Burning Wheel: The Intimidating Game That is Not Actually Intimidating

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Introduction

Hello there, please come in and sit. I understand your teacher has found time for you to learn the secrets of the Wheel. Don’t let this large tomb scare you. I promise it’s not as intimidating as it looks. Please pull up a seat, grab your paper, ink, and quill and I shall educate you all about the Burning Wheel.

We shall begin at the beginning as a history of a subject helps us understand it and makes us less likely to repeat past transgressions. From there we shall take a short walk around the Hub of the Wheel which will explain the draw of this tomb. Then we shall pack our faithful steeds and travel the lands and see the different types of characters one can meet.

You don’t have a faithful steed? No worries, I can supply one.

Huge Discounts on your Favorite RPGs @ DriveThruRPG.com

Along the path you will see the many styles and Paths that Life can take for the denizens of our world. Along with this will be the List of Traits and Skills that these different people use in their daily lives.

Past these areas, we will arrive at the Rim of the Wheel. This is where lesser known and utilized knowledge can be found. It is still good to know and have an understanding of, even if one may never have need of it.

Finally, upon returning here, we will conclude our journey with a celebratory toast and good food. After all traveling and learning can make one hungry, can they not?

History

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Created by Luke Crane, The Burning Wheel is held in high esteem within many RPG circles. The Burning Wheel was first released in 2002 as two volumes: The Burning Wheel Fantasy Roleplaying System and The Burning Wheel Character burner. At the time, its approach to fantasy fiction in a pen and paper RPG setting was fresh. It put character at the forefront of the story in ways that hadn’t been done before. Through the Beliefs and Intents System players are constantly working toward goals and experience challenges to overcome along the way. Such a mechanic has shown up in numerous other games since, from Apocalypse world with the History stat, to Onyx Path’s Storyteller System and its Aspirations mechanic.

Later these two volumes were published with a crisper system in the Burning Wheel Gold Edition book.

The Burning Wheel is inspired by the settings and themes from fantasy fiction’s biggest names, Tolkien, Ursula K. Le Guinn, and Stephen Donaldson. As mentioned in the beginning of the Gold edition, the game is also heavily influenced by the historical accounts of Barbara Tuchman and Desmond Seward. This helps to create a vibrant, yet dirty and complicated world. A world that is not listed in the rulebook, per se.

The “world” is created via interaction between the GM and her players. Be this law, beliefs, or otherwise, the world is developed through GM and player discussion. This was intentional. Players and GM’s are treated with a high level of respect out the gate by clearly stating that any world the authors could create and put into the book would pale in comparison to what the players can generate.

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Getting things done: Dice, Difficulty, and Obstacle

Like any RPG, Burning Wheel uses dice as a resolution mechanic. Nothing new there. It uses standard six-sided dice. Again nothing too foreign. It’s approach to how the dice are used and the way tests are marked is a bit different. So let’s look at that.

The Spokes of the Wheel

One of the most important concepts to The Burning Wheel is an idea called ‘Intent and Task’.  When a player wants to accomplish an action, the GM should ask directly, “What is your Intent?  What do you want to see happen?” Based on the player’s response, the task should become clear.  “I kill him” is an appropriate intent.  The GM then needs to pull out a little more information to get to the task.  “I strangle him with my bare hands” or “I stab him with my knife”  would imply a brawling or knife test.

As the above examples show once a character’s intent has been stated, the GM can apply the proper task. Along with determining the difficulty of the task known as the obstacle, this sets up the ability to roll the dice and determine the outcome of the role. Let’s look at an example.

Here is how a skill could appear on your character sheet:

Inconspicuous B3

Let’s break this down. The first part is the skill name: Inconspicuous. The second: the shade of the skill. Skills are broken down into three different shades. These are Black, Grey, and White. The shade of your skill determines what number on a d6 is a success.

Black: 4 and up

Grey: 3 and up

White: 2 and up

It should be noted, that grey and white shades are advanced aspects and come into play rarely.

Finally, the number 3 tells us how many dice to roll.

Determining the number of successes we need depends on the task and is decided by the GM. The difficulty is referred to as The Obstacle, often shortened to ob. The higher the obstable, the more difficult the task. So let’s look at an example.

I want to sneak up and take out a guard. Not kill them, just get past them unnoticed and out of the city walls. (note the intent here: sneak up and take out a guard, but not kill them.)

Credit to ryanmcguire on PIXABAY

The GM decides this is a risky act, which is considered an obstacle 4 task  So ze announces that getting passed the guard unnoticed would be an ob 4 Inconspicuous test. We would roll 3d6 and be looking for 4-6 on the dice. If we get 4 successes then we succeed.

But how can we get 4 successes if we only have 3 dice? There are three answers to that question:

  1. You get help from other players. Each player can assist with one applicable skill agreed on by the GM. When they do you receive 1 additional die to your roll.
  2. You can spend Artha. Artha is made of three pools. Fate and Persona can be spent to assist rolls and are used for different purposes. Fate can be spent after a roll has been made. When spending a point of Fate any die that comes up as a 6 can be re-rolled to get more successes, which are called open-ended rolls.

Persona allows you to add 1 die to your roll for each point you spend.

  1. You don’t. You fail, which is a good thing.

Now, why would you CHOOSE to fail? Because in Burning Wheel you have to accrue a certain number of tests to increase your statistics. There are three different types of tests that help to increase a stat. These are routine, difficult, and challenging. To increase your number from b3 to b4 requires a certain number of each type of tests. The test type (routine, difficult, or challenging) depends on how many dice you are rolling.  At some point, if you want to advance, you HAVE to attempt an action that will fail.

Failure is Good

This is part of why I love Burning Wheel. The system rewards failure. In fact, you HAVE to fail in order to progress and improve your skills and stats. Now, I know failure(, in most games,) is not fun and most of the time that uncertainty is scary. That’s fine because the GM must tell you what will happen if you fail BEFORE you roll the dice. That way you can decide if you want to actually do the task. So let’s look back at our example:

GM: In order to sneak past the guard will be an ob 4 test as the guard is attentive and alert. If you pass you tell me how you sneak past them unnoticed. If you fail the guard will stop you and will send you to the dungeon.

You now know exactly what will happen. No surprises. No guesswork. If you pass you get to narrate the action as you see it unfold. If you fail the GM has told you EXACTLY what will happen. This is player agency at its finest. It allows the players to shape the story in their own words because know the effect that their actions will have on the story. At my table, we embrace failure because failure gives way to interesting situations, which gives way to plot.

Burning Wheel stresses another important thing to remember: don’t always roll dice. You only roll dice when there is an unsure element in a scene. In fact, there is a rule: “Say yes or roll the dice.” Conflict in Burning Wheel is multi-faceted.There can be fighting, duels of wits, and many other forms of conflict. (Much like life.) However, if an action is not important or inconsequential to the story simply say yes and get back on track.

In our Next Article, We’ll Discuss Session Zero and Character Creation in The Burning Wheel

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

*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.

Trans Representation and the Changing Face of Werewolf

Trans Representation and the Changing Face of Werewolf

by Lang Schmitt

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Early on in the new Werewolf: the Apocalypse BNS book we meet Verity Argyris.  Verity is a young Black Fury historian who’s working to record the oral histories of the Garou, and her observations are scattered throughout the book.

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Page 62

After many pages of meeting Verity through her observations, we learn on page 62 that Verity’s mothers in the Tribe were one of the first to keep male-born children, and that at her Rite of Passage she was proclaimed “not just their daughter, but a sister of the tribe”.  In other words, the text is obliquely saying that Verity is what we’d identify as a trans(*) woman.

 

A Societal Shift

 

I haven’t seen a lot of online discussion of Verity.  (Maybe I’m looking in the wrong places.)  While I was searching, though, I found a lot of discussion from several years ago about if a character like Verity could exist among the Black Furies.

A lot of gamers came to the conclusion that she couldn’t.  The Black Furies, they argued, placed too much value on a person’s biology – and Garou would view sex-reassignment hormones or surgery as a tool of the Weaver.  (More on this in a minute.)

Let me be clear:  the first edition of the Black Furies book came out in the early ’90s, when including a radical second-wave feminist group in your fantasy world seemed progressive and forward-thinking.  The Black Furies were based on real-life trans-exclusive Wiccan groups, which emphasize the sacredness of female-bodied biology and experience and reject male-bodied people as equal members.

But the BNS book states:

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Black Fury Tribebook Revised Cover

“[The Black Furies’] viewpoints have evolved, due to their new leadership.

The Age of Apocalypse has shown them that the equality

they seek so viciously is a complex issue, involving more

than just women and children. They realized that their

exclusivity would damn them … Those who

identify as having the hearts women [sic] also received the

blessing of Artemis and have been welcomed to the tribe.

… Despite their newly opened mindset,

there are rumors of a rift between modern and traditional

Furies regarding how lenient and accepting present-day

Black Furies are perceived by other werewolves.” (p. 70-71)

 

Trans-exclusive radical feminist (TERF) groups still exist in real life.  They inspire harsh feelings from trans activists and their allies, who argue that excluding trans women from cis women’s spaces is pointless, and further marginalizes an already marginal population.  Some TERFs and their groups have not moved past their trans-excusionary worldviews – but many are evolving, like the Black Furies are.

Some gamers will cry foul, arguing that it’s a political act to write a world where the Black Furies are beginning to welcome trans women.  But this in-game change is tied to a real-world change, and it would be equally political to not include trans people in an era when we are becoming more visible and accepted.

 

How to Write a Trans Character

I am young and trans.  I am … blessed? … to have come of age at a time when trans people are newly visible in popular culture.

angel-rentSome people would tell you visibility is an unambiguous good.  I’m less certain.  There are a lot of lazily-written trans characters out there.  The Lazily-Written Trans Character is often a conventionally feminine trans woman.  She is non-threatening and non-sexual, although she may be a sex worker.

She is usually tragic in some way.  Often, she dies before the end of the story, to teach our cis protagonists some kind of lesson.  Think of Angel from RENT, or Rayon from Dallas Buyers Club.

To be completely fair, this type of character is far preferable to unsympathetic trans caricatures, who are grotesque, hypersexual, and dangerous.  (Think Buffalo Bill, or the attack ads that air about transphobic bathroom legislation.)  But lazily-written trans characters are toothless, and ancillary to cis characters’ stories.  They’re objects of pity (or vapid inspiration), rather than figures of genuine strength.  They are no one anyone would want to be, or could ever be.

There is tragedy in much of the trans experience – but we are still the heroes of our own stories.  But you wouldn’t know that from looking at these characters.

We are slowly seeing a broadening of the range of trans narratives that exists in mass media, but problematic characterizations remain.  And even as we see more progressive types appear, mass media portrayals of trans still have something pernicious to them:  the most interesting thing about us, in these stories, is that we are trans.  Our narrative arc is our transition.  Without our gender, we would be no one.

We don’t see a whole lot of Verity in the BNS book, past two vigniettes and her own observations.  But she shows herself to be strong, observant, curious, intelligent, and active.  She’s head and shoulders above the passive, pitiable trans “type” who furthers cis narratives.

Critically, she is more than her transition.  There’s plenty of hay to be made about Verity’s gender, in thinkpieces like this, but ultimately her trans-ness is a footnote.  It only comes up obliquely in the previously-mentioned quote, and in passing when she fears rejection from Black Fury elder in the second vignietteIt’s far more vital that she’s gathering information, and serves as our viewpoint character.

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Gaia

I can think of very few trans viewpoint characters in mass media, and even fewer who aren’t shown through the light of their transition.  Verity feels like something genuinely novel.

 

The Real-World Politics of Werewolf

Why does this matter?  Why does W:tA need trans representation?

When I was looking for discussions about trans in W:tA, I found that many anti-trans fans of the game have (or had) a medicalized and pathological view of trans people.  We are out-of-balance, the argument goes.  We are a product of modern medicine, not nature.  No Garou would ever have us (except for maybe Glasswalkers).

I reject this argument out of hand.  The medicalization and pathologicalization of trans is comparatively modern.  Pre-modern cultures often made (and make) a place for trans people:  Romans had galli; Indian society still has hijra; many American Indian cultures have third or fourth genders.  Our position has varied from place to place, and we have often been the first to be marginalized and scapegoated in times of trouble, but we most definitely existed and we were often accepted.

It is we, in our Weaver-ridden society, who want all genders (and all bodies, in the case of intersex people) in two boxes.  In fact, the BNS book gives a clear route for a non-medical transition for trans characters:  the first level Ajaba gift in this system, Mask of Night, which lets characters transform their body to that of the “opposite sex”.  Shun the Weaver’s medicalized works, and embrace the transformation nature offers you!

We are in fact very in-balance.  Thematically, we mesh perfectly with a game about shapeshifting and balance – even as societies, real and fictional, find dynamic points of balance around us as we re-take our place at the table.

This brings me to the biggest reason why I think W:tA needs trans representation.

Many of the gamers I’ve spoken with are a little leery of this game – and to be completely fair, that’s a feeling I share.  W:tA has a troubled legacy, in a lot of ways.  I found that a lot of female and trans gamers perceive W:tA as a “game for bros”.  Despite the game’s best intentions, they argue, W:tA players often create toxically masculine characters, who enact stereotypically masculine power fantasies without consequence.  (This is completely separate from the in-universe transphobia, or “noble savage” stereotyping of Indigenous peoples.)

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Werewolf 20th Anniversary Edition

Obviously, this is a generalization.  For any W:tA group I could point to that’s ridden with hyper-masculine power fantasies, I’m sure my readers could find several more that are thoughtful and well-balanced, that draw plenty of female and queer players.

But that’s not really my point:  fairly or not, this is the baggage the game carries with it.  A signature character like Verity isn’t a surefire medicine against W:tA‘s machismo, and I imagine a lot of gaming groups will choose to ignore the changes made to the Black Furies.  But I imagine Verity might take the air out of the sails of a few of the hardcore bros out there, and make Storytellers rethink the feel of the setting.

It takes all kinds to save the world – ranging from the classically masculine fearless and strong, to the classically feminine sensitive and nurturing.  It takes all kinds to build a healthy gaming community, too.

It remains to be seen what Storytellers and players do with BNS’ WerewolfBut I think BNS has taken a potentially polarizing, but critical step toward broadening the game’s world – and making it one female-bodied people and queers are more likely to find friendly to play in.

(*)  For the purposes of this article, I’m using “trans” as an umbrella term that includes anyone who is not cisgender.  “Cisgender” or “cis” means having a gender identity that corresponds with one’s biological sex.  Trans, here, includes people who have taken medical steps to bring their body closer in line with their identity, those who want to take medical steps but have not done so yet, and those who feel no need to do so.  I also mean it to include people who fall outside the gender binary.

 

Lang Schmitt is a transmasculine genderqueer person.  He lives in Madison, WI and makes his living writing.  He currently plays in Underground Theater.  Find him on Facebook, or email him at langschmitt@gmail.com.