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INTERVIEW WITH NEALL RAEMON PRICE: SCION 2nd EDITION

scionorigins — Click the Image to go to the Kickstarter!

Thank you for doing this interview. Those of us here at Keep on The Heathlands are pretty big fans of what Onyx Path Publishing have been putting together and Scion 2^nd Edition looks amazing so far.

Neall: Thank you very much for taking the time to write out a few questions and for honoring me with some the interview!

Can you tell us a little bit of your history in the gaming world? What was your first game that you played, and what are you currently playing?

Absolutely. I’ve freelanced for Paizo, Green Ronin, and written fiction for Growling Door Games, but the bulk of my freelance career has been spent with White Wolf and Onyx Path. I worked on Exalted Second Edition, especially the latter half of the game line: I really cut my teeth on Abyssals, Infernals, and Alchemicals. After the second edition ended, I switched over to writing for Mummy: the Curse, Demon: the Descent, Mage: the Awakening Second Edition, and Vampire: the Masquerade.

The first game I ever played was a homebrew game by my long-time friend, after watching games of d6 West End Star Wars and Battletech all summer long at camp. The first actual game I played was Demon: the Fallen. I’d been a fan of White Wolf games ever since picking up Wraith in a second-hand store. That Demon game lasted maybe all of three sessions before the players caused a hurricane to destroy Miami, so we shifted to Exalted and played that for years.

Currently, I’m running a lot of Scion playtests…but I really want to run the Night’s Black Agents’ Dracula Dossier after my own games come out!

Scion is a game that touches on the mythological cycle, for those that are fans of Campbell we could say it emulates the Hero’s Journey. How does Scion allow for stories that are told using that journey? Would you say that Scion is a universe like our own, but with a closer relationship to illio tempore ( Eliade’s sacred time)? [This second question here is my religion and culture geek side showing]

We acknowledge Campbell as having a hero’s journey, but we avoid The Hero’s Journey totally for a number of reasons. Campbell tended to be a little reductionist, and definitely scanted stories involving women. So our Storyguide sections walk you through the earliest parts of origin myths, in Western, Japanese, and certain African styles (as examples). We tried very hard to detail different variants of a hero’s journey through various cultures and provide heavily detailed insight and guidance for SGs, so players can take their Scions through a story that seems and feels like a true myth (but with more explosions). This also ties into the character’s goals, destinies, and advancement in-game. The basic move is from innocence to experience (Origin to Hero), whether it begins with an error or with the loss of tranquility. Along the way, there are helpers, challenges, conflicts, and returns.

As to your Eliade question, to abuse a quote from my writer Geoffrey McVey, I’d say yes, in that Scion is a universe into which hierophanies irrupt in material form on occasion. (Alternately, “Yes.”) The World is a place where the sacred is immanent and almost tangible.

pantheons

Can you talk about how the Pantheons have changed a bit from 1^st edition to 2^nd edition?

Pantheons were one of the big things we wanted to fiddle a bit with. They’re no longer purely divine bloodlines, but socio-magical constructs within Fate that are bound to cultures across the World (our setting). Gods may belong to one (or more!) pantheons.

If there are cultural magics wielded by the Gods, and/or if the mythologies have distinct powers their gods frequently use, those go into a Pantheon Signature Purview, or PSP. In First Edition, this was a custom Purview, but in Second Edition they’re far more broad, encompassing a lot of the “magics” wielded by the Gods and by others in that pantheon’s mythos. Ideally, this is under a unifying theme that relates to the pantheons. This is why the Greeks are superior shapeshifters, for example, or why the Irish Gods revolve around having a geas.

Lots of pantheons have specifically-named groupings of three with mythical significance, or sub-pantheons and groupings contained within them. The Theoi up there contain two Triads, the (Greek names ahead) Olympioi, the Halioi, the Khthonioi, and associated sub-groupings. That’s not even mentioning the Dodekatheon, the twelve most powerful and important gods of Olympus. So all of these pantheons have groups that relate to Paths, which players and Storyguides can further flesh out.

We definitely tried to broaden out the pantheons from First Edition. Several pantheons were renamed to reflect their broadened scope. The core list of pantheons includes: Aesir (Norse), Devas (Vedic), Kami (Japanese), Manitou (Algonquian), Netjer (Egyptian, formerly Pesedjet), Orisha (Yoruban), Shen (Chinese, formerly the Celestial Bureaucracy), Teotl (Aztec formerly Atzlanti), Theoi (Greco-Roman, formerly Dodekatheon), and the Tuatha de Dannen (Irish).

I wanted to cover every single pantheon that’d been done in First Edition, and we’ve done so and then some. The Nemetondevos and the Manitou (although that was a pan-Indian pantheon rather than a specifically Anishinaabeg pantheon) were both demi-canonical pantheons done by White Wolf’s French translation company, but they’ll both be in the Companion book that’s been funded already by the Kickstarter. And, of course, a revamped Yazata and an Atlantean Pantheon that’s used as an example of how to make your own fictional pantheons for use in home games.

The Kickstarter is funding 2 books, Origin and Hero. Tell us what the different books provide players, why do I need both of them?

Origin details the Storypath System, the narrative-yet-traditional rules that power the game, along with the “base setting”: the World, where the old religions of pantheism never vanished, where people are rumored to be Scions of divinity, where creatures of Legend are hidden from the mortal eye in plain sight. It’s akin to the wuxia concept of the Rivers and Lakes, where the two worlds of kung-fu and the peasants, nobles, and politics coexist in the same space yet remain very separate. We give you some pretty explicit guidance and some rules modifications for dialing your experience of the World up and down.

Hero details the full rules for Scion characters, but now they’re fully-fledged heroes. Here, we fully introduce the pantheons, and all of the powers, divine weapons , and blessings that Scions can wield. We detail the golden, poisonous vitriol that flows through the veins of Scions once they’ve been Visited and their journey to apotheosis begins. Lastly, Hero’s ST section (Director/Mythguide section, what-have-you) is greatly expanded, detailing different variants of a hero’s journey.

We wanted to do expanded pantheons and greatly expanded rules, but we also wanted to cover lots of elements from First Edition (such as Terra Incognita) properly. Altogether, the combined book would be massive, so we decided to split for a number of reasons. This has a lot of benefits – if your players just want to pick up the system and read about the setting, they can buy Origin instead of buying both books (or they can buy Hero instead of Origin if they want lots of Scion character options!). Additionally, I really want to expand the World of Scion in future supplements, and not necessarily focusing on the Scions themselves. Creatures of Legend like satyrs and Valkyries and kitsune are playable right out of Origin.

I’m excited for Scion, but I’m also excited for the Trinity Universe (Aberrant is still one of my favorite games). Anything you can tell us about that game?

Absolutely. Ian Watson and John Snead have done a fantastic job of making Aeon and Trinity really exciting and vibrant, and making that continuum exciting to play in no matter what the time period. Ian’s unified the disparate elements of all three prior games and created a modern-day setting (it reminds me a lot of Fringe or Person of Interest) to play in that’s equal parts optimistic and dramatic, making you feel like a big hero in an even bigger world. The most ingenious setting element they’ve solved is the constricting idea of predestination – that the Aberrant War is inevitable, for example – and the way they’ve tied that setting solution into mechanics like super-science and dramatic editing is just fabulous.

Like we had to on Scion, Ian had to make some hard decisions on Trinity, like pulling Daredevils out of Adventure! and putting them in as Talents, a hero type in Continuum core book. From everything I’ve seen of what they’re doing, though, it’s going to be a fabulous game.

We did a review of the Storypath System Preview, but obviously that is not the full system. Tell us a bit about the development of the new system. What elements have you particularly excited?

That’d be an essay and an interview in and of itself! It took nearly three years and several iterations. But I’m definitely excited about how the core system allows players to partially choose the outcome of both positive and negative rolls, how failure in dice rolls translates into bonuses later. And I definitely love the Paths – a system topic we use to replace the old set of Merits and Backgrounds and holistically describe your character in a way that ties them into the setting while still allowing you to bring in personal character details reactively and sometimes retroactively.

One of the core concepts of this blog is supporting inclusivity and diversity in gaming. Can you tell me how you see Scion and Onyx Path supporting those two elements?

We try to approach this in both our writing team – by hiring writers of color, writers of various faiths and creeds, writers with differing gender and sexual identities – and in our games, as well. The other way is through the game itself: the art, for one, but absolutely and especially the content. For example: the Te?tl pantheon in Scion 2e, the Aztecs, are going to include Xochipilli, the Flower Prince: God of beauty, dance, flowers, and patron of gay people and male prostitutes.

For the record, there are Gods (in the game and outside it) without gender, gods with multiple genders, gods who change genders according to how they feel. There are figures in myth who beg to be another gender (and who are occasionally granted that wish). Gods who are men who lust for and sleep with men. Goddesses who lust for and sleep with women. Gods who do both. Gods who are asexual. Gods who impregnate via inclement weather. If there are queer people, there are queer gods.

These myths are thousands of years old. They reflect the societies and the peoples from whence they came. That’s what myths are – they express the story of a people. My team and I are proud to feature every one of them in game.

Is there anything else cool that you’d like to leak/share with Keep On The Heathlands?

What we’ve done with Fate is especially cool. In First Edition, Fate was tied to humanity. Humans were bound to Fate and couldn’t contest the ebb and flow of the connections through their lives, save for some divinely-aided heroism, but humanity itself provided the necessary web for connections to form in the cultural consciousness. In Second Edition, Fate isn’t something that “applies” to a Scion or a god, at least not truly. A Scion’s actions ripple throughout the world, causing people to become bound to her destiny. Those ripples of her actions are Fate at work. These ripples are referred to as Fatebindings, and they’re why Gods refrain from overt action, because doing so shakes up the ordered destiny of the cosmos in a way that begets problems bigger than the one the God was trying to solve in the first place. It’s no longer “mind control” on a mortal.

So, when we looked at Purviews to use with this new conception of Fate, we cannibalized a lot of the old Magic Purview into a new General Purview called Fortune, used by Gods of luck and prophecy. I’ll share the innate power and a Boon right here!

Fortune

The Purview of Fortune exerts its power through blessings and curses, manipulating that which mortals call chance and the Gods know as destiny. It exerts the subtle power of coincidence and synchronicity, contriving events and changing the World. It is not prophecy, but it can tug at the threads of fate to arrange improbable scenarios and enable deeds that defy belief.

Innate Power: You can sense the presence of Fatebindings when you interact with someone. If you later meet the other “half” of a binding that you have already sensed, you can tell the two characters are bound together. You can also sense when an Oracle or Sorcerer (p. XX) manipulates Fate with their Knacks or other powers, identifying them as the one responsible even if the effect cannot normally be perceived.

Fateful Connection

Cost: Spend 1 Legend

Duration: Instant

Subject: One character Fatebound to you

Range: Infinite

Action: Simple

You invoke the Fatebinding of a character tied to you to cause them to appear in the narrative and provide a benefit based on their Fatebinding role without it counting against the usual once per Episode limit (p. XX). Synchronicity arranges for that character to be near enough to arrive rapidly with a completely plausible explanation—maybe they’re visiting their family, or stalking you, or their plane crashed. If the Storyguide agrees, this can even bring characters into Terra Incognitae and other realms of existence (maybe they tripped through a portal).

Join us in thanking Neall for this great interview by checking out Scion’s Kickstarter

THIS ONE IS ROOK: HOW GAMING HELPS ME EXPRESS MY IDENTITY

The Neonates and Ancilla of Atlanta sat around sharing their life stories. Florence, the young Harpy turned to the Elder Nosferatu in the room.

“What about you?” Florence asked the Elder who was roosting in a chair across from the conversation.

“This one is Rook.” Said the Nosferatu. An awkward silence followed where Florence expected more, and Rook said nothing else. The conversation resumed between the others shortly after, leaving Rook to observe.

—

In the above scenario within By Night Studio’s Vampire: the Masquerade, I play Rook. Rook is a genderless Nosferatu Elder, and one of the most challenging yet rewarding characters I have ever played. Almost everything about Rook is alien to my personal life, with one key exception.

While writing this article on my laptop I have my phone and my tablet next to me and I have music playing from my gaming console on my TV; to say I am connected to my technology is an understatement. I am only 26 years old, though my birthday is this month, so I’m basically 27. As a feminist, I believe in equal rights for everyone regardless of identity.. I am also genderfluid.

Rook, on the other hand, has a flaw called Archaic. If a character has this flaw, any technology less than 100 years old is foreign to them, and they cannot use it. Rook is over a thousand years old, so I am challenged to think far beyond my own scope in terms of taking actions and reactions. Rook very firmly has distaste for young vampires, with the stereotypical negative attitude that is associated with older people’s attitude toward teenagers. Rook is also genderless, as when Nosferatu are turned into vampires they are disfigured, and Rook’s disfigurement made determining Rook’s physical sex impossible, so Rook’s gender slowly left them.

Compared to the other character I play in the Underground Theater organization, Rook is completely different than I am. The other character I play, Jacquelyn, is much more an extension of myself. Dressing as Rook takes just as much time as Jacquelyn, despite the simple costume, partly due to all the face makeup that I put on to provide a ‘corpse-like’ appearance. I like to jokingly refer to myself as Emperor Palpatine from Star Wars when I’m putting the makeup on, due to the similar appearance.

I am Rook on the left, and Jacquelyn on the right.

Rook’s costuming is very simple, as you can see. I only wear a large black cloak to gatherings, and carry only one accessory: a red rosary. If I have to describe them in their Obfuscated Mask it is always something very simple and timeless, and still an androgynous/agendered appearance, and the rosary is still present. I also pose myself in certain ways to play down my feminine bodied curves. My bust line is large and binding would be a bit unsafe for me, so I have to use other methods to pull off a genderless appearance. I’ll push my shoulders forward, hunch, and keep my arms out in front of me to keep the cloak from hanging off of my bust line, giving me no clearly gendered appearance one way or the other. Catching myself in the mirror and not seeing the curvy lines of my own body or my normal skin tone really helps me to stay in character as Rook.

There are small parts of Rook that are extensions of myself. Rook is a bit protective of their family and those they consider family, and I am as well. I have stuck up for friends against all sorts of people who would bully them for various aspects. I will very typically make myself the voice who isn’t afraid to speak up. I will call people on negative behaviors, bad attitudes, creepy behavior, and the like because much of the time those disparaged people don’t feel they can speak up. I take this attitude into Rook by having them stick to their guns when it comes to the people they would defend, even to the detriment of their reputations. In VtM, having a Catiff offspring is seen as a failing of your character, and mine embraces (pardon the pun) the fact with pride. Rook has an openly acknowledged Catiff grandchilde and doesn’t really care how other people feel about it.

As I mentioned above, Rook is genderless. This is slightly different than being genderfluid, but this article isn’t about the differences between the two. The short version is that genderless is no gender at all, while genderfluid moves between various genders. Having Rook express a gender identity close to my own internal one in such an external method is super empowering for me. My body makes it difficult to express anything through presentation other than female, so having a chance to embody a non-female character is awesome.

A lot of people do misgender Rook as a female, due to my own body and their knowledge that I present as female, but I usually just handle it in character with in character language. I’m still waiting on the day when someone decides they have to hit on me in-character as Rook. I have an image saved on my phone for this exact purpose, because my character will have no qualms about flashing the whole gathering in character and pausing game a moment to show them all exactly what is going on underneath the robe.

I have had antagonistic characters purposefully misgender Rook, and I have had supportive characters ask Rook if they would prefer the ‘zir’ set of pronouns. Being able to have these experiences in a safe environment was very helpful for me should I have these experiences out on the real world, because I already know what my reaction would be. I haven’t had anyone be purposefully mean to me out of character about being genderfluid; due to my use of female pronouns with a female body most people likely don’t even realize I am genderfluid. I live in the South, so being super ‘out’ about being Genderfluid is pretty hard due to a lot of misplaced hatred.

I first started to experiment with my own gender through gaming. I played a lot of tabletop before I started LARPing. When I got to the Deadlands: Weird West setting at first, I played a saloon girl who ran away with a cowboy, a pretty typical role for a female character in a Western. After that character was finished, I moved on and started playing male characters in the setting, because of how things were for women in that time period. I found playing the male characters more freeing, more in tune with how I would want to be able to live in that time period. At first my male characters were caricatures of other characters from fiction. I played a Huckster based off of Gambit/every smooth talking gambler ever, and I played a doctor based off of House.

After time whenever I wanted to play a male character in other settings they quit being as two dimensional and started being fleshed out. To be fair almost all of my characters got more well rounded as I grew up and matured, but I quit looking at the male characters as something wholly different than my own psyche, just different permutations and variations on personality traits I as a person had. Having the safe space of gaming to experiment with these thoughts is an amazing tool.

For me gaming is as much a tool as anything else. To me, entertainment is what happens when you watch something you’re not participating in. I am entertained when I watch a video online, but with gaming I am enriched. I regularly describe the best gaming sessions as ones where I felt awful. I discovered another character’s wife changed to a wall, having her venom enhanced blood siphoned from her. I willingly went along with an antagonist to be tied up and flayed alive. Those two events were polarizing, and the best game sessions I had as that character. Were they ‘fun’ in the traditional sense? No, but they were so engaging and enriching that I will never forget them.

With Pride week in Chattanooga just having finished up, October being LGBTQ* History Month, and National Coming Out Day coming up in a week on the 11th, this time of year often makes me think of how far we’ve come as far as LGBTQ* issues and gaming. Most games wouldn’t let someone portray an LGBTQ* concept in an offensive way, or let players harm or make uncomfortable others due to their LGBTQ* status. If I wanted to I could make a male character in any of the games that I play in regularly and it would be received well and everyone would try their best to use character-appropriate pronouns and language. If I wanted my local gamers to use different pronouns with me I wouldn’t have to worry about it not being received well. I know not every gamer has that comfort and I know it can be hard to find in some places, but the fact that this is more and more the norm than the exception gives me hope for the future.

Every time I miss a game (and Amber’s amazing zucchini) I am sad I will not be able to express myself in an accepting environment, and enjoy the freedom that comes with it. Even putting on the costume and makeup to take pictures for this article was enjoyable, despite the face scrubbing I have to endure afterwards and the warmth of wearing the robe during the day. Playing Rook has given me the freedom to experiment with my own gender expression, and that has been amazingly refreshing.

—

Anna is an avid LARPer, and on weekend when she isn’t being a vampire she treks out to the woods to beat up her friends with assorted plumbing supplies and birdseed. Outside of LARP Anna is a feminist and part of the LGBTQ* community, and is the proud owner of two loving cats, and another that’s kind of mean but loves her anyway (probably). She can be found on Twitter at https://twitter.com/squeenoodles

*Note, all opinions are the opinions of their respective Authors and may not represent the opinion of the Editor or any other Author of Keep On the Heathlands.

IS THIS REAL LIFE? NO, IT’S JUST FANTASY – CHECK YOUR CRUSADES AT THE DOOR

*Note, all opinions are the opinions of their respective Authors and may not represent the opinion of the Editor or any other Author of Keep On the Heathlands. In the future, this note will append all articles.

Many of us, I dare say even most of us, indulge in role-playing games as a cheap and effective form of escapism. Whether it is crowding around a dilapidated table with far too much caffeine and crunchy goodness, or getting dressed to the nines on a Saturday night to go hang out at a planetarium or a VFW hall, we make the conscious choice to go be someone else for a few hours out of our busy lives.

So, you’ve decided to go be someone else. Groovy. You have your character sheet, your costume, and your desire to go wreak havoc. Did you remember to NOT pack your pet social agenda?

Every character should have something they believe in, something they are willing to fight for or about. It makes them more real and believable, more a person and less a collection of dots on a page. True Neutral characters (using the Gygaxian alignment system) are really hard to play and even harder to identify with. The key is choosing the right motivating force to maximize enjoyment for the player group, not just to get your own personal rocks off.

Around a gaming table or at a LARP venue is not the place for your day-to-day crusades.

No matter what your personal vendetta-against-the-world is, it doesn’t need to impinge on anyone else’s enjoyment of the game unless it is in character and contributes something to the shared story as a whole. character-sheet

A character that is nothing more than dots on a sheet with an axe to grind and an agenda to forward is not fun to play with. Beliefs, crusades, convictions, or interests squished together with XP dots should not, and more to the point, do not, a character make. That’s a basis of a character that is waiting to be fleshed out.

Immersion is also known as “suspension of disbelief” and is crucial to the role-playing experience. Intentionally interjecting out of character concerns into a scene or genre where they are not applicable is a very good way to break that suspension, and this is an issue that is becoming more and more prevalent in these contentious and socially-charged modern nights.

Let me explain that a little bit. If I am sitting down and playing a half-elf rogue with chaotic evil alignment, in a high fantasy setting, that half-elf rogue is not going to give a flying goblin’s damn about third-wave feminism.

A three-thousand year old vampire is going to be either incredibly confused by, amused by, or completely blasé towards the entire concept of gender fluidity. (Especially if they know any Tzimisce.) Worthy of consideration is the fact that various cultures and societies have wildly varying definitions of gender and societal norms than the Western/Western European cultures that many RPGs are based upon, particularly if you are looking backwards in history and taking a static view from the time of the vampire’s creation.

annie_kenney_and_christabel_pankhurst

Allow me to present a positive example of bringing a modern crusade into game in an appropriate and entertaining fashion.

There is a young lady in Underground Theater who played a relatively young vampire (under 100 years old, I believe) whose character, in life, was a passionate suffragette and enthusiastic patriot. It was entirely in character for her to bring up feminist perspective and interpretations of events. That was an AMAZING character who spawned a TON of interesting IC interactions, because seeing her talk about women’s rights to a two-thousand-year-old Roman Centurion was really something else. She also enthusiastically called out the Elders who advocated for monarchy over democracy. It was fantastic!

I have also seen an entire game grind to a halt because of what I have termed the “weather report” phenomenon. Presented for your edification:

Character A: Hey, B, have you seen the weather for tomorrow? I need to know what kind of gear to bring.

Character B: Well, as a *insert adjective indicating some aspect of identity* person, I think it’s going to rain.

Now, unless that adjective indicating some aspect of their identity is something that is actually germane to the conversation, i.e., a meteorologist or a druid, that adds nothing to the conversation and just slaps the other participant in the face.

Scene: Three Werewolves outside of a pack meeting, casually discussing plans for taking down a Black Spiral Dancer hive.

black-furies

Character A: Hey, B, what do you think the weather is going to do tomorrow? I need to know what kind of gear to bring.

Character B: Well, as a gender-fluid Black Fury Metis, I think it is going to rain. We should be ready to get muddy.

Character C: He just asked you for the weather report, dude.

Character B: And as a gender-fluid Black Fury Metis, I gave him the weather report.

Players A and C walk away from Player B, who congratulates themselves on raising consciousness or some such thing, completely ignorant of the fact that they may have alienated Players A and C by waving that banner constantly. End Scene.

This is a slightly altered version of a real conversation that I have seen happen more than once.

A key point to consider: You can alienate characters all day, every day. The key thing will be to not alienate players, since players are the lifeblood of a game. This may be a good time to step aside, out of character, and do a temperature check to make sure that context isn’t becoming blurred. A quick aside, less than thirty seconds, can smooth a lot of ruffled feathers.

As shown in the first example, there are ways to wave your banners effectively and without breaking immersion – you just have to build your character’s backstory in such a way that that particular issue becomes prevalent without beating people over the head with it. It requires a lot of thought and consideration, which should deepen the player’s insight into their character and make them even more believable and real.

The second example is almost belligerent in its emphasis on the snowflake aspect, which does tend to be alienating if that is the only aspect of the character that really comes into play. No one is going to remember that Black Fury as the one who took down a BSD on their own; the player has forced that one aspect of their character to be the primary one.

As a whole, I have never met a more inclusive, welcoming group of people than the LARPing community – hell, increasing inclusivity is the entire purpose of this blog – but every single one of us is a human with a stressful life, political and sociopolitical opinions, differing experiences, differing preferences, and our own demons in the dark places of our minds. Our games are our escapes from the pressures of the modern world, not an additional platform for our personal agendas.

I despise using the term “safe space”, because I don’t like what it has been corrupted into, but the role-playing world should be a relatively safe space for BOTH ends of the spectrum. If you are a plain vanilla person, go to church every Sunday, drink cheap mass-produced beer and think that Disturbed is Satanic metal because of their album covers, you go right ahead and do and think those things. If you are an alphabet-identifying peacock of a screaming nihilist Norwegian death-metal fan who only drinks the blood of unborn ponies during your Zarathustrian rituals, that’s your gig.

(INB4 angry emails/comments: obviously these examples are two wildly different ends of a spectrum that doesn’t encompass every single person. It’s called hyperbole. Carry on.)

The vanilla person doesn’t need to have to constantly hear about how delicious the pony blood is, and the peacock doesn’t need to hear about how to make America great again. The likelihood of changing anyone’s opinion, in ANY context, not only gaming, is incredibly diminished when one’s main tactic is a full frontal assault.

Now, if a young Gangrel is trying to convince a very old Ventrue that cellphones really aren’t tiny magic boxes that show pictures and have people’s voices coming out of them, that’s fantastic (and an interesting commentary on the Luddite-ism of the generational gap). If a male Toreador is regaling the Court with stories of how he was really Louis XVI’s secret lover, and all the effort and rigamarole they had to go through just to get five minutes alone together without being under suspicion, that’s even better (and can draw attention to the fact that gay famous people did, in fact, exist in history and had to take great pains to hide their sexuality, so the modern reality of open acceptance is really awesome).

If you are playing a character who is from a culture that is markedly different from mainstream modern nights, do a little research (or a lot of research) into that culture so you can deepen their character and your presentation of them and their culture. This will likely involve finding out some rather nasty things by modern standards, like objectification of women, slave trading, oppressive social structures, and the like. Don’t flinch from this, but use it to inform your characters. Did they enthusiastically participate in these societal norms, or did they overtly or covertly resist them? Especially in horror-based genres, like Vampire or Werewolf, it is not rational or believable to have all the characters be white hats/good guys. Sometimes, you have to accept that you were likely a bastard/bitch who profited from or enjoyed the subjugation of others. This is a mature and healthy understanding of the difference between our actual selves and our characters.

“But I really want to raise awareness of X issue! It is a Thing! It is what I believe!”

That’s fantastic. Game is not the place for it. Don’t inflict that on the other characters, especially if it is not relevant to the genre or storyline. If you want to convince people to look at an issue differently, talk to them as player-to-player, ideally in a relaxed social setting. Don’t force a character to be a mouthpiece for your pet project.

Make friends with the other players (scary prospect, I know, but you’ll be okay, I promise) and spread your message that way. I guarantee you’ll get better results.

In closing, make an effort to truly differentiate yourself as a player from yourself as a character, remember Wheaton’s Law, and learn to check your banners at the door – but it’s perfectly fine to pick up a few more.

Georgia is a fervent convert to being a gamer, having come to the gaming world later than most. She is a diehard World of Warcraft player, an enthusiastic Vampire: the Masquerade LARPer, and a neophyte player of Exalted, 3^rd Edition. The game that solidified her love of tabletop games was a legendary Star Wars: Saga Edition game that consumed most of her life for three years and provided an introduction to her husband. When she is not throwing dice or murdering pixels, she is often found working on her urban fantasy novel, cooking anything that does not resist being thrown into the pot, and attempting to make a living as a freelance editor. She lives in Tacoma, Washington, with her husband and feline overlords. She can be contacted through Facebook via her page, In Exquisite Detail.

THE FUTURE OF DARKNESS: AN INTERVIEW WITH WHITE WOLF PUBLISHING

The staff at White Wolf were willing to do an interview with the staff of columnists here at Keep On The Heathlands. Some of the following questions reference discussions had at The 25th Anniversary Grand Masquerade event in New Orleans over the Labor Day Weekend. Videos to the Keynote and the Q&A are now available to give context for anyone reading this interview. We want to thank White Wolf for taking the time to do this interview. Our staff are huge fans of the World of Darkness and other games created by White Wolf over the years.

We’ve seen a lot of commentary regarding the White Wolf Keynote at The Grand Masquerade – specifically around the statements made regarding the content presented within the World of Darkness and the call for games and communities to not censor various topics with a broad brush. Would you be willing to share exactly what was said, as well as the follow-up statements that were made during the beginning of the Q&A session at The Grand Masquerade?

Dhaunae De Vir (Manager of Availability – Business Development): Of course. We have just released the full-length video for the keynote and the Q&A at The Grand Masquerade. Additionally, I would like to reiterate once more that no clubs were targeted at the keynote, that we do not intend to meddle in fan clubs management, and that we fully support the idea that game spaces should be safe for everyone.

With the One World of Darkness, it seems like cross genre play will be integrated from the beginning. How do you anticipate having this work?

Martin Ericsson (Lead Storyteller and Brand Architect): We’re imagining a world where the shadows are shrinking. The awakened monsters have always brushed shoulders, but the vastly different art direction and surface tonality (not to mention the slightly messy rules) of the different game lines have made crossovers run a risk of being a bit campy. This time we try to place them all in our own world, in dangerous and fascinating places where their rising conflicts makes WoD’s mysteries, political themes and menacing horror come to the forefront. For example, we are developing Werewolf in close parallel to Vampire, hoping to make the most of the tension between the cold corporate predation of the Camarilla elite and the just but oh-so uncontrollable just war of the Garou Nation. The games will be perfectly standalone, but still manage to link up in specific ways. We’re not imagining a game made for multi-creature parties, rather set them up as perfect antagonists and philosophical counterpoints, as well as rivals for the fate of humanity in desperate times.

What, if any, less explored books, supplements, or ideas from the original game lines are you planning to bring back or explore deeper in the One World of Darkness?

Martin: There are many early books that deserve to be updated to contemporary times and get hooked into the development of the metaplot, a lot of great but underused ideas that popped up in fiction anthologies have also caught my eye. To name some personal impulses: ”Shoah: Charnel Houses of Europe” and ”Gypsies” (Should be called something like “Opre Roma!”) could use new editions in our age, as the horrors of the fear of the Other is again on the rise in Europe. I read a lot about the Ashirra and Middle Eastern WoD for obvious reasons. I think a lot of greatness is found in books like ”Love Beyond Death” and ”Ghouls – Fatal Addiction” and you’ll probably see us inspired by stories where the supernatural meets the mortal world a lot more. Also, Dark Ages of all kinds! Holy shit, there’s a lot of treasures there. I also love the first and second edition of Mummy…

One World of Darkness

White Wolf has talked about increasing and supporting diversity of thought, and identity, at the same time, you are not shying away from using role-playing to explore the darkness in the One World of Darkness. Can you tell us how you are planning to address both of these?

Dhaunae: We are going to give voice to groups that did not have a voice before. This means some topics might be revisited from a different point of view, and some new topics that were never considered before that are relevant to these new voices will be brought up. I personally think it will be thought-provoking to see what darkness means for these new voices, and what dark topics they consider interesting and appropriate to talk about. It might be something that we never thought about before, it might be an eye-opener, and it might even be helpful to understand other human beings better by walking on someone else’s shoes.

At the same time, when exploring dark topics, everyone should be free to choose what experiences and what level of intensity they want to be exposed to and participate in. If some topics are not interesting or if the subject matter is too harsh, there should always be the possibility to opt-out. I want to clarify when I say “too harsh”, I don’t necessarily mean rape. We are role-players, and our imagination is vast and ever-growing.

Martin: Write about what you know! We will continue to represent all ethnicities and the legends of the whole world as basis for our creatures and we will make sure to do it with less rose-tinted goggles and prejudice than maybe done before and really do our best to have people with relevant experiences writing about it.
lore-of-the-clans

Martin mentioned at Grand Masquerade that he sees the World of Darkness in a similar light to important literature. This may tie into the previous question as well, how do you see the World of Darkness having a literature like impact on players, storytellers, and other consumers of WoD related media?

Martin: WoD has always dealt with the most difficult questions in life, from the unflinching exploration of addiction, loss of self-control, transgressive and inhuman morality in Vampire, the price of violent activism and the lure of heroic fascism in Werewolf, lost vulnerable souls on the brink in Changeling, dealing with our fear of death in Wraith as well as constantly challenging and smartly transgressive expressions of sex, love, death, toxic relationships, depression, class and gender inequalities, monsters as metaphors for personal insecurities, exploration of insanity and all the other worthy themes of great culture. Personally, I think these issues were handled best in early supplements, but the desire to mean something to players and readers, with loaded themes and moods is a core part of the setting. We want WoD to be the thinking person’s fictional universe, where the questions ”what is this is real” and ”what important questions can we ask” constantly guide us. With an eye to social justice issues we shine a light in the darkest places and assume monstrous perspectives on the real world to learn more about it and ourselves. In practice it also means working with excellent writers and be obsessive about artistic quality.

The Science Fiction & Fantasy Writers of America organization recently changed their membership rules to include game writers. As this gap between game writers and speculative fiction writers shrinks (around the world), what value do you see in integrating game writing into the broader writing/publishing industry?

Tobias (CEO White Wolf): Isn’t it about time that cultures around larps, RPGs and similar forms of entertainment finally get the credit they deserve? Look at the impact World of Darkness had on the modern vampire and werewolf myth today established in numerous film, television and other forms of entertainment. This is serious work by great authors and we do appreciate and applaud the recognition of it.

White Wolf has talked about moving the emphasis of the World of Darkness to Europe, the Middle East, and Asia due to the previous focus being in North America. Has there been any discussion about what process you’ll use to determine who to provide a license to write content for other underrepresented parts of the world, such as Central and South America, or Australia?

Tobias: About moving the emphasis, there is an unfortunate misunderstanding there, so I am very happy to elaborate and clarify that. What we have said is that we will now include stories and perspectives from the rest of the world, which means adding more but definitely does not mean to lessen then number or importance of products or stories taking place in North America. We are not slicing the pie differently, we are making a new much bigger pie. At The Grand Masquerade we announced that our distributor in South Korea have written a Seoul By Night book* which they will publish, and I think that is a great example of how to create content that is relevant to the specific audiences. Have people who knows about the actual place and cultures to write about it.

We are constantly searching for and being approached by talented people from all over the world who want to do amazing things with our IPs including Russia, the Middle East, and Africa to the places you mention in your question. We are working actively to increase our number of content creators all over the world as well as keeping the strong core markets filled with new, relevant and exciting content.

*Random Editor Burst of Excitement: THIS SOUNDS AMAZING!

The World of Darkness setting was brought to video games with mixed results. Do you have any ideas on how to successfully bring the WoD setting to this medium, and what sort of games are you considering developing?

Tobias: Bloodlines from Activision is still played and patched 12 years after its release, which I think is pretty amazing. Personally, I have spent well over 20 years in the computer games industry so what I bring to the table is the network and profound understanding of that industry. By presenting the IP and our vision for World of Darkness at various game industry trade shows and events around the world, in addition to travelling and visiting game developers and publishers, we have already received unbelievably positive and enthusiastic responses.

Our goal is to find computer game developers and publishers who can do fantastic games for various genres and platforms. Our goal in the next few years is to eventually release games on a yearly basis. I see no limit to what kind of games might be produced, the World of Darkness lends itself too many genres and cross promotional opportunities. For example, at The Grand Masquerade one of our partners EarPlay showcased a voice controlled choose-your-own-adventure game based on the Orpheus property. Isn’t that cool?

How can we, as fans, support and encourage White Wolf moving forward?

Dhaunae: We share a common goal, we can work together, and I think that is beautiful. I am a long-time World of Darkness fan myself, and I know what it feels like not to know what White Wolf’s next move will be. If it will be something that I will applaud, or if it will be something that will hurt me. So I would say trust is crucial here. We would ask you to trust that we at White Wolf really want the best for World of Darkness and its fans. We might make mistakes down the road, because we are human, but we are working like crazy and very enthusiastically to take World of Darkness to the place it very much deserves. In order for trust to happen, good communication is essential, so please feel free to contact us: write us e-mails, talk to us at events… We do want to know what you think.

Admin Josh Heath as Jean-Pierre at The Grand Masquerade

In some rare occasions, the path forward to get to this fantastic place with

World of Darkness might not seem logical from the outside, and we might not be in a position to disclose all the information just yet. We hope that, by then, we will have gained your trust.

Other than that, keep doing what you are doing. We trust you and think you are also doing your best to make World of Darkness a great hobby.

Martin: Let your black flag fly. With so many exciting things around the corner, this is a good time to talk to people
about why we need a smart and grown-up horror universe as a part of the geek-cultural landscape next to lighter adventure-style fare like Star Wars and Marvel. Come meet us at cons, run that game you’ve been thinking about for years and send us the very best thing you’ve written, drawn, etched, carved or sung about the dark world. Army of the Abandoned; the time has come to rise! Blood and Souls!

Considering the joint statement from US based LARP fan groups, would you like to address how you will be working with those groups on the issue of player safety?

Tobias: Player safety is naturally absolute key to any business, no one should have to feel unsafe at an events. We don’t organize events ourselves but in our contracts we do our best to set the level for what we consider is required by our partners in terms of quality. But contracts aside, we always talk with our partners about how they can ensure the best possible experience at their events.

What we did our best to message at The Grand Masquerade was that even though our world is dark and mirrors all kinds of really heavy topics it is important that when larping or participating in any our products, that people do it on the level they think is ok and safe for them. We are also absolutely behind the fan groups playing our games in a way that fits their individual preferences. I mean, how could you possibly have it any other way?

We do our very best to work closely with our event licensees, and we will as originally planned from the start eleven months ago get into the nitty gritty with our fan clubs very soon. We had great initial meetings with the fan clubs at The Grand Masquerade and look forward to working with them in the future as we now have the resources available to focus on that.

But in specific as to what we can do, I think the best use of White Wolf as a licensor (except setting a clear level in our contracts as to what is acceptable and what is not) is as a coordinator between the different LARP licensees and the fan clubs to make sure they share their experiences and best practices regarding safety and consent and all other aspects of participatory entertainment. In the end it is them who deal with the players on a daily basis, and it’s our responsibility is to support them as much as possible and to help make what they do easier. The goal is to have the best possible and enjoyable events set in the World of Darkness.

Final Editor Comments
We believe White Wolf takes a positive stance here. They are dedicated to shining a reflective light on our reality to ensure that we recognize the darkness in our own lives and create methods to change or eliminate that darkness. Safety of players is supported, at the same time as encouraging a deep investigation into human behavior, identity, and action that is as beneficial as great literature. Please reach out to us or White Wolf if you have any questions or concerns.

SOCIAL CONTRACT

So you and your friends have decided to try out this “RPG” thing. Your groups want to give it a try and see what all the buzz is about. Before you go diving in, there are some steps that, as a group, you all must take into account. When deciding on a new game I recommend that 5 questions need to be addressed and answered. They are as follows:

1) What is the time frame we are all willing to put into the game?

2) Where will the game be played and who will host the game?

3) What game will the group run?

4) Who will be running the game if a Game Master (GM) is needed?

5) Are there any topics or themes that are to be off limits in the roleplaying setting?

Each of these will be covered in a future article over the next few weeks.

Don’t worry! I will give examples of the discussions, in italics, that should be taking place for a satisfying gaming experience to be had by all. I also highly recommend reading over Josh’s excellent entry on using gaming as a form of dialog. That Blog Article touches on many ideas that I feel are also central to this thing I call the Social Contract.

1) What is the time frame we are all willing to put into the game?

The first thing you need to decide is how much time your group is willing to set aside for a game. I start with this question as it sets the stage for the rest of the questions to come. This helps to set expectations. Everyone involved will be aware what time requirements will be required in order to take part in the game, either as a player or a GM. Once the time factor is decided, there are three sub questions with regards to time frame. These are as follows:

1a) How many days per week/month will the group meet to play the game?

2a) How long is each session going to last?

3a) How long will the story run for i.e short arc vs. campaign?

Looking at that first sub question: How many days a week/month will the group meet to play the game? Sure it sounds silly but it’s one that must be noted. For 99.999% of groups this will be easy to determine based on schedules and other commitments.

For example, I have a few ongoing groups and these groups meet not only on different days of the week but also with different frequency. One of these groups meets every Thursday in person. Another one of my groups meets every other Saturday via Skype. The point is different groups with different agreements and expectations of when and how often they will meet.

Now we know when we will meet. How long can we meet for? This is important for many different reasons. The main one being making sure that the GM running the game has enough content prepared and ready to fill the agreed timeframe.

There is a ratio I use to determine how many hours I like a session to last depending on the number of players. I will go into that in a later entry. For now just understand that your GM will spend time out of game putting together the story.

That is if a GM is needed. Just wait I will get to that under the “what game will the group run” question.

While the timeframe for how long each session will last is important for the GM, it also helps the players. For me it lets me know who many scenes I can expect to be in or be center stage for. This is another topic which I will touch on in a later entry but, a player should have at least one scene highlighting her or his character. From a standpoint of length of each session this means that one can roughly determine how long your scene will last. This can help to keep the story moving along and prevent players from monopolizing both scenes and time.

Now we know when we will meet and how long each session will last. What is the time frame for the game we are playing? How long will this story last? This is important because life has a tendency to interfere with gaming. Some groups like to do a series of one shot games (think of these like a sketch comedy show, that always uses the same actors, but in different roles each episode), others a mini-campaign of 6 or 7 game sessions (this is like a television mini-series) and still others like massive year-spanning campaigns (an example of this would be an hour long Drama’s entire series production run).

What will work best for your group is part of the contract, for example, your group decides to dedicate your free time once a week for 4 to 5 hours per session, what is the end date for this particular game?

I have played in plenty of one shot style games where a whole story is told in one session. On the extreme opposite of this I ran a decade-long Vampire: the Requiem game that started from the time the main 1st edition book was released in 2004, and ended in 2014. … yes we met weekly.

Both of the above examples show two very different games in terms of length of story. Knowing how long that story will go on for will help in deciding what the group as a whole can commit to.

With regards to the Vampire game mentioned above I had plenty of people who shied away from it because it was both daunting to them and they didn’t want to commit to something like that in terms of length.

Also, knowing the length of each story or campaign allows the possibility for players to rotate who runs the game as GM.

For example, both my Thursday and Saturday groups mentioned above rotate between GM’s. Once one story is finished another GM will step up and run a game. Each campaign runs about 5 or 6 months on average. This for us helps with a few things; one, no one person gets burnt out on running and never getting to play, and two, it allows us to try many different and diverse games.

Make sure everyone is okay with both the frequency and length of the game. Yes, you will need to be willing to make compromises; so make sure those diplomacy stats are high and not used as a dump stat.

In recap, we have an understanding so far of what frequency we’ll be meeting and how long the game we are going to run shall last. With one big question out of the way we can tackle the next one:

Where are we doing this thing at anyway?

Where indeed?

That I shall cover next week…

Scott is a true analog gamer doing everything from pen and paper RPG’s to board games and everything in-between. He started out with Advanced D&D 2nd edition at the age of 10. From there he likes all genres and types, from the well known big names to smaller indie print publishers. Scott is Vice-President of The Wrecking Crew

LARP & THE DISBELIEF DEFICIENCY

A first level witch was my first character in the Forever’s Destiny LARP, and the first character of any LARP I had made. Until then I had just attended the first few events, was playing monsters, trying to understand the ropes, and getting a feel for the atmosphere of gamers in the middle of the English countryside. There I was, not quite the “starry-eyed youth” discovering a new environment, but still excited by all that was going on around me. One evening, I was with everyone at the High Table, the communal dinner event in the main site cabin, listening to the high-level players. I overheard someone mention that yeah, they’d just come back from a trip to Hell.

I was surprised to hear someone mention that trip so casually. Hell is a big deal in mythologies that have it; whenever we hear the name, we know to imagine horrors and suffering beyond our wildest imaginations (assuming Judeo-Christian beliefs, which are common in role-playing games). But there they were, a player just blurting out the reality of their character. A tiny bit of the suspension of disbelief was burned away.

That event was not the only time I witnessed this kind of situation. Years later, in World of Darkness LARPs, the same thing happened multiple times. For example, I noticed a recurring theme of Werewolf characters, at higher ranks, talking about going to the extremely dangerous realms Erebus, Flux, Malfeas, etc as if they were taking a trip to the local grocery store.

Demon reading a book.

I dubbed these kinds of situation the “Hell and Back Syndrome”: phenomena of traditional gaming where players – often new – have their suspension of disbelief shattered due to others treating the fantastic as mundane. For a while, I considered it disrespectful on the part of players to do that. “Why would you ruin the game for newcomers?” I asked myself. “Why don’t the game staff enforce the rarity of rare events, use more descriptive language, tone down the times they funnel players into higher-level areas?”

As some of you reading this will understand, once you play for long enough, it stops being that simple.

Being an active participant in gaming culture leads to these accomplishments:

Learning the general forms and concepts that most games rely on
Acquiring familiarity and competence with the systems one uses
Becoming more intimate with the world one’s character is a part of
Navigating the social spaces formed around the above

In these accomplishments, I believe that we find another failing of LARP. All of the above are skills to be mastered, and much like outside of games, mastery often brings boredom. Unlike some non-gaming skills, though, there are definite ceilings. Once you know a system like the back of your hand, there isn’t anything more to learn. Game settings can be relatively static once established, and it’s possible to see an end to the things you can know. For those people who want to try something new, they may find themselves stymied by the shared world of LARP, where the settings has to be enforced for the sake of balance and consistency among all players. Before you know it – BAM! You’re burnt out, the fantastic becomes mundane, and we hit the Hell and Back Syndrome.

Talking Gentlemen Tabletop RPGs don’t sidestep all these problems, but benefit from organizing games around a single group of people. Navigating smaller social spaces affords a greater flexibility in how game sessions develop: fewer people are needed for consensus. There’s irony in a big draw of LARP – the social aspect, – being one of its bigger problems to tackle.

Particularly in LARP, we have a shared responsibility to make gaming enjoyable. If you run into these situations, a few strategies might help.

If other people are spoiling the setting, talk to them, preferably outside of live game time. Communication is the cornerstone of just about any social experience. There’s no need to be hostile, and it might lead to better role-play in general. You may also want to talk to the people running the game. They may be able to employ strategies to help other players, and may need to see if they’re contributing.

When it’s you doing it, it might be burnout. Treat it that way: take a break, switch games, discuss your issues with staff, or all the above. Yes, even if you’re staff yourself – you’re not doing yourself or other people favors running a game in a bad mental state. I’m pretty sure I’ve been a part of the problem by now (and if I haven’t, it’ll happen some time in the future). Years in LARP have bred familiarity, and occasional burnout.

It’s by no means the end of the world for LARP to have issues with the spoiling of players’ sense of disbelief, but it’s one of the reasons I look towards other, less math-driven, more story-focused, game systems these days. Maybe I’m seeing the consequence of system-driven gaming in the USA compared to, say, Nordic LARP. More flexibility, and fewer systems, could make LARP more enjoyable over sustainable periods, for a lot of people. Why not bring the flexibility of free-form acting to more events, and seek out tabletop gaming for more math-heavy fun?

ONE METHOD TO USE GAMING AS A FORM OF DIALOGUE

One of the goals of Reach-Out Roleplaying Games is to encourage cross-cultural dialogue using gaming as a venue. What exactly do I mean by that though?

ror_final

WHAT IS DIALOGUE?

Dialogue is a method of semi-formal to formal discussion surrounding difficult topics. Dialogue is often facilitated by a neutral or semi-neutral party to help the participants in dialogue understand and respect one another. Dialogue is not debate, the goal of the discussion is not for anyone to win or lose, though understanding and perhaps acceptance of another viewpoint is a potential benefit of dialogue. In a lot of ways, dialogue is very similar to table-top gaming already. You have a Game Master who facilitates a world-building discussion and shared story. Dialogue is about understanding each other’s stories, lives, and circumstances.

I was hired to host a dialogue at American University during my first semester of Graduate School, and part of my sales pitch was that I had run so many games over the years. Game Mastering or Storytelling is a really similar skill-set. You have to arbitrate the discussion, you have to give everyone a chance to contribute, and you have to be able to ask follow-up questions to get to the heart of what a person is looking to say. This is part of why I think gaming can be used in a dialogue to deepen that process.

Dialogue as a process is usually used to deal with heavy issues. For example, dialogue is used to bring Jewish and Muslim families together to discuss the conflict between Israelis and Palestinians. Most games are not overtly designed to talk about heavy ideas, but they can. Imagine getting a group of people from the same conflict above together in a gaming session. Instead of having them discuss the conflict over land that they are familiar with, you could develop a story that shows two groups of fantasy creatures fighting over shared space. You don’t want to be too ham-fisted about that, but if you mirror some elements of the shared experience participants are familiar with, you may be able to open eyes that didn’t see such parallels before.

HOW TO DESIGN A CHRONICLE FOR DIALOGUE PURPOSES

Normally dialogue happens over a series of discussions. Sometimes these are in chunks over a few short days or a weekend, and sometimes they are split over a series of weeks. For example, the dialogue I ran occurred over 7 weeks. This is a good time frame for a 7 game storyline; imagine sessions running for 4-5 hours each week. During a dialogue session, you would create a theme or series of specific questions to ask during that session. For our gaming method, you are replicating a similar process by outlining what sort of events you’d like to have occur in each episode/session/game.

Create 80% complete pre-generated characters. As the game master this gives you some more control over what sort of skills, powers, abilities, or interests each character will have. That allows you to plan the story more effectively. At the same time, you want the players to invest some of themselves into the characters. Depending on the game you are creating this 80/20 rule will look a bit different, but you want to ensure you give the players just enough customization to matter and you don’t want to overwhelm them with a GURPS level character creation either.

Set a topic, and recruit players that are interested in addressing the topic you are going to use. You want to design your story to address some of the real-world elements you are working into the dialogue. For example, you want to host a dialogue session on racial tension in the United States? Cool, first thing you want to do is recruit players willing to dialogue over this issue, try and create a diverse group, and then incorporate concepts of race relations into your chronicle design. There are a lot of ways to do this. If you are playing a fantasy game, having two actually different game races in conflict may seem a bit too heavy handed. At the same time, discussing tensions between Dwarves and Elves might work perfectly for the story you want to tell. Balance it; find the right elements that fit your goals. The Eberron setting for D&D has some effective interpretations of Goblins as an underprivileged group. Games like Urban Shadows allow for modern fantasy investigations into concepts that would be good to dialogue with as well. The goal here is to address a topic your players want to investigate and weave it into your story.

At the same time as you are designing your chronicle, you would want to plan for and develop a short ground rules and debrief before and after each gaming session. The ground rules let you as the game master/facilitator establish what the group understands about dialogue, gaming, and lets you set some ground rules for how you will interact with one another. No swearing, no shouting, are good examples, as well as dice should be rolled on the table, and perhaps no chips at the table. (That is a mix of dialogue and gaming rules I’ve instituted over the years at different times) From the rules, you have a framework to hold your players accountable during the game and after during the debrief sessions. You may want to either hold the debrief at a different time, or set-aside an hour or two at the end of every game to work through it. This debrief will help the players internalize the concepts they dealt with in-character, it may help them either notice or eliminate negative bleed, or it might help them identify positive bleed. Bleed is a concept normally discussed in LARP, but also can be experienced at the table. Using role-playing as a dialogue method, you’ll likely see more bleed than usual.

From a gaming perspective you want the sessions to be interesting, engaging, and fun. From the dialogue perspective you want the sessions to be deep, and dive into topics that might be sensitive. This requires you actively engage your players for feedback and approval throughout the session. Every player should know what they are getting into. Trigger warnings are beneficial prior to sessions, as are methods of leaving a scene. There are some methods that are used in Nordic LARPS that could be useful to adopt. Around a table, with smaller groups, it should be easier to do verbal check-ins to ensure that players are comfortable with the game. If not, stop. Consent and collaboration are important to the process.

Sample Questions to Ask During Debrief

How is the game going so far? Do you have any questions?
Do you have questions about how your character is acting in relation to others?
Are you comfortable with the items the story is addressing?

Do you want to discuss any actions taken by a player that occurred in-character?

Is anyone concerned with IC or OOC action taken by anyone?

Are there aspects of the game you want to play more of?

This is an early model of this type of gaming as dialogue model. If you have questions, ideas, suggestions, or would like to provide feedback I am more than open to discussing this idea further.

Josh is the Admin@KeepontheHeathlands, he’s got a degree in International Peace and Conflict Resolution from American University.

THE STORYPATH SYSTEM IS AWESOME: BACK SCION’S KICKSTARTER!

KICKSTARTER LIVE NOW

Scion is a game that puts the players in the role of descendants of Gods. This is a game of cinematic story, fast moving and epic. From ‘lowly’ heroes, to demi-gods, and eventually reaching godhood, characters in Scion strive for apotheosis while battling the reawakened Titans. In the original game, there were 6 Pantheons, and in the 2^nd edition there will be 10. There is potential for further options as well in later books.

Aesir – The Norse Gods

Deva – The Hindu Gods, Kami – The Japanese Gods

Manitouk – The Algonquian Gods

Netjer – The Egyptian Gods

Orisha – The Yoruban Gods

Shen – The Chinese Gods

Teotl – The Aztec Gods

Theoi – The Greek and Roman Gods

Tuatha de Dannan – The Irish Gods

Each of these Pantheons is connected through the power of a shared Story, a Fate that connects them with one another. Their offspring, the Scions, are not all direct descendants in the 2^nd Edition, but they will be connected through this supernatural Fate that binds them. Some of you who are familiar with the Proto Indo-European diasporic root nature of some of these pantheons may wonder why they aren’t the same beings? (PIE or GTFO). The game defines them as Incarnations that exist separately from one another, they have a different existence, perhaps your characters might rise to become a different Incarnation of a similar god? So how does is this going to work?

punch-and-pie

About a month ago, the Storypath System Preview was released by Onyx Path Publishing and I’ve been perusing the PDF for a few weeks. I then got a copy of the preview in beautiful printed form while I was at Grand Masquerade. This new system is going to be used for both Trinity Aeon and Scion, and though I am way more excited for the return of the Trinity Universe… Scion looks amazing as well. For anyone that was previously familiar with Scion, the Storypath system makes some adjustments that seem like they seriously enhance and evoke the style and themes of Scion. The first thing to notice in the System Preview is the Core Mechanic.

The Core Mechanic should be familiar to anyone that has played a White Wolf game, but it has changed a bit. That bit of change makes for a very cinematic dice mechanic. You roll a dice pool of d10’s, Attribute + Skill (familiar so far), 8’s and higher are successes (7’s for Novas and Demigods). Now, here is the adjustment: you have a target amount of successes for your action. The preview shows 3, if you fail, but don’t botch you receive a consolation which is an action that drives the story even if it wasn’t what you intended. If you succeed by getting the exact amount of successes, then you do what you wanted to, and if you get more you get to add Stunts to what you were trying to do. Very cinematic, very story driven, very modern game design that encourages failing forward and cinematic success.

200px-docsavage This Core Mechanic has waves throughout the rest of the basic system. If you fail, but don’t botch, you collect Momentum, which you can save up to use Skill Tricks. These are cool cinematic effects that a character can add to their action. The diving two-footed kick while shooting down a row of bad guys? That’s probably a Skill Trick that cost some Momentum to pull off. The Storypath system is designed to be flexible for scale though, if you want to play Superman 4-color style Super’s you can do that, or you can play gritty detective tales that evoke The Shadow, or Doc Savage.

Here is something about the Storypath System that actually I might be more excited about than I should be. Initiative. Initiative is something I’ve struggled with in most games. It feels clunky no matter how you do it, but I think the Storypath System has something fun that will make it stand out. First, your Initiative is based on the Attribute + Skill pool you plan to use in that first round. This stops the dumping of stats into Wits and Dexterity that we’ve seen in earlier systems based on similar rules. Then it gets fun, the player that goes first, chooses the next player in initiative order, that player chooses the next person, and so on down the line. This encourages some collaboration, and talking about what each person will be doing. The last person to go, is the first person to go in the next round, and so on until the combat is over. Pretty cool, I’d have to play this a few times to see if it is better than what I’m used to, but it sounds better on the surface.

There are a few other neat mechanics presented in the Storypath System Preview, and I recommend checking it out, it’s free. Now, what isn’t free, but you should be excited about anyway, is that Scion 2^nd Edition is having a Kickstarter that is LIVE NOW. So, you might be asking why that is exciting? You read to this point, so I’m assuming you at least have some interest in role-playing games… if you don’t… welcome to the site?

It is exciting because Scion is a great game, and the Storypath System is going to breathe new life into great games that I don’t think have got their due from the gaming community at large. Scion is well designed and interesting, and Trinity Aeon is one of the greatest worlds I’ve ever had the opportunity to tell stories within. Are you ready to begin an epic journey? Will you make your story last? Will you become a Legend, a new great Myth?

Josh runs this site and would love to talk to you about games. Email him at admin@keepontheheathlands.com

4 WAYS TO EFFECTIVELY USE THE HUMANITY ROAD/PATH/RULES IN VAMPIRE: THE MASQUERADE

Content Originally Appeared at High Level Games

Vampire: The Masquerade is a horror game; even if every game played isn’t about horror, the fact you are playing an undead parasite on the side of humanity is something that is horrific. That being said, the humanity/road/path rules have not always been cut and dry and that makes things a little difficult to use them effectively. In most of the VtM games I’ve played, most storytellers have ignored the rules or used them sparingly. I don’t think any of them disagreed with the concept, but they did get frustrated with remembering the hierarchy of sins and understanding when and how a roll should be made. Some also understood the horror side of the game, but didn’t want every session to be about the brooding horror and so they would sideline these rules to focus on other awesome aspects of the game world.
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Here is a short list of things I think help make the rules easy to use.

1) Make your players learn the rules too.
I know that the Storyteller should know the rules, but this is one of the rules that your players will need to spend some time with. Your players should learn what the hierarchy of sins looks like and why it exists. You should take 10 minutes to talk about what the Path Rating each player has really means. If it is high, why and how will that impact their role-playing are great questions for them to consider. Also, discuss the basic purpose of Conscience/Conviction, Self-Control/Instinct, and Courage. Players need to read this section of the book a few times, and don’t be afraid to start a session with a short-refresher training. Encourage your players to ask for appropriate checks. If they are thinking about draining a human because that person made their character angry, encourage the player to roll a Self-Control check to see if they follow-through, particularly if they have a high Humanity rating. If the players start suggesting such rolls for themselves then you are headed in the right direction.

2) Oh, if I go down in Humanity I can kill everything!
Sure. Let your players do this if that is the direction they think their characters would head. Then make them regret it. Remind them of the power of their Beast. Describe scenes to them differently; focus on the primal hunger inside them by making even basic human interactions a game of fight or flight. If they had an activity their character loved doing, find ways to make them realize that activity no longer holds appeal. Try adding Beast Traits, or other physical markers of their separation from humanity. I’m not talking about doing this every time they lose a dot of Humanity, but it is a good thing to add in every now and then to make the transition down into wassail worse for the character.

3) How about I switch to a path/road then?
Again, sure… then remind the character that such a transition takes time, not only time, but a true role-playing dedication to acting inhuman. Paths are alternative worldviews created by Cainites to help them try and reconcile their base natures with the Beast. The Path of Night does not simply allow for a player to act “evil” at will. Adhering to that path requires a dedication to thinking as that character, making choices that would fit a philosophy in line with that Path. For characters on a path or road (depending on which rule-set you are using) that player must spend the time reading about that path. I recommend that player also create a sub-set of rules alongside the hierarchy of sins. This rule-set are parameters of how their character understands the Path/Road and how that affects their behavior.

4) Know when to Roll and when to Role-Play
In my experience, most WoD players know when to role-play their Path/Road/Humanity rating, but very few know when they should be rolling their virtues or rolling their path rating. This is in some-ways a recap of number 1 on this list, but it is focused more on the ST. Know when you should let your players role-play out a loss of humanity or regain it without rolls. If you think a roll is justified to make the decision the player is making stick, do it. This applies to path rating as much as it does to Self-Control. If a player on the Path of the Beast needs to roll Instinct to see if they chase after prey, even if that prey is inside Elysium, ask yourself if a role or a roll is the best way to handle that situation. I’ve personally seen Courage rolled the most, because I think most players and storytellers can get their minds around fear and a roll to see if they are affected by supernatural or ‘natural’ derived fear. Self-Control and Conscience are very similar, find times they are appropriate and story-driven to force rolls, and then encourage effective role-playing of the effects.

It can be awesome to role-play vampires as supernatural heroes, but you are missing something special about Vampire: The Masquerade when you do so. VtM is a horror game for a reason, darkness lurks behind every human action, and the creatures that lurk in that darkness are truly monsters. Don’t make every game depressing, but don’t be afraid to drive home the inhumanity of your characters every now and then.

MORPHOLOGICAL FREEDOM IN THREE EASY STEPS

Genetic engineering is one of the oldest human technologies dating back some 15,000 years. Yes, you read that correctly; I hope. Mesolithic was the era and the descendants of the wolves to first scavenge off the refuse of human communities were the target. While the exact series of events are debated, the fact is, around that time some bloodlines of wolves became accustomed to humans and eating what humans provided, overcoming one of the most crucial barriers between “wild” and “domesticated”, the acceptance of humans as the provider of food. Once this happened, the breeding of wolves into dogs and the hundreds of varieties that we know today really took off and arguably the most successful partnership between two species began.

The modern golden and sweet corn was engineered from a grass, yep, grass, called teosinte in the Americas about 7,000 years ago. The modern corn plant couldn’t possibly survive on it’s own in the wild and is a decidedly vulnerable and ill-fitted for survival plant. Think about it, ever seen corn in the wild? This plant however has become a centerpiece of our diets and our industries; the debate as to whether this should be the case won’t be addressed here but is something you should look into. Seriously; educate yourselves, people!

maize-teosinte

Starting an article focused on morphological freedom; the freedom of sapient species to alter and change their physical bodies as they see fit to do so; with dogs and corn may seem a bit odd. These two facts establish a baseline of fact; the human race has been modifying other species of both plant and animal persuasions for millennia and getting upset because we’re more efficient at it now won’t change what is an expression of our fundamental nature; adaption. Except we’re not adapting ourselves, we’re adapting everything around us. This is the seed that has grown into the fear and loathing of human modification and postnatal physiological alteration; that’s a fancy way of saying gender reassignment surgery.

Oh my people, you’ve stepped into it now as the trap snaps shut with Eclipse Phase, transhumanism, and a current politically hot issue coming right at you, so let’s do this. The idea of changing our bodies brings out more resistance in humans than the idea of altering ourselves mentally if the prevalence of mind-altering drugs both legal and illegal is any indicator. Why is this the case? Primal instinct. Our sentience and sapience is a new edition to this gene code carrying transport that is our bodies and seemingly we have far less of a reaction to adjusting our mental performance while the idea of transgender makes the skin crawl up your spine.*(Editor’s Note, thankfully, not everyone has such a reaction.) As a note the reaction your baser instincts have doesn’t make you a bad person; what you choose to do with that reaction determines the kind of person you are.

The history of Eclipse Phase doesn’t record when the first political shots were fired in the battle for morphological freedom, but if it’s the same as our own reality then I can understand the desire to hide that it was over bathroom usage. The result of that inevitable war is the rampant morphological freedom to be found in the game books as the selection of bodies or “morphs” continues to expand. This continuing growth of selection makes absolute sense from all angles; the Hypercorps would offer varieties of the same morph, much like a modern car lot would offer a selection of the same model with small adjustments and modifications which would create a multitude of choices, never mind the cosmetic choices. Would you like a body with cat eyes? Perhaps you’d care to see that model in the neon pink fur? We used a sea coral gene line to create the fluorescing effect in the fur which actually has a cellular nature similar to fish scales but we were able to maintain that soft RealFr™ feel. Let’s discuss terms; lease or buy?

inevitable

Because why buy when you know you’ll want to replace that body after a few years when you become bored with it? Or the new model arrives with gecko pads for an incredible climbing experience? The advertising would feature a neon pink cat like morph dangling from the cliff face of Olympus Mons while Roar by Katy Perry plays in the background. Also, consider that manufacturers wouldn’t build these bodies to last knowing that you’ll want a new one, whether a year later or ten, and Posthuman Studios has acknowledged this beautifully with the Planned Obsolescence trait. While most commonly associated with the Ruster morph, this should be a trait we see in almost all high performance morphs, especially those sold by Hypercorps. The same logic that powers the light bulb industry would most definitely power the morph manufacturing sector. While a morph that lasts a hundred years with minimal effort can be manufactured there isn’t a profit in a consumer base that’s only shopping on a centennial basis and so the corporations continue to their religion of profit in all things. So surely the anarchist outer system filled with free-thinkers, post-scarcity economics, and readily available means of production have created an environment where a single body can last and is more importantly socially acceptable and even encouraged?

Unlikely, friend; as the ever expanding need for new experiences in the face of eternity will fuel a constant desire and even need to upgrade, expand, alter. There’s little difference between the scum barge filled with sapients changing bodies in a constant desire for new experiences and the kids purchasing the latest iPhone because it’s the latest. They’re both craving the new, the different, and to feel they belong to a group not like any other. The consumer mentality is a weakness of humanity and doesn’t dissolve into the background because there aren’t corporations to take advantage of it. While the books of Eclipse Phase and the adherents of transhumanist thinking would have you believe that “mom & pop” and “grass roots” would be the best descriptions of their post-scarcity economy, the reality is the scarce resource in a post-scarcity economy would become reduced down to fundamentals; time and knowledge. The specialized skills and services and techniques used in the production of goods would become the most highly valued part of any exchange. The reputation system in Eclipse Phase demonstrates that beautifully and, if anything, is simpler than what would be the reality.

The technological level painted by Posthuman Studios doesn’t allow for subsistence economics or desperate survival in the face of unavailable staples like food or water; the technological level presented means that all basic and necessary survival items, like food or water, are readily available to all. In order to make a setting where getting your next meal is important you would have to remove the technological level and this has an impact on economics as well. The skill of a talented chef is more valuable than the ingredients they are working with. What is important to the chef however is a bit different; more knowledge to increase his own skills, a more productive morph, better enhancements for tracking the goings on of the kitchen, better multi-tasking software. The economy would become a series of specialists offering valuable one-of-a-kind items and mass produced boring items of dubious quality. For the first time, quality would overpower quantity as the primary motivator of profit and nothing would be more valuable and profitable than morphs. A product that is literally the experience of life with the additions of improving quality of skill and performance in the areas most profitable to the owner has no analogue in our modern day; the value cannot be calculated.

The transhumanist philosophy uses morphological freedom as a supporting pillar, a primary tenet of the philosophy. While there’s this seeming assumption about medical advancements that will defeat aging, overcome cancer, and prevent all illness there’s seems this underlying drive, need, for true morphic freedom. There are a number of hurdles and concerns to be overcome for this to come to pass. Our minds operate with our bodies, our minds rely on the chemical messages and sensory data of our birth bodies and sends commands with so much ease to our various organs because both body and mind grew together. A process that creates a vast amount of integration, a perfect homeostasis between mind and body which is the result of and part of the process of our evolution. In essence we would need to learn every trick that evolution has developed through trial and error over hundreds of millennia in order to fulfill the transhumanist desire and we’ve only just barely begun. The technological underpinnings for such ease of transference of an adult mind are mysterious and distant and Eclipse Phase doesn’t focus on the technology and instead focuses on how the human subject is reacting to something. That is something Posthuman does very well; bringing the focus back to the human face.

The face of that human and in fact all of humanity in the Eclipse Phase universe is one constantly shifting between the wildly variable morphs that have become available. The societies that cover the solar system are where those who refuse to change their bodies are the strange and the weird, a far cry from the modern world where the idea of gender has created so much furor that you can hardly hear the few reasonable adults speaking. This is the ideological battle that’s commencing with the modern age as the first skirmish and Eclipse Phase as one possible outcome. There are centuries yet before we even come close to the morphological freedom that Eclipse Phase enjoys, if it’s even possible, but the potential for such is grandly done in Eclipse Phase.

Next time we’re bring neural programming, morph engineering, and the endless human need to meddle together and talking about uplifting non-sapient species. Yeah, ethics!

reprotech

Ewwwww…gross.

Justin has been playing, running, and designing games since he was 14. He enjoys reading, writing, eating, and sleeping. He also enjoys a good think but not too often as he’s very heat sensitive and doesn’t want his brain to boil over.