So, there’s an idea from Herman Hesse’s Magister Lundi of “The Glass Bead Game” which is sort of a game played out in the similarities between different and complicated things. I was introduced to the idea of it back in the the days of the mostly text World Wide Web by Hipbone Games (whose website still exists!). It was an interesting evolution of other association games I’d played, and I’d really stuck with me. I’ve written before about the glass bead game itself and some tricks for using it when GMing, but today I want to talk about its advantages in a more abstract fashion.
I’ve been thinking a lot lately about tactical GMing. Game books are full of great general advice, and there’s a lot of wisdom to learn from out there, but when I think about how that advice connects to the moment-to-moment decisions I make at the table, it can sometimes be hard to really explain how it works. So I started thinking about some of the games I’ve run most recently in really granular terms, and I hit upon a particular pattern.
For me, the single most useful skill for GMing flexibly and responsibly is the ability to look at a thing and immediately see the number of other things it might be.
Now, I’m sure that for some of you that sentence made sense, and you can probably skip the next little bit. But if that sounded like gibberish, let me unpack a little bit.
As an example, let’s use Superman. He’s pretty well known, so he’s a pretty easy touchpoint. Let’s say I want to use Superman in my game or story or whatever. I can do that, sure, but what if I take a moment to think about all the things Superman is:
An icon of Truth, Justice and the American Way
Mild mannered reported Clark Kent
Nemesis of Lex Luthor
Impossible – no one can be that good
Inspiring – example of how power can be used
The creation of Jewish Artists
I could go on for quite some time – Superman is an incredibly rich subject, enough so that I’m confident that I missed some of your favorites.
Now, this is an interesting curiosity, and is maybe a slightly useful exercise in helping me think about how I use Superman in my game, but in isolation, this is not that helpful. But now here’s a thought exercise: Do the same thing for Batman. It should be easy, he’s just as iconic. You don’t even need to write them down, just hold a couple of truths about Batman in your head while you look at that Superman list again – do any of the items on your Batman list resonate1 with anything on the Superman list? Maybe with some combinations? One classic examples, of course, is that Batman has no powers, so any the he conflicts with Superman (Power Incarnate), that difference is cast into sharp relief. Other possible resonances might be between their beliefs, or perhaps even between their respective civilian guises!
This is, I admit, a slightly mechanical exercise. For a GM or writer who already knows Batman or Superman well, there’s no need to articulate the list because they have already internalized it, and as soon as you say “Batman and Superman”, they’re mentally looking for those points of connection. In a perfect world, we’d all have a similar level of understanding of every idea we consider, but it’s not a perfect world.
And that is where the glass bead game comes in. As a game, it is a means to exercise that muscle of seeing all the versions of a thing and how those connect to the versions of other things. As a GM, that is a muscle that you want to exercise and get strong because in actual play you are bombarded with a constant series of things that make up the game you are running. As with Batman and Superman, if you can see the constellation of ideas that make those things rich, then you can use that to connect to other things and you will discover that you are no longer reliant on ideas, because you have an excess of conclusions.
That probably sounds like hyperbole, but I’m 100% sincere. Once you get used to seeing the connections between elements, you stop feeling like you need to create ideas, and instead they become something that you discover. That is a distinction that matters a lot when mental energy is at a premium – it takes a lot more juice to go “Ok, I need a good plot for lord Pembleton, let’s think of something” than “Of course, Lord Pembleton is working with the Blood Crows!”. That “of course” has a feeling that you will come to appreciate, because it usually is accompanied by a crowd of “Oh, and also!”s because it’s all so logical.
This is probably a less magical view of creativity than is often put forward for GMs. Saying that there’s a mechanical exercise (playing the glass bead game) which can improve a technical skill (drawing connections and inferences between disconnected nodes) and that leads to better creativity in play is antithetical to some views of the universe, and if that’s you, then it’s also an easy exercise not to do.
For everyone else, please just try playing the game. Don’t just think about it. Do it. Especially with other people. Even if you are brilliant and creative and can see tons of connections, you will still have your eyes opened by what other people see. This is one of the great powers of the glass bead game – the connections it calls for are the ones that make sense to the player. Your incredible knowledge of the tapestry of classical literature is on equal footing with another players love of puns.
Anyway, beyond a certain threshold, I can only explain so much. Beyond that, it’s on you to try it or not.
Ok, that is not a super technical word, and I cop to that. In the physical world, resonance is something that we can measure, but when we talk about ideas resonating, it’s pretty subjective, so to unpack it a little, ideas resonate when the idea of combining them is more interesting than any random ideas. One might reveal nuances of another, or cast another into sharp contrast. There’s a little bit of “You’ll know it when you see it”, but one of the subtle benefits of doing more glass beading is that it will help you get more sensitive to resonance, so if the idea is still kind of fuzzy now, it will get clearer with practice. ↩︎
As is traditional with the Blackheels, I had no idea what was going on, but since it’s a weekday night, I like to push a little – if the players want to go in another direction, then awesome, but I wan to make sure there’s at least one clear path of opportunity. Looking for this, I did a quick reading with my Everway deck and spun up a quick plot thread.
The Blackheels were approached for a job outside of town – a man of military bearing approached Noose (the spider) with an offer. His patron needed information from a ghost, and the Blackheels had a reputation in that space. Intrigued, the crew agreed to meet with his patron, a portly young man who – judging by how free he was with the food – had more money than sense. He was also kind of an asshole, but he was willing to pay a substantial amount (8 Coin) for the crew’s assistance. Plus, everyone was pretty sure he had not poisoned them.
The trip to the Lost District was by boat and uneventful until docking. Interestingly, I realized as we were discussing that this was technically a transport score, so I quickly sketched out a map, added a few details that made it clear each route that risks, and let the players go nuts.
They avoided the smugglers and looters, but came dangerous close to the cultists – fleeing those lead them into the bloodbugs, and then into the haunted storefronts, which ended a bit explosively as a body-hopping storekeeper ended up on the receiving end of the Cutter’s ghost-punching.
But they got to the old bank, and proceeded to look for the ghost, which is when things went wrong. A voice offered double the money they had been promised if the Lurk would remove a necklace from their employer. At first, it just whispered to the Spider and Slide, but eventually approached the Lurk directly, who decided this sounded like a great idea. The dice, however, were not with her. She succeeded, but their employer’s armsman saw it, and the violence began. The Lurk’s life was mostly saved by some retroactive sabotage on the Spider’s part, and the Cutter got hurt before the Slide & Spider bought a moment of distraction that let the hound get off a clean shot.
Meanwhile, the client had been flopping around, floating off the ground and generally having a low budget mystical FX moment. He pulled himself together, and in a rather different manner, thanked the crew, lead them down to the safe deposit room, pointed out three vaults, and encouraged them to take as much gold from them as they could. The crew had concluded that he had been possessed, and had been freed by removing the necklace, and their employer did not contradict this conclusion, and was in fact an absolutely sterling client all the way back to nearly his place, where he apologetically parted ways because, he noted, the former resident had orders that the crew be killed if they were with him (at this point the crew realized that this was young Lord Reilly, heir to the Reilly canning fortune and the breadbasket of Duskvol).
So the crew took their money and happily went home. They had been well paid (and were grateful they already had the vault upgrade), had accrued minimal heat and had picked up significant rep for “Robbing a bank in the Lost District”. And the entanglement roll was, as it had been last time, “Unquiet Dead”, so I put that in my pocket, because things are very clearly going in a direction.
Now on to the Blackfingers!
Having stolen Slane’s payroll last episode, he’d taken a loan from Lord Coleburn to fund his next shipment of plating to the fleet, so the crew’s plan was to sabotage it. We had exactly the chemical’s we needed thanks to the Jack’s downtime efforts last session, so we launched immediately into the plan.
There was some discussion of different approaches, but the crew settled on deception – Jack, Luca and Rudy would take over one of the regular deliveries to the factory, slip in that way and put the chemicals into the iron. The engagement roll came up risky, so play began with a more-intelligent-than-average person manning the gate, looking at Jack, squinting, and remarking “I don’t know you.”
Flashback to Achilles getting the gate rotation and giving Jack a full briefing on who to expect, what to say and so on (also providing an assist), revealing that this is Grace, and she’s got union sympathies. Jack spins some lies, rolls well, and the cart gets inside.
Faced with the question of how to deliver the chemicals without being noticed, we cut over to Izzy, who has blended in with the workers and takes this opportunity to begin a rousing speech about the terrible labor conditions1. She succeeds wildly, and provides a distraction (a setup) for Jack to do the sabotage. Rudy also seizes the opportunity of the distracted Slane to rob his office and pick his pocket because Rudy has 1) very little sense of self preservation and 2) The devil’s own luck with the dice (He got Slane’s paperwork and his keys). The sabotage succeeds and now comes the question of how people will get out.
The real danger at this point is to Izzy, who has drawn the attention of Slane’s legbreakers. Luca got a good read on the potential violence and made a beeline towards Izzy, attempting to shout her down. She succeeds in giving Izzy an opportunity to be ushered out, but also ends up in the midst of a violent riot that she needs to fight her way out of. Jack provides distraction by releasing the exploding goat (flashback to Achilles lecturing on the subtleties of goat detonation) as a distraction, and Luca manages to fight her way out, resisting injury, but with a devil’s bargain that resulted in a fatality.
Outside the factory, Grace confronted Izzy because she had not seen Izzy at any of the meetings, but Izzy bullshitted well, and made her escape.
In the aftermath, the crew got a little rep, some coin (they sold papers about the riot) and SO MUCH HEAT. 7 Heat. Thankfully we had started at zero due to some excellent lawyering on Izzy’s part last session, so it could have been worse. Entanglement roll resulted in Luca getting beat to crap by the Bluecoats, and that’s where our luck ran out – She resisted the harm with 4 dice, but only one stress left, and she failed to roll a 5 or 6. Luca picked up the first trauma (Reckless). Downtime was mostly training and clearing heat.
Next job was an attempt to improve situation while waiting for the iron sabotage to pay off. After some discussion, we decided to pursue the Cover Operation improvement to upgrade the Night Market Dispatch to the Duskvol Dispatch, and after some discussion of how to approach that, the score ends up being a social score to get on good terms with the Railjacks – it gives us good material for the big issue and another avenue for distribution. Achilles has connections via Lynch & Sons, and the engagement roll was a crit, so we jump past the first challenge and we’re swapping stories with the Railjacks. This leads to an unexpected realization that if we can send one of Jack’s Camera’s with with Railjacks to get photos of the Deathlands, and that smells like OPPORTUNITY! So the crew took a picture (of a railjack throwing a bottle, with the intent of showing the result to the railjack’s tomorrow.
However, while leaving the railjack bar, Jack, Izzy and Achilles we greeted by gentlemen in Imperial regalia. Izzy lied brilliantly and got Jack of the hook, but Izzy & Achilles were invited into a carriage with the a lady from the ministry of preservation, A Lady Slane (elder sister of THAT Slane) who is concerned about unionization among the Railjacks. Achilles made the case that the Dispatch’s business interests with the Railjacks would diminish union pressures. He also agreed to report on any interesting news from the Railjacks.
The photo was well received, and the crew also worked overnight to make a little penny dreadful pamphlet of one of the Railjack’s stories (and a copy sent to the ministry making a note that the coda of the actual story reflects poorly on the railroads, but that made for a boring story. The camera was sent off with a Railjack and all was good. (3 rep, 1 heat, 6 Coin)
Kristoff Edwrap, rep for the Ink Rakes, showed up as a result of the engagement roll, and the shakedown began. The Crew has agreed to roll with that for now.
Downtime was quiet. Jack built his camera, everyone else trained, and we called it a night.
As a table we kind of wanted this to be a musical number, but no such luck. ↩︎
I just posted about my Letter of the Law game of Blades and it was pointed out that I had not explained what that was, so, er, oops.
This is a game I’ve been running and playing online, which is a new experience for me. We run over Google Hangouts paired with screensharing. I looked into Roll20, but despite the presence of Blades-specific plugins, I haven’t yet seen the reason to add the extra layer of complication. Instead, I’ve just been putting everything into Google slides. If you’re curious, I’ve posted a snapshot here.
Short form, there’s a strange crew of Bravos operating out of night market, with a Cutter, a Hound, a Lurk and a Leech. The name come from their HQ, which is the rare books room of a bookstore called The Letter of the Law.
This is going to be a weird post – I started the writeup for Letter of the Law #1, but before I finished, we played the next Blackfinger game. And while this was still in progress, we did a pickup game last night. So I’m trying to catch up, so buckle up
Letter of the Law Ep 1.0
Plot-wise this was all pretty straightforward. The crew decided that they wanted some turf, but rather than just grab it, they decided they’d appeal to the next tier up in their neighborhood, the Schnaber Crew. The Schnaber Crew are mostly an extended family who load and unload the trains, and the PC crew has stayed on good terms with them, playing tithes and generally being good neighbors, so it was not an unreasonable play. And since the Schnaber crew had been having trouble with what seemed like a professional arsonist messing with them, they were willing to look kindly on someone who solved the problem for them.
Initial investigations didn’t turn up much, but one of the Cutter’s contacts was willing to offer information in return for a favor (busting up a restaurant which had snubbed her). The crew did, despite some complications, and actually turned a tidy profit on it, which in turn got them the location of the Arsonists hideout. THey flushed him out, took him down, and handed him over to the Schnabers, who in return “Made available” a protection opportunity, so the PCs now run protection for a noodle shop in Night Market.
Like I said, pretty straightforward. But the devil, as always, in the details.
We added a new character to the crew tonight, a Leech named Spider. She’s a former Railjack and keeper of her family’s box of ghosts, and she fit very tidily into the crew’s Strange rep. Chargen was interesting because we talked a lot about the line between Leeches and Whispers and what it means in play – originally the character was going to be a Whisper, but some back and forth eventually lead to Leech.
I gave all the characters a second playbook move for free. This was kind of a taste thing, but for me, the second playbook move is kind of what firms up a lot of the character ideas, especially in the case where the player has taken the default ability. It’s not a huge mechanical difference, but I was happy with the outcome.
There were two jobs in the evening – smashing the restaurant and grabbing the arsonist. The latter was very successful (the dice were on fire) but I think the former was better play. I allowed too much planning to happen the second time, in part because I think I set the situation up poorly. It went ok, but it was education in terms of striking the balance of how much detail is an is not helpful. Most critically, It underscored that I need to make sure the opportunities are implicit in information gathered, even if it’s not obvious in the questions the players ask.
Hunt picked up an extra layer of utility when we decided it was a totally valid skill for laying a false trail, which is a useful heat-reducing activity.
I am struggling a bit to try to figure out which handles I’m supposed to use to push. The game gives me a ton of tools for pushing back on the characters, but they all rely on player initiation. That’s not bad per se, but sometimes I want someone to come in through the door, guns blazing.
Bravos seem to tend towards short jobs, but I think my players are more inclined towards long ones, so I need to figure out how to strike that balance.
Blackfingers Ep 4
The job itself was pretty straightforward. The crew had just expanded (reached tier 1) but had emptied our coffers to do so. We also had a demon waiting for us to do the job for him (to destroy the unkillable industrialist, Slane). After reviewing options and a bit of research, we decided to go after Slane’s payroll and kill two birds with one stone. Having identified that his vault (and his quarters) were beneath his ironworks factory, we had a target and began the infiltration. The Spider & Slide remained outside (largely contributing via flashbacks) while the Lurk, Cutter & Leech snuck in, broke into Slane’s chambers (discovering the demon there, profoundly uninterested in their activities, and implicitly explaining both where Slane’s luck came from and the demon’s motive), discovered the vault, took what they could and wrecked the rest. The whole job went smoothly, and Slane just had to take out a substantial loan to make payroll, and we know that next session is going to jump right into sabotaging his next delivery of ship-plates to keep him from getting paid.
This was the longest job we’ve done yet, which was interesting, mores because it’s the second “long” job I’ve done, with the curious overlap that both were effectively infiltration dungeon crawls. This ended up being something to chew on as I considered job length for the Bravo crew.
It was observed that the Spider and the Slide are effectively a project manager and product manager for crime.
In the intervening time since the last job, I have internalized a lot more of the game and setting, which naturally makes everything more awesome.
We determined that the coffee-equivalent in Duskvol is a fungus base brew called “Shoe” because it’s brewed in big pots of dark liquid, and there’s no guarantee regarding what’s actually in the pot.
This game was entirely unplanned. We had some friends over and had just finished playing Machi Koro, were deciding what to do next, and opted for a game of Blades. We had 5 players – two from Blackfingers, one from Letter of the Law, and two who had never even seen Blades before. So we did the whole nine yards – chargen, crew gen, setup, job and downtime. Whole thing took maybe 3 hours?
Was a crew of Shadows with a lot of ghosty stuff, but with a Daring reputation. They also took the “Boat” upgrade, which ended up being kind of awesome and a natural reason for one of their favorable connections to be with the Gondoliers. The crew was a Cutter, Hound, Spider, Slide and Lurk, all Duskvol natives of various types. On a night when the Spirit Wardens were swamped by an industrial accident, the Gondoliers needed one dead body swapped with another one in a Bluecoat stationhouse. The Slide provided a distraction while the rest of the crew snuck in, but unfortunately that also lead to a bit of a riot among the drunk tank, which escalated when the drunk’s friends showed up. The Slide made several (successful) desperate rolls amidst the impromptu riot while the rest of the group deal with a body mix up and an inaccurate map of the sewers to eventually find their way out as one of the bodies left behind decided it was time for some ghostly horror show action. But, hey, they got paid!
Despite the absence of a Whisper or a Leech, they crew kept pitching ideas that really would have suited those playbook better. Not sure what that says.
As with the Letter of the Law, I allowed 2 playbook moves at chargen, and I no longer have any concerns about doing so – it’s great.
I leaned a little bit more on group actions in this session than I have previously. Worked very well for keeping things moving, but they’re a little bland in action.
The dice favored the players. I was aggressively leaning on non-6s to speed up the timetable on the ghost showing up, but they just kept hitting 6s. I probably need to start planning for that, since this is not the first game that this has happened in.
I remain floored by how well Blades handles pickup play. I love pickup play in general, but Blades has some secret sauce that makes it really shine in this way. There are a ton of things that contribute to this – Setting design, Job-centric adventures, flashbacks and more – and I look forward to sussing them out and seeing if I can make other games comparably easy to play.
Not to put too fine a point on it, this was a weird session of Blades in the Dark.
First, our Spider had been temporarily shipped out of town, and in his place was a Whisper (Marek, an Iruvian ghost smuggler), so there was a high likelihood that the plans would go a little askew. We also were lacking our Lurk, so subtlety was going to be a challenge.
So, we started with a conversation that had begun at the close of last session, with a demon offering the crew a job (to destroy the reputation of a man who could not die) and very little choice in the matter. We have an 8 tick clock representing his patience which ticks down with every other job we do. So we’ve got that going for us.
For our actual score, we went for a turf grab, or as we liked to call it, “Brand Building”. We identified another small press (The Night Dispatch) that was not doing fantastically well, but had an established masthead, and started looking into how to take it over. After an exceptionally successful gather information roll, our slide befriended the editor and got all the information we needed for us to visit them with enough bad luck that they’d welcome a buyout.
The Whisper & Leech were sent to scare a paper shipment and set it on fire, while the Cutter was sent to break their printer’s hand. The scare-and-fire part went ok, except that it meant that panicked goatees were dragging an inferno through the night market, but that was less our problem than everyone’s problem.
The hand breaking went less smoothly, as this was our moment to discover that our Cutter had no dots in Wreck. Oops. Thankfully, it was a controlled situation, and when it turned into an actual fight, that was well within the Cutter’s wheelhouse.
Still, it all went mostly as intended, the Editor was delighted with our Slide’s offer of help, and we now have a “legit” business with future opportunities for financial shenanigans.
That wrapped up pretty quickly, so we felt like we had time for another score. Now, as the flaming goats were running though Night Market, our greatest regret was that the Leech had not yet completed his portable camera (the long term project he’s been working on since day one) because that would have made for a GREAT photo. So, while the rest of us pursued mundane matters, he finished it up so we’d be ready next time.
For the next score, the simple truth was we needed cash. We had lost money on the last score, and we were going to be eligible for a tier bump soon, so we really needed some dollars, so the discussion turned to ways that we could make fast cash. There were standard crime options, of course, but we now had this camera, and it seemed that should introduce options. Blackmail was considered, but that had some risks. But what if we opted for spectacle? A picture of a momentous event? That could work, but that would require an event.
So, we reasoned, perhaps a picture of an exceptionally cute puppy?
While offered as a bit of a joke, we quickly realized that most dogs in Duskvol are mangy, ratty beasts, so any very cute dog would belong to a rich person. Clearly, we needed to steal the cutest dog in Duskvol. As fun as this might have been, we then realized it might be easier to have the dogs brought to us.
And so the first annual Charterhall Dog Show was born.
What followed was….a little weird. We had just enough social pull to get people to come, though we had to skimp a bit on the location (the university is just so déclassé), and leveraged contacts for the one honest judge (to be outvoted by the other two crooked judges). Oh, and of course our Leech’s bookie showed up and from that point on the fix was in. The ultimate winner was Lady Roz’s Shitzu, but at least one noble left the affair righteously pissed off, so that’s going to come back and bite us.
But, critically, The Night Dispatch had a photo of an INCREDIBLY cute dog, as well as some buzz.
Between entry fees and the gambling, it was a VERY successful score, and between that and everyone going into their pockets (and the Slide diminishing her stash), the crew now has a weak hold on Tier 2. We’ve got some newsies now, and a clear business plan, but we also have some crows coming home to roost, so we’re all expecting a tough tonal change soon.
The dice were super on our side last night. Excepting some mishaps on our Cutter’s part, we were swimming in sixes, and that definitely contributed to the lighthearted, caper-y tone of the session. I suspect that if the dice had been pushing harder, things would have gone very differently.
I have a half-finished re-tooling of the core blades mechanic that uses Fate dice, and it’s skewed more strongly towards success than default blades. I have let it linger, but last nights play convinced me that it would actually be a very fun mode of play for a certain tone. So, that’s getting bumped back up the queue.
Playing a Whisper is weird (yes, that was me). At first I thought it was because the ghost/mystical/weird element of play was strange. That’s certainly part of it – I feel like I need a few more playbook advances if I really want to lean into that part of things. But I think part of it was also that Attune is a weird skill to lean on. A lot of the other skills you can apply flexibly enough that there’s a broad set of competence surrounding it, but attune is really very specific and was not much of a match to the play we were doing. I liked the character a lot, but he was a mismatch to the game we’re playing, so he’s probably dropping into the background and I’ll pick The Spider back up next session.
Having chosen to go primarily social has had such an impact on the shape of the game. Not in a bad way, but in a way that makes for an interesting tonal difference from more street-y games. A big difference is a lack of medium consequences – we’re a gadfly punching very high above our weight class, which is very profitable until we annoy someone enough that they have had enough. It’s very all of nothing, and we’re skating the edge of “all” as fast and hard as we can in hopes of having enough resources when the inevitable “nothing” hits. (It also helps that we have invested in all the lair defense upgrades, so it is very difficult to casually threaten that).
With the conclusion of the 7th Sea game, we’ve started a Blades in the Dark game with the same crew, but I’m a player this time.
We are already in over our heads.
The Blackfingers don’t really view themselves as a GANG, per se. They’re just a group of former university students who got their hands on a press and have found there’s money to be made in pamphleteering and penny sheets. Their little gossip and fashion rag has become tremendously popular in Charterhall, and with that success has come opportunity and attention.
The prominent members of the Blackfingers are:
Jack Fingers – A Skovlan Leech responsible for keeping the press working. He is explicitly neither the source of the gang’s name, nor the leader, but every assumes he is both.
Isadora “Izumi” Stanbury, of those Stanbury’s, the family of Lawyers. With the natural talents of a Slide, she was on the track for success when an indiscretion put her on the fast track for Ironhook. The family stepped in and put all of the blame on her partner, but then washed their hands of her.
Luca Skleros is a cutter from Severos who found her way to Duskvol after some…problems…back home. She was roped in to help the gang when their first pamphlet angered a haberdasher enough to send some folks to rough them up.
Achilles Lynch – Spider and youngest son of a prominent merchant family, he has a deep intellectual interest in the flow of information but must balance this against family obligations.
Their as-yet-unnamed pamphlet is mostly focused on gossip and fashion, but even so has angered the Ink Rakes (and mildly annoyed the University) but they have great support from the citizens of Charterhall who enjoy the colorful rag.
Play began with the gang broke and lacking anything valuable to print. After some discussion, it was brought up that Vinzini had just finished his latest season of hat designs, and was going to be presenting them at the mill to begin production ASAP. If the gang could get a scoop on that, it would sell like mad.
So, the group managed to sneak in, posing as foremen. A distraction by a bomb-throwing associate gave the Slide plenty of time to take notes (and, it turned out, to pinch one of the hats1 and for the Leech to make off with some interesting looking chemicals. In fact, the hard part ended up being the fact that if their distraction caused too much damage, the hats would not go to market, and the scoop would be worthless. Thankfully the Cutter stepped up and ran the fire brigades with military discipline, and everything cleared out well.
In the aftermath, the crew made a few bucks, but generated a little bit more heat than the job might normally cause (what with the stolen hat and OH YES, THE FIRE). Downtime was mostly clearing heat and training.
Ok, so since this was episode zero, we went through chargen, a first job and a first round of downtime in one go, so it was all a little condensed. For all that, our GM (not me) did a wonderful job of making sure we hit all the critical mechanical notes to get everyone up to speed on it. The table was largely unfamiliar with Blades so it was all in all a really interesting experience. Some impressions.
There are two ways to do playbook-style chargen: Pick a playbook and build from there, or build an idea then try to find a playbook that matches. I think the second method is better, but it is unquestionably harder (or perhaps more precisely, less well supported).
This really drove home to me how much a crew needs a purpose or a gimmick. The game is so open ended and potentially player driven that it feels like a waste to just be generically criminal. That may be my problem – I suspect the game excels at generically criminal (and drives it to evolve) but it was a bit of a speed bump as we discussed potential crews.
I ended up playing the Spider. I would complain about typecasting, but it was my choice because – in the absence of a strong idea to the contrary – whatever book I play is going to get played like a spider, so I went with it.
But tellingly, now that we’ve played even a little, I have my head around some solid non-masterminds character ideas, so I am totally ready for jail time.
In deciding our relationships we discovered the University was not on the faction list. So we fixed that.
Yet another hands on realization of something I’d previously only gotten intellectually – A job could be driven almost entirely by Devil’s Bargains, and that would be awesome.
The players really, really like the load rules.
They also very much liked devil’s bargains and flashbacks, though they’re a bit skeptical of the XP model as abusable by someone opting to play towards it (and I can’t fault them – that’s 100% true)
I had not realized how effectively the downtime move to reduce heat was. Since my Spider has 3 dots of Consort (yay Hawkers), I cleared out all of our trouble from the night’s job without hassle.
I have a knee jerk sense that if you’re helping on a desperate roll, you should also get XP, since you’re also on the hook for consequences, but I haven’t really thought that through yet.
We spent a lot of time waffling between whether we were Hawkers or Smugglers, since “The News” is a weird sort of product, and not a 100% match with the assumptions of the setting (which skew chemically).
A thing I’ve noticed: The very big fans of BitD conversationally drop the names of gangs and NPCs like they’re common parlance, and it’s clear that buy in is tied very closely to that level of buy in to the setting. It is, in some ways, reminiscent of the Amber DRPG, where the roster of NPCs was a known, shared list but it was built right into the game that these NPCs were different in everyone’s game. That was really powerful in Amber, and it’s good to see that idea (faces – who knew?) built into the setting from the getgo, and I will certainly build on this for some stuff I’m working on.
Anyway, first real session is in 2 weeks. I’m pretty jazzed.
Her vice is fashion, so who can blame her for grabbing a one of a kind design?. ↩︎
My Origins acquisitions, in the order I see them on the table (or they pop into my mind)
Hero Realms and all the class cards – I like Star Realms a lot, but I missed this kickstarter. This is about 85% Star Realms reskin with solid theme and nice tweaks. Have played a few games and enjoyed them. http://www.whitewizardgames.com/herorealms/
Vast: the Crystal Caverns – This is a weird game of tile laying and dragon slaying and other stuff with a million components and somewhat confusing rules, but it looks utterly intriguing and came well recommended, so I took a swing. http://ledergames.com
From the Gamelyn Games booth I picked up Tiny Epic Western and the expansion for Tiny Epic Galaxy. They had the expansion for Heroes too, but that game never clicked for me, and everything else was just promos. I had good luck with these games last year, and they’re a pain in the ass to acquire, so I was happy to scoop them up. http://www.gamelyngames.com/games/tiny-epic-quest/
Gravity Dice – I got a set of these last year and they were one of my favorite things from the Con. This year they had colors and 5 packs, so I picked some up for the family. http://gravitydice.com
Fidget Spinners – So, two guys brought 4 duffle bags of high end fidget spinners and sold them out of a booth near the back. I am pretty sure that they made bank.
Pyramid Poker – It’s a stacking game with poker scoring that is two player fun, and there is a full 54 card deck of wooden bricks in the box, so it also begs for re-use and was super reasonably priced – http://rnrgames.com/pyramid-poker
Shadowrun Sixth World Tarot – Last year there was art for this all over the convention, but the deck was not yet out. Seeing that it was available, I scooped it right the hell up. (No link because Catalyst’s website it like a stab in the eye)
A Gencon 2015 Tote So, this was a gift from Jason at IPR upon discovery of what a bag nerd I am. It’s a gorgeous promotional bag with an image of the history of gaming on the side. It’s a goddamned treasure.
S. Petersen’ Field Guide to Lovecraftian Horrors – Ok, so this was a gorgeous book, and I got it as a gift for a friend I do not see nearly often enough. But here’s a thing: I don’t buy Lovecraftian stuff normally. It’s not my bag. But holy crap if the Chaosium booth was not full of really awesome looking stuff. I am used to it feeling dated and like it’s just riding on the strength of the CoC brand, but not this year – it was well stocked with things that looked exciting enough to push me to maybe reconsider my stance on Lovecraftia. http://www.chaosium.com/s-petersens-field-guide-to-lovecraftian-horrors-hardcover/
Set of Easy Roller Dice – In the absence of chessex the floor was stuffed with companies selling beautiful dice of every variety. I picked up some of the Easy Roller gunmetal ones as a gift, and they’re lovely, but I admit I had a bit of buyer’s remorse when I got the the Norse Foundry ones.
A buffer Quarterstaff from Forged Foam. The kid had been asking for this for months, and it was stupid expensive, but totally worth it to see his face. https://www.forgedfoam.com/
I preordered a game called Unearth. Visually, it is very clearly derived from Monument Valley, which was initially off putting, but then I realized it was from the folks who made Boss Monster, so mimicking video game styles is already pretty much on brand for them. I got to play a little in the booth, and I liked it enough to actively talk it up to people. If they’d had it for sale, I’d have bought one. They did not, so preorder ($30, free shipping) was the way to go. http://www.brotherwisegames.com/product/unearth-preorder/
I will fully cop that I was skeptical about War of the Cross, the 7th Sea wargame that kickstarts on the 20th. My love of 7th Sea is well known, but I don’t really pick up war games these days, and war games based off RPG settings have a long history of mediocrity. However, I was entirely sold by the booth pitch. John described it as Cosmic Encounters meets Diplomacy, and while that immediately made me leery, Lenny supplemented the pitch with the explanation that it was “Divorce proof”, which intrigued me. Short form, the nations have some special tricks (that’s the Cosmic Encounters part) but the really interesting part are some tricks to streamline and standardize some diplomacy-style negotiation. I’ll be backing this. https://www.kickstarter.com/projects/johnwickpresents/12387016?token=1d0034c6
I realized as I sat down to write that I never did a writeup for the previous session, so here’s the compressed version.
I started the game with a discussion of whether or not our assassin had actually killed the guild member, since it had happened offscreen. We discussed the corruption mechanic and ultimately included that yes she had and that it was tearing her up.
The heroes had successfully escaped the harbor before the Eisen had locked it down, and were sailing with Red to Costa (a port on the western short of Vesten)
In Costa, they met Red’s contact who she had described as a “The best smuggler on the Trade Sea”, who was revealed to be a Porte adept who could, somewhat critically, get them to the Thane very fast.
The captain and the Doctor accompanied Red and the smuggler through the bloody hellscape to reach the Thane, tell him what had transpired in Vendel and ask him to send men. Red stayed with the Thane, who asked the heroes to return and deliver warnings to his daughter, as the timeline for her wedding to the MacDuff had been accellerated. They returned with he smuggler.
Meanwhile, The Swordsman would have no truck with such dark arts, and so stayed behind. The acrobat (or perhaps I should start saying the Assassin) was not so devout, but was feeling guilty enough to stay as well. They chose to investigate some mysterious men they’d encountered in trying to find Red’s contact (some violence was involved. Tastefully.)
The Swordsman & Acrobat investigated the mystery men’s ship and observed (but could not stop) a delivery of a large supply of Vesten weapons, armor and clothing (extra Vesten-y in fact). They also discovered a badly injured Sir Mandrake in the hold along with evidence that the supplies were going to someone who was planning to attack the MacDuff’s wedding posing as Vesten.
Heroes regrouped, shared information, scuttled the bad guy’s ship and set sail for Kirkwall.
Ok, so that lead to the latest session, which we all went into knowing it was the finale. I handed out an extra hero point apiece, because finale. We had a minor logistical problem because the Captain’s sheet was missing. Thankfully we had an old one, and a willingness to fake it, but that was a sour note to start on.
As our heroes sailed to Kirkwall, they encountered a damaged ship sailing for Costa. Wary of an ambush, they took precautions, but this was mostly a chance for me to pass along a warning that ships had been attacked by Vesten wielding lightning.
In Kirkwall, the harbor was filled, with Elaine’s flagship clearly visible (as well as signs of other lightning-damaged ships). The Gates was docked in an out of the way place. They placed Mandrake at church hospital for anonymity, and went to check in with McBride, who was surprised to see them, but brought them up to speed, mostly on things they already knew, including the Vesten lightning raiders, with a sidebar to the Doctor that the current chaos has the fishermen wary, which means the cod futures endeavor is in great danger.
The heroes then proceed to the Palace to see the princess. Along the way they encounter Paolo (the Swordsman’s former pupil, now head of the Princess’s guard) and have some pleasant banter about how horrible the decorations are here and the general Marcher aversion to solid colors. In time Marcela (Princess’s handmaid, spy and friend) ushered them in. There was time before the princess would be free, so Marcela roped in the royal tailors to help the heroes look their best for the wedding. The scene that followed was a fashion montage that ended with each player getting to describe their ideal outfit (which they got because, as Marcela said, she has budget). I suspect this may not be everyone’s cup of tea, but it was super fun.
Eventually that concluded, and they were joined by the princess.1
The heroes told their tale and delivered their warning, and there was a lot of (inconclusive) discussion of who could be behind it to what end. The biggest problem was that this disruption could benefit too many people to really narrow it down, but the three likeliest candidates were Avalon (who want to put the kibosh on the Marches getting friendly with the Vendel league) or the Atabean’s or Vodacce (who want to hurt the League). Avalon was mostly ruled out because the wedding was only happening at Elaine’s insistence, but one can never be entirely sure with Elaine.
The princess asked The Captain to share his concerns about an attack with he MacDuff, who promptly tried to use it as an excuse to postpone the wedding and was shot down hard by Sir Lugh, the queen’s….something. Lugh got a briefing from the Captain afterwards, and arranged to have Sir Mandrake transferred to the embassy.
With the clock ticking down to the Wedding, the heroes checked with Sir Mandrake (who was being guarded by Sir Math, the Brian Blessed knight) who mostly told them things they knew, but did inform them that the enemy had lightning weapons that used some sort of device. This was consistent with something that the Princess had said (that there weren’t enough Vesten stormcallers to actually account for the current problem) and lead to the Heroes wondering if the weapons were using Leviathan oil (which had voltaic properties).
To this end, The Doctor and The Acrobat sought out Doctor Benito, the Vodacce biologist whose theories on the Leviathan’s had been critical to their early adventures. Benito’s lab was a slaughterhouse, isolated from the university under a cloud of perpetual stench, which is why the decaying body of Doctor Benito had probably gone unnoticed. He’d been clearly stabbed in the back, and his things had been thoroughly rifled. The acrobat heard faint movement upstairs and headed up the outside of the building as a fwumph of someone starting a fire was heard. The acrobat pursued a fleeing figure across the rooftops and faced a choice of attacking him blind, or letting him get away but seeing who it was. She chose the latter and watches Giuseppe (A fellow “orphan” of Vodacce, last seen trying to assassinate the princess and ‘clearly’ died in the process)
It was also noted that when the fire fully engulfed the lab, the explosion was electric, and it appeared very much like a massive lightning strike. FORESHADOWING!
The Doctor escaped, and she later tracked down Benito’s students and terrified his notes out of them. This was handy since it gave a decent diagram of what leviathan oil explosives might look like. Meanwhile, the Marcella asks if The Swordsman would be willing to walk the Princess down the aisle, since he is on the short list of people she trusts. He agrees and, being a gentleman, also arranges to smuggle some small fighting axes in so that the princess is better able to take care of herself. He also had a conversation with Paolo about duty, with Paolo asking why he was putting himself at risk for these people he owed nothing to.
The wedding starts the next morning, and the search for explosives has been fruitless – the castle is just too big and they have too few searchers, and there is not enough time. The Doctor continues searching while the others return to attend the wedding. The Captain sits by Sir Math, the Acrobat lurks and the Swordsman walks the princess down the aisle. It’s all quite lovely. The chapel is on the edge of the cliff that looks out over the harbor and the ocean, and it’s all wonderfully picturesque, though perhaps slightly marred if you notice the pained, lovelorn looks that the MacDuff is throwing to Elaine. It is noon on the nose when the couple is pronounced and all hell breaks loose.
Cutting away for the moment, the Doctor has pulled of some economist-savant stuff and traced certain casks of wine to a vineyard financed by an Eisen holding company that was Reece toy bought out by an Avalonian trader who is a front for Macbride. OBVIOUSLY, that’s where the bombs will be, and as she goes to investigate, she finds rather a lot of toughs hanging around that room. She loosens her axe, and goes to “negotiate”.
At roughly the same time, there’s an explosion and the back wall blows in with a crash of thunder and lighting and horn-helmed Vesten rush in. Violence ensues.
So, practically this was one scene, but spent cutting across 4 threads. That was…interesting. It actually worked less well than I’d expected, but it turned out ok. But that split also will make it a little convoluted to explain, so bear with me.
The Swordsman assessed the threat, grabbed the princess (queen, now) and headed out the back. He expected Paolo to follow, but he did not. The swordsman did not stop until he got the new queen to safety, at which point she implored him to return and find Marcela, and he did so.
Meanwhile, The Captain saw that Sir Lugh had ushered Elaine out with great speed, so he and Sir Math turned to face the horde. It was glorious, but at the moment when The Captain called upon his luck, he had a momentary view down to the harbor where he saw MacBride’s ship setting sail, so he did the only thing he could: Had Math throw him.
The Acrobat immediately realized this attack was coming from a stupid direction, and so looked for the hidden thing. She spotted someone watching from the kitchen doors and made a dramatic leap, then slide, throwing her knife as she kicked the door open, and coming to a halt only to realize he knife was buried in Giuseppe’s chest, and with his dying breath he croaks “I was…trying…to…warn you” before hands made of shadow envelop him.
The Doctor’s scene was not described so much as presented as a montage of violence. The Doctor has every brute fighting advantage in the book, and the simple truth is that she walks through them like death incarnate. There is a certain amount of chasing and disarming, but the bomb threat is dealt with efficiently and brutally.
The Acrobat leapt into shadows after Giuseppe, and found herself in darkness. Using sorte threads like a spider, she took her bearings and realized there were two people here (besides Giuseppe), the one who had grabbed him and a not-really-human figure who had apparently noticed her, but said nothing. While on each previous encounter, her enemy in the shadows had an advantage of surprise and position, this time it was more of a fair fight, and it turned out he was not good at those. The Acrobat cut him to ribbons with blade and fate, and as he came to his end he cursed the other figure and demanded aid. It asked if he was requesting his seventh favor, and upon agreement the darkness vanishes. THe inhuman figure he stitched the mans wounds with shadows, smiled at the Acrobat, then walked off through a wall, declaring “Our business is concluded”. The Acrobat finished her job, this time out of pity, for it was clear the shadow stitching was having a fairly horror-movie effect on the man.
Meanwhile, the Captain was being thrown from the docks, which would be utterly preposterous under any other circumstance, but at this moment had the strongest knight of Avalon doing the Throwing and the toughest knight of Avalon being thrown. And even so, it depended on a liberal interpretation of some glamours, but that’s what finale’s are for. Having crashed into the docks, The Captain was a walking dead man, with bones poking out and things at odd angles as he walked onto the deck of The Gates and started barking orders. I could pretend it was a dramatic fight, but it was a hardy privateer vessel vs a fat, fleeing merchantman. The Gates got off a broadside before Macbride even ran out the guns, and the ensuing explosion(full of lightning as it was) badly damaged The Gates as it washed over it. When the smoke cleared, The Captain was nowhere to be seen.
When The Swordsman returned to the chapel, the fight was still in progress. The MacDuff had not fled, but was surrounded by his men – or mostly surrounded. The ones in front of him were engaged with the faux Vesten, but the ones behind him had been quietly cut down, and the assassin was advancing on the MacDuff’s exposed back. It was, of course, Paolo.
The Swordsman knocked the blade aside, and Paolo’s face is that of a crushed man, as they engaged. After a few exchanges, Paolo cursed and asked why the damn fool old man had not left. The fight grew more brutal, and when MacDuff and his men finally turned and noticed what had happened, Paolo was dead on the floor with a sword of the Hierophant’s Guard left in his body, and The Swordsman nowhere to be found.
So, the queen was saved. The assassins were not in position to silence any surviving Vesten, so the conspiracy was unwound. MacBride was scattered across the trade sea in pieces. So we cut to a few scenes of aftermath.
The first was a funeral. A statue of the Captain had gone up above his Cenotaph, with the remaining heroes and allies in attendance. There is much mourning, save from the Fate Witch who was The Captain’s first love of the game, who is beatific.
The second is a rooftop farewell between Marcella and The Acrobat, who is returning to Vodacce to finish the Orphanage once and for all. There is a fleeting kiss, then a whoosh.
The third is of the Guildhall in Vesten. The Doctor (who quite shamelessly took advantage of the disruption of MacBride’s death) is taking her seat on the council.
Of course, there’s a stinger. Halfway through the credits, we cut back to the Captain’s statue, then pull back to see a figure standing before it. We pull back a little bit further and realize the figure is urinating on the cenotaph. He finishes, turns and the Captain adjusts his hat and strides back towards the sea.
Final scene pans over a monastery on the mountains between Castille and Montaigne. A lone figure is walking up the long stairs up the mountains. He carries no sword, and his clothes are simple, but we recognize him as the Swordsman before he steps through the gates, and the screen fades to black.
It was a fun campaign. We’ll be doing Blades in the Dark next (the Swordsman’s player will be GMing), so I’m now turning over my experience with the game in my head. I am, I fear, dwelling more on the rough edges than on the parts that worked well. That’s no reflection on the game, just the way my brain works.
All in all, the flavor was right. This absolutely supported a swashbuckling game where the heroes were not just second bananas to the real movers and shakers of the setting. It still allowed space for powerful and important NPCs, but did so without demanding that the players need to be shackled by it. That alone makes for 80% win.
So the difficulties in the remaining 20% are irksome, but not a real problem. I’ll be frank, even after running it, I feel like there’s still something I don’t get about the system. There’s a flow and cadence to the Raise system which is amazing when the situation lines up, but feels off when it does not (and it is usually off). This is more frustrating that it would be because it feels Iike the solution is just around the corner – that just a bit of tuning would nail it down.
I dunno. The problem may be me. Maybe I’ll watch some actual play and see.
Beyond that I will say that I was not satisfied with the Hero Point economy. The system is full of hooks where it’s theoretically possible for players to earn more Hero Points, but they all felt a little bit too fiddly for me. I am, obviously, a big proponent of point economies, so there was no hesitation on my part.
Ironically, I think the answer to all of this is to think of this as an anti-indie game. A lot of these problems go away (or diminish) if I decide to take a much looser view of the rules and apply much stronger fiat. And that would make for a pretty good game. But I’ve been trying to play more “by the book” to push myself out of my comfort zones, and maybe this was not the right game to do that with.
Which is, I note, not a criticism. If the game is better suited to a strong, entertaining GM (which, I should note, definitely aligns with Wick’s advice) with the rules as guidelines, then that’s great, and the only issue is communicating that.
Anyway, I’m glad I ran this. It was a fun campaign and a return to a game I love. But I’m also glad to be taking a break. It’ll give time for the line to mature (we have so many wonderful maps yet to come) and I’ll be curious to see what it looks like when the whole world is spread out before us.
This was a fun scene because both NPCs are serious folks in a serious situation, but the heroes are people they can actually relax in front of, and that was obvious in their interactions. This is a small thing, but I really like it when NPC interactions can convey those notes of actual friendship – it goes a long way towards letting the NPCs be competent and important but not overshadow the heroes, because that’s your bud, and their success is in some way your success. ↩︎
That is, I should not, entirely how we played it. As a table, we’re comfortable with switching to cinematic language to describe play, sometimes very literally. ↩︎
First and foremost, I want to make something clear: this is an idea from John Harper’s Blades in the Dark, the clock mechanic, which I am adapting to 7th Sea. I take zero credit for any of this, and all blame for it’s awkwardness. I absolutely encourage looking to the source material for further insight.
With that in mind, here we go.
The Captain’s Wheel
When the GM encounters a situation which requires a little bit more range than a simple yes or no, then she can do the following:
Grab a post it or index card
Making it a wheel lets me draw it with stubs!
Draw a circle on it (the eponymous wheel)
Divide that circle into any number of wedges. 4 is the default, but really, 2, 4, 6 or 8 are all fine (or even odd numbers if that suits you).
Write down a word or two describe what’s being tracked.
Whenever something happens in play to move towards the outcome being tracked, fill in a wedge on the wheel. Sometimes, things will fill in more than one wedge.
When the wheel is completely filled in, something happens!
Sounds simple, because it is. Consider this example:
We’ve done two suspicious things, but so far he hasn’t caught on
Players are guests in the court of Elaine, but are also secretly spying for Montaigne. Elaine’s spymaster is on the alert, but not yet suspicious.
The GM draws a 6 wedge wheel to represent the awareness of the spymaster. When the heroes do things that might raise suspicion (even if it does not point directly at them), the GM fills in a wedge. On individual rolls, the GM may offer the prospect of filling in wedges as potential consequences that need to be offset. If the wheel ever fills in, the Spymaster realizes that there are spies around and the whole palace goes into lockdown.)
This offers a few interesting tools to the table1:
As a GM, it gives me an extra handle for consequences on a given roll. That is super valuable to me.
This scales up and down easily. I can have a wheel in a scene for whether the room catches fire just as easily as I can have a wheel on my campaign for when Posen finishes preparing for war. Wedges can be filled by a raise, by an action, by a scene or by and entire session.
It lets me address those situations where my gut feels like allowing something for one raise is too much, but I don’t want to just say no.
Because there’s a physical reminder of the wheel on the table, it remains something easy to engage. A quick glance can reveal what’s in play, and serve as its own sort of bookkeeping.
Anyway, I offer this as a convenience for anyone looking to solve the same problems I intend to use it for.
I admit, I may also use this notation for advancement, but that’s just a personal thing.) ↩︎
So, the next game is tonight, so I really need to get the last summary posted!
Apologies to any comments I’ve missed recently – something managed to get past the spam filters, so I’ve been cleaning the stables by hand, and that meant a lot of stuff got stuck in limbo until that got sorted out.
Anyway: the session
Summary of Session
It had been a while since the last session, so I admit I had to check my old posts. Ok, so we came back from a long hiatus with our heroes headed south to Vendel. The roads and posts were fine until they reached the barricade, but things got sketchy after that.
One night, Basillio noticed something odd about one of the posts they were going to stop at, and they stopped to send Zeta to investigate. It looked like it had been taken by bandits (Eisen mercenaries, by the look of them). Easily circumvented, but Zeta also heard the sound of prisoners, which demanded action.
Action followed. They rode in through the gate and ambushed the ambushers – roughly a dozen brutes – and made short work of them with the help of their coachman’s grenades. The Doctor chose to enter the building herself and deal with the brutes inside, and the results were messy and deadly, mostly for them. Prisoners were rescued, including an Eisen nun (and member of the shawl) who hit The Captain in the face with a chair before realizing this was a rescue.
A slow trip to Vendel followed, with the remaining Eisen following as prisoners. One of them, the leader, told his captors that Commander Heinrich of the Steel Hawks was his uncle and would willingly pay any ransom. These men were not Steel Hawks though, and Basillio surmised that they were some of the Eisen mercenaries who had come to Vendel expecting opportunity who were now making opportunity for themselves while politics remained at an impasse. No authorities along the way were willing to take them off the Heroes’ hands, but at the Vendel gates, the guard was more than happy to do so.
The next step was to deliver the silver and their report to Red, who was surprised by a series of things, including the money making it, the presence of slaves in the mines, and the possibility that the Thane was not a radical atavist. She arranged for the Captain’s help to have the actual chests delivered rather dramatically to the floor of the guild (with the difference made up out of her pocket, in a quiet sort of gamble). When we say “To the floor of the guild” it’s quite literal – upending two chests down onto the floor.
Chaos followed. The floor was shut down and a day of closed door meetings followed, once of which was watched very closely by The Swordsman. When the head of the Miner’s guild emerged, he was challenged to a duel (for his secret slaving), which was to follow the next morning.
At dawn, a crowd had gathered – not so much to see The Swordsman as to see The Hammer, the highest priced duelist in Vendel who was fighting on behalf of the guildmaster. The Hammer was a serious looking woman who wielded two hammers (think sledgehammers) and who played the crowd masterfully while remaining very professional with her opponent.
The duel that followed was fairly intense and closely matched. I talk more about it below in the mechanical part of things, but both parties were hurting when the Hammer knocked Basillio’s sword out of his hand and Basillio yielded. However, this was only the second most exciting thing to happen as a scream came from within the guildmaster’s pavilion – someone had taken advantage of the distraction of the fight to assassinate him.
Oh, and yes, The Acrobat was in the pavilion when this happened.
So chaos has increased, and our heroes manage to slip away in the chaos, partly because guard response was surprisingly non-present. A lucky break, until word reaches them that the Steel Hawks have surrounded the Guard HQ (and jail) and matters are about to get violent.
EDIT: Crap, I totally forgot the endgame
Ok, so the city is totally going to hell. Fighting in the streets, whole nine yards. Nearest force of men able to deal with this is the new High King, but the way there is problematic. But if a ship can get out of harbor before it’s locked down, then head inland form one of the coastal cities, he might be reached in time. But who could do such a thing?
Oh, you know who.
Getting out of the harbor was tight, but ended up being a dramatic use of the Doctor’s Time rune – she borrowed some future time (so the bad guys had a round to close in), but the shop then got double action for its escape. Super fun. Probably an utter misuse of the power, but I am 100% ok with that!
I tried something new with the coachman in the fight, something I’m calling NPC triggers. The idea is that if you have NPCs in the fight, you can spend a raise to have them act, and that action will generally reap some manner of reward. In this case, when the coachman threw a grenade, the player got to roll some dice (6, which was too many in retrospect) and every hit on that roll took out a brute. Effectively it increased the effectiveness of the single raise in return for constraining what it could be used for. It was a good start, and it’s lead to me writing up a small system for handling named brutes which I’ll probably release to the Explorer’s Society when I have a minute.
The duel was interesting – this was the first time we’d really had a chance to throw two 5 dot duelists at each other, and I was very curious how it was going to go. The end result was mixed.
First off, the players had fun as audience. I was really worried about that, because this was really a focus on one character, but I suspect the novelty kept it engaging. Also, Sorte and Glamour sorcery ended up handing The Swordsman a giant bonus in the fight, which had an interesting effect., and also helped with investment.
The actual die rolling was a pair of huge piles. I spent a stack of Villain Points to bring The Hammer’s 10 die pool up to a 16 to be able to challenge Basillio. It revealed that counting 15s is definitely a bit more cumbersome than 10s. I like the mechanical effect, but it slows things down in play, so I need to bear that in mind.
Basillio started with a small advantage (something like 11 vs the Hammer’s 10) and things proceeded pretty well from there. The actual back-and-forth, move-countermove was great. Very fun, very dynamic, kept things going.
I screwed the pooch in terms of player expectations.
When the Hammer disarmed Basillio, my thinking was that it would cost him a little tempo (since he could just spend a raise to recover the blade) but the player felt strongly that he was skating on thin ice, and that losing tempo would turn things against him very strongly, so he conceded. I was surprised, because thought the impact wouldn’t be that pronounced, but I also knew that The Hammer’s die pool was depending on my villain point spend to stay competitive, a fact the player did not have.
Running the numbers later, I think we were both right. In subsequent rounds, Basillio’ die advantage would have made a substantial difference BUT the way NPC wounds are handled would have meant that it would take so long to drop her that he could have gotten nickel and dimed to death in the interim.
So, all in all, I’m kind of filing this away as one more reason I need to retune the way NPCs are handled. The villain rules are well tuned for one villain vs a group of heroes, but that is not always going to be the arrangement.