 16, 2004

'Scuse me while I gush

In the history of Nobilis, the first 20th century was different.

So were the 400 wondrous years after that, but that is all gone now.

One day, it was the year 2400 and space-ships plied the Aetheric Currents between earth and the colony worlds. Then (about one hundred years ago) a rogue imperator conspired, an immortal Queen/Empress died, and human history/memory was reset back en masse.

The next day it was 1900 again, and the world, the history books and mortal memory had been changed so that it seemed normal for it to be 1900.

The crew at OceanWiki is putting together a Lexicon to tell us about everything we lost from those amazing five-hundred years.

It's a shorter project than the former Lexicon, but it's tighter, faster, and dare-I-say already better than the first effort... and we're only on the A-C entries.

Amazing, terrific stuff: all the 'lost futures' of all your favorite sci-fi, brought into one place -- Jules Verne and Space 1889 and Castle Falkenstein and Robert Heinlein and Buckaroo Banzai and Doc Savage and John Carter.

From "Ben Faulk, the First One to do Something Else" to the Pan African Teleostean Hegemony... this is really good stuff.

Go. Read.

March 13, 2004

And something else that would work for the under-10 set.

Shadows - A Roleplaying Game for all Ages

d20 skill-check hack

As noted here:

Where d20 breaks down is when it shifts to non-combat rolls where the entire task (skill) is handled with a single, linear-odds roll.

Here's how to fix that.

There's a little known optional combat rule that states that people can choose to 'roll' their AC every round. Basically, you don't have a Base 10 AC... figure out whatever you've got over 10, call that your "AC Bonus", and add that to a d20 roll every time you're attacked.

I doubt anyone does that -- hell, I doubt anyone knows it's there -- but look in the DMG.

ANYWAY: while I don't recommend it for combat necessarily, I think it would be useful for Skill Checks. Many of these are Opposed Rolls anyway -- this little house-rule would make all Skill checks opposed.

Find the current DC for a skill. Subtract 10. Whatever's left over is the DC Bonus. When someone tries to do something to overcome that challenge, the GM rolls a d20 and adds that DC bonus.

What does this do? Two main things.

1. Creates a pyamidal instead of linear success curve. In the case of a Thief with Open Locks +15 vs. a Lock with a DC bonus of +15 (formerly a DC 25 lock):

00.25% You Crit succeed, it crit fails.
02.50% You Crit, it fails
49.5% You succeed, it fails (or, you tie each other)
44.75% You fail, it succeeds.
02.50% You fail, it crit succeeds
00.25% You crit fail, it crit succeeds
00.25% Mutual Fumble

It's a pyramid curve, but it's a curve.

2. Removes instances of "Ugh... I got a 19... I know that d20 modules always set the DC's in five-point increments on everything, so I'll spend an Action Dice to give me a boost... worse case scenario, I get to a 20, and maybe I'll get to the 25 break point." (Particularly annoying on Gather Information charts, when adding the AD will almost certainly glean more info)... If the DC's are d20+5, d20+10, d20+15, et cetera instead of 15, 20, 25... there wouldn't be those artifical 'rungs' in the DCs to shoot for... that d20+5 DC might be, on your try, a net DC 6 all the way up to a net DC 25... every NPC you talk to is talkative in different ways, after all.

March 12, 2004

Trollbabe, 2

Played a little Trollbabe tonight, because I feel like I understand the conflict system better than I did during the first abortive attempt to run it... so we had... another abortive attempt to run it (we started too late, which was the problem the last time, as I recall).

Somewhere in the near future, I need to establish the rule that the games with small rulebooks to not get commensurately smaller time-blocks in which to run them. Then I put that reminder up where *I* can see it clearly. Oh well.

In the last session, it was Margie and Dave. Tonight, Randy and Jackie were both there also, so I had them make up characters (which takes a minute or two, at most) and we pretty much did a scene with everyone.

Dave's "Margritte" (4) is basically in a rock/hard place situation in which a human and a troll settlement are bickering over an area of land currently occupied by fey folk, and said fey folk have basically told her that if she doesn't get both sides to back down, the next full moon (2 days hence) is going to be three nights of blood for both sides. (Interestingly, the Scale of this is still "personal", which means that, battle or not, what's really at stake is the life of one particular person... but who?)

Margie's "Wilhemina" (7) is trying to figure out how to keep a young orphan troll, raised by a human witch, from being drafted as a bully-boy for a human village that wants to horn in on another human village "across the valley".

Randy's character, who's name I forget but I think it sounded like Valdta (9!) is embroiled in a 'village in fear because a rampaging Troll is eating our sheep and maybe us next' situation.

Jackie's Netra (6), is suddenly in the most revenge-oriented, tragic story... What started out as a funny situation in which she is sloshing through a stream being followed by her (ex-)boyfriend troll (Gorbag) who is trying to get her back ended in a fight gone wrong. Encountering a traveling carnival and trying to free the captured Troll within goes horribly awry -- the caravan flees the area, Netra is left unconscious on the road, Gorbag is killed trying to save her (bringing in one of those pulp fantasy standards in which the ex-lover becomes far more important to the hero now that they're dead than they would have been if they'd lived), and the nearby village folk nurse her back to health so that she can hunt down the Caravan Master for her revenge.

*pants for breath* Heady stuff.

The mechanic for Trollbabe is a deceptively simple linear d10 roll-under/over mechanic, which turns into a die-pool system with the addition of Rerolls. Rerolls let you try to succeed again; you earn the right to a Reroll by (a) introducing new elements to the scene and (b) increasing the risk to your character. If you keep trying and keep failing, you can end up injured or even completely incapacitated.

What I've noticed about this so far:
We've got four people and no one has the same Number. Margie and Dave played it about the same amount of Safe on either end of the spectrum: with a 7, Margie has 60% chance of success on combat and a 30% chance with Magic... with a 4, Dave's odds are the opposite. They both have 70% odds on Social checks.

Then there's the She-Hulk -- Randy went for a 9, which gives him 80% chances on Fighting, 10% on Magic tests, and 90% social. Thus far, his success have been no-brainers and easy wins -- gods help him if any witch or troll sorcerer gets the drop on him, cuz he's gonna get smoked.

Jackie went very middle of the road: with a 6, she's got 50% on combat, 40% on magic, and 60% on social. Nothing's uber-strong, but nothing's notably weak, either -- she's got reasonably good odds on anything she tries, but nothing is a 'lock' for her.

Tonight, doing short scenes with everyone, once around the group, Randy's high number's paid off with easy wins as he played to his strengths. Dave made a success on the one thing he tried, playing to his magical talents, and Margie went for her best score (Social) and couldn't manage a success on two tries (note to self -- remember that she's injured out of that -- need to make sure Margie tells me how she thinks that would happen).

Jackie had some bad luck with her dice and just could not seem to get things to go her way, despite working for rerolls and playing for good numbers: I set the 'pace' at 'best 3 success out of 5' basically (requiring she get 3 successes before 3 failures to free the Troll from the menagerie), which is the 'bloodiest' setting, and Jackie choose not to move it down a notch to 2-of-3, so it was going to be ugly no matter what.

In this case, with the dice against her, she ended up with 1 social failure, one social success (that still caused in an injury due to failed rerolls first), and a failed Fighting series that left the caravan fleeing the area, her coming to in the nearby village, and her ex-boyfriend troll dead after trying to defend her. Rough stuff, but boy am I interested in the revenge story that comes out of it.

I hope.

Next time, it gets a full and proper play-slot, we do everyone's stories to proper conclusion, and I get a full and proper chance to weigh the merits of the system. Thus far, all I have are impressions and shaky, sleepy, short sessions, so I just don't know that anything I've gleaned thus far is very accurate.

It's definitely a game where you pick your battles. If you can accept some discommoding losses on the small stuff (making sure you're not giving up anything you're not willing to lose), you're in better shape later (with a bag full of rerolls at your disposal) to really step up and take the big risks when it counts.

More to say on particulars, but this is more than enough for now.

March 10, 2004

d20 vs. the Dice Pool... or is it?

Overheard on The Forge :: d20 vs. 3d6, regarding "linear curves".

D20 combat is really a die pool system (rolling multiple dice and counting sucessess) in disguise. You roll so many to-hits on single d20s in any given combat that, over the course of a battle, you get a reasonable normal distribution of expected results. Where d20 breaks down is when it shifts to non combat where the entire task is handled with a single roll, and you don't get this faux pool effect. This is why Take 10 and Take 20 were invented [and, Doyce would add, rolling to Assist...] to patch the weakness of using linear single-rolls for everything other than combat [...] increasing the likelihood of getting the expected result.

And... they're right. One of the things I've realized that I really like about the games that I'm currently looking over is that they're ALL either (a) dice pool mechanics or (b) single-dice mechanics with a means of earning re-rolls or (c) both.

I've always liked dice pools -- ever since Shadowrun 1 came out. (Roll and add: not so much.) Really negates the chance of Being Good and Sucking Anyway -- if you're good at something, you're adding not only to your skill, but actually affecting the odds of rolling good numbers.

Thinking outside the Toybox

There's this thing in gaming that really doesn't work: adding new optional things to a system that the players are very familiar with.

This could be talking to the players and ask them to try to use some different method of play or an optional rule, adding in a few cool rules from another game that matches the goal of the GM, or just trying to encourage the new thing in play as GM.

These are all situations where the new thing was 'optional'. I've never seen it work.

The reasons are simple. Typically, players feel that they're supposed to do what they were doing before, plus some other things that just add to the level of complexity.

The most common thing that happens is... nothing. The players still see the original game's system and they don't adjust in any way to the new stuff.

Alternately, players alter their mode a little but then feel they're being made to do things that are uncomfortable, boring, or just not what they expect out of that game. Canalized players know what they want, and even when they're presented with something that’s potentially fun, they might not see where it's fun. Especially if it happens to conflict with what they normally consider fun.

Put another way, if they can play the same old way, they will play the same old way.

Let me give two examples from two different system/settings: d20 and Amber.

D20: I'm currently playing in a Spycraft game. Tremendous amount of fun. One of the things that's different about the game versus standard d20 is the concept of action dice. I've been reading all this Narrative-game theory and checking out games like Trollbabe and Paladin and stuff and I think "Holy crap, this is a way to give Player's some narrative control over the situation." so I burn these things like water -- I'm invariably out of the damn things about an hour into each session. Loosely stated, they give you the option to give yourself bumps to your rolls that you'd really like to succeed at, the option to call in favors and so forth from home base, and they also must be traded in to convert a d20 'threat' into a 'critical' -- it's the only way it can happen.

Anyone want to take any guess as to where 90% of all action dice get spent?

Yup. On the thing that you have to spend it on. I've seen players at the game sit there and potentially accept failure in lieu of spending AD's during the game -- and I don't think it's usually because anyone's waiting to see if they get a crit later that they can use them on -- they just don't *think* of it. (Not to take too much credit for anything, but when the other players spend have spent AD's on bonuses to skill checks, it's usually because I badger suggest it to them.)

Why? Cuz the optional things get pushed out by the d20 mindset. Crits you know -- crits require this mechanic. That's what they get used for.

Amber: It won't surprise anyone when I point out that I'm not in love with the ADRPG's resolution mechanic -- the "static karma, plus drama' systems just don't work for me -- whether via dice or some sort of resource pool, some dynamism is just something I think the system needs. YMMV.

I sat, astonished, when I started to grasp the elegance of the Nobilis diceless system, because with the Miracle Point pools it did what I didn't think a truly diceless, fortuneless (no dice, no cards) system could do.

A few days ago, I ran across a saved copy of Mike Sullivan's Amber system for his New Mutiny game. Reading through it (about one page), I was stunned to notice that it had a 'resource pool' mechanic right there --granted, it's more like 7th Sea or HeroQuest's Hero Points than Nobilis in that it uses the same pool of points that you used to raise your stats with, but it was there, and I'd seen it almost two years before Nobilis.

Why didn't I remember it? Because I saw the whole thing as an Amber system, and that 'optional' rule for pushing up your score was immediately fnorded out by me -- I simply didn't see it -- all I saw were the 'mandatory' rules variations he'd set up for defining attributes (themselves a good thing), not the optional 'pushing' rules.

There's a simple solution to this: just play a game that strongly supports the change you're looking for from the ground up -- either do this to try out the feel of such a thing, or do more long-term to get the kind of play you like without modifying the old system. The biggest advantage is that these games have the 'thing you want to try' built in at some integral level, and they're largely new ground for the players who, lacking any preconceptions about the gameplay, will try out the new rules.

Here's a quick example: In the ADRPG, in the section on combat, Wuj points out that the player's got a lot of leeway with combat scenes -- if you're in a hallway in Castle Amber and you need a weapon, you can just use the logic of the setting and say "I grab a sword off the wall from where it's behind one of those heraldic shields." It's one of the coolest bits of advice I'd ever read at that point in my gaming life, and that kind of player control just blew my mind.

No one does this. No one. I've played over two-hundred sessions of Amber and I've never seen a player do this. (They might ask if there's a sword there, but they never just put one there themselves.) Why? It's optional.

Then there's Trollbabe, wherein, if you miss a roll, one of the (five or six) ways that you can earn a reroll is by introducing 'a new object' into the scene.

Time elapsed in actual game play before someone used the logic of the setting to introduce a handy improvised weapon? About ten minutes. It was, in fact, the first thing anyone used to earn a reroll.

Why? It's built into the system.

Maybe something that might work for a game like Spycraft would be to play a session of Wushu or even Sorcerer (hmm... Spy-genre Donjon... hmmm) -- everything cool you describe gets you more dice and you will, quite frankly, get your kung-fu ass HANDED to you if you don't set up those cool actions.

Then take that play experience and try to translate that kind of feel back to the pre-existing mechanic Spycraft -- the players are maybe doing more stuff with the dice, doing more things that would *earn* them the dice in the game, and the GM is letting them flow more freely, like Force Points in Star Wars (wasn't really cool: it's gone; used it to do something cool: you'll get it back; used it to do something cool at the perfect time or this resulted in a dramatic scene or something; get it back and have another -- all this in addition to the other reasons they give for distributing them in the game itself.)

Conversely, I think to really see the strength of Mike's New Mutiny system design, you take the system out of Amber entirely and run something else with it... hell, Ancient Chinese Sorcery wire-fu works as well as anything else and lets you "push" appropriately -- then take it back into the game it was meant to.

But, the bottom line: if you want to break a habit, make a clean break first.

If you want the players to exercise more control on the story in the game, you drop them into InSpectres. Period. They don't really have any choice but take control or the game just stops.

To paraphrase Mike Holmes: It's the reason why Everyway cards work in Everyway/Amberway and can't just be dropped into a standard ADRPG-system game game with real success: if changing the system alone were enough to change mode, then those nifty alterations would work. The cards get ignored, though, so that people can focus on the 'actual system', even if they might save their butt. Where in "what would my character do?" does the player consider when to play "Unlooked-for Ally"? He doesn't.

I've mentioned that I'm wrapping up my DnD game soon. After that happens, my plan (providing my players don't run screaming from the table at the idea, which is a possibility) is to do some short-run games (1-5 sessions each) in systems that players haven't played before -- the genre will probably remain fantasy for most of it, but I'm looking at stuff like Donjon, Burning Wheel, HeroQuest, Sorcerer & Sword, Paladin, and another thing I've been playing around with -- what they all have in common is that they would work in the same setting we've been using and introduce new concepts to game play as an integral part of the game.

Integral. Cannot be ignored. Et cetera. That's where you get outside the box.

Excellent

RPG Theory: A Brief History of Fashion in RPG Design

March 7, 2004

Thought from Friday's game...

"Next campaign, I'm not going to give a bonus to hit for coming up with interesting descriptions in combat: I'm going to give penalties for not doing it."

Greedy

One of the things I said in the comments on this post regarded the way that d20 (or some other 'classic' games) de-protagonize the player character though those instances where you've got this great character that blows stuff he's supposed to be good at.

Eventually, that's the character they become, and they aren't the guy you wanted to play anymore.

There's the other side to that: the situtation where you absolutely nail something you're really not that good at. One of the examples from a recent game was in Dave's spycraft game a few sessions back -- my character was trying to occupy the guards at the front gate while the rest of the team engaged in a firefight in the back of the house. My plan (very impromptu) was to keep them tied down by pulling up in front of the gate and engaging in a firefight.

Three rounds (and three 20's) later, I had all three guys disarmed or unconcious and was busy shackling them to the gate.

Now, I'll give Spycraft this much: you have some control on when and how you're going to suck and rock -- I got the 20's but I had to spend... Karma, for all intents and purposes, to really capitalize on the luck of the roll.

I didn't have to do that... I could have left them as normal hits and saved the karma dice to spend on something I'm supposed to be good at, either to capitalize on good rolls or alleviate bad ones.

But damn, we needed break right about then -- and I got greedy -- so now I'm reconciling smooth-talking, psych-degree, professional profiler Agent McEvitt with "Shotgun Dylan". Something I can deal with, yes... but noteworthy in that it is something that needs to be dealt with.

Just sayin'.

"Uncharacteristic Success" wasn't something that it had occured to me as something that could blow your concept as well.

The Plot Point

A few weeks ago, Dave commented that we've been at this Nobilis thing for 'about a year'.

I believe my immediate reaction to this was something like "you're completely crackers", but it turns out he's right: the first Nobilis session was... well, I posted about it around the last week of April of 2003, so I suppose that's pretty close to the first little half-session we did.

Looking back, I'm both pleased and annoyed, but generally far more of the former than the latter.

Of players, I am blessed, with group's consisting of (a) Lee, De, Jackie, Randy and (b) Stan, Dave, Margie, John (since departed) -- all of which company I could not hope for better. </grammar_massacre> This is all good.

Scenes, individual scenes, are strong, and sometimes very much so: June and Jealousy, interrogating the Spirit of a Contract with Punishment and Crime, Sian on the World Tree, Stan playing his hate-anchor, Death's stuff with Entropy, Dave & Margie playing Stan's daughter & her boyfriend, and more than I can easily list.

Some things didn't work as well -- the fight in Miami bugs me mightily, simply because it came out all wrong to me, felt like a Superhero game, and was probably the final thing that cost me a good player. Still, even that illustrated the idea that If You Fight, You May Have Already Lost, which is definitely one of the premises of the game.

So what's bugging me the most is pacing -- scenes transition slowly of late and it's been bothering me, because that really wasn't a problem in the first major story of the game.

Thinking about it this morning, I realized it was basically because I had a clear image in my head of the Problem for the first story, and I haven't really had that at all in the following stories.

First story: You as a group have been accused of a serious crime and enforcers are working hard to find you and make you pay.

It works. It pops. It demands action. More to the point, it demands choices.

Second story: Hey, you're a Noble. So... what'ya do?

... yeah. This one, not so much.

Which isn't to say that the premise for a good stories/questions aren't in there, it's just that I wasn't aware of them, so I wasn't really playing to them.

I started thinking about this this morning, in an effort to get some clearer ideas about the story frame for both groups, and this is what I came up with:

Chancel C was easier:

You are a newly-named Inquisitor Chancel. What are you willing or unwilling to do/sacrifice in order to do that job?

Sometimes the answers to this question (or the question itself) is hidden behind a few layers for each character, but it's like re-editing a novel -- you go back, find the theme that's already there, and tweak and modify a bit here and there to clarify that theme and bring it out more. For example:


  • In Sian's case, this question was been asked and answered already -- six hundred years ago, in fact -- and the question now is whether or not Sian still agrees with her original answer.
    (I've realized in writing this post, that it's more interesting to phrase a story in the form of a question than as a statement. "Will Sian still agree with her original choice?" is a more interesting statement of her story than what I originally wrote for the post: "Sian no longer agrees with her original choice." From a simply writerly point of view, that's a good rule to remember. Hmm.)

  • I'm going to have to tease this theme out of Mariska's story. I think it's there -- I think I see it in Ofra/Noah's thing and in her interaction with her Anchors and her chancel. Mariska's gone to great length's to isolate herself from everything else in her life -- hedging behind a fence of subtle barbs and irony. There's something there we can use.
  • Fungus is probably the hardest, since it's taken me awhile to build any kind of connection to the character, but I think we're getting there. We had a great scene with the Graf and healing one of her Anchors, so I'm very interested in some of the stuff there.
  • Though departed as a PC, Crime illustrates this question very well with some of the stuff that's happened -- being the person who's answered the question with "Well, here is what I won't do."

Chancel A was harder:
What I finally settled on/worked out in my head as the 'statement' for this story is "You must decide who you are." It seems to work for most of the characters in this story, since what a lot of folks are doing is finding their identity or solidifying it.


  • Donner's working on combining his basic humanity with his Nobility, and trying to make compacts and arrangements with others. He's all about the connections and frission and energy generated between things.
  • June's exploring herself, in a way, and not really always liking what she sees, or what the decisions she's making are saying about herself. It think it's interesting that she's somehow decided to hunt down an Excrucian when that's nothing she's probably ever done before -- sort of facing the boogeyman where he lives. Inner demons and whatnot.
  • Terminus is definitely working on becoming something other than what he was -- perhaps something bigger and better, or new, or maybe just a greasespot on Entropy's bootheel, who knows?
  • Macy is my problem child here -- introducing this question to a character with her kind of background (a brand-new noble who entered the World both cynical and naive) should be the easiest thing in the world, and it just hasn't happened. I need to work on that.

    And ooh, I just thought of an idea...

Which is, as I say, good -- just setting out the general goal of a story-arc really helps me envision ways to bring that theme out. I'm glad I engaged in the exercise -- it was a morning well-spent.

Don't know how happy my players will be... :)

March 5, 2004

Roleplaying with your kids

Prydain, the Hobbit, Pendragon...

Good stuff. Personally, I've been angling to do some Paladin and/or Dead Inside with Justin, but I might do some stuff with Universalis, the Pool, or Donjon as well, just to stretch his imagination a bit.

That said, the quick little thing the guy writes up for his kids struck me as pretty playable as well. See it in all its scribbled glory at the Adventures of the Good Knights (and Other Stories).

This is the same guy that wrote Kill Puppies for Satan -- which is definitely a different sort of game :)

Fodder

A bunch of hand-drawn maps

March 1, 2004

Yet another fine campaign idea

What Was I Thinking?: Recruitment

VtM meets Fringeworthy. Sweet.