Plot To V5: Review of Beckett’s Diary

Anyone with a passing familiarity with this blog knows we write largely positive reviews. Mostly this is because I get motivated to write reviews for things I like, this tends to be true of the people who write for the site as well. We want to exalt the books we love, and allow others to focus on the negative if they so choose. That said, there are a few critiques we have of Beckett’s Jyhad Diary and I’d like to be upfront with those. The critiques are not about the writing though, the writing in this book is top notch. Matthew Dawkins and Neal Raemonn Price developed the book and their stellar ability to steer a ship into awesome territory holds true here. Written by: Alan Alexander, Matthew Dawkins, Steffie de Vaan, Joshua Doetsch, Renee Knipe, Matthew McFarland*, Neall Raemonn Price, Myranda Sarro, Malcolm Sheppard, and Monica Valentinelli, Additional Writing: Eddy Web. You all did really well here. We’ll get back to those elements soon.

This review is based on the backer PDF of the book. We will add some details on the physical book once it’s in our hands. As of this writing the POD and PDF is available on DriveThruRPG

What is this book?

Beckett’s Jhyad Diary is an in-character collection of the stories of the title character, Beckett. He is a Gangrel scholar that has appeared frequently throughout White Wolf books, including fiction and game supplements. Beckett acts as a narrator for an update to virtually every major plot location featured over the last 25+ years. In this case, Jhyad refers to the eternal vampiric struggle between childer and their elders. Beckett is an interesting character and he has relationships with many of the other meta-plot characters created over the years.

Critiques

Size

This book is immense. At 549 pages it is going to be larger than the V20 book itself. It took me almost a month to make my way through and that made it all a little overwhelming. There is a good side to the size of the book, but upfront I would rather have had several smaller journals. Of course, there are pros and cons either way, but my preference would have been to steer toward smaller texts.

Font

Most of the journal are faux transcriptions of recordings that Beckett has created. At times though, the book includes fonts designed to resemble handwriting. Beckett’s own handwritten segments are not difficult to read. This is not true for several side characters. Thankfully these handwritten asides or additions are short overall, but I found it frustrating to try and decipher something that was clearly engaging information. The worst segment for this is one of the later chapters, The Drowning of Rasputin.

Who is This and Where are They From?

As should be expected there are references to characters and plotlines from hundreds of books. Over the last year, I’ve read most of the Vampire: The Masquerade supplement books. Because of this, I feel like I knew where to reference the plots that were being updated. However, there were several instances where a character was being referenced and I couldn’t place them. Some of these characters, like Strohmann, are from the Vampire card game, The Eternal Struggle (also called, Jyhad). There were also references to many characters from the Vampire video games. I liked this, but I really felt like I needed some form of reference chart. The Vampire Wiki is a decent resource to use alongside this book, but I would kill for a full list of where I can learn more about these characters. I also respect this is a hard ask and might take a ton of work, but it would make this book much more valuable.

For example, where would you find Aisling Sturbridge if you wanted to use her in a game? New York By Night.

How about The Stone Man? Outcasts: A Players Guide to Pariahs.

Hesha Ruhadze? Followers of Set Revised, Gehenna, various novels.

The first two I knew off the top of my head, the last I had to check the Wiki. Of course, the Wiki isn’t perfectly accurate so it has limits as a resource. An E-Resource or PDF index of the World of Darkness would be amazing to have. This could be an updated version of Encyclopaedia Vampirica and I wouldn’t complain.

Character Details?

On a similar note, I would love to have character statistics for the characters described in this book. If I want to use Strohmann (a possible progenitor of the Samedi) and an Archbishop in Berlin, I’ve got to make up a sheet. That’s not the end of the world, but it would be awesome to have these details on hand. Like the above critique, this would be a fantastic digital product to have. I’d pay for it, and I’m sure a lot of fans would. I could then choose which NPCs to use, fire up their entry in V20 Encyclopaedia Vampirica (You can steal this name, OPP and White Wolf), and then I could print them out when I need to use them. Or pull them up on my tablet at the table.

What is Amazing About This Book?

Writers Gunna Write

This book is literally packed with meta-plot. If there was a plotline, story hook, or idea generated in any of the various media products created for Vampire: The Masquerade by White Wolf and Onyx Path over the years, it gets some love in this book. Almost all of the chapters in the book made me want to run a chronicle with the material provided. The writing is top notch, the plot hooks could fill a tackle box, and this book was really enjoyable to read. That last point isn’t emphasized enough in most RPG supplements. One of the best things about Vampire books over the years is that they have been interesting to read. Becket’s Diary is a fantastic new book in that vein. I can see myself re-reading sections of this book on a regular basis.

What Can We Expect in V5?

White Wolf has previously stated that they want to see Beckett’s Jyhad Diary as the link between V20 (and earlier editions) and the next edition of Vampire. There are dozens of little hints of that material here. There are references to the Gehenna War, the Keening, and several expansions of the Vampire: The Masquerade mythos. There are references to both Kindred of The East, and Kindred of the Ebony Kingdom in this book as well. Some of the characters from early books are now tied into those supplements. That sort of meta-plot integration is needed to create a truly world-spanning vampiric conspiracy. It appears as if Kindred are no longer going to be tied solely to the Judeo-Christian model we found in previous editions. We don’t know exactly what this is going to look like at this time. What we do know is that the V5 world looks like it is going to be much more integrated. Options for vampiric origin stories have existed previously but haven’t really held much weight. The rules made the Caine myth the default for various reasons.

Cyclical Gehenna

This is one of the more interesting plot points filtered throughout Beckett’s Diary. Gehenna is something that has come before and will come again. There are constant endings and beginnings to the Kindred. Further, there is an interesting story seed about the possibility of Diablerie being a positive thing. The African legacies reference the potential for sharing powerful blood with neonates. Are they right? Are the antediluvians jealous beasts for guarding their powerful blood? Are all of the Cainite elders? What does this mean for Vampire: The Masquerade? I think this is an interesting plot hook and I’m curious to see how and if it continues on in V5.

More than Plot?

Most of the book is plot, story, and there are also a few rules updates and expansions that are peppered throughout. There are new rules for 16th Generation vampires. This is explained by a ‘settling’ of the blood that happens when a new vampire is embraced. There are also details on new Kindred bloodlines or clans that are based in South  America. At this time, these new groups of vampires are given very short bloodline descriptions and now explicit rules, but this expansion of the Cainite mythos has a ton of potential. Tying into the concepts of powerful elders and neonates, and the cycle of Vampirism presented, this offers some cool hooks too.

My Favorite Stories

This is hard because there were a lot of stories in here. Thirty to be exact. I think my favorite stories were in the middle of the book starting with Transvaal Nights and ending with Carthargo Delenda Est. This whole section was top-notch. There were a few stories in the Diary that were less solid than others, but overall the quality throughout was high. A Brief History of Beckett wasn’t bad, but it felt out of place and kind of tacked onto everything else. The Drowning of Rasputin would have been better a little sooner in the book. It was not a bad story, but it was the story that had the most Font issues. It also included the South American vampire elements that I thought were fascinating, so it was a bit of a rollercoaster chapter.

Conclusion

Should you buy this book? That depends, honestly. Do you like the meta-plot in Vampire? If so, then yes. Do you like to create your own plots and ignore meta-plot? Then, maybe? There are a ton of plot hooks here that make this book interesting for the ST that wants to strike out and design their own World of Darkness. Do you need this to get ready for V5? Also, maybe. I don’t know how useful this book will actually be for V5 until we get those actual books. There are some weaknesses, but overall I am happy I backed the book.

Buy the Book

Credits
Written by: Alan Alexander, Matthew Dawkins,
Steffie de Vaan, Joshua Doetsch, Renee Knipe,
Matthew McFarland*, Neall Raemonn Price,
Myranda Sarro, Malcolm Sheppard, and Monica
Valentinelli

Additional Writing: Eddy Webb

Developed by: Matthew Dawkins and Neall
Raemonn Price

Line Developer: Eddy Webb

Editor: Dixie Cochran

Art Director: Michael Chaney

Interior Art: Sam Araya, Mark Kelly, Michael
Gaydos, Ken Meyer Jr., Drew Tucker

*A victim has come forward with allegations of sexual assault against this writer. We believe the victim and don’t want our review of this product to be viewed as support for this writer’s actions. At this time we plan to refrain from reviewing any products where he is the principal writer or developer. Mr. McFarland is no longer working on any on-going products for Onyx Path Publishing

Josh is the administrator of the Inclusive Gaming Network, and the owner of this site. 

*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

Blood and Betrayal Chronicle – Interview with Jason Carl

Recent news from By Night Studios has raised a lot of eyebrows, and caught a lot of attention. By Night Studios is the company that creates officially licensed Mind’s Eye Theater products for the classic World of Darkness. They are a licensee of White Wolf Entertainment AB, based in Sweden. By Night Studios released some details on their new business venture, Blood & Betrayal Chronicle, a global LARP story for troupes and individuals. People paid attention, because this is a new method of connecting individual troupes to a larger story. Jason Carl was graciously willing to answer some questions we had about this new endeavor.

Jason, can you start by introducing yourself?

Hello! I’m Jason Carl, CEO of By Night Studios. I’ve been working in and with games most of my adult life, at Wizards of the Coast (Magic The Gathering organized play, Dungeons & Dragons 3rd Edition), Xbox Game Studios, and Wunderman Seattle (Xbox marketing), and also as a freelance RPG writer (White Wolf). Today I’m also the Producer for Vampire The Masquerade 5th Edition for White Wolf.

How does this differ from the B&B and R&R games you’ve been running?

By Night Studios has run large-scale Mind’s Eye Theatre LARPs annually at World of Darkness fan conventions including The Grand Masquerade in New Orleans, Las Vegas by Night, and Los Angeles by Night. We called these LARPs ‘Blood & Betrayal’ for Vampire the Masquerade and ‘Rage & Retribution’ for Werewolf the Apocalypse. Hundreds of players enjoyed these games—there were over 400 players from many different countries at last year’s Blood & Betrayal—and each was a one-night event with a connected story that players could affect. So, what player characters decided and did at Blood & Betrayal Las Vegas affected the events of Blood & Betrayal New Orleans, for example.

Characters at Rage and Retribution

Now we are offering the chance to participate in a global LARP chronicle that builds on the story from our convention games and continues forward.

You are planning to use the new www.worldofdarkness.com functionality to help facilitate this Chronicle, can you tell us a little about why and what that site will do?

We’re very excited about this! The website launched at GenCon 2017 and included basic Mind’s Eye Theatre character and troupe management tools. We’re adding new features continually, and soon Storytellers will have access to powerful online tools that will help them focus more on telling great collaborative stories and less on bookkeeping.

In this way, Blood & Betrayal troupes that use different rules for their LARPs can still, if they want to, interact globally by standardizing the way they handle downtime procedures.

A great example of this is the Vampiri No?ne Kronike in Zagreb, Croatia—they’re using a very Nordic-style rules system for resolving the challenges in their Vampire the Masquerade live games, but their Storytellers use the Mind’s Eye Theatre rules in the background to manage Experience Points, character downtimes, influences, and other actions that are difficult to simulate physically at a live game. Mind’s Eye Theatre is the almost-invisible engine that the game runs on. We’re seeing more chronicles do this, and we want to support this option for global play.

This seems like it might overlap with some of what the fan community already does, through organizations like Mind’s Eye Society, Underground Theater, etc. How does it differ?

We can understand how it might seem that way, but that’s not our intention, and we don’t foresee much overlap. Fan clubs like Mind’s Eye Society provide not only a LARP story that links dozens or hundreds of local games that all play by the same LARP rules, but also a complete administrative structure for club officers to help them run smoothly. Many players really enjoy and prefer this kind of consistency: it allows them to travel more easily between games that participate in the same fan club, knowing that everything is standardized no matter where you go.

What we discovered is that many games also want the fun and benefits of a linked global chronicle, but prefer to maintain their local LARP rules and independent administrative structures. The Blood & Betrayal chronicle is intended to address this need.

Most networked fan clubs seem happy with how they are doing things currently and we anticipate that they won’t be very interested in what we are offering. But…

Is it possible for a fan club to join and have all of their games sync with the larger chronicle?

…any fan club or individual game or chapter within a fan club that is interested is more than welcome to join the chronicle.

Talk to us a little about the philosophy behind being rules agnostic for local games. Are games allowed to interact with one another outside of convention games?

They’re allowed, and even encouraged to interact outside of convention games. Players will be able to travel between local games—but they must respect the local rules and policies when they visit other games. We foresee that some Blood & Betrayal games will interact frequently by virtue of their close proximity, where others may interact only online or at conventions, but they’re all free to share the story to the limit of their preferences.

Would you describe what you are doing as global meta-plot integration? If so, how do you hope to tie this into the trans-media experience that White Wolf has talked about previously?

First let me say a bit about transmedia. The simplest explanation is: a story told through multiple mediums. Consider Star Wars, Star Trek, the Marvel Universe, Game of Thrones…these connected stories are told in books, television, films, video games, graphic novels, board games, and more. Some transmedia stories are more connected than others (consider how Marvel links its cinematic universe to its television shows and video games). Others are more loosely connected.

Now let me say that it’s important to note that this is a By Night Studios project. We’re a White Wolf licensee. If White Wolf decides to incorporate the Blood & Betrayal chronicle into a transmedia effort, that would be awesome, but it’s not something that is planned currently. White Wolf is very focused on developing the 5th edition of the World of Darkness games at this time.

Fees: Tell us a little bit about what you envision the membership fee providing a player or troupe?

We would like share everything! But we are still working on the fee structure with our licensee and the website developer, so unfortunately we can’t offer any additional details until we get closer to launch.

Where do you see the Blood and Betrayal Chronicle going in the future?

How does this help create a more inclusive atmosphere in LARP moving forward?

I’m going to combine my answers to these last two questions because I see them as interrelated, exactly like our World of Darkness LARP community. We hope to grow Blood & Betrayal into a fun LARP experience shared around the world by players living in many different countries and who bring many different traditions of play with them. We envision players who come from Nordic, freestyle, JEEP-form, Mind’s Eye Theatre, minimalist, competitive, blockbuster, and even boffer traditions all being able to share in a Vampire: The Masquerade story that spans the globe, and communicating as they do—sharing ideas and experiences in ways that help break down barriers to inclusiveness. We know that this is a very ambitious goal, but we feel it is very important to try.

Looking for a Jumpstart for your Vampire: The Masquerade Game? Check Out Dark New England: Five Chronicle Jumpstarts on the Storytellers Vault!

 

The Banality of Evil: Vampire: The Masquerade

A casual reader of this blog will note the large majority of the content is focused on the World of Darkness or other White Wolf derived games. This is because I, your humble editor-in-chief, am a long-term fan of the IP and the various games that were created under the auspices of White Wolf, Onyx Path Publishing, and By Night Studios. It’s also because I have played these games with a growing sense of awareness of one of the core benefits of playing in this dark reflection of our own world. We can hold a mirror to ourselves, and see truth. By playing in Vampire: The Masquerade and other WoD games, we become the Malkavians holding the broken looking glass, we can see the cracks in the façade of our own lives. We can see how our prejudices become actionable, we can witness privilege and power dynamics, and we can create ways to fight against the systemic oppression we see throughout our world.

In theory.

Darker Days Radio had a recent interview with Tobias Sjögren and Martin Ericsson (White Wolf Entertainment), and Martin was discussing his vision for self-reflection and monstrosity in the new games they are creating. He described the visceral sort of evil that Vampires are supposed to represent, the exploitative leeching of humanity. This was supposed to be a core element of Vampire: The Masquerade when Mark Rein – Hagen first conceptualized the game. Yet, players and storytellers have often pulled away from these elements. Even the game creators themselves have spent more time creating cool powers, bloodlines, and detailing locations than they have with fostering realistic and difficult moral quandaries. We’ve talked about humanity before here.

The question is, why? If one of the core goals of Vampire was to encourage deep introspection and find ways to combat the status quo, what happened?

“I believe that there is such a thing as Evil, I do not believe it is anything so cut and dried. It certainly doesn’t exist in simple dichotomy with good. I believe Evil is natural to the world, is intrinsic to the human condition, and that the recognition of Evil is, in fact, crucial to the attainment of happiness.” – Mark Rein-Hagen, Vampire: The Masquerade First Edition

In 1963, Hannah Arendt published Eichmann in Jerusalem: A Report on the Banality of Evil. In this work, she outlines the trial of Adolf Eichmann, and details his life through the philosopher’s lens. Arendt hoped to find a monster in Eichmann, but instead, she found a boring bureaucrat focused on following the law, performing his duty, and adhering to the orders given to him. This was a man that had little to no moral quandary about his actions. What moral outrage could exist in his mind? He was following his interpretation of the Kantian principle of duty. Eichmann grossly misinterpreted this principal, but how many other people in the world grossly misinterpret the difficult writings of theologians, philosophers, and anyone that puts finger to keyboard?

Eichmann was responsible for the deaths of hundreds of thousands of people during the Holocaust.

Eichmann during his 1963 trial in Jerusalem

The humanity system in Vampire is flawed. It encourages players to uphold a uniquely Judeo-Christian version of morality. Even so, it is flawed in that it isn’t central to anything mechanical. Players and storytellers can ignore the humanity/path system in the game without any concern that it would be detrimental to their long-term play. How do I know? I’ve run hundreds of Vampire games and rarely have players wanted to explore the nuances of the system surrounding humanity, except as it pertains to them leaving the Path of Humanity and adhering to a Path of Enlightenment.

White Wolf is working on ensuring humanity, morality, and the impact of violence and harm are central to their new mechanics in Vampire 5th Edition. They need to be central. If they are not mechanically bonded to the rest of the systems in the game, then players will shuffle them to the side. Morality is challenging. Self-reflection is difficult, it often isn’t fun. Challenging one’s own actions requires a comfort with facing inward, and asking oneself to change, or at the very least, being willing to try and change. The Banality of Evil in the World of Darkness is the lack of desire to have this personal conversation. The story is cool, the clans are interesting, the non-player characters and the meta-plot are interesting enough that people still read the books as story books without ever having played the game. There is a darkness here that tempts people, that engages the senses, but there is also a fear of holding up the mirror to oneself.

This will be the source of the next Vampire edition war. Players and storytellers that have become comfortable with being monsters in previous editions will rail against any mechanic that encourages or requires self-reflection. They have accepted the monstrous. These are the orders they have been given. Feeding is ancillary to the story, blood is simply a circle on a piece of paper, humanity isn’t important. Kindred or Cainite politics are central to the night’s events, challenges, and stories. Monsters and monstrous acts have become Banal. They are paperwork, they are marks on a sheet. And of course, this supposes that monstrous acts are only the behaviors of the serial killer, the predator, the abuser, which are reflected in the behavior of vampires.

Evil is rarely monstrous in our real world. Evil is insidious, it lives within us, creeping slowly to the surface. It isn’t a raving beast seeking escape. It’s a slow acceptance of the status quo. It’s a meandering disconnection from the world around us. It’s a self-absorption, it’s a comfort with death, destruction, and pain. Evil doesn’t require activity, often it shows itself through inactivity, through a suffusion of ennui.

The Beast, in Vampire, IS HUMANITY, in my opinion. The Beast is the active self-obsessed element of our minds, our souls, our very essence. Humanity is the monster for the Vampire. The Beast isn’t evil. It is active, it is trying to destroy the body, it wants to seek oblivion. The Beast is the animal urges that humans hide under our skins, under our morality, under our religions, and our philosophies. What is evil in Vampire? It is the active actions of the Kindred to seek control over humans so that they may prey upon them. It is the banal acceptance of their plight. It is the theft of life from others without their consent. Evil to the Cainite is the internalization that they are a monster, and such monstrosity isn’t noteworthy any longer. Humans can be beacons of light, good, hope, and joy. We can also be spiteful, harmful, and vicious with no purpose. We are neither born evil or good, nor tabula rasa. We a mix of nurture, nature, and a balance of good and evil.

Vampires have forgone this balance. To seek goodness in Vampire is supposed to be difficult, to impossible. It requires seeking things we should strive for in our day to day lives at all turns. We must seek consent, support, and love. If a Vampire can ask for blood, and be given it willingly, they are less evil. If they can find a family to hold them close and feed them, and support them, and build them up and help them strive toward a life that helps others, they may find peace. But, immortality steals these supports from the Kindred. The vampire outlives all those who might sustain them. The ravages of time steal their hope, and acts like ghouling or the embrace only perpetuate the cycle of harm and abuse. The V5 developers are aware of this, which is why they’ve integrated Touchstones (elements that keep the Kindred grounded and connected to hope). The question will be, is this enough and is it interesting to players? Will they accept the necessity of introspection into their games?

If we are to portray evil, we must not allow it to become Banal. When it does, we are no longer challenging ourselves by staring into the darkness. Instead, we are accepting the darkness into our souls. We are allowing evil to become normalized, amusing, and destructive. We must be willing to ask one another, “Why are we playing this game? What does it teach us? What can we do tomorrow to shuffle off the evil that pervades us and our world? Can we fight against it? Do we have the power to face evil and condemn it when we discover its origin is us?”

I’m not sure, but we must be aware of the Banality of Evil, for without our awareness of it, A Beast We Will Become.

Full disclosure, I’m no angel here either. I’ve written several things about Vampire for the Storyteller’s vault, and I’m not sure I’ve been much better.

This article was written by Joshua Heath and represents his opinions and only his opinion and may not reflect the opinion of any other contributors of this blog. He prefers he, him, and his pronouns. You can also find his work over at www.highlevelgames.ca

A War Of Our Own Interview

First, give me a moment to gush on the idea of A War of Our Own. How do we explain war to those who haven’t faced it? How do we understand the challenges, the decisions, the choices service members have to make? How do we understand the challenges that the civilians on the sidelines face? We can’t send everyone to war, and I’d never want to. We can provide them a glimpse into the realities of war through various forms of media. Movies, TV, music, books, all of these help to convey the Hell of War, but they fail to capture the thinking behind the eyes. What does it mean to carry the M16 and pull the trigger? What does it mean to be a civilian in a war zone with foreign troops ‘invading’ your town? What does it mean to see a conflict unfold before you in a way you cannot stop? LARP allows us to get closer than other media forms, and for that it offers something only VR might be able to eventually capture. So, I’m on board with this idea. I had the chance to shoot Matthew Webb from Jackalope Live Action Studios some questions about A War of Our Own, and he graciously has answered them below.

Matthew, thanks for your time. Tell us a little bit about why you decided to do this project? What are your core goals and expectations?

First off, it’s great to hear about your excitement about the project. Ultimately, this game is not about the soldiers because so many games are about the soldiers. But the people who have to live in the worlds that war, politicians and armies create. What happens to the civilians caught in the middle.

I have been a huge fan of This War of Mine since it was first introduced 3 years ago. I have immense respect for it as showing the messages and realities that a game can convey, while still being a game. Earlier this year, my partner Steve Metze and I decided we wanted to start a live action event studio, to explore the art form and hobby with high-value and high-production one shot events. Steve was a veteran of the Bosnian and Iraq conflicts; and I mentioned This War of Mine as a possibility. It went from there; and really took off when 11-Bit Studios agreed to sponsor us; and when Temple Airsoft was so generous in offering their support and partnership.
 
It’s impossible to truly convey the cruelty and hardship of living in a war zone unless you actually have experienced it. But our intent with A War of Our Own is to make a LARP that makes people think about the decisions people are having to make around the world right now in places ravaged by war; the choices you have to make about how you are going to survive; and how senseless the world becomes in the shadow of conflict. We want to build empathy for an experience that as safe and secure Westerners, we are so unlikely to experience. We can’t expect anyone to come out of this feeling like they really experienced what it is like to be in a war zone, but we can expect them to come out of it learning about those who have.

There is growing academic literature around simulation of real events and its value as a teaching tool. With that in mind, what made you choose a fictional setting for this game? Does the fictional setting of Calbia allow for something in particular that you wanted to capture? 

One of our key principles in this project is respect and being constructive about the cultures and people affected by war. We owe that to them, to act in an educated and honest way. But in a live action game, we have to get dozens of players from a wide variety of backgrounds to play in the same world. We don’t feel comfortable taking 50 or 60 people, mostly Americans with little experience with these parts of the world, and expecting to train them in a few days or hours how to be authentic Ukrainians, Syrians, Croatians, Georgians, Serbs or Bosnians; or anyone else. We don’t want to satirize or simplify the cultures of proud and courageous real people.
A fictional setting frees us from that constraint, and allows us to focus on the core message of the game. Calbia is going to be inspired by several nations and their history, but not a copy of any of them. A fictional setting means we can avoid divisive and contentious politics revolving around these real world places, and hone in on our message without distraction. This is a long-standing tradition in art, especially in the context of war and its realities. One of my favorite classic novels is The Moon is Down by John Steinbeck, which is about the local resistance to an occupying power, but the nations involved are never named; and in short stories like The Upturned Face by Stephen Crane or The Prisoners by Nicolas Travers. Even in This War of Mine, while the situation is modeled after the Siege of Sarajevo, it is set in the fictional city of Pogoren, Graznavia. We don’t want to take sides, but present the universal truths of these sorts of situations. So we’re following this tradition by fictionalizing the setting.

Tell us about the physical props you will be using. I’m guessing you’ll be using airsoft weapons, based on the site? And I see some trailers and other set pieces in your website pictures. Are you going to be using military surplus Humvees and other vehicles as well? 

While we are going to be using an airsoft field, the game is not going to use any airsoft weapons. We will be using a collaborative system, so when there is violence, it’s not really a test of skill so much as a dramatic moment playing out. We will be using blank-firing weapons and some prop tools and clubs, but these are props to use when acting out violence you have already agreed upon the outcome of. But very few of the participants will be armed with guns, bullets will be scarce and the situation desperate. A single working loaded gun in this game is a huge deal. And the soldiers on either side will be a force of nature, like a tornado or a flood. There’s no negotiation with the winds of war, only getting out of the path. And sometimes, you just get unlucky and are in the wrong place at the wrong time.

Temple Airsoft has been a great help to us when it comes to props and other effects. They have a collection of military vehicles and converted civilian vehicles which will really help sell the idea of being in a war zone; and they are graciously letting us use them. Along with helping with special effects and pyrotechnics. They do this all the time as a part of their recreational wargaming, and are being wonderful by bringing that skill and experience to creating our immersive experience.

You’ve got a great team; can you tell us a little bit more about them?

We are very lucky to have the expertise we have; and we’re already getting interest from others interested in joining the team.
Steve Metze is one of the sources of creativity and passion behind the project. He’s an officer in the National Guard, and This War of Mine struck a huge chord with him. He’s long wanted to convey the often surreal and heart-breaking realities of countries that are steeped in civil conflict. He’s also an excellent filmmaker, having made a war documentary called Year at Danger about his experiences in Iraq. And a remarkable and imaginative game designer. His latest book is a provocative reversal of the Lovecraft mythos called Unwanted.

Angella Seaman is our wonderful community safety coordinator. She’s had years of experience with managing healthy game communities. And given the subject matter, we want all of our players to be emotionally and physically safe during the event, before and after. She’s a veteran LARPer as well.

 

Myself, I’ve been running and writing LARPs for over a decade now. I have written several free-form LARP games, one of which I published called Shades. I’m also the lead developer at Incognita Limited, a software company that makes software specifically for supporting live action gaming. I am the creator of the world’s first augmented reality LARP Planetfall and am collaborating on software projects with several other companies in the LARP community, including Ford Ivey’s Legacy Game Systems and Participation Design Agency in Sweden. We will be announcing more team members soon.

Why War Child? What about this particular organization led you to choose to donate to them in particular? 

War Child is the charity supported by This War of Mine in their recent DLC, The Little Ones. So it is a great fit for our event. We wanted to run this event, but we weren’t comfortable profiting off the subject matter; and War Child is an incredible charity doing a lot of good in a imperfect world. They provide education and safety to children and families torn apart by war. It is hard to think of a more worthy cause than that. We know that the money we raise will be going to some of the most vulnerable people in this world who really need our help. I’m just hoping we can raise enough to make a difference in their lives.

Are there any final thoughts you’d like to share about the event? 

We are floored here at Jackalope at the reaction A War of Our Own has gotten. People are talking about flying from around the country and as far as Sweden to attend. Academic experts on the Balkans and civil strife have offered their input; experienced writers have asked to be involved in the project; and survivors and their families of the Bosnian conflict have even reached out to us. We are hoping to keep the momentum strong and make this a great event that we can repeat. War and refugees, especially children, are a huge issue right now; and we want to help both by encouraging people to think and debate these issues in an informed way; and by giving help those who desperately need it.
I encourage everyone who wants to help to follow us on Facebook or Twitter; or sign up for our mailing list, so we can get the word out and keep growing what is already turning into a vibrant and great community.

Vampire: The Masquerade 5th Edition Alpha Release Review

Vampire V5 Alpha Playtest Overview

 

I attended GenCon 2017. This was the first time I’ve ever had the chance to attend and the convention was amazing on so many levels. I was invited to attend by The Wrecking Crew, a gaming demonstration group. They usually demo and playtest White Wolf and Onyx Path Publishing products. At their invitation, I got to run 5 play tests of Vampire 5th Edition’s Alpha release. Over these sessions I got very familiar with my particular take on the adventure, Rusted Veins, and very familiar with certain elements of the rules which I leaned on heavily. Upfront, this set of the rules and the adventure was a significant improvement to the pre-alpha slice which came out at World of Darkness Berlin.

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This Alpha product included a significant slice of rules, particularly focused around Hunger, Compulsions, combat, and some disciplines: particularly Potence, Presence, Fortitude, Celerity, and Obfuscate. These rules will be outlined more fully below. Mechanically, the game has some departures from previous Editions of Vampire. Particularly, as in the pre-alpha, the inclusion of Hunger dice is different. That said, this mechanic is a boon for adhering to the theme of Vampire: The Masquerade and ensured that the concept of The Beast and the need to Feed were incredibly present.

The module adventure, Rusted Veins, was written by Matthew Dawkins, with contributions and assistance from Kenneth Hite, Jason Andrew, Karim Muammar, Martin Ericsson, and Jason Carl with special thanks given to consultant Monica Valintinelli. The Alpha ruleset was written by Kenneth Hite, Jason Andrew, Matthew Dawkins, with guidance, editing, and contributions from Karim Muammar, Martin Ericsson, and Jason Carl.

Rusted Veins is a continuation of the Forged in Steel chronicle from the original Vampire: The Masquerade 1st Edition core book. It also continues the stories in Ashes to Ashes (1st Ed) and Dust to Dust (V20). Thematically, the story in Rusted Veins has the feel of Vampire 1st Edition. It’s gritty, street level, and the night to night need to survive felt incredibly present. Vampire at its finest offers a chance to explore dark themes, recognize them, and then work to find ways to conquer the darkness while staring deeply into the abyss. This story succeeds at that, there were a few elements I chose not to include while I was running, but Matthew (and other writers) did such a wonderful job creating multiple hooks that this wasn’t a problem.

Honestly, if this quality of work continues than I anticipate that Vampire 5th Edition will win awards. It’s gritty, honest, and it opens a door into the classic World of Darkness that needs to be opened and enjoyed. A shout-out to my players at GenCon 50! You were all awesome. I sincerely enjoyed running this game for you. To the players of Baggie, in particular, thank you for engaging with some of the adversarial aspects of this character, it was really awesome.

Below I’ll be diving more deeply into certain mechanics, and elements of the story, but above are my core thoughts in my post GenCon fugue.

Rusted Veins (sections in quotes are descriptions I used in my game)

“Gary, Indiana is a shit pit. It’s broken, run down, and industry has fled. This has left Gary a veritable ghost town, filled with crack houses and dilapidated buildings of all forms. It starts to rain; the rain is falling in heavy droplets that soak you to the bone. The rain in Gary is acidic, and you can hear it making slight burning hissing sounds every few drops, it hurts to stand in the rain for long. A whistling wind blows through the streets, and thunder shakes the windows of your haven”

Rusted Veins is a continuation of Forged in Steel, Ashes to Ashes, and Dust to Dust. This pedigree makes the adventure feel deep, nearly by default. There are layers upon layers present that wouldn’t otherwise be obvious to those who haven’t played those adventures. That said, you don’t need to have read them or know their content to enjoy this adventure. I’ve never previously run any of those chronicles, but I did read through them prior to running Rusted Veins. Having done so, I didn’t add any of their elements into the game at all, and that wasn’t a problem. That said, there are hooks that would allow you to do so if you were interested in trying it out.

We were provided character sheets, and detailed two-page backgrounds on each character. I gave my players a chance to read these backgrounds and most groups spent between 10-20 minutes reading through them. Dawkin’s stated goal of ‘a plot-hook in every paragraph’ is clearly present. Each character is really well detailed, and there is a story-hook and role-playing guidance in every paragraph. This creates a lot of depth, and I noticed that players focused on different elements for each run through. There were some key things that stood out for each, but I was surprised in my Sunday game when a player focused on an element of their character no-one had mentioned in any of the other playtests. That’s cool, that shows a lot of depth and a lot of options to explore. Honestly, these characters are deep enough to run a continuing chronicle, and Rusted Veins could easily be run over several gaming sessions if you wanted to run it with your home crew.

The core plot returns you to Gary, Indiana, the home of Modius and Juggler (two elders, one Camarilla, and one Anarch). Modius is the official Prince of Gary, but he’s nearly powerless at this point, flexing his muscles in small ways to try and impact events in the city and further. That said, he is personally capable in a fight (as written) and is heavily involved in the plot of Rusted Veins. Juggler is now the Baron of Gary, having been granted the title in the aftermath of Dust to Dust. Further, the feared vampire hunter, Sulivan Dane is present in this story and his character was the most fun for me to introduce to the players. In each run, I used a variation of this description.

“Lightning flashes, thunder rolls, and for a moment you can see clearly through the rain. Standing a distance away is an ancient Catholic priest. He’s still got strong, broad shoulders, and his face is hard. He’s holding an umbrella, and is wearing a long black trench coat. At his side is a sword, handle barely visible. As the light fades, a palpable feeling of dread crawls through your belly.”

Dane isn’t described as having a sword in the official materials, but I wanted to call back to the tropes of trenchcoat and katanas, and Dane offered a fantastic way to do so. Most of the players found his character particularly intimidating with how I described him. Goal achieved.

Running this 5 times gave me a few chances to approach the introduction of each of the core NPCs in various ways. I used different accents, voice inflection, and presentation for each of them every time. This helped me to differentiate the games in my mind. It also helped me to see various ways an adventure like this can be adjusted to create more tension, or allow the tension to fade, as thematically appropriate.

We started each session with feeding. The new You Are What You Eat mechanics were fun to play around with, and I often used my own judgement on what bonuses to provide the players. These sessions set the tone for the game. They also gave us a chance to investigate the Composure mechanic and use the new Hunger rules. Since you cannot get rid of Hunger without killing your victim, this created some serious tension at the start of the game. Every time, at least one character would fail to control themselves, and their feeding victim would die. Some players tried to hold off on Rousing the Blood as long as they could after making it to Hunger 0, some didn’t care and they were more than willing to try and use their Disciplines or increase their statistics whenever they got the chance.

We then moved into the main plot, which was a fetch-quest with lots of interesting complications and plot developments that adjusted the story as we went through it. Most of these complications were player driven too, and several sessions saw the players handing me and each other various slips of paper to represent text messages they were sending to the main NPCs and to one another. Hopping away from the table and talking in private was also incredibly common, and this created obvious and interesting tension as the players left at the table often speculated on what the others were planning.

In the end, Rusted Veins allows for an interesting exploration into what it means to feel an ever present vampiric Hunger. It offers choices, and the most frequent comment on my survey sheets was, “I felt like I had tons of choices, and this was awesome.” The choices that characters had gave them a sense of ownership over their characters, and to my knowledge not a single player felt uncomfortable investing themselves in roleplay. That said, if any of you folks read this, I’m happy to hear some negative feedback. Or even more positive feedback, I’m always interested in having that.

There is an epilogue in Rusted Veins. I chose not to use the Epilogue, since it took away from the cool sensations and ideas present in most of the core adventure. In the Epilogue the players would play other characters for a very short period of time. To be honest, this is an awesome mini-adventure, and I would encourage those that eventually see it to use it as a separate session at some point. It also has relevance for long-time vampire fans. For GenCon, it really didn’t work well, but the core concept is cool.

Mechanics

In most cases I’m a mechanics light kind of storyteller. I use them when I think they make the most sense and I generally find a way to use them that makes sense to me. This isn’t a great thing for a playtest though, and I tried to retain the new rules as much as possible. That said, there were a few times I went off the rails while I was running. I’m not upset with how I kept most of my games rolling along, but if there was a weakness of mine during the playtest it was my lack of a full grasp of all of the new mechanical elements of the game. Below is a description of the rules from the playtest, and how I ran them during my game.

Dice Pool and Successes

Vampire 5th Edition is going to be a dice pool game using D10s. You create your dice pool in the same way that you have always done for the World of Darkness, Attribute + Skill, in most cases. However, the largest difference is that the target number is now always 6. Then, you count the successes you get to determine if you complete a task. For example, to hit a person, you might need to roll 4 dice. If you roll a 6, 3, 6, and 7, you get three successes. This might be enough for a moderate success, or it might be one short. If you are one short, you may ask to Succeed at a Cost. In this case, the storyteller alters the success to add some elements that cost the player character something. For example, hitting a person, but then falling over after losing their balance at the same time.

It is possible to spend Willpower to reroll a partial dice pool, or the entire dice pool. To be honest, I didn’t catch that mechanic for the first four of my playtests. When it was used, it made a lot of sense. That said, I found that it tended to slow the story down, rather than keep it going. Hunger Dice are also a thing, but I’ll explain those under Hunger below.

Criticals can be achieved in two forms, two 10s on regular dice is considered a critical success. This allows for an increased success or narrative benefit. You can also get a messy critical, if you roll a 10 on a Hunger die (again explained below under Hunger). A messy critical allows for success, but in a way that is over the top, and potentially harmful to the player character’s intentions. This is indicative of the Beast rearing its head, and pushing the character farther than they would do so normally.

Criticals were incredibly fun to use, and messy criticals were awesome to help narrate interesting alterations. The rules include some other elements surrounding Composure, particularly that if a player could not think of a messy result, that they would lose composure. I think my groups and I found a good middle ground between my narrative control of these messes, and their overall control of their characters in most situations.

Virtue and Vice

Instead of a Nature and Demeanor, V5 Alpha playtest used Virtue and Vice. These are mechanics that allow you to regain Willpower when you act in accordance with your Vice. Since acting in accordance with your Virtue is harder, doing so refills all of your Willpower. Most players in my game used these as basic roleplaying hints and we did dip into the Willpower refill mechanic in a few of the games. In most, we didn’t spend a lot of Willpower. That was partly my fault, because I didn’t often suggest it as an option to the players and players unfamiliar with the WoD wouldn’t have thought to do so.

Initiative

Initiative is now determined by Wits+Combat Skill. This is the skill the Vampire uses in their first combat and determines the initiative order. Now, I did not catch this and continued to use the Wits + Dexterity rule from the old version of the rules.

Initiative now flows from lowest to highest, with the person with the highest initiative going last with the ability to react to other characters. Honestly, this is present in several versions of the rules, but I’ve rarely seen people use it, and it’s a shame. This allows for sensible dice pool management if you want to split dice pools, otherwise knowing when to plan to split a pool is nearly impossible to determine. I really enjoyed using this rule and I recommend it to every person playing any version of WoD rules.

Combat

Combat in the V5 Alpha is a contested action. Yes, this can mean a combatant gets hurt when they attack someone. This is why splitting pools can be so effective if used right. You can dodge an attack, and attack in the same round if you are willing to reduce your pools. Damage equals the amount over the contested result a player gets on the dice. Which is much easier than worrying about a mechanic for soaking damage etc. This made combat speed by, in most cases.

There are two types of Health damage, superficial and aggravated. You have Stamina +5 health levels, and superficial damage accumulates and becomes aggravated if enough is taken. Superficial damage is halved for Vampires. We ran these mostly correctly in my playtests, though there are some more in-depth rules that I didn’t use, particularly relating to the Critical Injury table.

Hunger and Hunger Dice

Hunger has a rating of 0-5 and represents a similar in-game concept to what blood points used to represent in earlier editions of Vampire. That said, Hunger feels different. Blood points often didn’t feel like they were important, because they were often fairly numerous (at least in my experience). A vampire with 0 hunger is sated, but the only way to have 0 Hunger is to have killed a feeding victim that night. Waking raises the Hunger of every Vampire to 1.

Hunger is an ever present effect, and every dot of Hunger a character has replaces one of their regular dice. These dice should be a different color to differentiate them, and I recommend red dice… cause, well, blood right? When you replace your die with this Hunger die, you need to look out for two things, if you roll a 1, and if you roll a 10.

A 10 create a messy critical situation, and (in the Alpha) two 1s would cause a Compulsion. This mechanic did not come up often, and there were quite a few discussions around how to adjust it so it would occur more frequently. A good goal for this is probably having it occur around 15-20% of the time, if you ask my completely un-mechanically minded brain.

When you use a Discipline, or do various things that only Vampires do, you have to roll 1 Hunger die. If you roll a 1-3, you raise your Hunger, if you roll a 4-10, you don’t. This encourages players to use their disciplines, but also creates a lot of tension when they do so. This is awesome. This makes using a discipline a dangerous activity, but one that most players feel comfortable using in moderation. In a regular chronicle this is going to decrease Discipline use, and I think this is fantastic.

If a player gets all the way up to Hunger 5, they need to make a Frenzy check. This never happened in my games at GenCon, though it was a constant fear that a character might get to that level.

Feeding

Feeding can reduce Hunger, 1, 2, even 3 points. However, Hunger can only be reduced to 0 if a player accidentally or willingly kills their victim. Most of my players ended up having at least one moment where they seriously considered draining someone. I made my players roll Composure every time they fed. If they failed, they would drain their victim. This doesn’t appear to be in the rules, so this wasn’t really required. That said, it did add tension, and it did make players cautious about feeding and using their disciplines. Every death from feeding resulted in a Humanity point loss.

Compulsions

These were present in the pre-Alpha playtest, but they have been adjusted to remove the elements that made this rule’s element controversial. Now the player can choose, or ask the storyteller to choose a compulsion. This is an interesting back and forth discussion, and usually is pretty quick. Tables for the Brujah no longer included the term ‘Triggered’ and that is refreshing, to say the least. These didn’t come up as much as I would have liked, but they did in a few of my games. When they did occur, it was interesting, and it added a layer of roleplaying and story to the game. So, I think they do exactly what they are intended to do, but they don’t currently happen enough to really be that impactful. I understand that White Wolf is going to be adjusting this mechanic in particular, as they want to get this right.

All in all, Vampire 5th Edition Pre-Alpha rules are really engaging and interesting. I didn’t get the chance to read them as much as I should have and I didn’t always run them exactly the way they were intended. Rusted Veins is an awesome module, and I really enjoyed running it. If this is indicative of what Mark Rein-Hagen, Kenneth Hite, Karim Muammar, and the rest of the team at White Wolf are creating, then I think Vampire 5th Edition will be a really exciting product.

DAV20 Dark Ages Companion Review

I’ve been struggling to do this review. Not because of the reason you might think either. Dark Ages Companion is probably one of the best books I’ve read from Onyx Path Publishing. I’ve had to stop every paragraph or two to sketch out notes while reading this book. In the 2 weeks that I’ve been actively trying to get through it, I’ve had, at minimum, 10 chronicle concepts come to mind based on elements presented in this book. This book was developed by Matthew Dawkins, and I can tell you he and his writing staff did nearly everything right.

Lords, Lieges, and Lackeys

Dark Ages Companion: for Vampire: The Masquerade 20th Dark Ages is broken into eight chapters. The first six are various domains, most which have never been given a full treatment. The final two chapters are rules for building Domains and Dark Ages warfare. The final two chapters are an excellent resource for a storyteller that wants to dive deeply into these elements in their game. The Domain rules remind me of a more streamlined version of the AD&D supplement Birthright, and are effective if you’d like to include some elements of city/domain management in your games. These rules use Pooled Backgrounds as a baseline, and then go deeper. This is an excellent way of utilizing downtime and maturation rules in a way that doesn’t cause large breaks in the story.

Chapter Eight gives some deeper rules on warfare. If you want to be more accurate in your portrayal of various weapons and armor these are the rules for you. If you’d like to keep things cinematic, the core rules for the game still work fine, and you can pepper these details in as you see fit. I’m getting this stuff out of the way first. Great two chapters, but the first six are more exciting.

Plot Hooks Abound

Rome, Bath, Bjarkarey, Constantinople, Mogadishu, and Mangaluru: these are the domains presented in Dark Ages Companion. There are enough plot hooks to construct at least 100 chronicles here. Each chapter provides details on key Cainites, key elements of the domain, and key plots, disagreements, and ways to get your player characters involved. The domains are also connected in subtle ways, with plot hooks linking them to one another sprinkled throughout. This is masterfully done, very little of these connections seem forced, they are nuanced, smart, and really intriguing.

By Pat McEvoy

 

Each domain offers something different in the way of scope. Bjarkarey is small, intimate, and highly aggressive. As is Rome, which offers an interesting counterpoint to Bjarkarey. Constantinople and Bath, both drastically different in size, offer more expansive exploratory plotlines. I haven’t read enough of Mogadishu and Mangaluru yet to say what their full details will be like, but I can say from a quick look that they present a mix of large and small scale plot to throw your players into. Seriously, you’ll have to work hard not to come up with some great story concepts after reading these chapters, they are excellent.

Problems In the Text

There are very few things not to like in this book. One thing I’m not sure of though are the creatures at presented at the end of three chapters. The Black Dog, the Kallikantzaros, and the Pishacha are presented as supernatural opponents which you can utilize in your game. These are local legends related to Bath, Constantinople, and Mangaluru, respectively, but I’m not sure that makes me want to utilize them. For a Vampire game, I’ve always tried to focus on the internal darkness which plagues the Kindred, and I often shy away from ‘monsters’ which to have the PCs encounter and challenge. That isn’t how these are explicitly presented, but they do have a subtle hint of D&D encounters to them. They are there if you think they make sense for your chronicle, use them if you think it will add to your story.

I know a couple of things about Old Norse culture.

The second thing I was frustrated with is a relative historical quibble, and I’m going to explain what bothers me about it. In the chapter on Bjarkarey, there are a few mentions of blood purity and rugged individualism. Neither of these concepts is historically true to Norse culture, at all, and I find their presence here frustrating. The Norse were intensely communitarian, as you would have to be if you lived in some of the most hostile climates in Europe. The concepts of blood purity were developed by the Spanish during the Reconquista (1400’s) and would have been bizarrely strange to the Norse during the 1200’s. As a student of Norse history and a follower of Germanic religious traditions, these elements bother me. They speak to a narrative that far-right elements in society attempt to latch onto, and though they are fleeting in this text, their presence is annoying.

All in all, this is a good chapter on a culture that was still having some inter-cultural conflicts between Pagan cultural holdovers and Christian religious dominance, and it is not badly written. In fact, it’s really well developed and I immediately find myself excusing the things that bother me.

Final Takeaway on Dark Ages Companion

Buy this book. One of my favorite White Wolf books of all time is House of Tremere. I’d give that a 10/10 rating in a heartbeat. Dark Ages Companion is easily a 9/10 book. If you ever plan to play a Dark Ages game of any edition, you should own this book. The art is amazing, the writing is fantastic, and you’ll have a ton of great ideas come to mind while reading it.

Sidereal Sanctuaries – New Modern Urban Fantasy LARP

We are in the golden age of gaming, and if you ask me, we are on the cusp of a LARP explosion. Blockbuster LARP like New World Magischola, Convention of Thorns, and new moves by Disney to create immersive experiences offer a chance to LARP to almost every person and interest level. And of course, the great LARP systems and game communities that have existed for the last few decades haven’t really gone anywhere either. If you want to LARP, there are more options than ever to do so. Sidereal Sanctuaries is a new modern urban fantasy LARP created by Jessica Karels (founder, Hidden Parlor) and Jason Kobett. Both are LARP veterans and they are bringing a lot of amazing experience with them to their new creation.

 

Before we discuss the game, I want to highlight they are running an Alpha Playtest in Minnesota on August 6th, and they will be running Alpha play-tests throughout the rest of the year in the Minneapolis-St. Paul area.

 

Here are 5 key points about the setting and rules.

 

Technology is broken – something happened at the end of 2012 that forever broke the Internet / digital data transfer / networking.  The machines that continue to work aren’t always reliable.

Social progress stagnates (and in some cases goes backwards) – Without the Internet, civil rights activists have a harder time organizing and drawing attention to non-local issues. Most mainstream people, already frazzled by their lives changing, put up blinders towards the problems of those who fall outside their immediate social sphere. Corporations gain a tighter hold on media channels and dictate the narrative (the one that makes the most $).

It’s revealed just how much “history” has been altered – In the fictional setting of Sidereal Sanctuaries, it’s revealed that technology and establishing reality are the results of a deal mankind made with various cosmic forces eons ago. Part of that deal included a clause that said cosmic forces would send out enforcers in the event that mankind didn’t fulfill their end of the bargain. These enforcers (called Remnants) have attempted to fix humanity’s mistakes throughout history. Their reward? – The ones who look most human get remembered/elevated in history and the ones who don’t get hunted and their stories are turned into myths and stories about “monsters”.

The “monsters” are protagonists who just want to exist – In Sidereal Sanctuaries, player-characters are Remnants (the supernatural enforcers I mentioned) who are hunted from the moment that their supernatural side manifests. They congregate in places that are supernaturally protected from non-Remnants (called Sanctuaries) where they learn how to work together (mostly) and how to deal with a mix of both supernatural and mundane issues.

Tethers: This is a concept inspired by Infection from DR, which gives you a certain # of lives, and Humanity from VtM which makes a character appear less “human” as their Humanity rating decreases.  In the system being designed, Tether is your lives + merit pool. You can create a plain character and endure more lethal situations, or you can buy up merits and go down in a blaze of glory sooner.

 

Representation matters to the creators of Sideral Sanctuaries, and they’ve written a great blog post on the topic. This design from the beginning will hopefully encourage players to participate and build the shared experience in an inclusive and holistic way. This idea as a core element is encouraging, and we are going to keep close eyes on this project as it gains legs. Let us know what you think about the concepts presented here!

Presentation and Tropes with ‘Monster Races’ in Fantasy Games

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I just read this article, and it is certainly something to consider. This weekend I ran a D&D game set on the frontier of a jungle. At the heart, my goal was to subvert tropes, and this article got me actively thinking how and if I was successful. Subversion of a trope can be hard to manage without forethought and focus. In the end, I think I cut into some tropes, but I could have done better. I can’t tell you too much about the adventure, because I’m using elements of it in a product in development. I can tell you that I’m seriously considering my presentation of ‘monster races.’

 

This is something I’ve written about before. In that article, I focused on Goblins, and I’m going to use them as an example again here. As a cultural group, Goblins are fascinating to me, and I think the way they are often used is very frustrating in general. Eberron does a good job of undercutting the traditional colonial/racist way of depicting Goblins. It’s not perfect, but it is a step in a positive direction and I think we should be trying to do better in our games. Other settings are less effective at showcasing Goblinoids as living, breathing, and dynamic sentient people. We’ll just leave it at that, I’m not going to throw any specific shade anywhere right now.

 

D&D has colonial roots, and racism is a symptom of colonialism. (Or vice-versa, depending on how you suss out the origins of the behavior the terms describe), but that doesn’t mean we cannot use it to examine those things critically. In fact, I think that is a core benefit RPGs can offer us. The entire concept behind Reach-Out Roleplaying Games is to help use games like D&D to explore and understand the impacts othering, racism, sexism, and other systemic prejudices have on people and our interactions with one another.

So, we have two options, as I see it. We can acknowledge the inherent colonialists flaws in D&D and then work to subvert them. Or, we can use them without alteration as a way to start discussion outside of the game setting. The second is harder if you don’t have a group that wants to deconstruct the game and their own feelings and thought processes after a session. I’d make a joke about my surprise at these things, but I’m not. Most people don’t play RPGs for constant self-reflection and internal examination of their own biases and mental constructs…

 

 

Before I digress too far down that rabbit hole, let’s talk about subversion of tropes. This is an excellent idea as it is often in the hands of the GM to create the world which these tropes are expressed through. You’ve got the power to subvert tropes as a player as well, but the GM controls the systematic side. That said, everyone at the table has a role in determining, subverting, or reconstructing tropes.

 

For example. Goblins are murderous creatures that stumble over themselves in a cannibalistic frenzy. This common fantasy RPG trope is based on some elements of Tolkein, and lots of D&D specific history. It references tropes of tribal behavior, particularly from colonial conception of African and Polynesian culture. This isn’t an accurate depiction of those cultures, but we shouldn’t be blind to that influence on the way certain monster races are presented. So, how do we subvert this trope?

 


The first possible way is to make Goblins part of mainstream society within a setting. What role could they fill that halflings and gnomes do not? Any. Halflings may focus on culinary arts (Tolkein level trope, but let’s roll with it) and Goblins work as crafters and artisans. Their smaller frames make them really good at working in small spaces, so plumbers, construction, or mining are roles that are positive to a society. You can of course also make them farmers, or animal herders and subvert several tropes all at once. Consider the motivations your Goblins have. What do they see as the good life? Is there a Goblin Socrates? Why are they part of the society they are a part of? What do most members of society do? What do the outliers do? What is normalized behavior and what is taboo?

 

You can also give the trope style Goblins motivation that makes their behavior understandable. Murderous mob of goblins? They are a splinter group of raiders that were ostracized from several goblin towns. Having the players make an alliance with these towns to mutually take the raiders into custody would be an interesting plotline They may not need to be killed and if they are, doing so may anger more goblin’s who are their relatives. Perhaps a second group of ‘murderous’ goblins are simply avenging the deaths of their kin. Looking at Icelandic Saga Feuds, or the Hatfield and McCoy feud it is easy to see how this cycle of revenge can quickly get out of control. In both cases, greater law is often imposed to limit feuding, and it could be an interesting campaign to show the imposition of higher law between groups that have agreed to stop blood feuding.

This may not be going far enough, depending on the group and the scenario you are creating. When developing a setting or a full game, I think we also have to be really cognizant of what we are saying about a culture through our writing. Eberron presents Khorvaire as once being home to a massive Goblin empire. That empire collapsed, and the majority of goblinoids are now living in poverty, or living in nomadic, or rural village life.

 

Keep in mind too, that rural village life in most D&D worlds is fraught with danger we don’t have in human history. In a lot of cases, Giants, Dragons, and such would have driven most humans to build great cities sooner if they had actually existed. Binding together is sensible in the face of this sort of outside challenge. So, it is understandable that the life of the average goblin in Eberron is one of high mortality, and a fight for survival.

This is edging into trope territory as well, though. This makes Goblins perpetually marginalized in a society where they are generally unwelcome. Again, that can be useful for exploring racism and class issues through an RPG. If that isn’t the purpose for using this trope, we have to again consider what we are hoping to say in setting development? What if Goblins were simply an accepted part of society? In Eberron, we could have them be heirs to Dragonmarks, which would include them in the House system, which could mainstream them.

Acceptable, or trope?

You could also bring Darguun up to a fairly level playing field with the rest of the Nations of Eberron, pushing back the story of its unification, or even having it have sustained unity from the imperial era. This will either make Goblins more, or less antagonistic, depending on how much inherent nationalism you build into your world.

 

If you are building a completely new world, you could also do away with the standard Goblin tropes completely. Make them as accepted a part of society as Gnomes or Halflings. If you want to keep an antagonist group in the world, consider flipping the script and having Humans, or Elves be aggressors. You can either have it be a full swap, or try and subvert other tropes while you are flipping the script. The biggest danger here is shifting things and creating or falling into the same tropes with different faces.

 

What do I want you to take away from this? Try and subvert tropes that emphasize colonial or racist elements in RPGs. When you do so, try and take a holistic view on what your subversion would change in a setting. Be realistic, avoid stereotypes, and recognize you might not get it right. Take criticism, listen, and be prepared to adjust fire at the table too.

 

I’m interested in hearing how you’ve subverted tropes at your table or in your game. Let’s swap war stories.

Running a Facebook Fan Group for White Wolf Related Games


First, thank you to Chris for offering to do this interview many months ago when I first approached him. I wanted to understand more about what got someone to start a group on Facebook, and in particular why these games. I finally cleared my plate and sent him these questions.

Tell us a little bit about yourself. How did you get into role-playing games?

I’m 39 years old, a husband and a father of three. Some of my hobbies other than RPGs are Brazilian Jujitsu, Mixed Martial Arts and reading book. I’m like ¾ knuckle dragger lol.

I actually got into RPGs in 1999 when I was in the US ARMY. I was on this detail where you have to spend 5 days, 15 hours each, walking through the desert picking up trash. A guy who was also on the detail started talking to me and I mentioned I was a fan of Anne Rice. He told me about Dark Ages: Vampire and a few weeks later he started running a game. We ended up getting deployed to Bosnia a few months later and right before we left I was at a bookstore and saw the Vampire: The Masquerade book.

I ended up picking it up and ran a game in Bosnia that was a straight up katana, trench coats, and Uzis for everyone type game. During all that though I was buying books online and having them shipped and I read one book that changed my perspective of Vampire: The Masquerade forever, Ghouls: Fatal Addiction.

After Bosnia I was stationed at another base and decided to run a grown up Vampire game, and ran Twin Cities by Night the first time. I soon though found myself taking on too many players and was starting to feel the dreaded burnout. Then one day I realized my 40 plus collection of books had been stolen. I was relived and never played a RPG again until 15 years later.

Fast forward to the spring of 2016 and I am cutting weight for a Brazilian Jujitsu and I am miserable. For those of you who don’t know, it’s pretty much eating like a rabbit and trying to ride the border between malnourished and lean for maximum weight/strength effect when competing. For some reason Vampire popped into my head and I ordered the horrible Vampire: Clan Novel Anthology there and ended up deciding I wanted to run Twin Cities by Night again and the rest is history. In summary, I am a RPG poser.

You run a few games on YouTube, and they are good. Tell us about why you decided to stream your games. What were you thinking there?

Why, thank you man, that honestly means a lot! At first I was just uploading it to YouTube so that the players and I had somewhere to rewatch our sessions, but eventually I really wanted to see if I could get some feedback, negative or positive, that could help me be a better storyteller. So, for the lack of a better term, I said F-it and started posting them on Reddit, Facebook, and the Onyx Path forums.

To be honest though, now it’s to the point here I want to share my stories, and if someone enjoys them that’s awesome, if someone has some constructive feedback that’s even more awesome, and if someone says no thank you and passes I can dig that. As I said earlier I have a knuckle dragger side to me, and before I was able to balance that out with working at getting my Master’s Degree but once I was done with school in 2016 I realized RPGing and the YouTube channel filled that hole. It is a healthy creative outlet and a blast to do it with some pals.

Ok, we know why you are playing RPGs, we know why you are streaming games, but tell us a little bit about why you decided to create a Facebook fan page.

Man, I love that Facebook page, seriously, it has a special place in my heart. As a content creator myself I have experienced firsthand how damn hard it is to get your stuff noticed. In forums and Facebook pages it is very easy for media to get drowned out by posts asking what Thaumaturgy Lure of Flames 7 and what dual bladed katanas could do against Caine (I jest, I jest…..kind of). So I started a Reddit post in the WhiteWolfRPG forum, but found that was so damn hard to do. I mean I was literally scouring the web and posting stuff I found.

I felt like a dang collector. So one day I shot Slavek, a player in games on our channel and the one poor soul who has to hear all my ideas and give me honest feedback, and tell him my idea for a Facebook group that would be like the Netflix for White Wolf RPGs. He said he was down to try it. At first I was sharing stuff I found on YouTube and other sites, but eventually my thick head thought “Why not invite these people to share themselves”. The rest, good sir, is history, and matter of fact you were one of the people I asked.

My favorite vampire meme

Do you find the group hard to manage? What are the good parts, and the bad parts?

Actually the group is rather easy to manage. It now seems to have a lot of content creators who share stuff and I am still scouring YouTube and inviting creators. The good part is to see how much content there is and seeing people connect with an audience and vice versa. Shit man, I see some big names in the scene are members of our group and are liking stuff posted. That’s rad! Bad parts, there aren’t really any but the one thing is when people don’t read the rules and get angry when I tell them the group is for sharing and viewing media.

Where do you see your group going?

I honestly don’t know, but I would say I am still surprised it is growing constantly. Who knows, but I am sure very awesome places! Positive thoughts!

Thanks again Chris for answering these questions for us. I really appreciate it, and I’m sure our readers appreciated it too.

Monarchies Of Mau –Eddy Webb and Richard Thomas

Meow? Not so long ago we did a review of Pugmire. I’m happy to report that the next setting book is currently in Kickstarter. We are also happy to report, Monarchies of Mau has already met and beat it’s funding goal. To briefly describe it, Monarchies of Mau is the Cat book for the world of Pugmire. Cats, like their Dog counterparts, are uplifted animals in a far-future fantasy setting and The rules are based on 5th Edition D&D. If you’d like to learn more, the best place to do so is the Kickstarter itself.

 

 

Become a backer. Backers are awarded an early access PDF. It’s a 90-page document that provides everything you’d need to jump right into the game. We should expect changes between the early access and final product, as we saw with Pugmire. I don’t want to spoil anything, if you’d like to read it, become a backer. You won’t be disappointed. Also, Pugmire pre-orders are also still open here. Get it. Now, that being said, it doesn’t appear that you will need a copy of Pugmire to play Monarchies of Mau, so if you have no interest in dogs, feel free to enjoy being a cat person.

 

 

In the previous review of Pugmire, I emphasized the  goal of inclusivity that seemed built-in. Pugmire has moral grey for every culture. Neither Cats, nor Dogs, nor even Badgers are all evil, or good. The world has a vague European Medieval Fantasy overlay, but the cultures of the world are more nuanced, and there are  opportunities for the creation of decolonized game settings within Pugmire and the Monarchies of Mau.

 

 

I reached out to ask a question of Eddy Webb, the creator and principal author for Pugmire and Monarchies of Mau. Richard Thomas ( Onyx Path Publishing) also had good input. See below.

 

Huge Discounts on your Favorite RPGs @ DriveThruRPG.com

 

Can you tell us about how you have taken inclusion and diversity into consideration in the development process for the world of Pugmire and Mau? 

Eddy Webb – Pugsteady

I knew early on that I wanted to be as inclusive as possible, so all my friends could feel welcome in the world of Pugmire and Mau. My early attempts defaulted a little too much to common fantasy tropes, when I could do better. So, after a lot of discussion and debate with various friends across the diversity spectrum, I made some specific decisions. Some examples include:

  • There is no mechanical penalty for being disabled. It’s only a factor in gameplay if the player explicitly wants it to be.
  • I removed all references to fantasy “races,” replacing that with “species.” Also, no species is explicitly “evil,” to avoid perceiving a particular cultural analog as evil.
  • Starting with Mau, I’m making an active effort to hire more women, people of color, and LGBTQ writers and designers to contribute to the world.
  • Although Pugmire refers to humanity as “Man” (as part of their religious faith), I offer the alternative title of “The Old Ones,” and I emphasize that title more frequently in Mau.

Pugsteady considers diversity to be a core company value, and I personally feel that diversity makes the game better!

 

Richard Thomas – Onyx Path Publishing

  • Visually, the World of Pugmire presents us with a great opportunity to design characters that don’t rely on the old standards of fantasy character design, but which can be more about each individual’s attitude and style. Princess Yosha is a princess because that’s where she is in her life, not because she looks like a stereotypical Sleeping Beauty princess.
  • One of the many advantages of working together on both Pugmire and Monarchies of Mau is that Onyx Path can make available to Pugsteady our connections to a wide and diverse group of creators; everybody wins!

 

Let us know what you think of Monarchies of Mau and Pugmire.

 

Let’s Level Up!

 

Josh

Josh is the administrator of the Inclusive Gaming Network, and the owner of this site. 

*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. Opinions may also turn out to be wrong in the future, and we are more than willing to discuss based on future information.