Mythender is a game of epic heroes fighting gods in Mythic Norden being developed by Ryan Macklin. He’s been working on it for a couple years now and it looks like things are finally moving towards the final stretch. Last week he posted the first draft of the character creation rules and I decided to take them for a spin to help Ryan out with whatever feedback I could provide.
The game is set in mythic Norse country, but the image that jumped right out at me was not a Viking warrior, but an Irish one (unsurprising for anyone who knows me, really). Given there is a connection between the Irish and the Vikings, I used that as the jumping off point to create my own Mythender.
Behold Eire, raised by Morrigan to be the embodiment of the land of Ireland, sent by the Raven Queen to Norden to end the northmen and their heathen demon-gods.
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I always had the vague notion that what I had termed Joys and Sorrows was where the core of this game I’ve been working on lied; in a game about the loss of Humanity, the loss of the Self, Joys and Sorrows represented that which defined what was being lost. But for some reason that I couldn’t pinpoint I wasn’t entirely happy with the mechanic (and I call it that only as a technicality, as it never really became part of a moving system but remained only a cog off to one side).
A few weeks ago while at work, I had a small Eureka moment in regards Joys and Sorrows and the central place I wanted them to have but hadn’t quite achieved. The game, in essence, is about the loss of that which makes you Human, and the stories that emerge from that downward spiral. I was on to the right idea with Joys and Sorrows in that these are player-created statements that describe that which is important and connect the character to their Humanity, as well as defining where the sources of interest and conflict will lie as the story develops. But it was still clunky. I hadn’t found a way to express mechanically, on the physical game level, the loss of these bonds.
And then it hit me.
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A statement from my latest post on Rebuilding Vampire about the Vampire: The Masquerade character sheet turned into an all-day Twitter discussion about character sheets in RPGs in general. It was a good series of chats, actually, but it highlighted very quickly that I was talking to two different groups of people and that what I wanted to convey about why I said what I said about the VtM sheet was not clear at all for those who lacked a certain context. This post is me trying to explain my views on character sheets and what I see is their role in an RPG. I would love it if from there we can launch a greater conversation about RPG character sheet design in general.
In 2008 I listened to episode 54 of the Master Plan podcast, in which Ryan Macklin interviewed Daniel Solis. The name of that episode, and the idea that was hashed out over the half-hour interview, was that “A Cover Is A Promise.” Briefly (and really, you should listen to the episode to get the better explanation), Daniel poses the idea that when looking at the cover of an RPG, it gives the prospective customer a solid idea of either what you will do in the game or an emotion/theme that the game will create; the cover makes a promise of what’s to be found inside and in play. That phrase has stuck with me since then, and I have brought it up in various conversations ever since because it speaks to me, and solidifies a feeling I have had about roleplaying games that I simply had no way to voice. Following that line of thought, when I think of character sheets, this is the statement that comes to mind:
A character sheet is a map.
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Over a year ago I wrote about two traits I wanted to focus on in my vampire game, traits I called Joy and Sorrow. These were to be brief phrases that described something that brought Joy to the vampire or cause her Sorrow; either way, they were emotional triggers that kept the vampire connected to her Humanity in the face of the imminent loss of it to the Beast.
Through all the various thought processes, version of the game I’ve assembled in my mind, playtest drafts, moments of frustration, through them all Joy and Sorrow remain at the core of my design. It’s simple why, really: to me, they are the fuel for conflict in my interpretation of the vampire myth via a roleplaying game.
Since V20 was announced, my mind has been churning old thoughts around on the back burner (I am in the middle of classes, after all), stirring them over low heat. Every so often a bubble escapes and a half-formed thought comes to the forefront, teasing me with things I won’t have a chance to pay closer attention to at least for another month. This past week, it was Joy and Sorrow. Again.
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Yes, I know that I wrote a goodbye post to this series earlier this year, but what can I say, events in the last few weeks have conspired to bring this back from the dead (pun firmly intended). I’ll talk about the biggest one now.
White Wolf has surprised the gaming world by announcing a very special project to be published later this year, the Vampire: The Masquerade 20th Anniversary Edition, to be released at the Grand Masquerade in September.
This quote from the Basic Design Directives for V20 by Justin Achilli sums it all up beautifully:
Vampire is our crazy ex-girlfriend and we’re scrawling her a handwritten note confessing a desperate, to-hell-with-everyone-else kind of love, and she’s agreed to give it one more go with us.
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After trying for almost a week to find a time when we could get together online to play something, Tuesday night we finally managed to do it. Four of us jumped on Skype and ended up playing a short game of Fiasco: a roleplaying game of powerful ambitions and poor impulse control (aka The Coen Brothers RPG, as it has been described sometimes). The game has received some stellar reviews and great word-of-mouth recommendations, so it’s one I’ve been wanting to try out. That it can play out entirely in a couple of hours also made it very attractive to our rag-tag band of busy online gamers. At some point during the last year I learned of a Fiasco playset (think of it as a setting sketch) called Gen Con: The Worst Four Days in Gaming, and that’s the one I proposed we play.
We did . It was awesome. It went a bit slow, since of the four players, two of us had not played Fiasco (Rob and myself) and two had (Rich and JJ). We decided to roll our own characters and connections instead of using the suggested ones provided in the playset. The almost-45-minutes we spent doing this felt like its own little game-within-a-game and we laughed as much as we did once we actually started playing. We played two rounds of scenes. Each player, on their turn, gets to either frame the scene and let the other players choose the outcome, or lets the other players set the scene and he chooses the outcome. We had a good mix of the two options, which created some funny moments. Whoever chooses an outcome for the scene, picks either a white die (things turn out well) or a black die (things turn out poorly) from a dice pool rolled at the start of play. When we finished, there was only one white die on the table, the rest having been chosen to be poor resolutions to the scenes in question, all simply because poor resolutions make for funny moments and problems for the characters. And really, that’s what this is all about, making the characters’ lives hell for our amusement.
The Gen Con playset turns out some bizarre situations that oddly enough feel like they’d be right at home in the real Gen Con! I think it captures the weirdness of Gen Con well, while adding the slapstick crime element to the mix in a perfect fashion. Seriously, you’ve probably never thought of Gen Con this way, but it isn’t entirely out of the realm of possibilities that some of the stories that can emerge from this playset could really happen during the best four days in gaming. I’m not sure if that makes me feel better or worse, to be honest.
I could write a recap of the events that transpired but that’d be like telling you about my character and our adventure: it’s only interesting if you were there. I can, however, offer you a glimpse of the madness that went on.
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