Victor, Author at Keep on the Heathlands

LET’S TALK ABOUT THIS CON GAME THING PART 1 THE ELEVATION OF THE ONE SHOT GAME

the_players_guide_to_the_sabbat Part 2, Part 3
Most gamers with meaningful RPG experience have done one-shot games at some point in their gaming career. You and your friends are hanging out, you want to role-play, but no one has a game prepped. So you either pull out a quick module or someone says, “Eh I can wing it, slap some characters together”. My first one shot was a Sabbat game where we rolled dice to randomly choose a pre gen from the first edition Sabbat Player’s Guide. I ended up pulling the Ventrue Know It All. I have never been quite so frustrated with a stat sheet before, but it did push me to creatively work with the resources at my disposal.

One-shot games tend to be light on narrative, and heavy on ham fisted quest givers because everyone wants to get right to the meat of the session. You only have one night to enjoy the experience after all. That said, one-shot games do vary in composition. If everyone is experienced, maybe they make their own characters very quickly. Maybe you end up using something like the new Ready Made Character books from Onyx Path and already have structured character relationships, something that was never available back in the day. Ultimately, they tend to be fast, loose, epic romps; because, who cares if you die, you weren’t going to play that character again anyway.

That was my experience with one-shot games until this past August when I attended Gen Con for the first time. Gen Con was my first full blown game convention, and I played in two con games that weekend. The first was a Changeling: The Dreaming session, and the second was a Numenera game. In many ways they couldn’t have been more different, but in a few specific respects they were more similar to each other than any other one-shot games I had ever played before.

The first, and most obvious similarity that separated these games from my previous one-shot experiences was the majority of the players did not know the game world. Cons provide a unique opportunity to have someone else teach you a new game system. When you’re somewhere like Gen Con you can get a lesson in just about any game system you want. For the Changeling game I was the only person with direct Changeling: The Dreaming experience, though everyone was familiar with the Storyteller system in one form or another. At the Numenera table I was in the I know nothing about this game camp, and I believe only two of the 5 player troupe had direct Numenera game experience.

I believe the other similarities between these games were related to this dynamic. The players at both tables threw themselves into the game in a way I had never experienced before. I am used to the player makeup that tends to come together in a home tabletop environment, the standout domineering player, the rules lawyer, the timid player who doesn’t really know how to influence the narrative, the stat obsessed character stereotype. We’ve all had players at our tables that fall into these all too familiar archetypes. Neither of these con games worked that way, though. In each con game, every player found a space to have really standout moments, and everyone kept up with the breakneck pace of the sessions. I immediately knew I was hooked on this format.

Shortly after GenCon I found out my hometown of Chicago had a brand new game convention called ValorCon, just moving into its second year and they were still accepting Game Runner applications. So I decided to take a stab at running a couple con games. My pitches were accepted after almost being lost to form submission limbo, which I was phenomenally excited about. The two GenCon sessions I attended suffered from opposite extremes in terms of what was good and bad about them, and I wanted to try to capture the best things about both sessions.

Changeling the Dreaming

At the Changeling session we all made our own characters, the only hard copy of the book was brought by a player out of pure luck. The storyteller only had a copy of the game on his phone that he passed around the table. Needless to say this made going through character creation and gaming with players new to Changeling difficult. However, he was a stellar storyteller who thought incredibly well on his feet. We went very off the rails compared to previous groups that he had run the same scenario for but he was always ready with solid scenes and an excellent dramatic dynamic.

Numenera

The Numenera game I attended had an incredibly well prepped GM. He had character templates, and all the powers were on our stat sheets. Our characters had pre-existing relationships with each other which made diving into the session very smooth. The problem was, when we went off the planned course of the module he was completely thrown for a loop. The players in the Numenera group were energetic and dynamic, and we were raucous and disrespectful to his NPCs in a way he was not prepared for. The game didn’t fall apart due to his more structured GM style, but it definitely hurt his ability to keep the pace of the session moving.

My ValorCon Sessions

When I sat down to create my modules I wanted to craft something that would let me get the most use out of my 4 hour sessions, and let people focus on really learning the system without books and character creation getting in the way, but I also didn’t want a module so rigid that the players wouldn’t feel like they had agency. So I decided that instead of using a pre made module, like the Numenera game I played in, I’d create the setting and modules myself, with characters that really fit in that setting. I put together character packets that included backstory, the character sheets, and printouts of the powers the characters had access to. However, I did not plan any scenes past the first two of each session. I laid out what was happening in the background for myself, and the player’s’ relationships to the action of the game, but I left the direction of that action to the players.

The resulting game was incredibly accessible. I had at least one player in each game with no prior White Wolf experience, though everyone was an experienced role-player. I gave a crash course introduction to the dice systems, including a house rule I use for initiative and defensive actions. All of the players took to their roles immediately, and even the ones who had never thrown a fistfull of D10s before made dynamic use of all of their powers. Especially in the Wraith game, where the players were juggling mixed motivations due to their shadows, and two sets of powers, I was incredibly impressed at how smooth game play was when I provided each player with exactly what they needed to play.

Having now played and run con games, I can say if you haven’t taken the dive and attended a game con you should make it a priority. They create a unique space for gaming experimentation and provide really dynamic opportunities to experience new game systems. While running my ValorCon games I encountered some very unique challenges related to the public nature of the sessions, and being unfamiliar with my players that I will be detailing in later installments of this series.

Victor Kinzer has been roleplaying since he first picked up Vampire Dark Ages in high school. He nabbed it as soon as it was released (he might have been lusting after other Vampire books for a while at that point) and hasn’t looked back since. He role plays his way through the vast and treacherous waters of north Chicago, and is hacking away at the next great cyberpunk saga at http://redcircuitry.blogspot.com/. He is an occasional guest on Tempus Tenebrarum (https://www.youtube.com/channel/UCvNp2le5EGWW5jY0lQ9G39Q/feed), and is working to get in on the con game master circuit. During the rest of his life he works in Research Compliance IT, which might inform more of his World of Darkness storylines than he readily admits.

*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.

Invisible Sun, a Study in the Tension Between Accessibility in Price and Design

invisible-sun-kickstarter-graphic
Life is a pure flame, and we live by an Invisible Sun within us. – Sir Thomas Browne

The quote above is credited by Monte Cook games as an inspirational source for their new game Invisible Sun. Invisible Sun is a highly experimental RPG that includes elements of board gaming, formalized rules for downtime sessions, and rules for engaging players with different playstyles in a variety of ways. The board game elements bring a tactile experience that has been less prevalent in RPGs since the industry moved away from the miniature figure and occasional terrain inclusion of yesteryear. The board game elements also allow more complex role playing systems like multiple percentage roles for determining randomized effects to be handled though simple dynamics like drawing cards from a deck. The game includes a beautiful resin statue meant to display cards that impact game play so everyone can see them, and the first stretch goal was a spell and artifact grimoire that includes spell cards for every spell in the book.

When I first saw the kickstarter for Invisible Sun I was at first excited, then disappointed, then excited all over again. It took me a while to figure out exactly how I felt about this whole RP experiment. The problem is the lowest pledge reward is $197. Yes, you read that right. One hundred and ninety seven dollars, and that pledge level doesn’t include the majority of the stretch goal material. For the past several years I have been increasingly concerned about the trends in game development that make it difficult to bring new players into the hobby. Some of these issues are related to how difficult it can be to dive into modern role playing games with any kind of mental processing challenges. I started thinking about these issues in earnest largely because of the first post on this blog, which focuses on the challenges of role playing with memory issues. Other barriers to role playing are purely financial, which is an increasing problem in the 20teens. The books just seem to be getting larger and larger, with each edition being more expensive than the last. With a few exceptions we have not really seen any tools to break these games down into more systematically manageable, and affordable pieces.

Comparison of the most recent Vampire the Masquerade LARP and Tabletop books to the most most recent editions released from the original White Wolf era. The modern books here are the thinner basic print quality.

The one fairly high profile aid designed to streamline the process of juggling rules mid session are the spell cards Wizards of the Coast published as part of the D&D 5th Edition line. In the last year I’ve seen a few companies follow WotC’s lead on spell card inspired products, and at this year’s GenCon I saw a few companies experimenting with tools and game design that break away from the tables, charts, and expansive RP tomes that currently dominate the gaming market. Those experiments were not the norm though. The majority of what I saw at GenCon still leaned towards heavy, ornate, leatherette bound special editions with little in the way of gaming aids. Even a few small indie publishers were still defaulting to this format, despite not having an established brand to back up their price point. When gaming aids were available they were generally being produced by third party companies for extravagant prices.

So when I saw Invisible Sun announced I was phenomenally excited, and when I saw the price the day the kickstarter went live my heart fell. Several people expressed concerns about the price in the kickstarter comments. The game devs responded, saying that this was a premium product, and that part of why they are aiming for such a luxury experience is that their last few game products were specifically targeted at affordability, so they felt like this was a good time to aim for a different segment of the role playing market.

I decided to check and see what “affordable” really meant. I was incredibly surprised to find the Numenera Player’s Guide pdf was only $7.99 and a hard copy was only $19.99. This book is advertised as including all the rules necessary for a player to make a character, and generally get up to speed on the setting and core rules. I haven’t seen a price point like that on a major game line since the 90’s, and being primarily a World of Darkness player I’m used to the go whole game or go home design philosphy. It was very refreshing to see a product priced and designed for players who know they will never need GM materials. After seeing this I decided to go back to the Invisible Sun kickstarter and take a second look at what was being sold for that $197. As it turns out that price tag covers a lot of game material, and it left me wondering how that actually stacked up to what it takes to get started with a traditional role playing game.

As a baseline I decided to compare the Invisible Sun box to the price point for running a decent Dungeons and Dragons 5th Ed. campaign. I’m not counting the D&D startup boxes, because they really only give you enough to decide if you want to purchase the rest of the game. Assuming you need at least 1 Player’s Guide, 1 Dungeon Master’s Guide, and either 1 campaign book, or the Monster Manual if you’re going to create your own campaign, your initial book investment would be $150 MSRP (I know Amazon is less, but let’s assume you want to support your local game store). A basic Chessex Dice set is $4. So we’re right around $154 with no game aids. If we add in a wet erase mat, a few miniatures, the Arcane spell cards and 1 set of healer class spell cards we overshoot that $197 initial purchase cost handily. Given what is included in the Invisible Sun Black Box this seems like a reasonable comparison.

Just to make sure D&D wasn’t a one off example, I looked at some of Onyx Path/White Wolf’s products. The World of Darkness 20th Anniversary core books cost between $50 for a relatively moderate quality print on demand text to $115 for a premium print on demand copy of Mage the Ascension 20th Anniversary, and are not available with free shipping or any kind of Amazon discount. Chronicles of Darkness has a similar price point since you need the core rule book as well as one of the specific game texts such as Vampire the Requiem or Beast the Primordial to really run a full chronicle. While that may seem to provide a slightly more affordable point of entry than D&D to run a reasonable World of Darkness game, you generally need more than one copy of the book as during combat players often spend a lot of time hunting down exact rules for their actions so they are prepared on their turn. There are spell cards available for some of the games in the Chronicles of Darkness lines, but not all of them. A comment on a recent Onyx Path blog indicates they are going to begin to release similar products for the World of Darkness 20th Anniversary line, but these cards are not yet available. So at many tables multiple 500+ page tomes are a necessity, as are far more dice than are ever needed for Dungeons and Dragons. Again, we have very rapidly overshot the $197 price point of Invisible Sun, and we have far fewer game aids available to help make the play experience more accessible.

The primary problem with the Invisible Sun model is that with other properties players will likely pick up the extra dice, copies of the player’s guides, spell cards etc. for themselves. With Invisible Sun everything is wrapped up in a single product, and while Monte Cook Games has encouraged players to split the price, generally people are going to be less likely to do that if they don’t own the fruits of their expenditure, and no collector is going to be comfortable breaking up an Invisible Sun Black Box. There is now a player kit priced at $36 thanks as an Invisible Sun stretch goal, but that is an additional expense. It doesn’t help mitigate the initial $197 hit. Ultimately the game is incredibly well priced for what is included, and breaks much needed ground on accessible game design, but is less financially accessible than most games on the market because all of the expense is front loaded in a single purchase.

When all was said and done I did end up funding Invisible Sun. I am still frustrated that the 15 year old me that bought his first copy of Vampire the Dark Ages after much scrimping and saving would have a difficult time investing in my favorite properties today, and would certainly not be able to make the dive into Invisible Sun. However, I am also aware that by the time I was done with high school I had spent well over $197 on my World of Darkness collection, and it was in many ways a less comprehensive assortment of role playing resources than what is included in the Invisible Sun Black Box. I also remember far too many games with players who ended up leaving the hobby behind because navigating arcane texts, and tables filled with endless numbers kept them from truly enjoying the process of role playing.

Invisible Sun may not open role playing to a new generation of 15 year old geeks waiting in the wings of their local gaming stores, but it unquestionably breaks ground on making role playing games a more accessible experience. As long as Monte Cook is focusing on creating products at all price points, the innovations that work in Invisible Sun have a very real chance of making their way into more affordable game lines. Hopefully over time these innovations will spread well beyond the scope of Monte Cook’s games and find their way into a variety of role playing products across the industry. We can do more to make games that everyone can easily enjoy, and despite the sticker shock I honestly believe Invisible Sun is only the beginning of a trend in thinking about game design in radically new and elegantly accessible ways.

A CASE FOR QUEER CHILDHOOD HORROR IN THE WORLD OF DARKNESS

Tell me if you’ve heard these before. “I liked Changeling the Lost so much more than Changeling the Dreaming because they got rid of all the childhood garbage.” “When I read Changeling the Dreaming, I turned and ran and never looked back.” “Changeling’s a fine game I guess, but it doesn’t belong in the World of Darkness.”

I have seen or heard every statement above when WoD players talk about Changeling the Dreaming. I am a long time fan of Changeling, and specifically I am a long time fan of the horror themes inherent to the game. In truth it can be the darkest setting in the line, but the themes are difficult to approach for a variety of reasons. Some of those reasons are tied to how the game was developed, but some of the problems have to do with the perspective players bring to the game.

Changeling the Dreaming fundamentally speaks to a distinctly queer experience. No, I do not think Changeling is exclusively queer, but I think the horror of the game is particularly resonant with the lived experience of queer gamers. I do not know if this was intentional on the part of the developers, but I want to take some time to really dive into the horrors of Changeling through my experiences as a gay man, and how I feel these experiences show up in Changeling.

There are a handful of moments in my life that I think about when I think about Changeling. When I was in 7th grade I was at the counter of a small kitch store with my mother in front of a cashier than I am now quite certain was a gay man. A box of rainbow rings sitting next to the register caught my eye so I picked one up and asked what it was. The cashier told me they were gay pride rings and I dropped them like my hands were on fire. I don’t know how the cashier responded (I can’t imagine well), but my mother awkwardly tried to tell me I shouldn’t react that way, while at the same time obviously not wanting to be angry because she wanted to cultivate empathy in me, not shame. As much as her reaction was the right one, she didn’t understand why I dropped them. She hadn’t spent years on the playground with me, and she didn’t understand the fear of the slurs being true that only really exists when they are. Until I finally started dating guys I never thought about that moment, but it lingered in high resolution in my mind. Now it defines how I understand gay men before they accept who they are.

I had that dream again. The one where I tower over all the bullies on the playground. I’m also blue, with horns and . . . it’s a weird dream. I didn’t have it while I was asleep though. I had it on the playground. Steve was getting it again for taking all the toys apart and trying to make them better. Chuck was leading the chant, and it was the same insults the kids always used. Geek, Dweeb, Tinkling Tinker, Queer. My vision went red, my skin went blue and I swung. I was huge. I towered over them. They couldn’t possibly win. . . Except they did.

Steve and I both ended up in the dirt, filthy and bruised. I got up first and tried to help him up but he smacked my hand and started screaming at me. Why did I stick my nose in his business? They would have been happy to just scare him if he’d played along, and then I butted in. His cheeks were red with tears and rage. For a moment I saw two red spirals twirl out of the flush on his face. I cringed back and closed my eyes, trying not to listen to him screaming. I don’t want to be this anymore. I don’t want to care about him. I hate myself.

Victor

When I was in high school I fell for my first boy. I mean, I’d crushed a few times before that, but I always found a way to convince myself it was something else. I can’t say we “dated” or that he was “my boyfriend”. His parents were Pentecostal. That was just never going to happen. Not in any way that normal people get to have boyfriends or girlfriends. We fooled around though. Did the sort of things 16 year old kids do with each other that their parents like to pretend “kids” that age don’t do. I loved him as much as a 16 year old is capable of coherent love. It was messy though. His relationship with his adolescent sexuality was complicated and capricious, and as hard as it was for me to accept liking boys because of the children I’d grown up around my entire life, I knew I could never understand what getting that from my family was like, so I was ok with it.

Then his parents found out. Not about us specifically, but that he liked boys. I wish I had learned about conversion therapy in a book or from the news in college like most people. I learned about it from our mutual friends when I found out why he wasn’t living at home any more. I am forever grateful his parents never knew we had messed around, because when he finally got home after months “at camp” I was able to see him. We joked about his stories. Made fun of the idea of all the boys at this camp being forced to bathe together. They wanted to stop him from being gay right? Clearly they were morons. We didn’t joke about the majority of what happened though, because he didn’t talk about it. He wasn’t quite the same as before. It wasn’t until years later that I really wrapped my mind around what that “not quite the same” really meant.

(http://www.lydiaburris.com/)

I sit in my dorm room thinking about Steve and Chuck. It’s been a long time since I traded blows with Chuck on the playground, but for whatever reason here I am thinking about it. I know now I wasn’t just dreaming that day. I can be tall now, huge beyond measure, and Steve isn’t just some kid who’s good at putting things together. I’m a Troll, Steve’s a Knocker, and laughably enough Chuck’s a Redcap. He doesn’t smell out other Changelings to torment anymore. Now he eats the fear of the assholes who made him afraid enough of his blood soaked dreams to turn on his own. I shouldn’t relish the nightmares he dredges up in those wastes of skin. I’m a seelie Troll. I’m honorable, respectable. Not every Autumn Fae gets a happy ending though and I can’t help but think he’s due a little payback.

Every other Troll in the court might shove their unseelie legacy down when it comes knocking, but I understand what that simmering hatred that locked me away from my chrysalis does to a person, and I understand what it drove Chuck to do. So when he feeds, he’s feeding for every Changeling he smacked around as a kid, and I savor his feasts almost as much as he does. It’s just one of those truths about being a fae in this world you don’t admit in polite seelie company.

My phone chimes. It’s Steve. He’s back from his break with his family. I can’t wait to tell him what happened in court while he was gone. It was an epic summer. He’s living off campus now, and I thought it was going to be awesome. I’m standing on his stoop waiting for him to answer the door and I can tell something’s wrong. When the door opens I see what it is. His face . . . the spirals on his cheeks that glow a deep candy cane crimson when he works are grey and dull. His seeming is there . . . kind of, but I wish it wasn’t. The mists are kinder than whatever I’m looking at. He’s happy to see me, but everything is wrong, and I don’t understand what’s happening. We go downstairs into his workshop and it’s immaculate. No knocker has an immaculate workshop. He’s building something and he sits down to start working on it again as if I’m not even there. I watch him counting holes and rows on a prototype circuit board over and over again. He’s counting exactly 3 times before putting his circuits in and I uncomfortably lean over him and joke, “whatever happened to the kid who always knows where to put the wire?”

He looks up at me and smiles, “Yeah, I was a pretty sloppy kid wasn’t I? But after the work I did for my dad this summer I know that if it isn’t perfect it isn’t worth making . . . right?”

Changeling’s themes aren’t only queer, but the horrors come into deeper, more vibrant contrast when you are. The Nephandi of Changeling wear psychologists outfits and tell you you’re wrong, and the hardest part is the people telling you to listen to them aren’t motivated by some Wyrm tainted Bane curled up deep in their gut. The people telling you to listen to them are your parents, and girlfriends, and family. They are telling you to listen because they are afraid of you. They are afraid for you, and most painfully they love you. So they can’t just sit by and not do something. In the worst situations they are just like you. They are victims of the world around them and that’s the very thing that makes them so dangerous. Most people don’t understand that experience. It’s easy to see childhood silliness in Changeling if you don’t look too deeply, or if you’ve never taken a knife to your own ability to love because you’re more afraid of what the people in your life might think than the loneliness that haunts you.

I’m a gay man, and the words above are about my experience, but I will say I’ve seen these themes even more starkly and painfully when I hear my trans friends speak about their lives. This rabbit hole is so much deeper than I can ever pretend to illuminate and for that I am uncomfortably grateful.

If you’ve ever found yourself saying Changeling doesn’t belong in the World of Darkness, or that it’s full of silly childhood themes, take a second and think about it a little more carefully. I don’t ask that you dive in and drag the horror out of the game. It’s a game after all, and no one should tell you what should or shouldn’t speak to you. Instead of saying the game doesn’t belong in the World of Darkness though, I just ask that you take a second to be appreciate why you weren’t able to see that horror and be grateful it doesn’t belong at your table.