Friday, 29 May 2015

Downfall D&D intrigue

Quite a while ago now, I mentioned the Close the Airlock! Traveller podcast. That ended sometime in 2013, I think, and there was radio silence for a long time. Possibly due to them doing short-term gaming rather than epic campaigns? Not sure. Eventually, though, the group have resumed podcasting with a 5e D&D campaign that's supposed to focus on grey-morality urban intrigue, and a party of... let's say, "protagonists" rather than "heroes", not evil but very much looking out for their own interests.

I'm up to Episode 12 so far and having a lot of fun; it's fairly ambient play, so great for listening to as I get on with other stuff. Although at least one person is Skyping in, there's not many issues with people speaking over each other. There's some background crackle at times, but I haven't found it a problem (although of course, better audio is always welcome).

They're taking this pretty seriously (not the game, but the podcast) so there's a blog up at https://downfalldnd.wordpress.com/for-new-listeners/ as well as copies of the maps they use, an extensive players' guide if you want to know more about the homebrew world, and even a substantial GM's guide that you can pick up by donating. Obviously not for everyone (I don't have one, for a start) but if you're interested in running something similar or just in porting the setting, it might be a good option.

Thursday, 28 May 2015

Taking the Fifth: early thoughts on D&D 5e

So I've been playing 5th edition for a little while now, with a couple of different characters. I'm really enjoying it. It seems to make a very nice job of uniting things that were good about previous editions, improving game balance, and keeping everything flavoursome. Good job, WotC.

I just wanted to make a few observations based on my play so far. We've only hit levels 3 and 5 respectively in the campaigns, so it's early days yet. I don't claim particular expertise, and my notes will inevitably be coloured by my personal experience, as the stuff I've actually read in detail and thought hard about tends to be my own characters. I don't even own the DMG or Monster Manual.

For reference, those characters are:

  • a 3rd-level human fey pact warlock ex-wheelwright who just got his sprite familiar (with cloth cap and tiny, tiny fey whippets), primarily distinguished by rolling really poorly on spell attack rolls and astonishingly well on fey charm rolls.
  • a 5th-level elven ranger/draconic sorcerer/monk Gap Decade traveller who talks his way into bizarre situations and then is deeply bemused about why he suddenly has to fight his way out of them, using the motley collection of skills he's picked up between National Service, natural elven affiliation for magic, and other cultures' amazingly authentic and deeply spiritual practices that also involve flying kicks.

In general the experience has been extremely good; inevitably that means my comments here will tend towards the critical, because it's really hard to pin down why I enjoyed stuff, but easy to spot the things that jarred on me.

Friday, 22 May 2015

Crosspost: Gender roles in fantasy gameworlds

Shannon is always worth reading, but I think these two posts on chauvanistic settings and fantasy gender assumptions are particularly worthwhile if you're interested in building interesting societies, playing around with different histories and assumptions, or how players and setting assumptions can interact. These ideas can also be relevant to other social imbalances, such as the place and treatment of various fantasy races or religious groups.

Fun-sizing the Great Old Ones: Azathoth

On Yog-Sothoth.com there was recently some discussion about why Ramsey Campbell's creations get so much time in Call of Cthulhu. This turned into a discussion of how certain Great Old Ones are more gaming-friendly than others. I've been meaning to write something about this for literally years, so I knuckled down. My first post addresses how Azathoth, the demon sultan of imbecilic madness that writhes at the centre of the universe, can be made a little easier to use in a game.

The starting point for my thoughts, ages ago, was actually the big green himself. Given the entire game is named after him, Cthulhu hardly seems to appear at all in Call of Cthulhu. Meanwhile, Shub-Niggurath and Nyarlathotep gibber on every corner, and Hastur has already bought most of the real estate. Why is this?

I hope you'll accept an assertion that some entities are simply easier to use in games than others. Let me try to outline some of the factors that affect that. As always, there will be bullet points. Sorry, that's just how I roll.

Friday, 8 May 2015

Visitant: cover and compromise

Cover and Compromise

It’s tough being an alien resident on Earth. From the moment you arrive, it’s vital to create and maintain a solid cover identity as a human. This cover allows you to go about your agenda undetected; many kinds of research, manipulation and predation wouldn’t be possible if your targets knew you weren’t human. More urgently, cover keeps you safe. A low-cover visitant is vulnerable to observation, investigation and public suspicion. A visitant whose cover is blown is a wanted fugitive, whether the pursuers know exactly who they’re dealing with or simply think them a dangerous spy.

Cover is about being totally mundane. You don’t want suspicion of any kind. The more information is spread about you acting unusually, the weaker your cover becomes. Suspicion doesn’t necessarily need to be attached to you personally; reporters investigating alleged alien activity in your village is a problem too. Gossip about your unusual habits, police questioning about involvement in strage events, YouTube videos of a strange creature prowling around the park, they’re all dangerous to you.

Thursday, 7 May 2015

Visitant: the Infiltration

Familiarity is a blanket, invisible until ripped away. The protagonists of Visitant: the Infiltration are extraterrestrials, planted or stranded on the Earth and striving to remain undetected. It's about strangeness, loneliness, the struggle to appear like everyone else without really knowing what that means, to understand the world you must inhabit. Visitants must balance their core identity with the façade that keeps them safe, their instincts with the customs of their new home, their loneliness with the need for secrecy. And there are others out there, human and inhuman, eager to find them.

Sunday, 3 May 2015

Morris mechanics

So I proposed (in all seriousness) a campaign called Morris based around Generic Patriotism, urban occultery and hitting things with sticks. Nobody has expressed the slightest bit of interest, which will in no way prevent me from going on about it (how very thematic).

I proposed using existing systems to play Morris, but let's pontificate about other options anyway.

There are a couple of main strands to the game as I see it. It's basically urban fantasy, after all. One side is therefore dealing with weirdness. The other side is getting on with life. These two frequently conflict: weirdness demands your attention at inconvenient times, while Real Life has a bucketload of emotional and practical demands that cause problems in tackling weirdness. Buffy Summers and every costumed superhero ever know this. You have to skip the school play to prevent the boundaries of reality from collapsing; you can't patrol the town borders because if you miss one more deadline you'll be out of a job; your family think you're either a worthless drunk or mixed up in gangs because you're always staggering home at 2am with fresh cuts and reeking of peculiar incense.

Broadly speaking, characters here need two "skillsets". I use the term advisedly, since it doesn't necessarily mean you need skills as such, or even anything. But characters need tools for interacting with weirdness, and tools for interacting with normality, and they may not be the same or even similar. From this point I'll use "The Morris" to mean anything associated with the mysteries and duties of the Morris, and "Normality" for everyday problems.

Wednesday, 29 April 2015

World of Sci-ness: initial ideas for a World of Darkness sci-fi hack

So, White Wolf games. It seems like they can mostly be summed up quite generically:

  1. You are a(n) [entity]...
  2. ...embodying a particular archetype of [entity]...
  3. ...living amongst humans in a gothic, urban version of our world...
  4. ...as part of a secret subculture of [entities]...
    1. ...divided into bickering factions...
    2. ...with its own unique laws and secrets...
    ...who...
    1. ...explores the nature of humanity and [entity]hood...
    2. ...tussles with moral and philosophical quandaries...
    3. ...and goes around doing missions for people because they kind of want you to I guess.

You know what they don't have yet? Aliens. Let's make aliens.

Friday, 17 April 2015

Unlikely inspirations, episode 1

In this sporadic series, I'll present some plot ideas drawn from unusual sources. I'll aim for something that's a usable kernel rather than a mere scrap, but equally it's not going to be a fully-fleshed out plot - I generally won't be doing that unless I'm using it for a game of my own, in which case, you'll get to see it afterwards.

The general idea is that I'll throw out the gist of a scenario (in a fairly general sense of 'scenario'), and challenge readers to identify the source of the idea before I reveal it. If I'm feeling particularly strong, I might even offer interpretations for more than one game.

With that out of the way, let's proceed to our starter for ten...

Monday, 13 April 2015

Some thoughts on podcasts

So, since I tend to listen to a lot of Actual Play podcasts, I'm going to scrawl down some thoughts about doing this. Well... rants.

Since I occasionally post podcasts, let me begin by emphasising that I don't in any sense hold up my podcasts as an example of Doing It Right. In a perfect world, there are many things I'd do differently, and maybe I'll go into that later.

Saturday, 4 April 2015

Power and Utility for Wizards and Warriors: ideas

So, last time I wrote a massive screed critiquing the class balance in D&D. See under "fruit, hanging, low". I am nothing if not up to date - which has worrying implications.

I should make some suggestions, then. I'm not saying I'd include these if I ran a game of D&D, they're just some general preliminary thoughts.

Some thoughts on rebalancing

So, if I were going to try and rebalance this, what would I do?

One obvious possibility is to open up new options for non-casters. Magic already lets mages more or less do everything. Well, the literature easily supports an argument that mages concentrate so much on magic they really don't have time for anything else, while warriors get other stuff. While they don't have much in the way of unique abilities, warriors are good at contributing to combat. What else can we do?

The idea here is to divide the game into a series of spheres, and then actively consider what each character type can do with each sphere. None of this business of assuming the fighter just fights things. Here, you'd aim to let a warrior choose some unique skillset that allows them to contribute to exploration, to social interaction, to combat.

Thursday, 2 April 2015

Power and Utility for Wizards and Warriors: critique

I've been reading a LOT about this stuff on 5e forums, especially here, and so have some opinions to spout.

Linear Warriors, Quadratic Wizards is a very well-established trope of D&D, and it's still a bone of contention even in 5th Edition. Oddly enough, 4th edition was probably the best at keeping parity between classes, because of its power structure. Even then, wizards came out on top in terms of utility and flavour. Being able to inflict ten different types of damage, and target four different types of defensive stat, is simply better than being able to inflict one or two types of damage and target one or two defences; the wizard can avoid strengths and take advantages of weakness. Frankly, the wizard was also more interesting in fluff, because hurling an array of different spells tends to sound more interesting than a dozen ways of saying "I stab it".

So, what do I think the problems are?

For the purposes of this discussion, "mage" just means spellcaster while "warrior" simply means any non-spellcaster. Things like clerics have interesting middle grounds, but they're powerful spellcasters and that's a primary feature.

The first part of the problem is that "mages" get a whole new subsystem of the game to play with, accessible only to them. Meanwhile, "warriors" do not have any subset of the game which mages cannot interact with.

A second part of the problem is scope. There is no broad type of effect, and very few specific effects, which warriors can produce and mages cannot. Meanwhile, there are many effects mages can produce that warriors cannot.

The best example I've seen of this is someone pointing out that a high-level mage can produce an exact magical duplicate of the party fighter, allowing them to contribute literally everything that the fighter can on top of a vast array of other magical powers.

This is slightly truer in current editions. In some editions, rogues could find and disarm traps, which nobody else could touch. In practice, many traps would still be amenable to common-sense solutions, even if no rogue was present. It was also possible in most cases to simply soak up damage from all but the most lethal traps.

Saturday, 28 March 2015

Planescape!

So our latest campaign, Operation: ANTIQUARIAN has just come to a dramatic and rather final end, with one PC obliterated from the universe by the Great Old Ones, another reduced to a SANless husk, temporal distortions, people literally wearing other people's faces, a complex Cold War nuclear gambit aimed at bringing about the apocalypse, and oh yes, two PCs who are basically more or less fine actually.

But this is not a time to evaluate that scenario, it's a time of change. For with the end of that campaign comes a new one, and that new one is of Oliver, and it will be Planescape!

In case anyone's reading this and doesn't know what Planescape is: it's like The Faraway Tree, except Dame Slap is replaced by an omnipotent theocidal regent* called the Lady of Pain, the Tree is a city called Sigil built on the inside of a torus hovering over an infinitely tall spire, the place is populated with gangs and sinister philosophical guilds rather than happy elves, and you can never run home to mother ever again.

*I was going to say "with a strong BDSM vibe, and then I thought, y'know...

So obviously we had to come up with character concepts, for a 3rd-level character, and naturally the first thing that came to me was a Gap Yahoo or a spoilt Elven Prince(ss) (I have prior form with the latter). Then I thought, obviously, combine the two. And thus, after much toing and froing about builds, it was done.

The problem I had wasn't mechanical, but simply how the heck do you go about building "gap year traveller" in D&D 5e? It doesn't lend itself very obviously to any class.

Tuesday, 10 March 2015

Jacobeans versus Aliens: weaponry

A significant part of the setting is, of course, period-appropriate(ish) equipment, and weapons are the first thing that tend to come up. One obvious and (I think) interesting point is the interplay between technologies, because at this time firearms are still very much in development.

Here we run into some problems. The New World of Darkness rulebook provides precisely one archaic weapons, sef the crossbow. And it's not that archaic, because it's clearly there a) to hunt vampires, and b) on the assumption that they're fairly readily available in the modern day. What we don't have is black powder. Jacobeans need black powder.

After much digging around, and a lot of forum threads that are unreliable or houserules, I find a couple of websites that feature weapons tables from actual White Wolf books. There's a problem. Over the years, White Wolf has used the Storyteller System (old World of Darkness), the Storytelling System (new World of Darkness), a rerevamped set of rules in the God-Machine Chronicles that is technically (I think?) a new setting/canon for the ruleset but also includes rule changes, variant rules in Armory supplements, and quite possibly variation between books. I can't find any discussion of exactly what is changed. I can't find any explanation whatsoever of what the different weapon properties are supposed to represent in each edition. As such, trying to assemble a coherent set of weapons from the disparate material is a formidable challenge.

Friday, 6 March 2015

Impressions of Demon: the Descent

As you might remember, I played and bought Demon: the Fallen some time ago, and despite some positive feelings, I found my early confusion was thoroughly compounded by appalling editing and skewy mechanics, until I yielded to complete apathy.

So naturally, when Arthur revealed that his copy of the successor, Demon: the Descent had arrived, I was keen to take a look.

DtD, from what I've read and what Arthur told me, basically throws out everything from DtF and starts all over again from scratch, and I would just like to pause for a moment to offer my appreciation for what must surely be one of the best decisions ever made in the industry.

Monday, 2 March 2015

Jacobeans versus Aliens: worldbuilding

Yeah, I'm still not super keen on any names I've thought of.

One of the big issues with this game is deciding how to represent aliens. Basically, I think there are two choices (thanks Dan).

The first one is my initial instinct: try to create aliens as they might have been depicted by Jacobean sci-fi if that actually existed. So they have wood and metal vessels, use weapons that Jacobeans can imagine (even though they didn't have that science), and so on. This has a sort of appeal in that I just like the idea of Jacobean sci-fi. On the downside, that didn't actually exist. And I have very little idea what it would hypothetically have been like. And when you get right down to it, would it really be all that different from either sci-fi or steampunk? Because it's kind of going to be somewhere between the two, to be honest.

The other option is a bit harder to articulate. Basically, the aliens are more or less like aliens as depicted in 20th century sci-fi, but described entirely in Jacobean terms. I'd also try to incorporate strong flavours of Jacobean worldview. A disadvantage here is the suspension of disbelief: how can these spacefaring aliens not just eliminate their human foes?

At this point, my inclination is just to go for the latter.

Saturday, 21 February 2015

How do I write a playtest scenario?

So, I need to write a playtest scenario for Monitors.

What makes a good playtest scenario, anyway? I don’t think it’s the same things that make for a good scenario (at least, not exactly the same).

In a scenario, it’s assumed that the ruleset is already thoroughly tested and robust. Thus, things I might look for in a scenario are:

If it’s a beginner scenario, it introduces the setting of the RPG.

It establishes the genre and tone of this particular campaign, which should be close to the RPG default, because starting new players off with trope-breaking is not a sensible way to introduce them to a game.

It gives players a chance to try out the mechanics, in broadly ascending order of complexity. Early stages might not involve mechanics at all. While players’ actions are the key, challenges should be set up so that players are likely to use the core mechanics first, and don’t initially need to worry about the more complex rules. Once they are familiar with the core mechanics, it will be easier to understand and remember later mechanics.

For a playtest scenario, things are a bit different. Let’s assume here that we’re concerned primarily with mechanics: deciding whether a game is ‘fun’ in terms of setting, genre and mood is a rather different proposition.

There are some similarities, because playtesters are almost necessarily also beginners. Nobody has much idea of how the game works because nobody’s played it.

Because the focus of playtesting is mechanical, there is less need to worry about fluff elements. However, it’s still sensible to try and establish the genre and tone of the default game. These can heavily influence the kinds of actions players take, and their expectations. An adventure fantasy game may expect PCs to face overwhelming odds, leap chasms, seek lost cities on a rumour, show random heroism, and so on. A gritty fantasy game may expect PCs to avoid fights unless they have a clear advantage of numbers, look for ways around obstacles, shun fools’ errands, keep an eye on the main chance and so on. Knowing what the game is built to support is therefore important.

If you’re aiming for a useful playtest, then you want to try and test the majority of the mechanics. As science tells us, ideally you want to test each one multiple times to increase the usefulness of the test. After all, maybe that one time you tried the healing mechanics was the one in a hundred that it doesn’t break the game.

I think I might also draw a distinction between two playtesting approaches, which I might as well call Amicable and Mischievous. In the first case, you’re trying to see whether the mechanics work smoothly when played normally, fully in the spirit of the game, as a kind of sanity check. The second is a relatively important aspect of RPGs, which is essentially looking for exploits. In the first case, you want the players to try and play with the grain of the game, just using the mechanics to do stuff, while you check whether they basically do what you want or have unexpected results. In the second, you really want to step back and let the players run wild as they attempt to break the game.

Now, I think it’s sensible to distinguish here between mechanics-breaking and playing in bad faith. If there is a mechanic that lets you burn health to gain 10 Mana, and a spell that heals you for 1 Mana, this is probably going to go badly wrong and exponential wizard-gods will reign triumphant over your game universe. Using this exploit is not in bad faith; it’s cheap, sure, but it’s baked into the game. Why wouldn’t wizards use this? It doesn’t go against the genre or tropes, it doesn’t rely on metagaming or logic that falls apart under closer examination. This is a mechanical problem with the game, and needs addressing.

So, what do I need to test?

Mechanicswise, there are several core mechanics at work.

I have a core task resolution mechanic based on dicepools. This calls for challenges of various kinds, at various difficulty levels. Because success is capped by dicepool size, I need to consider carefully whether this will block progress unreasonably, or whether tasks that should be difficult become trivial because of modifiers that can be accessed. It’s important to try to test this mechanic across several spheres. Combat is usually the subsystem that gets most scrutiny, but I don’t want it to be the focus of this game, just one element. I also want to check social interactions, as well as more general tasks like research, physical challenges and stealth.

I included mechanics for collaboration, and need to test whether these work as intended.

The second major feature of Monitors is the body temperate mechanic. Obviously, this means I need a playtest scenario to feature a variety of temperature zones, as well as sources of heat and potentially heat-draining challenges. For Monitors, there are advantages to both cool and warm bodies.

The third big mechanic is the magic system. Now, this isn’t something I can really build a playtest to include, because magic is essentially about what weird abilities each PC takes, and using them creatively. I’ll basically just have to ask players to use magic during the scenario.

At a slightly more subtle level, I need to check whether the mechanical implementation of concepts actually feels right. Do physically-powerful characters feel meaningfully stronger? Do intellectual characters feel brainier? And so on.

Next, let's think about the NPCs. I've divided these into different categories, like mooks, hordes and standalone antagonists. It would be useful to test these out (hordes in particular) to make sure they interact with the PCs in roughly the way I anticipated.

If I had an experience system, this would also be something that needs checking - do things scale correctly? Thankfully, I don't.

Current projects

Wow, this blog got quiet.

So at the moment I'm juggling a ton of things, which has the unfortunate tendency to translate into not actually finishing anything. For self-flagellation purposes* I'm going to remind myself of some of the major ones.

Obviously, the big one is Monitors. This is fundamentally more-or-less drafted, and I'm weirdly reluctant to take the last few steps that would let me run a playtest. It's less weird when you realise that one of these is writing a playtest scenario. Also, playtesting risks revealing that it's a big fat mess.

I've also been on a bit of a Cthulhu binge recently. I have one Gaslight scenario ready for playtesting, entitled The Perishing of Sir Ashby Phipps. I have a modern-day scenario that feels like a solid core, but really needs some sensible hooks and more working out of concrete manifestations of narrative weirdness. I have another modern idea in mind, but very hazy. I'm midway through three (count 'em) rather niche scenarios built around specific premises that I... don't really want to talk about here, because the only people who read this blog are also my vict- players. Sadly, those are also the people I want to talk to to thrash out the missing details. D'oh. And there are about four other ideaas floating around in skeletal form, including bonsai versions of major campaigns that might conceivably be playable with our butterfly-like group. And I'd really like to take the epic scenario I started writing a few years ago, and rebuild it as a setting with a couple of possible scenarios, so that it resembles something playable by mere mortals.

Oh, and I have an Adeptus Arbites system and scenario basically done, just wanting a couple of kinks working out of the plot. So I need to run that.

There are also three actual settings I started working on, once of which (Aftergreen) I've talked about before.

And then recently I mentioned that Jacobeans versus Aliens idea, and now some people are very keen for me to finish it so they can play it. Do you realise how little I know about being a Jacobean?

I wrote that darkness game. I'd quite like to try it. And someone mentioned playing Feckless Wastrels.

I'm also in the middle of several bits of writing, a substantial coding project related to Traveller, and oh, trying to find a job.

Right, well, 頑張ろう I suppose...

*which reminds me that I really want to play Deathwatch again.

Tuesday, 10 February 2015

Tomefoolery, part seven: disposal

Commentarii linguae graecae, 1548

My last post in the series apologies for its tardiness, but that was a full year ago, so all records are now broken.

Part of a continuing series of uncertain length on Tomes of Unspeakable Evil and the PCs who love them. I've discussed how people get their hands on such books in the first place, the effects of their dreadful contents on tiny human minds and the purposes and designs of the tomes themselves, why TOUEs exist at all, the capabilities of evil books, and last time, on safely containing your TOUE.

This time: on getting rid of the damn things. This post will naturally be fairly applicable to other forms of artifact.

There are a couple of major routes to tome disposal. This depends, basically, on whether you just personally want to get shot of them, or whether you are trying to permanently destroy them. Since we're taking the approach today that you view their existence as a menace, the likely reason for taking the first option is that you simply don't have the resources or knowledge, or indeed that a book is simply indestructible.

Thursday, 29 January 2015

Chaos, furthest from the skies

Go go five-minute game!

Anthony van Dyck - Portrait of a Man in Armour with Red Scarf - WGA07376

Premise: Jacobeans vs. Aliens

Reason: looking through game PDFs, and noticed that "secretly fight fantastical creatures in modern world" is a big trope. Meandered around the thought a bit, via "could you reverse it?" (difficult) and "it's always using new stuff to fight basically old stuff", to "history vs. sci-fi". Then there came a touch of "what would a sci-fi game look like to people a few centuries ago?"

Blurb

It's the Jacobean Age, at least in Merrie England. Astronomers and astrologers alike are astonished by the sudden appearance of many new stars and meteors. They are even more astonished when these start falling to Earth, revealing themselves to be no meteors, but vessels bearing beings from the outer spheres of the cosmos! And naturally, they do not come in peace.

The allospheric beings are soon attempting to gain a foothold on the earth. Their great aetherships of iron, copper and sphere-crystal descent from the heavens en masse or in secret, trying now by force, now by guile to overcome the stout folk of Earth. Now let the King's champions take up arms to drive the invaders from this peaceful realm.

Summary

Strictly speaking, having the ability to invade other worlds involves fabulous technological advances that would, in passing, render the arms and tactics of the Jacobeans worthless. But let's pretend we don't know that. Maybe the allospherics simply never needed to be any good at fighting before, so they only really have quite primitive armaments. Maybe the aetherships work on such different principles that they didn't lead to the development of rockets, internal combustion engines or atmospheric craft. The important thing here is that, while (as always) the aliens need to be presented as having super-advanced technologies, mechanically they can be fought effectively with horses, black-powder weapons and swords. The technology's more advanced all right, but that doesn't make it stronger.

Otherwise, this will work much like other types of urban fantasy games. Sometimes the PCs need to root out an alien infestation in a small town, sometimes to hunt down an obvious invader, and sometimes to aid in a straightforward fight. The historical setting means information travels slowly, making it easier to support hidden alien sites and public ignorance of what's happening. The aliens can be a secret known only to a few, or a public threat, as the gaming group chooses.

I've been listening to a lot of Hunter recently, so I'm going to say this game uses one of those Storytell* systems with d10s. Maybe I'll incorporate Arthur's idea about having Skills be worth three times what Attributes do. Not sure. Either way, it's classless and skill-based.

There'll be a definite tradeoff in equipment, specifically bows vs. firearms. Strung weapons are broadly more reliable, quiet and faster to use. Black powder weapons can be fired one-handed, used readily in closer quarters, and need less training - but tend to misfire.


Alternative title: Get with child a mandrake root

Thursday, 22 January 2015

Monitors: those pesky mammals

I have made what I modestly call world-shaking strides in the development of my silly reptile game, and am now assembling a very preliminary draft! It's all very exciting. Then, I ran into a problem: to whit, mammals.

See, Monitors has a carefully-designed system for monitoring body temperature and its effects on your ability. This is perfect for portraying reptiles. However, mammals work completely differently. Instead of allowing fluctuating core body temperature, they have to stay very very close to a specific temperature or die. Instead of relying on heat absorption and dissipation, they generate their own heat and have their own heat-dispersal mechanisms.

Put a reptile somewhere cold, and it gets cold. Put a reptile somewhere warm, and it gets warm. Put a cold reptile in a jumper and put it in a warm room, and it remains cold. Put a hot reptile in a jumper in a cold room, and it stays hot.

Put a mammal somewhere cold, and it stays around 37C until it keels over. Put a mammal somewhere warm, and it stays around 37C until it keels over. Put a mammal in a jumper in a warm room, and it stays at 37C, gets increasingly uncomfortable and then keels over. Put a mammal in a jumper in a cold room, and it remains at 37C.

Do you see the problem?

Mammals and other homeothermic endotherms have several separate things going on:

  • They maintain a stable body temperature. The game mechanics must allow this, or they'll all die.
  • They are impaired over time in either cold or hot conditions.
  • They generate their own heat. They can generate extra if they're particularly cold, but they're always pumping out heat. If there's no way to disperse that heat, it can build up disastrously.
  • They have cooling mechanisms. They can sweat or pant to dissipate unwanted heat.

Mammals can stave off getting cold or hot more easily than reptiles, but if they do get very cold or hot, they don't cope with it as well.

I think that, mirroring nature, I'm going to need more than one system to make mammals work right. In fact, I probably need to have rules for homeothermy (a separate heat chart) and endothermy (mechanics), and possibly also cooling (more mechanics). But first, I need to work out what actually happens to mammals over a long period under various rulesets, and to do that, the best option is probably a model. Which means coding.

Monday, 19 January 2015

More titles

I'm fractious and wanting to be creative, but at the same time, my brain isn't feeling up for it. So I settled on busywork instead. Remember the titles thing? Let's do that again.

Misunderstanding White Wolf

Vampire: The Masquerade - Mankind's greatest fear is coming to pass. Maybe... you just aren't cool any more. All-night parties are big business for folks who can't go out in daylight. For those wanting a shot at the limelight, event management is where it's at, and has been for centuries. Still, troubling modern trends are creeping in, and centenarian whippersnappers are starting to turn their sparkly noses up at nine-course banquets and pavanes. In this tense game of personal stress and mid-afterlife-crisis, PCs battle to maintain their hold on the entertainment world at a time of rapid change. Partnerships are made and broken, deals sabotaged, prices undercut. There is no victory in vampire business, only a temporary prosperity before the dawn comes.

Mage: The Awakening - That is not dead which can eternal lie, and with strange aeons it will need coffee. Running the world's remotest branch of Lie Inn was always going to be a challenge, which is why the PCs were transferred there after various failures. But nobody reckoned on magic. In truth, the main clientele for Lie Inn No. 666 are travelling sorcerers in need of lodging. Impossible coffees must be brewed, flying tomes kenneled, silken robes spotlessly dry-cleaned at 4am. Above all, breakfast must be served in bed. Providing wake-up calls to the past and unicorn bacon will tax the PCs to the full, but every good review offers a tiny scrap of hope for a promotion. This dramatic game of personal failings and petty ambition crushed by capitalism brings real tension all round the table. Last-chance employees battle for personal status and temporary reprieve, or band together to overcome the outrageous demands of their customers - providing they can keep their mutual contempt under control. Features innovative shift-based gameplay and full menus (vegetarian options included).

Mummy: The Resurrection - No-one ever escapes the shadow of their family. You thought you had a firm grip on adulthood; steady job, affordable apartment, even the occasional disastrous date. Then the heavy footsteps came one rainy night, and that midnight pounding at the door, and you learned that even death is no barrier to parental interference. Four hundred miles between you and suburban tedium wasn't enough to keep your dead mother's iron-willed revenant from tracking you down in the big city. Now you must try to hold down your job and avoid gossip while keeping your fly-wreathed parent from screwing your whole life up, yet again. Players must use all their ingenuity to overcome prying landlords, nosy roommates, suspicious bosses and above all, your mother's constant demands that you ask for a raise and invite that nice girl from the funeral parlour over for Sunday lunch. A tense game of exasperation.

Hunter: the Vigil - Patience is the key. Reputation is king in the backwoods, and when the season begins, so does the hunt. Carelessness doesn't bag any deer. In just one day, the PCs must kill enough game to bolster and improve their social standing, while dealing with the intricacies of licencing, truck maintenance and placating impatient spouses. What's more, every hour brings danger, for as the hunt draws to an end, trigger fingers get jumpier. This innovative game covers a single inaction-packed 24 hours, and features a unique Impatience mechanic. An appendix features a rich array of authentic backwoods dialect terminology for immersive gaming. Features four sample storylines for the Storyteller to present.

Wednesday, 7 January 2015

Monitors: 2015 reality check

I'm repeating the May 2014 check on current progress. Finishing this list will not mean Monitors is done; I'll need to go back over it and create a coherent redraft from the hodgepodges, inconsistencies (heat points, weapons and penalty dice need serious revisiting) and stuff suggested in the comments. But it will mean it's approaching playtestability. And of course, at that point I'll need to also create a playtest scenario (I have bits of idea) and find victims volunteers.

If you spot anything worth noting here, please do point it out.

Tuesday, 6 January 2015

Kitting Monitors, decision time

Okay, I've done more than enough procrastinating on the subject of equipment. Time for some decisions. How do I want to model equipment in this game?

Basic guiding points here:

  • premise: sorcerous spacefaring bionic secret agent lizards
  • tone: Saturday morning cartoons meet Dan Dare
  • tech level: high-tech, not ultratech
  • crunch: moderate

What have I got in my pockets?

I think for a game like Monitors, I probably should be aiming for a fairly abstract non-mechanical system. It's supposed to be a sort of campy, fun, enthusiastic game. You don't want to have to go through a list at the start and worry about whether you take a Transdimensional Aggrandizer Node, you want to attempt to disrupt a dimensional vortex and invent the Transdimensional Aggrandizer Node on the spot as something in your utility belt that will let you do that, just as flavour text.

Essentially, a Monitors character should be assumed to have access to the equipment they routinely need to use their skillset. Since they are sorcerous spacefaring bionic secret agents, this means that any Monitor should be assumed to have a fairly substantial arsenal of stuff for dealing with magic, space travel, mundane technology and Secret Agent Stuff, plus whatever an ordinary citizen in a professional job would generally have, plus equipment and supplies needed for the routine requirements of their specific role. No mechanical attention is needed on this point.

Wednesday, 31 December 2014

Kitting Monitors, part 6: martial stuff

This is obviously a sequel to this post, this other post about how non-weapon equipment and its mechanics can influence a game, and this third, fourth and fifth post about distribution of tech amongst the general population.

Martial equipment

I can't entirely avoid talking about this stuff again, but it's a different angle.

Weapons!

What kind of weapons are commonly available to civilians is a huge deal. There's a complex mixture of legality, opportunity and culture here, but I don't claim to understand that.

One factor is the typical discrepancy between a civilian and a ne'erdowell. If armed civilians tend to carry the same level of weaponry as a criminal, it's more likely civilians will tackle criminals. This also makes it harder to pick out a likely threat from a crowd, be they would-be assassins or the police you're trying to avoid; you can't simply scan to see who's armed and focus on them.

Tuesday, 30 December 2014

Kitting Monitors, part 5 (stuff people have, part 3)

This is obviously a sequel to this post, this other post about how non-weapon equipment and its mechanics can influence a game, and more immediately, this third and this fourth post about distribution of tech amongst the general population.

As a reminder, we're looking more or less at this list:
  • Does game-mechanical equipment exist at all?
  • What equipment exists?
  • What is treated as Equipment rather than just stuff you have?
  • How do you get Equipment in the first place? How easy is it to get more, both in the long term and the short term?
  • Maintenance? Breakages? Upkeep costs? Do these things exist, and if so, how do they work?
  • How reliable is equipment?
  • Is equipment assumed and subtractive from, or optional and additive to die rolls?
  • How crucial is the possession or otherwise of specific equipment to success? Are activities, or even missions, allowed to fail because PCs don't have particular items?
  • What technology is assumed to exist, to be available to PCs, and to be available to common NPCs?
  • What is assumed normal equipment for a PC? How useful is it compared to what NPCs have? How much and how often does it affect the basic resolution mechanics? (are you adding bonuses to every roll? etc.)
  • What non-mechanical capabilities can equipment provide?
  • How vulnerable is a PC without their equipment?
  • How, if at all, is equipment limited?

We're still looking at types of technology that the population and the PCs have available. This should be the penultimate installment, thank goodness.

Making stuff

A fairly common sci-fi trope, which is just starting to creep into real life, is manufacturing on demand. It's very common for settings to feature food, clothes, furniture or other basics being assembled from raw matter or nutrient sludge, produced on demand by some machine in the corner. This rarely creeps into more complex items like machinery, although I'm sure I've seen at least one instance where blasters could be synthesised. The real-world 3D printers aren't yet up to this kind of thing, but we can slowly make replacement bones, artificial limbs, and crude foodstuffs.

Makers are essentially just another way to Get Stuff, not that different from shopping. However, they do allow a couple of get-arounds. They can be used to obtain stuff you wouldn't be able to buy, even if makers record all transactions, require security clearance for dangerous items, or have only a limited set of templates. PCs can hack into makers, steal or spoof the ID of someone with the right clearance, upload their own templates, and so on. Another point is that a maker allows you access to far more than you can reasonably carry, picking it up on the spot rather than toting it around. You're not limited to times when shops are open, and rare items can be obtained without waiting days for delivery.

Monday, 29 December 2014

Operation: ANTIQUARIAN, part two

Our broadcast this evening is a dramatised reading from the archives of the Special Operations Executive. The mission identified as ANTIQUARIAN is being reconstructed from archival materials by Arthur at a dedicated website. Selected highlights will be presented here for the interest of the general public.

For convenience, a brief summary of prior events is presented here. For the detailed account, please visit the archive.

Skip to the link.

The mission begins

Network N was a branch of the Special Operations Executive, dedicated to the extraordinary. In the war against the Hun, no stone could be left unturned. Uncanny events must be investigated, strange rumours put to rest, and Jerry's obsession with the occult exploited at every turn. Their commanding officer, known only as N, recruited agents with unusual talents from all sections of society.

The primary agents of Operation: ANTIQUARIAN are Emile Dubois, a French inventor; Patricia Wilberforce, a professional medium; and Douglas Hemsbrook, military doctor. All are experienced in mundane and paranormal operations.

Having established themselves in the occupied village of Saint-Cerneuf-du-Bois, the agents have discovered strange forces present in the local woods. In particular, a strange sonic and gravitational phenomenon presents a recurring mystery.

An airdrop is arranged for the night of June the 9th, bringing Agent Benson of the SOE alongside supplies for the Resistance, but the phenomenon manifests once more with disastrous results. The plane's engines are destroyed, causing it to crash in the woods, while the supplies and Benson are driven off-course and land in the village itself. They recover both with some difficulty, but attract considerable suspicion in the process. ANTIQUARIAN are forced to lie low and repair their cover for several days, until a meeting is called by the partisans.

You can listen to the second episode here.

The series theme is The British Grenadiers (Go Mad), remixed for the occasion by Librarians and Leviathans.

Saturday, 27 December 2014

Kitting Monitors, part 4 (stuff people have, part 2)

This is obviously a sequel to this post, this other post about how non-weapon equipment and its mechanics can influence a game, and more immediately, this third post about distribution of tech amongst the general population.

As a reminder, we're looking more or less at this list:
  • Does game-mechanical equipment exist at all?
  • What equipment exists?
  • What is treated as Equipment rather than just stuff you have?
  • How do you get Equipment in the first place? How easy is it to get more, both in the long term and the short term?
  • Maintenance? Breakages? Upkeep costs? Do these things exist, and if so, how do they work?
  • How reliable is equipment?
  • Is equipment assumed and subtractive from, or optional and additive to die rolls?
  • How crucial is the possession or otherwise of specific equipment to success? Are activities, or even missions, allowed to fail because PCs don't have particular items?
  • What technology is assumed to exist, to be available to PCs, and to be available to common NPCs?
  • What is assumed normal equipment for a PC? How useful is it compared to what NPCs have? How much and how often does it affect the basic resolution mechanics? (are you adding bonuses to every roll? etc.)
  • What non-mechanical capabilities can equipment provide?
  • How vulnerable is a PC without their equipment?
  • How, if at all, is equipment limited?

We're still looking at types of technology that the population and the PCs have available.

Communications

In my view, one of the biggest technologies humanity has is communication tools. We can do things with these that would be staggering to ancestors only a few measly thousand years ago. We can preserve information accurately for long periods (writing). We can convey information to other people without actually contacting them (also writing). We can give information to other people in secret (encryption), and even do so while appearing not to (hidden encryption). We can talk to members of other groups who have their own languages (translation). We can communicate with people increasingly great distances away, increasingly fast, with increasingly complex information (writing, telegraph, telephone, the internet). These have offered enormous advantages. Knowledge is disseminated quickly, trade is facilitated, safety increased, cultural understanding improved, personal life enhanced, and perhaps it even makes the world more peaceful.

Wednesday, 24 December 2014

Special Collections: A dream of the hills and the hills

I've just stuck up the third of this sporadic series on my YSDC blog, discussing some slightly unusual tomes. This one deals with realia - things that are not book nor journal, but miscellaneous artefacts. You can read it here.

Thursday, 18 December 2014

Kitting Monitors, part 3 (stuff people have, part 1)

This is obviously a sequel to this post and this other post about how non-weapon equipment and its mechanics can influence a game.

As a reminder, we're looking more or less at this list:
  • Does game-mechanical equipment exist at all?
  • What equipment exists?
  • What is treated as Equipment rather than just stuff you have?
  • How do you get Equipment in the first place? How easy is it to get more, both in the long term and the short term?
  • Maintenance? Breakages? Upkeep costs? Do these things exist, and if so, how do they work?
  • How reliable is equipment?
  • Is equipment assumed and subtractive from, or optional and additive to die rolls?
  • How crucial is the possession or otherwise of specific equipment to success? Are activities, or even missions, allowed to fail because PCs don't have particular items?
  • What technology is assumed to exist, to be available to PCs, and to be available to common NPCs?
  • What is assumed normal equipment for a PC? How useful is it compared to what NPCs have? How much and how often does it affect the basic resolution mechanics? (are you adding bonuses to every roll? etc.)
  • What non-mechanical capabilities can equipment provide?
  • How vulnerable is a PC without their equipment?
  • How, if at all, is equipment limited?

What stuff do people have?

I've posited Monitors as a shiny future setting, but there's a pretty wide variety of these available. They've been offered for about a century, and each incarnation typically features basically the same technology and society as the writer, except better. Also, flying cars. That's a little unfair, but you get the gist: I can set a wide range of technologies as the baseline for civilians, simply by assuming the better stuff is too expensive/inconvenient/unfashionable/illegal.

I think you can probably break down important technology into some very broad groups. There are others that will shape societies in powerful ways (horse collar, anyone?) but I'm nowhere near clever enough to discuss those, even though this is the kind of history that is absolutely fascinating. I'm going to think mostly about things likely to affect games.

At this point I wrote out a swathe of text discussing some specific technologies, then realised that most of it would be more appropriate to a discussion on setting, rather than one on the role of equipment in establishing the feel of a game. So I'm moving it, and starting again.

Monday, 1 December 2014

In the Darkness FATE Them

So I started wondering, could you play IDFT under FATE?

I think you more-or-less can.

Characters have a high concept and four Aspects. It’s a good idea to make sure that, overall, they offer both advantages and weaknesses for your character so you can regain FATE points.

Characters begin with four FATE points.

You don’t need any skills, although you can still use them; a small number may help define characters mechanically and will change the difficulty of the game. Most skill rolls are assumed to have a difficulty of 0. Easy tasks have a negative difficulty. Similarly, there's probably no reason to include stunts.

There are four Stress tracks: Stamina, Nerve, Luck and Time. Each has ten stress boxes. Stamina and Nerve also have 2-point, 4-point and 6-point consequences.

Whenever a situation is physically exhausting, unnerving, time-consuming* or a matter of chance, roll the Fudge dice and apply any appropriate consequences or Aspects. If the result is negative, apply it as Stress to the appropriate track. Otherwise, the number represents one Tick’s progress towards the difficulty of the task set by the GM.

*Exception: the Time pool is never rolled during confrontations, when other pools are used instead.

A PC may make skill rolls to accomplish various things, including as a supplement to a Stress roll. It is up to the group to determine the mechanics of the outcome. For example, a character may attempt to scramble over a wall when using Stamina to flee a monster. This skill roll takes no additional time, and a success will create an advantage that assists with the Stamina roll. In another situation, succeeding (or failing) at the roll might change the narrative sufficiently that it makes no sense to continue with the current set of Stress rolls.

When the PC is resting, they can regain one Stress box in each of Stamina, Nerve and Luck. However, this consumes one Tick of time and requires a Time roll.

Consequences, as usually, cannot be healed directly. It is possible to mitigate the effects of certain consequences by taking suitable actions (locating and using medical kits, resting, finding crutches, staunching blood flow and so on) and making skill rolls.

Many tasks, such as searching a room, reading a book, repairing something or having an argument, may call for both skill rolls and a Time roll. Sometimes Time is consumed simply by delay, when a character waits.

When the Time pool is exhausted, problems arise again and the characters must move on or confront them.

The lighting properties of both rooms and light sources are modelled using Aspects. Any light source has a Fuel stress track, and a stress roll is made when the GM deems it appropriate. Of course, Aspects may help with this roll.


Did I miss anything? I don't think it's as thorough, but it's meant to be a workable hack rather than a full game.

Sunday, 30 November 2014

The Bally Haunting

This is the outline of the game of The Haunting I ran, oh, five years ago? Gosh. It was written up for the benefit of the players, but since tantalising hints of this game regularly surface when I'm writing on YSDC, I thought I should retrieve these notes from the fossilised depths of my computer and resurrect them.

The Investigators

  • Bertram Perrin, gentleman of leisure
  • Colonel Ementile Crud, retired
  • Encyclopaedius, star of the Merryweather Circus
  • Jacks or Better, gentleman of the streets

For my own convenience, being ignorant of America, I reset the story in Britain, specifically in a nebulous part of London. This was foolish, since I am also ignorant of London and one of my players is from London. Mistake one.

For clarification, however, I should state that the strong resemblence between this game and a cracktastic sequel to the works of PG Wodehouse was due to deliberate decisions made during character generation, and was neither the players getting out of hand, nor me flailing wildly. Which is not to say that I was not, in fact, flailing wildly.

An Uncle's Request

Bertram Perrin receives an unexpected telephone call from affable but business-minded Uncle Quentin (Lord Foxworthy to the plebs). Said uncle has recently acquired a house on the cheap, due to unfortunate events in the owning family that forced them to sell. Specifically, both the adults have "gone off their rockers", forcing the house to be sold and the children taken in by relatives. The house is rumoured to be haunted. Uncle Quentin has an interest in that sort of thing, being a member in good standing of the Sceptics' Society, and is sure that with a bit of investigation, the scientific basis for the rumours can be established and dealt with, and the house sold on for a decent profit. There may be an interesting case study for the Society as well. Uncle Quentin lives in Kent, and doesn't often travel to London, so rather than hiring an actual agent, he's decided to ask a favour from his amiable (if dim) young nephew. It's so much cheaper. He asks Bertie to take a look at the place - bringing along a clever friend or two "in case he overlooks anything". The house is 4 Rose Place, in Ealing.

In the Darkness Find Them, first draft

So I realised recently that, thanks entirely to Shannon, I've ended up writing quite a lot of stuff that discusses horror, darkness and light. I wondered whether they could be pulled into anything semi-coherent, and so I'm going to try sketching out a fairly basic game along those lines.

Naturally, as I'm recycling stuff here, it will probably look pretty familiar to readers of our respective blogs. It’s a first draft being created as I write it (although I did revise it rather than leave it as a stream of consciousness) so there may be inconsistencies (sorry) and it’s a rambly exposition rather than a tight set of detailed rules.

Also, I did what I could with images to break up this very long post, but it is shockingly hard to find any pictures of people hiding from monsters, running from monsters, or that involve shadow monsters of any kind that aren't being shot in the head by Alan Wake. So they are, at best, semi-topical.

Thursday, 20 November 2014

Operation: ANTIQUARIAN, part one

Our broadcast this evening is a dramatised reading from the archives of the Special Operations Executive. The mission identified as ANTIQUARIAN is being reconstructed from archival materials by Arthur at a dedicated website. Selected highlights will be presented here for the interest of the general public.

For convenience, a brief summary of prior events is presented here. For the detailed account, please visit the archive.

Skip to the link.

The mission begins

Network N was a branch of the Special Operations Executive, dedicated to the extraordinary. In the war against the Hun, no stone could be left unturned. Uncanny events must be investigated, strange rumours put to rest, and Jerry's obsession with the occult exploited at every turn. Their commanding officer, known only as N, recruited agents with unusual talents from all sections of society.

The primary agents of Operation: ANTIQUARIAN are Emile Dubois, a French inventor; Patricia Wilberforce, a professional medium; and Douglas Hemsbrook, military doctor. All are experienced in mundane and paranormal operations.

In May 1941, Dubois, Hemsbrook and Wilberforce are despatched to the village of Saint-Cerneuf-du-Bois in occupied France, where they will form the core of an intelligence network codenamed ANTIQUARIAN. They are also tasked with investigating the sudden disappearance of one Lionel Malo, a German opponent of the Nazi regime who fled to exile in France, and a correspondent of N regarding certain unusual aspects of the district.

Parachuting into France, the agents rendezvous with the Resistance and quickly establish cover identities. Tensions are high in the occupied village, and the agents must tread carefully. Though several strange facts emerge, the most prominent is the repeated impression of odd events connected with the woodland.

After experiencing a peculiar sonic phenomenon and discovering hooved footprints, the agents dine with Raimond Decharette, owner of the village mine. They learn that Decharette knew Malo, and his own wife was a member of a pagan cult. Suspecting that his daughter has also been drawn into the cult, the agents prepare to follow her as she leaves the house that night.

You can listen to character creation here, and the first episode here.

The series theme is The British Grenadiers (Go Mad), remixed for the occasion by Librarians and Leviathans.

Sunday, 16 November 2014

Friday, 14 November 2014

A Stony Sleep: afterthoughts

For some reason, I managed to post this in August, months ahead of finishing the actual podcast. When I realised, I de-published it and am posting it here to make the archives more sensible. I'm not sure how it escaped my drafts folder, but just to reassure you, I haven't yet reached the point of actually running repeats...

In my head, I've been thinking of this as the one where we shifted into more of a straightforward Space Marine game with less of the Fisty humour that originally got us playing. Having now listened to the recordings for the first time in months, I can't imagine where I could possibly have got that idea.

Thursday, 13 November 2014

A Stony Sleep, part 7

Post-Game Discussion

This is a playthrough of A Stony Sleep from The Emperor Protects, so be careful not to let on to your GM that you listened to it. It does reveal one crucial plot event, and foreknowledge will inevitably affect the way you play this scenario. As always, be aware that the podcast is not really family-friendly, if that sort of thing bothers you.

Some episodes feature bonus material after the closing music, of varying interest. This is usually either teasers, or conversations that were sort of interesting, but not a bit tangential to the main episode.

Episode 7

The Episode

Nothing much to say here. This isn't the most interesting post-game session, sorry, since we don't actually break down the scenario like we sometimes do. Feel free to skip this one! However, we do talk about a couple of points that might be mildly interesting for those who care about the Deathwatch game, or are gently lulled to sleep by our (ahem) melodious voices. And it's short!

The bionic issue is basically a canon one, I think. Essentially, the Warhammer 40K universe has always portrayed bionics for any military character as being flat-out better than the organic equivalent. They grant significant stat boosts in the tabletop version. The fiction does sometimes highlight disadvantages, especially in those bionics given to lackeys or grunts, but again emphasises the new or enhanced abilities these features tend to lend a character. For a space marine, who expects only the best of equipment, there aren't going to be any misshapen second-hand bionics or rusting parts. So while I do understand the balance issues of making baseline bionics any better than the default marine, it also just feels wrong for them not to be. There are no low-ranking space marines, no grunts, no lackeys. Everyone is a mighty warrior of immense value to the Imperium.

Honestly, this is quite likely tied into the whole "game line" deal. I don't know whether Fantasy Flight even thought about this when carrying over the same bionics rules as every other game uses. It seems like it could have quite easily been fixed by pegging the minimum bionics at whatever level is no worse than a starting space marine: no reason to get injured on purpose, but no disadvantage either.

Of course, this is partly down to me choosing to lose an eye, but I didn't (despite my phrasing here) actually do this for mechanical reasons - it seemed appropriate and I wasn't aware at the time of the rules for serious injuries and acquiring bionics. So I just assumed it was something I could do, which is strictly not the case by RAW. I mean, I got a power claw to the face, that seems like something that would require a cool glowy terminatoresque bionic eye, right?

I'll be (re-)posting a follow-up post shortly. I wrote it out ages ago and mistakenly put it up at some point, despite the podcast not yet being out. Whoops.

Wednesday, 12 November 2014

A Stony Sleep, part 6

The Heavy Bolter Is Sick OP

This is a playthrough of A Stony Sleep from The Emperor Protects, so be careful not to let on to your GM that you listened to it. It does reveal one crucial plot event, and foreknowledge will inevitably affect the way you play this scenario. As always, be aware that the podcast is not really family-friendly, if that sort of thing bothers you.

Some episodes feature bonus material after the closing music, of varying interest. This is usually either teasers, or conversations that were sort of interesting, but not a bit tangential to the main episode.

Episode 6

The Episode

So I've basically talked about everything in this episode already. Much has been written elsewhere on the OP-ness of the heavy bolter, and ways of dealing with it. Similarly, the final crystal conundrum has been discussed before.

The bit at the end is another one of those conundrums. Do we know about Ahriman? He's a completely legendary Chaos Sorcerer, but it's just not that clear what level of setting knowlege Space Marines should have.

I look forward to seeing where all this is going! Roll on, 2015...

Tuesday, 11 November 2014

A Stony Sleep, part 5

This Brain Is Above Your Security Clearance

This is a playthrough of A Stony Sleep from The Emperor Protects, so be careful not to let on to your GM that you listened to it. It does reveal one crucial plot event, and foreknowledge will inevitably affect the way you play this scenario. As always, be aware that the podcast is not really family-friendly, if that sort of thing bothers you.

Some episodes feature bonus material after the closing music, of varying interest. This is usually either teasers, or conversations that were sort of interesting, but not a bit tangential to the main episode.

Episode 5

The Episode

This being a transitional episode between phases of the investigation, there's a lot of stuff going on here. There could potentially have been a much longer cultist-fighting phase, but Arthur made a tactical decision to cut this short due to our gaming schedules (and to avoid repetition).

There's a sort of instinct to rebel when some objective is unattainable, such as rescuing the inquisitor, which I definitely suffer from. This is not in fact one of the official objectives, which you might recall made us suspicious in the first episode, although I offered a (plausible?) counterpoint. But you want to rescue people when you're heroic, even in the brutal Imperium. In practice, I thought this was one of the better examples of this sort of thing. We got a chance to interact with Vincent and try whatever we wanted. His mental state, betrayal and position of authority gave a convincing reason why he wasn't rescuable, while a long absence plus the nature of his captors convincingly accounted for those things. This wasn't one of those "NPC is shot at long range by an unseen enemy, having promised to divulge vital information first thing in the morning because it's too late right now" affairs.

The submarine sequence was a little bit disrupted by us players leaping to action while Arthur was trying to narrate. In practice, the outage is supposed to take a second or so, but we weren't quite clear on that. No big deal, it's just something that happens sometimes.

The encounter with the Alpha Legion was tense, but maybe a little anticlimactic? The opener was good, as Nikolai does his level best to get himself killed again (in retrospect, "slight caution" a poor choice when I should have been auspexing like anything). Having all four obliterated by a single psychic power was both satisfyingly awesome on our behalf, and slightly disappointing - I can't really decide which one won out for me. However, it's hard to dissociate my judgement from the points I've already made about this stuff.

DVD extra bonus material

We talk briefly about Demon: the Fallen, since this recording was actually made before the Demon game I posted a while ago. Hooray for time travel. I already discussed some of the many, many problems with this game. In the light of that, the discussion here of chapters being presented inconsistently takes on a different light. It seem less like an unfortunate editorial decision, and more like yet more evidence that the product wasn’t actually finished, let alone edited for consistency.

Kitting Monitors, part 2

This is obviously a sequel to this other post about how non-weapon equipment and its mechanics can influence a game. Dan's comment is also essential reading.

As a reminder, we're looking more or less at this list:

  • Does game-mechanical equipment exist at all?
  • What equipment exists?
  • What is treated as Equipment rather than just stuff you have?
  • What technology is assumed to exist, to be available to PCs, and to be available to common NPCs?
  • How do you get Equipment in the first place? How easy is it to get more, both in the long term and the short term?
  • Maintenance? Breakages? Upkeep costs? Do these things exist, and if so, how do they work?
  • How reliable is equipment?
  • How, if at all, is equipment limited?
  • What is assumed normal equipment for a PC? How useful is it compared to what NPCs have? How much and how often does it affect the basic resolution mechanics? (are you adding bonuses to every roll? etc.)
  • Is equipment assumed and subtractive from, or optional and additive to die rolls?
  • What non-mechanical capabilities can equipment provide?
  • How crucial is the possession or otherwise of specific equipment to success? Are activities, or even missions, allowed to fail because PCs don't have particular items?
  • How vulnerable is a PC without their equipment?

Maintenance and reliability

This is largely an aspect of the setting rather than the equipment per se, but maintenance issues are important too. The big ones are the overall reliability of equipment (in the short and long term), and any work or resource costs to keeping them in play.

Monday, 10 November 2014

A Stony Sleep, part 4

But I'm Wearing My Stealthy Yellow Armour feat. We Could Eat This Guy's Brain

This is a playthrough of A Stony Sleep from The Emperor Protects, so be careful not to let on to your GM that you listened to it. It does reveal one crucial plot event, and foreknowledge will inevitably affect the way you play this scenario. As always, be aware that the podcast is not really family-friendly, if that sort of thing bothers you.

Some episodes feature bonus material after the closing music, of varying interest. This is usually either teasers, or conversations that were sort of interesting, but not a bit tangential to the main episode.

Episode 4

The Episode

Return of crisps! Once again, I am really very sorry about the crisps.

Sometimes it's really hard to pick titles. With this scenario, I think for the first time, I went for (hazy approximations of) quotes from the episodes. Some have several tempting lines. Previously I've tended towards very basic descriptions. I'm still not sure what's the best option; you don't want to spoil an episode, you do want to summarise it, and quotes are sometimes memorable, but sometimes quite generic despite being good. I do think titles are essential to podcasts because if, like me, you have a few thousand floating around your hard drive, and potentially a hundred or more from a single podcaster (here's hoping!) then it's very easy to listen to one episode, come back a week later after binging on something else, and have no idea whether you listened to dgb_pod_00098 or dgb_pod_00064, or indeed "Episode 28" or "Episode 36". One day I must write something opinionated on podcast metadata...

The memory science I mentioned is Memory RNA. And despite this being entirely debunked years ago in a famous scientific turnaround, apparently it's still going on! I say this because my idle googling for a suitable link produced this article in an apparently legitimate journal, which appears to be literally the exact same thing.

It's horrifying in a way just how quickly a team of space marines can demolish a substantial threat. I don't think a single combat in the Fists campaign has lasted more than three rounds, and I believe in all cases that's purely been a case of mopping up horde survivors. Ah, maybe the diablodon fight was more than three?

It's kind of cool, but in a way I think it creates problems for Deathwatch in particular. The lethality we have discussed before means that it's very difficult to have meaningful drawn-out combats - anything able to pose a serious threat to the marines is reasonably likely to kill them through swing. One thing this tends to mean is that it very rarely actually matters what cool and interesting capabilities enemies have, as they rarely get to bring them into play. Most are lucky to get a single shot off. We have no idea what the cultists were capable of, and to some extent that makes it more difficult to create interesting memories. "Remember that time we killed everyone with a single round of heavy bolter fire?" "Wasn't that... every time?" I jest, but I think there's something to it. I just can't quite pin it down right now. In my defence, I'm ill today.

Brain-eating comes up a lot in this episode, but sadly there are always reasons to avoid it. I should really check into the canon on that - just how much do Marines worry about eating xenos brains, say? Because if you refuse to eat the brains of heretics, psykers and aliens, that doesn't leave you with much reason to have the ability.

A Cord of One Strand Is Not Easily Broken: a party-splitting mechanic

Yes, another in the long list of posts that are sort-of-games that I won't get round to doing anything with.

As far as I remember, this particular idea was born from two premises:

  • the kind of grandstanding, heroic scenes beloved of all media in the history of writing, whereby one person nobly steps up to face a challenge while their companions are occupied;
  • the fact that in most games, splitting the party makes the difference between an obstacle (usually a fight) that saps some of your resources, and being ground into a fine paste.

In fact, quite often lone characters are depicted as overcoming challenges far exceeding what the whole party might typically take on. Such scenes include "I'll hold them off as long as I can", freeing captured teammates, lone charges against a horde to strike fear into the enemy, covert missions where a lone intruder has a better chance of success, or being unable to unleash their full capabilities for fear of injuring allies or bystanders.

Morris

For centuries, secretive bands of acolytes have kept Albion safe, performing the ancient and mysterious rituals that ward the land against dreadful supernatural forces. Join your comrades in song, ale and battle. Perform secret rites at the equinox while maintaining your cover as harmless drunken eccentrics. Keep back the darkness with long-forgotten magic, and when that fails, hit it on the head with a stick. Grow a beard, wear a silly hat. Join the Morris.

Shall we dance?

Unlike most things I write, this isn't a proposal for a new system, just a campaign. Morris is a sandboxy suburban fantasy. You play Morris dancers tasked with maintaining supernatural wards via rituals, and taking down anything creepy that manages to slip through, while maintaining secrecy.

Given the premise is quite silly, I personally feel it would tend to work best with a pretty straight approach that takes it all seriously. A silly version could work too, of course. It strikes me that something like WoD would be a reasonable system, not least because it's not that different in premise. FATE could also work, assuming I ever work out how to run it.

Because you're fairly ordinary people otherwise, there's plenty of scope for incorporating more mundane things going on, personal arcs, inter-character stuff and so on.

As a very British setting, it's distinguished from a lot of urban fantasy because nobody's carrying guns. It doesn't matter how urban fantasy it is; nobody goes around carrying guns in Britain. Big sticks, though, you can get away with.

I picture the supernatural stuff as all a bit mysterious to everyone. Nobody's entirely sure how all this stuff works, including the magic they do to keep out the darkness. What's vital, what's mere ritual and habit? Some part of this folk song helps fend off evil, but are the doo-rallies and the atonal singing really necessary? There are many disagreements, schisms and power struggles between rival Morris troupes, let alone other groups with broadly similar aims.

The main enemies of the Morris are supernatural forces, but human antagonists also present a threat. This politician brings in music licensing; that concerned citizen brings a noise complaint. A drunken gang here decides to disrupt a dance and threatens the magical stability of the whole county. More worryingly, dabblers in occult mysteries may wish to channel magical forces to their own ends, and risk unleashing terrible things on the unsuspecting populace. There's room, too, for some more neutral actors: indifferent immortals or whimsical spirits who bear no malice, yet are not allied to the Morris. They must be bargained with, placated, entreated or browbeaten to attain the Troupe's ends.


The pic is adapted from Morris: a life with bells on which is a really good film, you should watch it.

Sunday, 9 November 2014

A Stony Sleep, part 3

Cultist-Bothering for Fun and Profit

This is a playthrough of A Stony Sleep from The Emperor Protects, so be careful not to let on to your GM that you listened to it. It does reveal one crucial plot event, and foreknowledge will inevitably affect the way you play this scenario. As always, be aware that the podcast is not really family-friendly, if that sort of thing bothers you.

Some episodes feature teasers for upcoming actual plays, after the closing music. Just so you know.

Episode 3

The Episode

Surprisingly, we have actually used the Climb skill twice over the course of our missions. Still not worth boosting, though. Especially not for those of us who can fly.

The confrontation in the cave, specifically the bits just before the fight, may seem a bit disjointed. This isn't because we're not listening to each other; I had to cut about three minutes of this out, in several sections, because of noise issues. I've tried to keep in as much information as possible, though.

For those of you keenly following my discourses on Brother Nikolai (who am I kidding?), this episode features him being genuinely useful, achieving something the rest of the party couldn't. It's interesting to me, and I mean that sincerely rather than being sarky, that this doesn't relate at all to proficiency in combat. Firstly, he takes the lowest point in the climb and saves Kaim, safe in the knowledge that he has a jump pack as a fall-back if things go badly wrong. Secondly, the jump back (and his confidence in getting up close and personal) allows him to barge straight into the cultists, attempt to overawe them, and then snatch away the cult leader. Strictly speaking, this is a much bigger contribution fluff-wise than it is mechanically, since the objective would have been met by blowing them all to pieces, but we're trying to play roles here, right? As a secondary point, as the conversation shows, we're all conscious of the problematic situation (armoured fascists slaughter followers of alternative religion). While we're all on board for that, and the canon does a lot to actually justify this approach, I think we do feel a bit better when we give the occasional nod towards the less murderous and more human aspects of the space marines. If these cultists choose to make a suicidal attack, rather than, um... surrendering and probably surviving their forced conversion and penance, for a given value of "survive"... well, that's their business!

But yes, Nikolai. This shows off a point I've made before, which is that to a large extent I do think assault marines are inherently broader than some of the other specialities, and their strengths lie quite substantially in their movement capabilities and defensive capabilities. Nikolai can get to places quickly to do things other than killing, get away from danger quickly, and soak a lot of attacks - although less so when facing a Horde as they ignore parries.

Note here that Arthur didn't require a die roll for me to leap into the midst of the cultists. In fact, I think the only time I've had to roll was in Mersadie Hive, when I used my jump pack to leap from a speeding bike and hurl incendiary grenades onto a roof and then tried to land back on the bike. This strikes me as exactly the right way to adjudicate these matters.

Saturday, 8 November 2014

A Stony Sleep, part 2

Steve Jackson, Is That You?

This is a playthrough of A Stony Sleep from The Emperor Protects, so be careful not to let on to your GM that you listened to it. It does reveal one crucial plot event, and foreknowledge will inevitably affect the way you play this scenario. As always, be aware that the podcast is not really family-friendly, if that sort of thing bothers you.

Some episodes feature bonus material after the closing music, of varying interest. This is usually either teasers, or conversations that were sort of interesting, but not a bit tangential to the main episode.

Episode 2

The Episode

You would not believe how much crisp-excision this podcast required. This was actually one of the main reasons I didn't get round to doing it sooner. I'm not sure if you can tell, but there are a few sections where I had to remove entire conversation threads because crucial parts were obscured by unbearable crunching and/or rustling. There was a certain amount of careful doctoring, including pasting in alternative versions of a word from elsewhere in the recording to create a clean sentence break.

I should point out, though, that I have in no cases changed the actual meaning of what was said! Just tidied up bits where I had to chop off a run-on sentence or a bit where we talked over each other and led into another conversation that couldn't be rescued. Nothing crucial was lost, but the podcast is quite a bit shorter as a result. The surviving crispy sections should give you a clue just how bad the excised bits were.

This is an occupational hazard of actual plays - very few snacks are silent and gaming is a snacky sort of hobby. More recently we've been putting things in bowls before recording, which helps, but I'm not sure how the squeaky-clean podcasts tend to manage. Unless they just don't eat, and are tireless robot gamers. Always a possibility.

I Fought The Lore

When we learn about the "other Astartes", it's obvious to me and Dan (with our extensive 40K background) that this will be the Alpha Legion. However, it's not clear whether our characters are allowed to know that. This is one of the points where establishing exactly what canonical knowledge is widespread, what is secret, and where different kinds of security clearance fall is really difficult in this game.

One of the reasons for this is, of course, that the 40K universe has been built up over decades by a whole load of different writers and gone through several major editions, each with their own angle on the truth of the situation. It's not clear how much access ordinary space marines have to Chaos-related information, and what is strictly inquisitorial or known to more senior marines. The RPG in general isn't especially helpful about this, and knowledge is absolutely one of the areas where I'd really have liked them to lay down some suggested difficulty guidelines, because this stuff is not remotely obvious. It's even worse once you start to move into things that aren't massive and well-established parts of the game canon (like major Chaos Space Marine legions) and into some of the crannies, like Imperial Navy lore or even psyker lore.

Broadly speaking, you have to assume that all space marines know about the existence of Chaos marines and renegades, and therefore at least a basic amount about Chaos. For a purely practical standpoint they must, must also be taught the tactics, equipment and abilities of Chaos marines, because the entire point of the Astartes is to fight the enemies of mankind, and refusing to teach them anything about fighting the one threat that did come close to wiping out the Imperium would be too stupid even for the Imperium. So if they know World Eaters are involved in a situation, there is no question in my mind that they should understand this will mean Khorne berzerkers, and therefore terrifying melée specialists, as well as a focus on mass slaughter of everyone possible, which will likely result in demons appearing who are also melée specialists. If they know Tzeentchian marines are involved, they should know to expect vile sorcery, a focus on ranged weaponry and maddening, fast-moving demons that spit flames and lightning.

It's less clear how much this extends to more strategic considerations, since it's generally senior marines who will be taking strategic decisions anyway. Do the ordinary marines need to know the typical signs of Alpha Legion operation, which are extensive use of cults, sabotage and misinformation? Do they need to understand that Slaanesh worshippers will aim to take captives for hedonistic rituals, offering certain strategic opportunities and informing loyalists about their likely movements? It all depends very much on how you view the information structures and trust within a chapter, which varies by chapter, as well as how you perceive the role of space marines in the Imperium as a whole. If they are basically soldiers, this kind of information is less important and might well be kept secret by paranoid officials. If they have a wider remit that includes investigation, small-unit missions and acting as aides or advisors, then it doesn't really make sense to me for them not to have that kind of information. Sending in a small unit to investigate situations when they aren't given enough information to analyse, identify and countermand threats is not sensible.

All this is a very long way of saying that I feel like this is a situation where the Fists should just have got the information. This isn't particularly complicated stuff: this is Traitor Legions 101. I have no idea what the actual mission stated, but the rulebook gives no guidance on how to handle this, and so I don't think Arthur's to blame. From what I've seen, any notes in the mission most likely offered a -20 penalty to Forbidden Lore rolls on the basis that you're trying to use Forbidden Lore.

Slightly later on, our in-character knowledge includes detailed understanding of the mindset of the Alpha Legion. I'm not trying to pick on Arthur here, not least because he used this on the spot as a way to give us metagame knowledge ("step away from the massive paranoia tangent of obsessing about this detail") without flat-out telling us in GM-voice that it's a result of scenario design clashing with reality. It seems perfectly reasonable that we would Know Our Enemies, and it's certainly plausible that we'd have memorised specific stuff about each legion without necessarily wanting to positively identify a specific group of enemies based on some general clues. I'm partly just flagging this up in case anyone else spots it, and partly because the contrast between these two situations just further emphasises for me how unclear the books are on this aspect of the game.

Of course, it's possible one reason the rules are pretty general about knowledge is that it's taken from a ruleset designed for all possible (okay, likely) 40K characters, and "common knowledge" varies massively by role in the universe. At the same time, this strikes me as exactly what individual books are for in such a game line. The summary for Forbidden Lore: Traitor Legions is just a few words, and it contrasts significantly with that for Common Lore: Adeptus Astartes and indeed Forbidden Lore: Adeptus Astartes.

Forbidden Lore: The Traitor Legions: The secrets of the lost Space Marine Legions, their names, and the sad tale of their fall from grace.

Forbidden Lore: Adeptus Astartes: Extensive knowledge of the practices, organisation, and homeworlds of the Imperial Space Marines and their Chapters, including hints and rumours of their myriad of secret rituals and methods of recruitment and training.

Common Lore: Adeptus Astartes: An understanding of the role, function, and nature of the famed Imperial Space Marines, as well as a knowledge of the commonly known Chapters and their practices and areas of operation.

Note that CLAA specifically mentions the practices of Chapters, and FLAA specifies their practices, rituals, methods and training. FLTL is far more cagey about what is actually included, more or less leaving this up to the GM. I find this unsatisfactory.