Speedy Dresden

My heroes over at Evil Hat Productions have just released Dresden Files Accelerated, fulfilling one of the stretch-goal promises of their incredibly successful Fate Core Kickstarter ((To be clear, the stretch goal was that they would develop DFA, not that you’d get DFA as part of your Fate Core Kickstarter. They were very clear that this was not going to happen right away. And it didn’t. But it did happen, just like they promised.)). This is a version of The Dresden Files Roleplaying Game using the Fate Accelerated implementation of the Fate Core rules ((Think I’ve linked enough things in those two sentences? Feels like a lot of links.)). Now, some of you may know I’m a big fan of the original DFRPG, and of Fate in general, and I’ve already mentioned that the folks at Evil Hat are my heroes

What’s the Difference?

Back when it first came out, I wrote a post about FAE. In short, FAE is a rules-light, fast-play, simplified version of the Fate Core rules. DFRPG is one of the complex iterations of the Fate ((Note that it predates Fate Core.)) rules, notably because of the magic system ((If you don’t believe me, I wrote a lengthy series of posts talking just about the DFRPG magic system. Take a look at the Spellcasting section here.)). DFA is a simplified, fast-play version of DFRPG.

The Basic Mechanics

Like FAEDFA uses approaches instead of skills. The six approaches for DFA are Flair, Focus, Force, Guile, Haste, and Intellect ((Only slightly different from FAE‘s Careful, Clever, Flashy, Forceful, Quick, and Sneaky.)). There are the standard four action types – Create Advantage, Overcome, Attack, and Defend – and the four standard outcomes – Succeed, Succeed with Style, Tie, and Fail.

Actions and conflict work pretty much the same as in FAE: roll dF, add it to your approach rating, and compare it to a target number. Levels of success in combat turn into stress, or into free invokes on created aspects.

Of course, there are aspects. Can’t have Fate without aspects. They work the same as in other Fate games, giving a bonus or reroll when you invoke them and spend a Fate point, and earning a Fate point when compelled.

There are, however, some new bits of mechanics that do some really interesting things.


DFRPG used a thing called a Template to define your character’s basic powers and abilities. DFA calls roughly the same thing a Mantle. There’s a total of 24 Mantles in the book, covering everything from a clued-in mortal to magical practitioner to Santa’s seneschal ((Not even kidding about that last one.)).

Each Mantle has a set of core stunts, optional stunts, and unique conditions ((I’ll talk more about conditions below. They’re cool.)) that provide the special abilities and flavour of each character type. Mostly, you pick a single Mantle for your character, but a few Mantles, like Changeling or Red Court Infected, act more as templates – you create a character using one of the mortal Mantles, then add the supernatural Mantle.

You start with all the core stunts of your Mantle, and with the unique conditions. You also get one free stunt from the list of optional stunts. And, as with standard Fate games, you can choose to take more stunts in exchange for giving up a point of Refresh per stunt.

Conditions and Stress

Conditions are a very cool new piece of mechanics. Functionally, they’re like stress tracks in Fate, or predetermined consequences. Really, they’re aspects with an On/Off switch ((Which I think is brilliant.)). Each condition has a series of checkboxes – some have as few as one checkbox – and, in given situations, you mark one of the boxes ((This is not entirely accurate. Some conditions start as ticked checkboxes, and you clear them in response to certain situations.)). Once the boxes are ticked, the associated aspect is turned on, until you meet whatever requirement the condition has to clear it.

Example? Sure!

Magical Practioners ((Like Wizards, for example.)) have a condition called Exhausted. It’s got one box. With the Evocation stunt, you can boost the effect of your spell by marking the box, which gives you some bonuses on trying to, for example, blast a vampire with sunlight. While the condition is marked, you have the Exhausted aspect, and the GM can invoke that to mess with you. In addition, in any scene that Exhausted would be a factor, the GM gets one free boost against you. If you take the necessary time to rest up, you can clear the condition, and you are no longer exhausted.

So, really, conditions are the category to which stress and consequences belong – tick the boxes and get a temporary aspect. And stress in DFA is reshaped a bit to help it fit that model better. By default, characters have six boxes of stress, and the conditions In Peril and Doomed. Stress is not divided into the mental, physical, and social tracks of DFRPG – there is only stress ((This is the same in FAE, and I liked it there, too.)). In Peril and Doomed act as predefined consequences – you can tick one of those conditions to offset greater amounts of stress. If you can’t buy off all the successful shifts of whatever you’re dealing with – punch, shot, fireball, psychic blast, or anything else – you’re taken out.

Now, as I mentioned in a footnote, some conditions kind of work in reverse: they start out marked, and get cleared in certain situations, turning that conditional aspect off. These are basically aspects that give your character special abilities, like Police Powers or Medical License, but that can be revoked due to your actions.

Why do I think this is such a neat little piece of game design? Because it’s a simple, adaptable way to create great variety and model a lot of different powers without having to come up with entirely new sub-systems for them. It is incredibly flexible, there are a whole slew of worked examples in the book to help you come up with new implementations, and it doesn’t increase the complexity of the characters very much. I mean, there’s always some increase in complexity when you add a new thing to track for a character, but because it’s so very similar to stuff you’re already tracking, that increase is minimal.

So, yeah. Conditions are pretty cool ((Forgot to mention another default condition everyone gets: Indebted. This lets you track favours that you owe to others. Nothing dangerous about that, right?)).


I haven’t done an actual count, but my impression is that DFA has more actual stunts listed in the book than Fate Core does. It certainly has more than FAE does. This is because it takes everything that was a power in DFRPG and makes it a stunt. And also because the stunts integrate so closely with conditions that clear definitions of what some stunts do in relation to the conditions is pretty much required.

There’s also a discussion about how to create your own stunts, using the method from FAE.


This is the section I was most interested in ((And the longest section of this review. Sorry.)), when the game was announced. I was really curious to see how the flavourful-but-complex magic system from DRFPG was going to be implemented in the much-simpler FAE structure of DFA.

First, let’s talk evocation. Evocation is a stunt, and it lets you use elements to perform the four types of actions allowed in Fate Core. It’s got a couple of conditions tied to it – Exhausted and Burned Out – to model the way channeling that much raw energy can just tire you out. It’s just a standard action, tied to your approach, that you get to describe in a magical style; so, instead of a Forceful gun attack, it might be a Forceful fire attack. There’s none of the math that the DFRPG system required ((Take a look here to see what I mean.)), and a single roll instead of one roll to gather power and another roll to focus that power.

There’s also no need to track how good you are at the different elements. There are stunts that can give you a bonus using a certain element with a certain approach to accomplish a certain action, but that’s much simpler than the DFRPG method of calculating and tracking it ((Which I discuss under Calculating Your Bonuses here.)).

Overall, I like the new evocation. It’s cleaner and simpler and, though it may lack some of the risk and apprehension of the DFRPG method, it is loads faster and easier.

Now for thaumaturgy. While evocation gets about half a page of write-up in DFA, thaumaturgy gets its own chapter. Now, it’s a chapter of 13 digest-sized pages, compared to DFRPG‘s 26 full-sized pages, so it’s not really all that much. It is more complicated than evocation, of course – it’s more flexible and more powerful. In DFA, it’s only a single roll ((Kind of. Keep reading to find out about costs.)) to use thaumaturgy, rather than the multiple rolls to prepare the spell and gather and focus the power in DFRPG.

There is some math in this type of magic. You really kind of need to do a little math to have the sort of flexibility that thaumaturgy has in the source material ((That is, more powerful spells need more complex rituals, so you need some way to determine how powerful the spell is in order to decide how complex the ritual is.)). You build spells by determining what stunts and/or conditions the spell brings into being. So, if you want to, say, use magic to turn you and everything you’re carrying into a cat, that’s +4 for the Physical Transformation (lasting) condition, and +2 for the Shifting Adept stunt, giving the spell a difficulty of Fantastic (+6). See? Simple math.

Now, instead of having to make up a Lore deficit ((What am I talking about? You can read about it here.)), you add up the costs, based on the conditions and stunts in the spell. So, for our shapeshifting spell above, it requires four costs: one for the stunt, three for the lasting condition. Then you make the roll against the difficulty. How well you roll determines who gets to pick the costs; you, the GM, or both taking turns.

Costs are narrative complications or resources expended: time for completing the ritual, rare components you need, help that you need ((Remember that Indebted condition?)), special circumstances like times or places, or the spell not quite working correctly. This basically replaces the before-the-roll spell preparation in DFRPG with an after-the-roll determination of the story of the spell. It also determines if you need to make any other rolls for the spell to work – maybe it takes a roll to get you hands on a bit of the target’s hair, for example.

Note that this method makes thaumaturgy much more reliable and safe than in DFRPG, though a bad roll may result in the GM picking costs that you can’t obtain or aren’t willing to accept. This means that, if your ritual spell fails, it’s usually because you choose for it to fail rather than expend the resources or accept the costs required. And that’s interesting to me.

One last note about thaumaturgy: there are four example spells in the chapter, each about a page long. Two of those examples don’t actually use the ritual magic rules, and are examples of when to use these specialized rules and when to use the standard FAE-style actions. This is incredibly useful in opening up the concept of only using these more complicated rules ((“More complicated” compared to the other DFA rules. Not compared to DFRPG.)) when they actually add something to play, and modeling things using the regular mechanics otherwise. Good advice, and good examples.

A few other notes about magic:

  • Sponsored magic is handled by stunts and conditions in the mantles. It really helps simplify the whole sponsored magic stuff, which was a weak part in DFRPG ((To be fair, it was really cleared up in The Paranet Papers, which I reviewed here.)).
  • The Sight is a condition called The Third Eye, and using it is risky to your sanity. Clear, simple guidance on it.
  • Soulgaze is a stunt, and again, there’s clear, simple guidance.
  • Enchanted Item is a stunt that lets you pull a useful magic item out of your pocket once per session. Individual, permanent magic items, like the Wardens’ silver swords, are singular stunts on their own.

All in all, the magic system in DFA does a really good job of simplifying the DFRPG magic system without sacrificing very much in the way of flavour or flexibility.


The Dresden Files novels have creatures of vastly different levels of power facing off against each other. Supernatural creatures vs. mortals, wizards vs. fey nobility, stuff like that. DFA has the concept of scale to address that. There are five different scales: Mundane, Supernatural, Otherworldly, Legendary, and Godlike. Going up against a force of a different scale provides the higher-scaled side a significant bonus, based on the difference in scales.

This bonus is a big deal, but there are ways around it, as demonstrated in pretty much every Dresden Files story out there. As DFA says:

Wizard Dresden is an expert at finding the Achilles’ [sic] heel of superior foes.

Other Stuff

Just a quick rundown of some other things I think you should know about the game:

  • It’s got all the customization stuff you’d expect from an FAE game: building your own setting, GMCs, stunts, Mantles, and so on.
  • It’s also got a complete prebuilt setting, with GMCs and playable characters.
  • The advancement system is very simple, but there’s some good advice on advancing the setting along with the players.
  • It’s great fun to read, with lots of useful examples and amusing marginalia.
  • The art is clean and evocative, and there’s lots of it.
  • It’s a digest-sized book, like all the other Fate Core books.
  • The background covers up to Skin Game in the Dreden Files books. So, y’know, spoilers.
  • It’s waaaaaay easier to carry than DFRPG.
  • Our Story and The Paranet Papers for DFRPG are useful sourcebooks for DFA, but aren’t required.


I really like this game. Really. Reading it has got me looking at my game schedule to see if I can fit a new game in ((Not quite yet, unfortunately. Maybe in a couple of months.)), because I want to gather a group to play.

It’s a nice version of Dresden Files, vastly simplifying the system without sacrificing the cool flavour and flexibility of the game. If your a fan of Harry Dresden in any of his incarnations, I recommend picking it up.

You know you want to.

Dresden Files Cooperative Card Game


The good folks at Evil Hat Productions are currently running a Kickstarter for a new card game: The Dresden Files Cooperative Card Game.

There is ((At the time I’m writing this.)) five days to go on the Kickstarter, and around $38,000 dollars to hit the last stretch goal. I really want them to hit that last stretch goal, which will give folks free expansions and variant cards in the app version of the game that they’re going to develop. So, I’m trying to get the word out a little wider.

As a backer of the campaign, I was able to download the print-and-play version of the game and give it a try. I’ve played several solo games ((Yes, there are solo rules.)), and a couple of multi-person games. Short version: it’s a good game – challenging and flavourful and just a lot of fun.

First, the basics.

Players take the roles of various characters from the Dresden Files book series. Each character has a small deck of cards that represent their abilities. The group faces off against a deck of cards based on one of the Dresden Files books, which presents a series of cases, foes, obstacles, and advantages. The group must use the cards in their hands to solve the cases, defeat the foes, overcome the obstacles, and gain the advantages. To win, the group must have more solved cases than there are undefeated foes when the game ends.

As with a lot of cooperative games, the core of the game is resource management. The initial hands the players draw for their characters are pretty much the only cards they’ll have for the entire game – opportunities to draw more cards are uncommon, and players may only have one or two opportunities to draw a new card over the course of the game, so using the cards for best opportunity is key.

In addition, all the cards have a Fate Point value. There’s a pool of Fate Points that the group shares ((The size of the pool is based on the difficulty the group has chosen to play at. The lower the difficulty, the more Fate Points available at the start of the game.)), and playing a card requires spending Fate Points from that pool. Players can also discard a card to gain that card’s Fate Point value into the pool ((This also triggers a special ability that each character has, called a Talent.)). So, deciding when to spend Fate to play a card and when to discard a card to gain Fate for later use is another key decision point in the game.

The Book cards are dealt out in two rows, and the position of the cards along a range band tell you which cards can be affected by cards with different ranges. The layout of these cards changes with every game, and that means the optimal strategy changes with each game, too. There are interrelationships between the Book cards, as well, so that dealing with the cards in a certain order can make dealing with other cards easier. For example, you may need to solve a case before attacking a given foe.

The game ends in a showdown, where there is a final hail Mary chance to solve outstanding cases and defeat outstanding foes. You enter the showdown when you play a card that has more Fate Points than you have available, or when the players are all out of cards, or when all the players agree that they should go to showdown because they don’t have anything useful they can do. At the end of the showdown, which is a series of rolls ((Using Fate dice.)) against the various outstanding cards. These rolls can have their odds improved by spending Fate Points, so it’s good to have a few left in the pool when the showdown starts.

At the end of the showdown, you total the number of case cards you’ve solved, and compare it to the number of foe cards still on the board. If you have more case cards, you win. If you don’t you lose.

So far, I have yet to win a game. But every game has felt like I’ve had a chance right up to the showdown, and my immediate reaction after each loss has been, “Wow. I better try that again.” The game is challenging and a little bit frustrating and highly addictive.

The base game comes with five character decks: Harry Dresden, Karrin Murphy, Michael Carpenter, Susan Rodriguez, and Billy and Georgia of the Alphas. Two more decks have been unlocked as freebies by the stretch goals: Mouse, and a crossover from Sentinels of the Multiverse, Ra.

There are five book decks in the base game: Storm Front, Fool Moon, Grave Peril, Summer Knight, and Death Masks. There’s also a deck called Side Jobs that you can use to generate a random scenario for play.

Stretch goals have also unlocked three expansions, each of which features two more character decks, two more book decks, and a few more cards for Side Jobs. Stretch goals have also generated a $10 discount on shipping charges, so shipping in the US is free, and it’s just $10 for shipping up here to Canada. And the stretch goals have increased the art budget, so you’ll see a lot more variety in the art than is currently presented in the print-and-play version ((The art currently in the game is great, but there is only one image for case cards, one for foe cards, one for obstacles, etc. The increased budget means different images for different cards.)).

You also get a play board, some Fate dice, and chits for tracking clues, hits, and Fate Points in the base game.

So, if you get all three expansions with the base game, you wind up with 13 character decks, 11 book decks, and about 45 Side Jobs cards, enough for a lot of replay value.

The Kickstarter is almost over. Right now, you can get the base game for $39, and the base game plus the three expansions for $69. And if the campaign hits $450,000, there will be free expansions and variant cards when they release the app for the game. If the game sounds good, jump in quick.

Harry needs your help.

The Lightning Bug and the Lightning: Aspects in Dresden Files RPG

This post has been a tough one to write*. The topic of Aspects in DFRPG (or any FATE game) is so central, so important, and so rich that trying to write about it can be daunting. More than the dice mechanics, or the powers, or the stunts, or the skills, Aspects are the beating heart of the system.

Mark Twain famously wrote:

The difference between the almost right word and the right word is really a large matter – it’s the difference between the lightning bug and the lightning.

The same is true of Aspects. And what I’m trying to do in this post is to help you choose the right Aspect, rather than settling for the almost right Aspect.

Now, Your Story has a nice discussion about picking Aspects that highlights what I call the Aspect trick: you need each of your Aspects to do triple-duty for you:

  • You have to be able to invoke the Aspect when you need a bonus or a reroll.
  • The Aspect has to complicate your life to some extent, so it can be compelled to gain Fate Points.
  • You also want to be able to invoke the Aspect for effect.

Most of the time, an Aspect is going to lend itself better to one or two of these than to all of them, but the ideal is come up with at least one situation you can envision in play where you can use the Aspect for each of the three ways to use them. Let’s take a look at each of these functions.

Invoke for Bonus

A sucky roll is a sucky roll, and that’s the truth from system to system. And sometimes even a great roll isn’t going to be enough to let you do what you need to do. Now, you can always just spend a Fate Point for a +1 to the roll, but you get more bang for the buck (or point, anyway) when you use that Fate Point to invoke an Aspect: +2 or a reroll of all the dice. Now, from a statistical point of view, the reroll only really makes sense if you’ve rolled -3 or worse on the dice, but it’s nice to have that option there. So, for this to work, you need to have your Aspect say something positive about your character or his or her abilities.


Fate Points are the currency of game play. You want Fate Points. You get Fate Points when one of your Aspects constrains your character’s options in a way that causes you some difficulty. Got an Aspect called Bad Temper? You get a Fate Point whenever you blow up at someone and it makes your life difficult. This means you want an Aspect that talks about a complication in your character’s life.

Invoke for Effect

Let’s say you need to get in to see the CEO of a company. You don’t have an appointment, and none of your skills are up to the challenge of hoodwinking the CEO’s personal assistant. You’ve only got a single Fate Point to spend on trying to get past the gatekeeper. Well, you pay your Fate Point and say, “Because I’m a Wealthy Man About Town, I’ve met the CEO at the Sinclairs’ fundraiser last week, so I just tell the assistant to let him know I’m here. He’ll want to see me.” Boom. You’re in. This is invoking for effect. Getting to do this is an often-overlooked bit of Aspect capability, but potentially the most powerful. To make this work for you, you want your Aspect to state or imply some ability or association that has its own effects.

Beyond the three mechanical functions of your Aspects, there are a few non-mechanical things you want to think about when choosing an Aspect.

You want your Aspect to have a story.

The Aspect should come out of what’s happened to you, and should tell people a little bit about your character. Now, this may seem like a no-brainer, especially with the way character creation phases work, but it can get lost in the mix if you’re not careful. Make sure that, when you choose an Aspect, there’s a reason coming out of the phase that grants you the Aspect that supports it. And make it intriguing enough that, if someone were to find out about the Aspect, they’d want to know the story behind it.

You want your Aspect to link you to stories.

The GM advice in Your Story for creating scenarios recommends looking at the Aspects the characters have, and the Aspects you’ve created along with the city, pick the ones that catch your fancy for this scenario, and work with those to create the situation and opposition. So, you want your Aspects to give lots of good ideas to the GM, because then they’ll get incorporated into the scenarios, and your character will get to strut his or her stuff.

You want your Aspect to support your high concept.

You’ve picked a high concept for your character. All the other Aspects should feed into or flow out of that high concept. Now, that’s not to say that if your high concept is Wizard of the White Court all your Aspects have to be about wizardly magic, but they should all be about what kind of wizard you are, or what kind of person being a wizard has made you, or what made you become a wizard. High concept is very central to the character; your other Aspects add detail, colour, and shading to the high concept.

You want your Aspect to be cool.

Hey. This is your character we’re talking about. You want to make sure that, when you look at each of the Aspects you’ve chosen, they all make you glad you’re playing this character. Each one has to do its share in bringing the cool to your character, reinforcing and supporting the original cool idea you had.

Okay. So now we know what we want our Aspects to do. We still need to figure out what to use for Aspects. I generally take something from the following list:

  • Something you are. Your job, your nationality, your hobby, your race, whatever.
  • Something you do. More of an avocation – helping the helpless, reading voraciously, good cook, things like that.
  • Something you say. A catchphrase, or a line that sums up some facet of your character.
  • Someone you know. A friend, an enemy, a rival, a lover, a family member, and so on.
  • Something you have. An item with special meaning for you – your grandfather’s sword, a custom car, a friendship bracelet from your daughter.

Now, a lot of these shade over into each other: a friendship bracelet made by your daughter really says more about your relationship with her than about the bracelet itself. But still, the list is a good place to start looking at Aspects. Once you have one, run it through the test: ask how it meets the mechanical demands and the non-mechanical ones. If it’s weak in one area or another, look at ways to fix it.

Selecting Aspects can be tough. There’s a lot of ground you want to cover with each one, but you also want to keep it fairly short and snappy. The best way I can show you some of the tricks I’ve come up with is to walk through the Amadan example I used for the character creation phases to show what I came up with, Aspect-wise. In the examples below, I lay things out as if I were creating Amadan in a vacuum, but it’s important to remember I was working through the character with two other people, and we brainstormed different Aspects for each of the characters as a group. Some of the brilliant ideas below probably came from either or both of them – one of the joys of group character creation.

Aspect 1: High Concept

This one is often the easiest to come up with. The template you’re using for your character gives some guidelines for what needs to be in the Aspect – Wizard, or Changeling, or Soldier of God, or whatever. But you don’t want to just leave it there, because that’s usually not cool and unique enough.

For Amadan, I knew that I wanted a trickster fey, so that goes into the high concept: Faerie Trickster. But I want something to say a little more about what makes him different from all the other tricky fey concepts out there, so I thought about the rest of his background – too close to mortals, cast out by his court, trapped in the mortal world. And I decided to make him a drunkard. Faerie Trickster Drunkard, however, felt a little too comedic for what I wanted – it didn’t have the sense of hurt and sadness that I wanted to come across, so I twisted it around to Dissolute Faerie Trickster. That, to me, gives the right feeling of partying to hide the pain.

Now, for the test: Invoke for bonus? Check, especially for pranks and tricks. Compel for Fate Points? Hello, dissolute. Invoke for effect? Well, his fey nature and trickster predilections gives me some ideas for that. It is linked to my entire backstory, and gives me an interesting Byronesque (yet pre-Byronic) image of the character, so that fulfills the other requirements.

Final Aspect: Dissolute Faerie Trickster

Aspect 2: Trouble

Well, the common trickster problem is that they often get caught in their own plots, and wind up hoist on their own petard. Hoist On My Own Petard has some potential for this Aspect, but it’s hard to see how it can be invoked for a bonus, so I start looking a little farther afield, thinking about what it is that gets the trickster into trouble. And it’s usually trying to be too clever. Too Clever, though, doesn’t quite have the ring to it I’m looking for. I play with it a little – Too Clever For My Own Good, Not As Clever As I Think, Too Clever By Half. I like the sound of that last one.

The test. Invoke for bonus? Check on the clever. Compel for Fate Points? Check. Invoke for effect? I can see invoking it to just happen to have some obscure item that fits a situation, because of an extensive and convoluted plan involving something else entirely. Of course, that means that I’d have to come up with that convoluted plan to persuade the GM, but that could be fun, too. So, check on that. It ties into the story, supports the high concept, give the GM a hook for stories, and I think it reveals some cool things about the character.

Final Aspect: Too Clever By Half

Aspect 3: Where did you come from?

For this phase of character creation, I came up with the following:

Fox-like faerie trickster of the Summer Court who prefers to spend his time among mortals, enjoying their passionate nature and gullibility.

Based on this, and building on the high concept and trouble, I think of a few of things that could work: Student Of Human Nature, What Fools These Mortals Be, People Are Toys.

I like Student of Human Nature, but it doesn’t really lend itself to compels very well. Also, it’s not very catchy as a phrase, especially not when compared to What Fools These Mortals Be – kinda hard to top Shakespeare for good quotes. People Are Toys has two problems: one, it’s a little too on-the-nose, and two, it makes him seem more like a heartless manipulator than I want him to be.

Of the three, I like What Fools These Mortals Be best, so I run it through the test. Invoke for a bonus? Big time, when fooling mortals. Compel for Fate Points? Well, one of the things that makes Puck work in A Midsummer Night’s Dream is that he thinks this about mortals without really understanding them at all, winding up looking more foolish than the mortals in a couple of situations. So, working with that vibe, underestimating mortals makes a good compel. Invoke for effect? I can see using it to produce a number of ongoing scams to net the character resources: “I’ve been running a crooked dice game at the tavern, with these foolish mortals, so I’ve got enough silver coin in my pockets to melt down for bullets to use against the werewolf.” Check. Again, it comes out of story, showing Amadan’s preference for mortals and his sense of superiority over them, which also reinforces the high concept while setting him apart from other fey. It suggests possibilities for stories and it’s a good quote, so the cool factor works.

Final Aspect: What Fools These Mortals Be

Aspect 4: What shaped you?

My story for this phase of character creation was:

After an elaborate prank embarrasses the Summer Knight and, by extension, the Summer Lady and the whole Summer Court, Amadan is shunned by his fellows, and not informed of the decision of the Courts to withdraw from the mortal world. His first inkling is when he tries to return to Court and finds all the Ways barred, and he is trapped in the mortal world.

So, he gets ditched like a geek at a junior high party. The ideas I’m working with for Aspects here are being left out in the cold, abandoned, but not officially kicked out. Just, as I say, ditched. I start with that idea, Ditched, as my Aspect, but it’s a little colourless, and I think I’d have to go through too many convolutions to invoke it in any sort of positive way.

Ditched By Summer has some potential, because by adding the reference to Summer, I can think of ways to invoke the Aspect to reinforce the fact that he is officially part of the Summer Court, as well as to gain favour with those who don’t like Summer by relying on the Ditched part. Still, though, I don’t like the phrasing – Ditched sounds too modern for a 17th-century game. Playing with different synonyms, I get things like Exiled, Cast Out, and Outcast, before I get to Cast-Off. This has the right feel of being thoughtlessly discarded, so I go with Summer’s Cast-Off, and run it through the test.

Invoke for bonus? Check, as discussed above. Compel for Fate Points? Check. Invoke for effect? Sure. Tied strongly to the story of the character, supporting the high concept, and offering convenient story hooks to the GM? Check. Cool? Well, I like it. It gives me some thoughts about the spiteful rage that’s probably simmering under the dissolute, friendly-seeming surface of the character.

Final Aspect: Summer’s Cast-Off

Aspect 5: What was your first adventure?

Here’s my first adventure:

The Long Journey Home

Left behind when the fey retreat, Amadan finds all the Ways back to the Faerie Courts closed to him. He travels the world, seeking desperately to find a way back, but eventually comes to realize that he prefers life among the mortals.

The story is there to give the character a reason to linger in Prague, no longer searching so desperately for a way back to the Courts. I can see a lot of different ways to go with an Aspect here, from giving him something that reflects traveling the world, to one that further emphasizes his connection with mortals, to one that links him more strongly with Prague. If this were a PC instead of an NPC, or if the game was more of a road-trip game, I’d probably go with the first or the second. But Amadan is an NPC in a game centred in Prague, so I’m going to emphasize that.

The first thing I thought of for this Aspect was Right Where I Belong. The more I thought about it, the better I liked it. It could be read as either satisfaction or resignation with the current situation, and it has a lot of good uses, both positive and negative. It’s the kind of Aspect that I like most: evocative, flavourful, and generally applicable without being bland. So, it passes the test with flying colours.

Final Aspect: Right Where I Belong

Aspect 6: Whose path have you crossed?

This phase had me co-starring in Izabela’s story:

The Warlock of Vienna

Sent to infiltrate a suspected Huguenot movement in Vienna, Izabela falls in love with a young rebel and they end up working together to stop a powerful warlock from sacrificing a group of children that he has kidnapped. Amadan trades favours with Izabela, using his knowledge of the Mittelmarch to spirit the children out of the city in return for a future favour.

My thoughts on coming up with this section were to make Amadan more of a favour-broker, giving me a way to tie him in with the characters later on. I thought about an Aspect like And What’s In It For Me?, but that felt too mercenary, and didn’t develop the web of relationships I sort of wanted to create here. I settled on A Favour For A Favour, which had more of a bargaining feel to it, and the suggestion that Amadan is keeping track of a complex network of who owes him and who he owes.

So, the test. Invoke for bonus? Sure, especially in the area of bargaining. Compel for Fate Points? Yes, because he owes favours as well as being owed them. Invoke for effect? Definitely, paying a Fate Point to say that someone owes you a favour is gold. It’s tied into the story of the character, and it supports the high concept, and gives story hooks. Cool-wise, it adds a side to the character that I hadn’t been expecting, so score.

Final Aspect: A Favour For A Favour

Aspect 7: Who else’s path have you crossed?

The final phase had me co-starring in Emric’s story:

Blood Eagle

The last of the Svear dynasty resurrects an ancient, bloody ritual to direct the wars of Gustav Adophus. Can Emric save his friend, the new king, and put a stop to the sacrifices? Izabela observes the dark wizard’s preparations and advises Emric on how the ritual can best be interfered with or stopped. Amadan disguises himself and Emric to infiltrate the ceremony. When they are captured and brought to be sacrificed, Amadan magically frees them both, claiming that this was his plan all along.

In this bit of Amadan’s backstory, I wanted to build in the idea that his plans are either very convoluted – his claim – or random guesswork, luck, and desperate improvisation – what most people believe. My first impulse was a very Black Adderish Aspect: I Have A Cunning Plan, but that reference would work mainly for laughs in the game, which wasn’t the vibe I really wanted here.

I did want to hang on to the idea of a plan that seems to go horribly wrong, only to somehow actually work out in the end. See, one of my favourite ex-characters always had these brilliant plans that were terribly, terribly risky: they would either work, or doom everyone involved. Mostly, he had the ability to make them work, but it was often a close thing, and he wound up taking the brunt of the consequences no matter what happened. I just loved the look on the other players’ faces when I said, “I have a plan.”*

But I also wanted a little more flexibility and subtlety, and the ability to adapt things to the game a little more easily. I wanted Amadan to have the reputation for dangerous, risky plans that often came through, but I also wanted the feeling that he was often working on many more layers of plotting than most people suspected. Which led me to think of the Dune series, and gave me the Aspect I needed: Plans Within Plans.

I ran it through the test: invoke for bonus? Check. Compel for Fate Points? Sure, because plans can grow too complex, fed by or feeding into his trouble. Invoke for effect? Tougher, but doable – if he were a PC, I’d probably want to rethink the wording slightly, but being able to spend a Fate Point to prove that you had planned for a given eventuality is not too bad. Again, it builds on the story, ties into the high concept (and especially his trouble), and gives a GM a whole heaping helping of ways to wire him into a story. And it says some cool things about the character.

Final Aspect: Plans Within Plans

Other Aspects

Well, that’s how I build Aspects for characters, and the sorts of thought processes I go through to get the right sorts of Aspects. Now, when I’m pulling together Aspects for things other than characters, I use the same sort of thought processes, though I scale it based on how important the thing I’m creating the Aspect for is to the story. If it’s a part of the overall setting developed during city creation, you better believe I put the same sort of thought towards it, making sure it’s doing the duty I need it to, though I’m more concerned about how it fits story than with any mechanical functionality. Same thing with the faces.

On the other hand, Aspects on scenes that aren’t going to repeat – a fight in a random alley, exploring an unremarkable cellar, things like that – I don’t sweat the Aspects so much. I make sure there are a few Aspects to every scene, but I just jot them down quickly as the scene starts, based on the description I give to the players. I don’t need to be too precise, here, unless there’s something very specific I need to accomplish with the scene. And if there is, I’ve probably planned it out in advance. With scene Aspects, precision and poetry isn’t really necessary or desirable; you want Aspects whose existence is suggested by the description of the scene, and that the players have a chance to guess. An Aspect on a scene that they can’t figure out is like a secret door in a dungeon that they can’t find – it might as well not be there.

Temporary Aspects – especially consequences – require a middle-of-the-road approach. You want the Aspect to be cool and colourful and serve a mechanical purpose, but you also don’t want to spend five minutes in the middle of combat having to think one up. For these, I generally take a minute or two and brainstorm with my players to find something that fits what we agree is going on.

And that’s pretty much what I have to say about Aspects.

The important thing to remember with Aspects is that they are a phenomenal way to add cool to your game. Yes, they encourage roleplaying. Yes, they work in an interesting mechanical way. Yes, they substitute for a number of modifiers that otherwise would need charts. But the real thing they do is build cool stories.

Keep that in mind.


*Also, a long one. Back

*I miss Julian. Back

Tell Me A Story: Character Creation Phases in DFRPG

Last time, I talked about the three initial decisions that you need to make for creating a DFRPG character. This time, I’m going to walk through the five phases of character, talking about how to use these to really bring your character to life.

First thing we need to do is talk about the phased approach and collaborative character building. I’ve come out before in favour of collaborative character building, and I think it’s pretty much vital in this game. It ties in strongly to the phased approach, and really helps you come up with a group of characters that work together to make great games.

By moving through the process in a phased approach, you get the chance to build on what you’ve done before with the character in a reasonable, natural way. It lets you grow your character, rather than assembling it out of the stats you come up with. It also keeps everyone on the same track for the collaborative process, so that you’re all working on the same part of the character at the same time. This is vitally important for the collaborative aspect. At least, it is if you want to get the benefit out of it.

For the collaborative approach to work well, you need to do a few things:

  1. Be enthusiastic. Get excited about your character, and about everyone else’s character. Get pumped about the group.
  2. Talk about your character. Don’t keep your ideas to yourself. Make sure you share your thoughts with each other, so that you can get excited about all the characters.
  3. Talk about the other characters. If someone is stuck, brainstorm. Pitch ideas for Aspects or events or connections. Talk to each other about how your characters would get along, or how they would fit together.
  4. Listen to each other. If someone is asking for help, listen to them. If someone makes a suggestion, listen to it. If someone voices a concern, listen to it.
  5. Be respectful. This is the big one. Don’t shoot down ideas you don’t like. Don’t try and pressure someone into changing their character to be something they don’t want. Do offer constructive advice, or elaborations, or concerns, but remember that, in the end, only you get to decide about your character, and you only get to decide about your character.

By following the phased approach, as I mentioned above, the discussions you have as a group during character creation will be focused on the current phase, and will tend to be more productive. To help keep the conversations going and keep everyone on the same phase, when I run character creation sessions, when everyone has completed a phase, we go around in a circle and read what we’ve come up with. That lets everyone know what the other characters are, and gives people another chance to ask for help or offer suggestions.

So, let’s get moving on the phases.

1. Where did you come from?

This phase and the next one tend to kind of blend into each other in a lot of ways. This one deals with your “early history,” whatever that means to your character, and the next deals with your “middle history.” Where one stops and the other starts is open to interpretation, and will change from character to character. For example, if you’re playing a fifteen-year-old changeling, this first phase might last from birth until the month before play starts, while if you’re playing a two-hundred-year-old wizard, this phase might last until your mid-seventies.

What it depends on is having a defining moment transform you from what your were all your life to what you are now. That defining moment is the next phase. This phase is your life up until that moment.

Now, if you’ve started with a solid character concept, you probably have some strong ideas about this part of your character’s life already. Here’s where you get it down on paper, and choose an Aspect. Aspects are a big enough deal that I’m going to talk about them in detail in their own post, so let’s focus on just getting the story straight for now.

And that’s what you want here: the first bit of a story about your character. The rulebook suggests looking at things like nationality, ethnicity, family life, schooling, friends, and an explanation of your supernatural origin, if you have one starting out. What I like to do with my characters is look at the High Concept, Template, and Trouble, and think, “Where should I have started from so that these things make sense, and so that the journey is an interesting story?” And then I start from there.

I’m going to use the running example of the NPC I created during the Fearful Symmetries character creation session. Now, he’s not a PC, so I made some choices that are somewhat less playable along the way, but it still illustrates the process fairly well.

The character is a 17th-century version of Amadan, but he doesn’t match the modern version very much, except in basic character. I decided to make him full-fey rather than a changeling, for one thing. For another, I tied him into the whole story of the Faerie Courts closing their gates on the mortal world. So, here’s where we started:

High Concept: Dissolute Faerie Trickster

Trouble: Too Clever By Half

Template: Fey

Now, the idea I had is that he’s too close to the mortals, and so gets left behind by the Faerie Courts. We already have his “nationality,” in that he’s a faerie, so we just need to flesh out the idea and lay the groundwork for the nest stages. I like to keep the stuff I write at this stage fairly short, giving me room to elaborate and expand later, filling in details during play or whenever appropriate. So, I came up with the following bit of story for this section:

Fox-like faerie trickster of the Summer Court who prefers to spend his time among mortals, enjoying their passionate nature and gullibility.

There, I’ve got the foundation for the rest of the story, which hints at a lot of interesting things about the character, but still leaves room for growth and change and revelation. It’s got a couple of good questions hanging from it, as well, like why Amadan chooses to spend time with the mortals, and what the reaction of the rest of the court is to that.

This is the sort of idea you want. A story that tells you something interesting about where your character started from, with good fodder for further character development. Leave yourself room for growth, and a couple of good questions to explore during play.

2. What shaped you?

This section builds the bridge between the previous phase and your High Concept. It is a pivotal change in your character, either a single event or a slow, gradual change, that sets him or her on the path that you will walk during play. It should tie solidly into your Trouble, too; either produced by, or producing, that Trouble.

If we’re talking in terms of the Hero’s Journey, this is when the Hero leaves the village.

This change can be internal or external. For example, it may not be dramatic, but the decision to go out into the world and seek one’s fortune because of boredom is a solid internal change. It could be more profound, like the realization that you’re walking an evil path, and you need to make restitution for what you’ve done – still internal change, but more dramatic. On the external side of things, maybe having your home destroyed to put you on your way, or being given a quest and sent off to accomplish it.

The important thing to look at with this stage is that it should make sense to you that change would come. It can’t be forced, and there must be change, otherwise you’re short-changing the character. The change should grow out of the previous stage, incorporate your Trouble, and lead naturally to the High Concept.

This isn’t as tough as it sounds. We all know stories. We know how stories work, and what this sort of change is like. We know when something rings true, and when it doesn’t.

So, for Amadan, I want something that leads from the basic idea of the first phase to the Dissolute Faerie Trickster High Concept. Particularly, I want a reason for him to be dissolute. I’ve already determined that he’s been left behind when the Courts withdrew (otherwise he wouldn’t be here to be an NPC, right?), so it’s easy to see that the dissolute quality comes about because of being kicked out of his Court. Why did that happen? Well, his Trouble is Too Clever By Half, so it makes sense that he caused his own problem. Here’s what I came up with:

After an elaborate prank embarrasses the Summer Knight and, by extension, the Summer Lady and the whole Summer Court, Amadan is shunned by his fellows, and not informed of the decision of the Courts to withdraw from the mortal world. His first inkling is when he tries to return to Court and finds all the Ways barred, and he is trapped in the mortal world.

I thought of having him formally cast out of the Summer Court, but decided that I wanted the feel to be less formal, more junior high school. So, the cool kids stop talking to him, and don’t let him know when they change the address of the big party. That leaves him alone, bereft, and probably steeped in both spite and self-pity.

If this were a PC rather than an NPC, I might go a different way with this, making it more of an official exile, so that the result is more of an active character, seeking to redeem himself (or avenge himself), rather than just wallowing as a 17th-century emo kid. But as an NPC, having a more passive character is not always a bad thing.

The point is, I looked at where I was starting from, where I wanted to get, and incorporated the Trouble to make a solid progression in the story from first phase to High Concept.

In many ways, this ends the definition of the character – the next three phases are elaborations of the character. You have formed the core and shaping influences for the character; next, you show how those element interact.

3. What was your first adventure?

The next three stages are one of the most brilliant ideas I’ve come across in gaming. Like all the best ideas, when you look at it, you smack yourself in the head and ask, “Why didn’t I think of that?” It not only develops the character, but it develops the relationships between the characters, allowing you to avoid the standard you-all-meet-in-a-tavern-and-decide-to-go-adventuring start to a campaign. With these three phases, the group has a history, and the characters have relationships with each other, and attitudes about each other.

The first two phases deal with what made your character the way he or she is; these next three deal with what your character does.

The conceit is simple: you write a short blurb describing a story about your character, and what your character does in that story. Then, you pass the story to one of the other players so that they can add their character to it, and then it goes on to a third character, building a shared story with three characters involved. There’s the history and relationships built right in.

Now, in my group, we’re pretty much all word-whores. It’s easy for us to fill up a page with a brief (for us) story about the character. The problem with that is that it usually doesn’t leave a whole lot of room for other characters to fit in, or at least it limits what they can do, which restricts their character development. The solution that I came up with is limiting the story you write in this phase to two sentences: one to set up the situation, the other to say what your character does. It’s not a hard and fast rule, of course; sometimes we go over, and we always seem to come up with lengthy complex sentences. But it’s a good guideline to make sure that there’s enough room in the story for future elaboration, either by other characters adding in their bits or later during play.

When you write your story, you want to look for ways to illuminate facets of your character that have not been covered by the previous phases – things that are important to your concept, but not necessarily as central as the first four Aspects and the Template you’ve picked for your character. Maybe you need one more step to get you past the formative story you completed in the first two phases, or maybe you want to show another opportunity for change and what impact it has on your character. Or maybe you just really want to make sure you cover a certain relationship or character trait you have in mind.

The important thing is that it should grow out of the character you’ve already defined, and toward the character that you want to play. It should fill in some blanks, move the character closer to the ideal, and generally just make him or her more cool.

So, for Amadan, I wanted to put a little bit of resolution to the story about him being left behind when the Faerie Courts left. I decided that the logical thing for him to have done is to have gone looking for a way back to the Courts – and to fail, so that he’s still here. But I also wanted to make him a little more content with the way things are right now, so that he sticks around and I can use him as a recurring NPC. This is what I came up with:

The Long Journey Home

Left behind when the fey retreat, Amadan finds all the Ways back to the Faerie Courts closed to him. He travels the world, seeking desperately to find a way back, but eventually comes to realize that he prefers life among the mortals.

With this story, I bring his quest for a way home to a close off-screen, satisfying the dramatic imperative of the character to try and find a way back, while still keeping him active for play. And I’ve left plenty of room for other characters to jump in and interact – indeed, with Amadan’s search, it makes perfect sense that he would run into the other characters in the course of his travels. I’ve made it easy for them to add their own touches, which is what happens in the next two phases.

4. Whose path have you crossed?

One of the nice bits about this phase is that you’ve got another player helping you think about your character in a different way. I try not to have any ideas for this phase before I get to it, so that I’m not trying to shoe-horn a preconception into the story I get handed. That way, I can read what the other player has written, think about how my character might contribute, and then come up with something cool.

But not too cool – this is the balancing act of the last two phases. You want to do something cool so that your character gets cooler, but you need to remember that this is not your story. Your character is not the main hero of the tale. He or she is a supporting character. So, you need to find a way to do something that, while it makes your character cool, helps make the main character of that story cooler. Don’t steal their limelight; help shine it on them.

What I like to look for at this phase is inspiration for my character to be a little bit different than I had originally envisioned – affected by the situation, or the other involved character(s), or just struck by a new idea. I like to see if there’s something that the new story suggests to me that I wouldn’t have thought of otherwise. At the same time, of course, it’s got to build on what I’ve already done with the character, staying true to the original concept.

Again, when I run the character creation sessions, I usually impose a one-sentence limit on this phase. Mostly, people wind up going to two or three sentences, but a limit of one sentence generally means they don’t write more than the original character.

So, here’s the story I got for this phase from Izabela’s character:

The Warlock of Vienna

Sent to infiltrate a suspected Huguenot movement in Vienna, Izabela falls in love with a young rebel and they end up working together to stop a powerful warlock from sacrificing a group of children that he has kidnapped.

Now, I want Amadan to be important to that story, but not central. He’s got to contribute in some definite way, but not steal the show. Here’s what I came up with:

Amadan trades favours with Izabela, using his knowledge of the Mittelmarch to spirit the children out of the city in return for a future favour.

With this addition, we find out how Izabela got the children to safety, but it’s still clear that she’s the one that saved the children. It also establishes a good, solid relationship between Amadan and Izabela, in that now she owes him a favour. And it sets him up as a crafty fellow, willing to barter favours, but never giving anything away for free, which is in keeping with the character up to this point, though not explicitly stated, nor anything I had thought of before.

5. Who else’s path have you crossed?

All of the above concerns pertain to this one. Lather, rinse, repeat.

What this whole process leaves you with is your character’s story, from origin to start of play, mapped out and linked together, with the Aspects you choose at each phase showing how history has shaped him or her. It gives you a solid background, and understanding of the forces driving the character, as well as some history with the other characters. It’s an incredibly rich way of putting together a character, especially if done as a collaborative exercise.

Give it a try.

Next time, I’m going to tackle the beating heart of the FATE system: Aspects.

Birthing Pains: High Concepts, Templates, and Troubles

So, I’ve talked about picking the power level for a DFRPG campaign, about choosing the setting, and starting to flesh it out. At this point, if you’re following the recommended sequence in the book, it’s time to start creating characters.

Now, in the previous step, I mentioned that you create faces for the various locations and themes you’ve built for your city, but I sort of glossed over that step, saying I’d deal with it in detail when we got to creating characters. The reason I did it that way is that there’s a fundamental idea that you need to understand to make good characters using this system, whether you’re building PCs or NPCs: the High Concept.

Most RPGs have something analagous to the High Concept, whether its the Race/Class combination, or the Profession, or the Archetype, or Template, or whatever they call it. DFRPG lets you make up your own, but that is, in some ways, tougher than choosing off a list. And the fact that it becomes the first and most central Aspect of your character means that it’s an important choice that you need to think about.

The system also uses templates to define characters, showing what powers you need to buy to play a Changeling or Wizard, for example, and picking one is usually the first step in building a PC. I personally have found that it’s most helpful to think about the two things at the same time: while you’re picking through the templates, think about what the High Concept for your character will be, and let the cool ideas you come up with for your High Concept influence the choice of template.

That bit of preamble is mainly to explain why I’m breaking this post up into the categories I am. I’m going to deal with High Concepts first, mainly because they are important both for PC and NPC creation, then I’m going to move on to Templates, and close with a discussion about Troubles. I’ll follow this up with a post on the rest of the character creation process.

Sound good? Good. Here we go.

High Concept

There’s a nice discussion in Your Story about picking a High Concept, with lots of examples to illustrate the ideas. The important points to make sure you hit are that the High Concept should distil the basics of your character into a short phrase, and that it should describe what you want your character’s role and flavour to be in the game. The first part can be simple; the second tends to be somewhat more difficult.

Let’s look at some examples. Harry’s High Concept is Wizard Private Eye. Now, that three-word phrase is loaded with information about who Harry is, what he’s like, and what he’s good at. See, he’s not a Private Eye Wizard, for one thing. Wizard comes first for Harry – that’s how he defines himself. It’s the most important thing for him. But the Private Eye bit is also important: it tells us that Harry pokes into things, that he has investigative skills, and that he helps people. If you want to stretch things a little farther, based on what you know about the White Council, it also implies that he’s not fully on board with their secrecy and their non-involvement, that he’s something of an outsider among them, associating more with the mundane world than many of them.

Now, I’m going to use an example from Fearful Symmetries. Emric Sordason has the High Concept of Rebellious Son of Surtr. From that we have the information that he is half-fire giant and that he and his dad don’t get along. If we extrapolate a little, based on how the fire giants appear in Norse legend, we see that he is probably much more pro-mortal than Surtr is, and not all that keen on Ragnarok.

What you want, in short, is something that’s both definitive and evocative.

Definitive is easy. Simple High Concepts like Cop, Wizard, Changeling, Hit Man, whatever. They give you the information that you want, but they don’t give you any of the feeling. That’s where evocative comes in. When I create characters in this system, I use a simple test to see if my High Concept is both evocative and definitive. I imagine one character in the setting telling another character about my character: “Him? Yeah, he’s…” and I insert my High Concept in to finish the sentence.

“Him? Yeah, he’s the rebellious son of Surtr.”

“Him? Yeah, he’s an outcast trickster spirit.”

“Him? Yeah, he’s a Wizard private eye.”

If I can imagine the other character reacting the right way, then the High Concept works. If I can’t (“He’s a cop? So what?”), then I need to rethink it. the reaction I’m looking for will vary from character to character, but we all have an idea of how we want our characters to be seen by the others in the setting. That’s the reaction that should be inherent in your High Concept.

It’s important that you get the High Concept right, both for aesthetic and mechanical reasons. Aesthetically, you want the High Concept to capture the cool of your character – when you trot it out in play, you want to feel proud of it, not apologetic. It should make you glad to be playing this character, not just sit there as a compromise that you use as a tool.

Mechanically, this is your primary go-to Aspect. This is the one that guarantees you have an Aspect to call on when you’re doing the things you most want your character to do, and the one that guarantees you’re getting the compels for the behaviours you want to be central to your character. For example, the Rebellious Son of Surtr has all the half-giant, mighty magical warrior stuff inherent in the Norse fire-giant mythology to draw on, and also a nice source of Fate points whenever he defies his role as  the mortal-hating, Ragnarok-bringing monster his father wants him to be.

In short, I recommend you spend a little time working the High Concept to get it just right. To paraphrase Samuel Clemens, the difference between the right High Concept and the almost right High Concept is the difference between the lightning and the lightning bug.

High Concepts for NPCs

The above is mainly aimed at creating PCs, but a lot of it is relevant to creating the NPCs – the faces in your game – as well. You need High Concepts that are both definitive and evocative. Instead of White Court Aristocrat, you want something like White Court Eminence Gris. Instead of Jewish Kabbalist, you want Heir to the Wisdom of Rabbi Loew. Instead of Pious Man of God, you want Saint Hiding in Plain Sight.

Because you’re probably not going to flesh all of your NPCs out in detail, it becomes even more vital that they have a solid, interesting High Concept. Charity Carpenter, for example, is not just Michael’s Wife. Her High Concept is Tower of Faith. Corpsetaker isn’t just a Necromancer, she’s a Body-Jumping Necromancer. With these High Concepts, you don’t need to put a whole lot of extra work into making the character unique and special – you can, but you don’t need to. You can focus on filling out the ones that get the most use in your setting.

So don’t stint on the High Concepts for NPCs, either.


This is the other big choice at the start of character creation – while the High Concept tells you who your character is, the Template outlines what your character can do. One important thing to keep in mind as you look at the Templates is that they are not exhaustive; they’re mainly a starting point, helping you to flesh out some of the character types we see in the novels.

You don’t need to use a Template to create your character, but the game does a lot of the up-front work for you if you want to play something like a Wizard, Werewolf, or Changeling. It shows you the mix of powers that will make a character feel like the character type in the books. That said, it’s easy enough to mix and match your own version of the various character types.

It’s also easy to tweak the Templates to fit what you imagine your character should be, and the book encourages this. There’s a nice little section on how to build new Templates, as well as a specific discussion on how to use the Changeling Template to reflect other half-human, half-supernatural creatures.

Whether you’re using a Template, tweaking a Template, or building your own character concept, this is a good time to start looking at the Supernatural Powers you want to buy. You’ve got your Starting Refresh set by the Power Level, so you know your budget. Start looking through the Supernatural Powers chapter, either looking at what your Template recomends for you or making a shopping list.

I pretty much guarantee you won’t be able to afford everything you want, but the picking and choosing is part of the fun of creating a character. And if you got everything you wanted up front, character advancement wouldn’t mean all that much, would it?

In my experience, there are two main approaches to this part of character creation. If you have a good, solid character concept, you look for the Template or powers that will most reflect the concept. If you don’t have that solid a concept, you look for stuff you like, and then ask yourself what kind of person would have these abilities. Either way works fine – two different roads to the same destination, where you character has powers that reinforce and are supported by the concept and behaviour.

You may find yourself wanting to do some fine-tuning of your High Concept at this stage, as well, as different powers and abilities may suggest different things for your character. Go with it, is my advice; just remember to keep it both descriptive and evocative.


Troubles are the third of the three main pillars of your character. In some ways, it can seem like the second-string Aspect compared to your High Concept, but really it’s the engine that powers your character, both mechanically and dramatically.

See, all good characters, whether in games or in fiction, have some sort of problem that they have to deal with. It helps to lend depth to the character, to show that they aren’t one-dimensional cut-outs. Hercules has a terrible temper. King Arthur has that whole love-triangle thing going on. Sherlock Holmes has problems with both boredom and addiction. Spenser has a code of conduct that makes his life difficult. Harry’s got the dark past that keeps calling to him.

Picking a Trouble for your character is a big decision, because you’re telling the GM, “This is how I want you to mess with my character.” It’s got to be something that is going to complicate your character’s life, but it also has to be something that you, as a player, find fun to explore. If it doesn’t do both things, you’ve got the wrong Trouble.

So, what makes a good trouble? Well, like the High Concept, it’s got to be both descriptive and evocative. The GM has to be able to see how it fits into the world and how to use it (that’s the descriptive part), and it has to illuminate aspects of your character and his/her story that you want to come across (the evocative part). It’s got to be something that will persist in the game world, as well – this is an issue that’s central to the character. If it can be easily resolved, then it’s no good beyond that time. If your Trouble is something simple like I Hate My Roommate, and the first thing you do in the game is move out (or kick your roommate out), then you’ve missed the point.

You want the Trouble to stick around and mess with you all through play, because every time it does, you get a Fate Point. Whenever your Nemesis shows up to make your life difficult, you get a Fate Point. Whenever you lose your Hair-Trigger Temper and scare off a contact, you get a Fate Point. Whenever you decide to do a job the hard way so as not to violate your Code Against Killing, you get a Fate Point. Yeah, it’s going to cause you problems, but you get a reward. And you decided what sort of problems you wanted when you took the Trouble, right?

Of course, as with all Aspects, you want to be able to do more than just get compelled by your Trouble, so you’ve got to pay attention to the wording at least as carefully as you did with the High Concept. Invoke your Code Against Killing to gain the trust of the cops, or your Hair-Trigger Temper to go berserk in combat.

It’s easy to think of the Trouble as a disadvantage, but it’s really not – no Aspects are, even ones that sound negative. All Aspects are tools for you to use to bring your character to life, and to make the stories you’re playing be the ones you want to tell. The way you reveal character is through choices made under pressure, right? Your Trouble is one of the main sources of pressure for your character. How he/she deals with it will go a long way to defining who he/she is.

As with the High Concept, take the time to make your Trouble right. Make sure the wording works for you, and strengthens your concept.

These three pieces give you the skeleton of your character. By this time, the concept should be pretty clear in your mind. Next time, I’m going to talk about the rest of the character creation process, and how it helps fill out the structure you’ve built with these three decisions.

Fearful Symmetries: The Beginnings

It’s been pretty quiet around here for the past week or so. There’s a reason for that.

You may remember I posted some time ago about the new campaign I was starting called Scio Occultus Res. It was meant to be a two-person game using the Mage: The Awakening rules, and I wanted to get things rolling before Christmas. That didn’t happen. What with things being busy, the preparations dragged on and on, and the shiny wore off the idea for the players. So, last week, I kind of forced the issue, and said, “If you get me your player backgrounds by Friday, I will have a game ready for you to play on Saturday.”

They considered, and said that they weren’t all that interested anymore, but still wanted to game this weekend.

Now, I was happy to just have the game out of limbo, even if it was just for it to be cast into the outer darkness. I sent them a list of the game systems that I could have ready for Saturday, and asked them to pick one ASAP, to give me some prep time. They picked The Dresden Files RPG*. And that meant I got to put some of the things I’d been talking about here into practice.

We talked about power level, and the kinds of characters they wanted to play and the stories they wanted to tell, and fixed on Submerged. As things went on, though, I saw they were feeling more and more constrained by that power level – the ideas that had come up in discussing the game meant dealing with mythic, epic kinds of stories and characters, so I decided to give them two extra Refresh, for a starting total of 12*.

And then we talked setting. I had, many years ago, proposed a sort of loose campaign outline for a modern supernatural adventure game that I had called Fearful Symmetries, that focused on a small band of powerful heroes holding the forces of darkness at bay. They liked that idea, but thought it would be more fun in a historical context. The proposed time periods were eventually whittled down to the Thirty Years’ War. We talked about whether to make the setting a single city or a larger area: the Holy Roman Empire, or even all of Europe. We settled, thanks to a little nudging on my part, on Prague in 1620.

Why Prague? Three real reasons:

  1. This was where the spark that started the Thirty Years’ War was struck, and featured prominently in the war, especially in the early years.
  2. Prague is chock full of all sorts of creepy, mysterious, mythical, and just plain weird stuff.
  3. I had already done a fair bit of research on the city when I wrote this several years ago.

Why 1620? Because it’s early in the war, and late in the year the Battle of White Mountain will see the breaking of the Bohemian army and the occupation of the city by the Catholic coalition, which offers some very gameable moments. You’ll see when I get around to posting the setting document.

So, Friday night, we got together early, had some pizza, and ran through the city creation process for Prague. And it was fantastic.

I want to stress at this point that we did minimal research. I read a little in Wikipedia about the Thirty Years’ War, and had done the research on Prague years ago (and on a period ten years earlier than we were setting the game), but really we just wanted to use as much of the actual background as was fun – just the bits that were interesting, flavourful, and gameable. Same thing with the actual geography of the city.

Here’s a quote from the Character Creation chapter of Your Story:

As you create the characters and the world they inhabit, you have begun play.

They’re right. We brainstormed themes and threats, came up with thirteen different locations and their themes and threats, faces for everything, Aspects ditto, and a good, solid idea of the movers and shakers and the status quo. And the whole time, we were having a blast suggesting things, and elaborating on each other’s contributions, and riffing on ideas that seemed to spring from everyone at once. We were constantly amazed at how cool the city was becoming, and got more and more excited as things went on.

And then we built the characters. I built one along with the players, both because there were just two of them, and because I find it handy to have an NPC in the game that the characters have a good connection with. It gives them a starting point when they go out look for contacts and information. I created a 17th-century version of Amadan, because I think he’s an interesting archetype and a useful role to have available in the game. The other characters are:

  • Isabella Valdstejn, a Seasoned Wizard of the White Council, returning to Prague to attend the funeral of her father, who had sent her away forty years ago when he remarried.
  • Emric Sordason, the Rebellious Son of Surtr, bearing his fire giant father’s sword, which is fated to bring about Ragnarok.

By then, it was late and we called it a night.

I spent Saturday afternoon preparing a simple scenario for that night. Wanting to get away from the more rigid adventure structure encouraged by D&D, I took some solid advice from the indie gaming world. I had first read it in Dogs in the Vineyard*, and it was reiterated in the Building Scenarios chapter of Your Story: build a situation that forces conflict, and let the players figure out how to handle it. Don’t have a preconceived notion of how things are going to be resolved – don’t chart the whole course of the story.

Now, the chapter also strongly recommends tying in the Aspects of the characters but, being an idiot, I hadn’t made a list of them the night before. That meant I needed to build something that they could encounter pretty much at my whim, and I’d need to trust my players to follow up the dangling thread. They’re helpful players, and excited about the game, so I didn’t think it would be much of a problem. That evening, we spent the first little while putting the finishing touches on the characters, and discussing how some of the mechanics work, and then we got down to play.

I let the players set the first couple of scenes, with them meeting in Prague after not having seen each other for some time, having dinner in Isabella’s rooms, and talking. The next day, they went out to her family estate for her father’s funeral, and we did a little more character-building roleplaying along the way. On the way back, I decided to stage a little scene to drive home the situation in Prague. Their character was stopped and searched by a patrol from the city, who questioned them closely concerning their accents and business in city. One of the threats we came up with in the city-building session, you see, was The Emperor’s Spies are Everywhere. Isabella’s story checked out, as did Emric’s offer to buy the squad a drink, so they went on their way without further incident, but the scene helped to establish the mood.

It did more than that, though. I decided to make the squad a group of Swiss mercenaries, and played up their professionalism and attention to both courtesy and detail, thinking that it would lay a good groundwork for contrast when I brought a more brutish group of mercenaries on stage. The captain turned out to be so much fun to play, being polite and clever and completely civilized and businesslike, and he made such a good impression on the players, that I’ve made a note to flesh him out and use him further in the game.

That evening, as Emric was returning to his rooms, he spotted a disturbance in one of the twisting alleys where Old Town and New Town meet. Investigating, he found two rough men holding down a third and trying to pour something from a bottle into the mouth of their victim. He chased them off, and received a token from the man he had saved, saying that Zuckerbastl’s boys owed him a favour. Zuckerbastl is the local King of Thieves, so his favour can come in handy.

The next day, Emric and Isabella began investigating, and found that, even in the frightened city, the disappearances from Old Town were starting to make people talk, and say that Zuckerbastl was losing his grip on things. Our valiant heroes decided to go trolling through Old Town at night, Emric acting slightly drunk, and Isabella concealed behind a veil. They didn’t see anything untoward until Emric was propositioned by a prostitute. One of the bits of information they had picked up was that the disappearances had started with a number of prostitutes, so he paid his money and went up to her room, with Isabella unseen along for the ride.

In the room, Emric questioned the girl – Danika – and shared some wine with her. When he started asking about the disappearances and Zuckerbastl, she said she’d give him information in return for a kiss. He agreed, and this proved to be a mistake.

I told him he now had the Aspect Befuddled, and wanted to do whatever Danika told him to. More than anything, though, he wanted to kiss her again. Before he could, though, Isabella revealed herself to pull Danika off of him, but instead got flung across the room for her pains. Catching her breath, she used a Spirit Evocation to clear Emric’s mind, and Emric picked up the washstand and smashed Danika into a wall, knocking her out. He checked to see if she was still alive, and found her eyes to be completely black.

At this point, the bouncer from downstairs came in, and was not inclined to listen to reason. Isabella used her magic to knock the bed into his legs, dumping him on the ground, and Emric disarmed him and threatened him into submission. They tied him up, and went back to investigating Danika, who was healing very quickly and starting to stir. The signs all pointed to the fact that she was Red Court Infected. She confirmed this, and claimed that Zuckerbastl had a monster in his court that he used to control the girls.

The pair were left with a difficult choice, now: do they kill Danika, or do they let her go free? They know there is no cure for Red Court Vampirism, even at this stage, and the only way she can keep from becoming a monster is to discipline herself forever. They were quite torn, especially Emric, who saw many similarities between their situations. In the end, they decided to take her to St. Vitus Rotunda, one of the oldest churches in Prague, where they knew the clergy had some idea of the supernatural. The priest there told them that they knew how to handle this, and had a convent in Romania set up for cloistering the infected and helping them fight their disease.

Again, it had got late, so we left the game there, with Isabella and Emric planning to pay a visit to Zuckerbastl and find out what’s up.

All in all, I was very pleased with the way the game went, and impressed as hell that the game system (and, of course, my enthusiastic players) could get the whole setting built and running in less than a week. The setting we’ve come up with is rich and detailed, with many, many hooks for stories and adventures. Once I get it typed up, I’ll post the setting document somewhere on the site, along with the characters when my players send me copies.

Kudos to Evil Hat for making the game so fast and fun to set up and run.

And just one further note:

We’re playing DFRPG, and you can, too!


*Which I had just preordered, so I had the latest, greatest pre-printing pdfs to work from. Back

*Let’s call that level Sunk to the Knees in the Muddy Bottom. Back

*Always a killer source for good advice in running a game. Any game. Back

When Magic Comes to Town: City Creation in DFRPG, Part Two

Last time, I talked about deciding on your city and coming up with themes and threats for it. Now, before we get on to the next step, there’s a bit of an intermediary step that gets slotted in. You don’t have to do it right at this point, but it can be helpful for moving forward.

Step 1.5: High-Level View

Between deciding what the themes and threats of your setting are and starting to work at the ground-level with locations and faces, the book suggests filling in a little of the high-level view. This is where you can begin to make sure that you’ve got a place for the elements of the Dresdenverse that your characters are most interested in interacting with.

It’s pretty simple, really. First, you discuss what supernatural power groups have an interest in the city – the city itself mostly defines what the interested mundane groups are. If you’ve got a character with a tie to one or another of the power groups, now’s the time to give it a place in city politics. Once you know who’s interested in the city, you get to determine what their interest is. This part will probably draw very heavily on your themes and threats. When you’ve got a good picture of how things are set up in the city, come up with a brief (one or two sentences) statement to describe the supernatural status quo, and another one to describe the mundane status quo.

The next bit is pretty cool. Take the different power groups – both supernatural and mundane – that you’re going to have involved in your story, and map them on a simple plane. The x-axis is a continuum between “Who wants to maintain the status quo” and “Who wants to rock the boat.” The y-axis is a similar continuum between “Who’s in the know” and “Who’s in the dark.” So, for example, most of the mortals in a given city are going to be in the upper-left quadrant (maintain status quo and in the dark), while the Black Council would definitely be in the lower right quadrant (rock the boat and in the know).

Now you’ve got a representative map of the movers and shakers in your city, as well as a snap-shot of the mundane and supernatural situations. You’ve got a solid foundation for the next step.

Step 2: Fill in locations and faces.

Now we get to the ground-level development of your setting. The rules suggest starting with the locations, and brainstorming until you have a couple of locations per player, rather than just enumerating every neighbourhood in your city. Let’s face it, after all: not every place in a given city is going to be good fodder for a game. So, you want to make sure that you get places that are evocative, have their own story hooks, have some tie to the themes or threats of the setting, and tie to one or another of the movers and shakers you developed above. Each location doesn’t have to have all of the above, but should have at least one.

Really, in my opinion, what you want in a location is for it to serve double-duty. It should work as an interesting backdrop for adventures and it should spark adventure ideas itself. So, here in Winnipeg, we have the Manitoba Legislature, which is a cool building in its own right, and the building and grounds make for an interesting setting for at least part of an adventure. But factor in the elements of sacred geometry and the pagan symbolism built into the structure, and it starts suggesting cults to Hermaphrodite, or cabals of alchemists, or a masonic conspiracy, or any of a number of different story hooks. That makes for a good location.

Again, I’m going to strenuously advocate a collective approach, here. As GM, don’t come up with all the answers yourself. Get your players involved, both in the brainstorming and the fleshing out that follows. You’ll wind up with a better mix of places and ideas than if you had done it on your own. Just for an example, in creating Magical Winnipeg, it was my players who came up with the ideas for the Gimli einharjar, the White Court Pentecostal Churches, the Mad Cowz were-hyenas, and the Consecration of the Two Waters. I wouldn’t have thought of these things on my own, and they add a nice mix of elements to the setting that I used in the playtest.

Keep in mind that locations can be different things. A location might be a neighbourhood, or it might be a building, or a business, or a park, or any other place where the characters will go. It doesn’t even need to be contiguous: the Pentecostal Churches in Winnipeg are all essentially one place, with the same overlying elements, for all that they’re separated geographically. Gimli is some 50 miles or so from the city, but the presence of Odin’s back-up Valhalla there is enough to have an impact on the game. If you’re running a game with a broader base – say, a secret government project that travels worldwide fighting monsters – then your locations can even  be a little abstract, cleaving closer to the power groups than to the geographic areas. So, instead of having the North End of the city, with its gangs and dangers, you might have the Accounting Department, with their ruthless and unexpected audits and reviews.

I’m going to suggest a little something here that I think works well for this stage. Get visual references. Take some pictures, or search online for some, that capture the essence of what you want each location to be. These can be very helpful for fleshing out the locations, as well as evocative for use in play. This is especially useful if you’re playing in a city (or time period) that you’re unfamiliar with. If you’re playing in a Nevernever setting, well, finding references means looking at fantasy art rather than city photographs, but it’s still doable. It may be even more helpful.

Once you’ve got your locations picked, it’s time to flesh them out. One of the first things you’re going to have to do is tie at least some of them (but probably not all of them) into the supernatural world you’re building. You don’t want to go overboard on this, in my opinion, unless you’re setting the game in the Nevernever, or the eternal city of Shangri-La, or Agartha, or inside the Hollow Earth or something. You need to keep the supernatural aspects ignorable by the general populace – otherwise, you wind up with the question of how do mundane folks survive in this dangerous world?

That said, you need some supernatural connections. They’re probably secret, and may not be too heavy, but the connections should be there. So, a nightclub might be a meeting ground for vampires, or a park might contain a wyldfae court, or a certain bookstore and coffee shop might be a regular meeting place for the clued-in. Not everything needs to be magic,  but some things have to be. Otherwise, you’re not playing a modern fantasy game, are you?

Every group is going to have their own sweet spot for this, so talk with the players and find out what your group’s is.

You also need to pick a theme or a threat for each location. Just one or the other. The standards for themes and threats are the same from the previous step, but you only want one for each location, and it should be specific for that location. Now, aesthetically and structurally, it makes sense to tie these in to the overall themes and threats for the city, but you’ve got to make each one slightly different, too. So, if you’ve got a city theme of “Cultural melting pot of the Canadian Prairies,” and you want to riff on that, then you might give the threat of “Dangerous new African gangs,” to the North End location, and the theme “Feeding on the corpse of history,” to the Forks Market (which is a mall built on the site of an archaeological dig). Both deal with the waves of immigration hinted at in the city theme, but take it in different directions.

One really good piece of advice in the book is that, now that you have these locations fleshed out, it becomes tempting to force the players to them, but you shouldn’t do it. Don’t turn the adventures into a sight-seeing trip through your magical city. Stick to a couple of solid locations in each adventure, and make sure there are some that recur so that the characters become familiar with them. Watch what people pay attention to, and give them more of that. You may wind up never using some of the locations your group creates, and that’s okay. It still helped to flesh out the setting and people’s understanding of it. You may wind up needing to create new locations for adventures, and that’s okay, too. You can use the locations you built previously as a solid foundation to build on. Let the story go where the story needs to go, not just where you’ve already got the locations established.

Now, faces. Faces are what the book calls NPCs who represent or embody a given location, theme, or threat. You’ve already got a whole list of locations, themes, and threats; now you just rough out an NPC to go with each of them. Maybe more than one, if the theme is broad or conflicted enough – for example, you might want a cop and a criminal face for a theme like “The police are fighting a holding action against the influx of organized crime.”

I’m going to talk in more detail about creating the NPCs in the next installment, when we talk about creating characters. In fact, the book suggests that you may want to mix creating the faces of the setting with creating the PCs, and I think that’s a pretty good idea. Until then, though really what you want for each face is a high concept, a motivation, and relationships.

High concept is something that, again, I’m going to talk about in more detail next installment. But for now, the simple explanation is that it’s a single-sentence explanation of what the character is. So, for the cop/criminal thing I talked about a couple of paragraphs back, you might choose “Incorruptible Cop” for one and “Ambitious Drug Lord” for the other.

As for motivation, some of this is going to be linked to the location, theme, or threat that your face is representing. Some will be simple: money, power, love, duty, revenge, and so on. Some will be more complex: wanting to prove that you’re worthy of respect, seeking a truth that you know is hidden away, saving someone from themselves, etc.

Relationships are pretty simple. Look at the other characters (PC and NPC) in the game, and see if they have anything linking them. Or if they could have anything linking them. Or maybe you need to create a new character to represent that relationship – the missing son that the PI hopes to find one day, or the rival at the newspaper that drives the reporter to great heights. Whatever. Figure out if there are any links (here’s a hint: faces that share a theme or threat or location probably also have a relationship), and write them down.

I’ve pretty much glossed over the faces bit, I admit. But next time, I’ll circle back with some more information, when we tackle the third step: creating the player characters.

I Can’t Believe I Missed This!

Yesterday, the good folks at Evil Hat released a huge chunk of The Dresden Files RPG: Your Story for free at DriveThruRPG.com. It’s the chapter on Dresdenified Baltimore, called Nevermore. Not only does it provide a wonderful example of the results of in-depth city building, it gives you a glimpse at some of the layout and art from the game. If you’re at all interested in a glimpse of this game before it hits the street, go now and download your copy.

Did I mention it was free?

When Magic Comes to Town: City Creation in DFRPG, Part One

First off, it was very, very difficult for me, as a child of the 80s, to avoid making a Starship reference when it comes to building cities.

Anyway, I’ve talked about setting the power level for a DFRPG campaign. The next big step in getting a campaign going is city creation.

As with most things involved in setting up a DFRPG campaign, the recommendation in the book is that you do this step as a group, and I cannot endorse this enough. Now, I’ve had mixed luck with co-operative setting building, but the troubles I’ve run into tend to be caused by a lack of shared understanding of some of the basic assumptions of the world. Here, in the Dresdenverse, a number of those basic assumptions are clearly spelled out in the source material. This is not to say you can’t change them; only that it gives you a larger plot of common ground when you start getting people brainstorming about the setting.

It’s a little misleading to think of city creation as just building the setting. The way things are set up in the book, this process creates not just the setting, but a number of the overarching themes of the game, and shapes the types of stories that you’re going to be playing through and the kinds of characters you’re going to build. In fact, step three of their instructions is to create characters, which you do before putting the final touches on the city. This guarantees that the characters fit into the city, and that the city contains things that the characters care about.

Now, I outlined the steps to city creation at a pretty low-level back here. This time, I’m going to look at things at a higher level, but with more discussion of the four steps. Before that, though, I want to point out that the books have a fully-Dresdenified version of Baltimore, a long chapter on real-world and fictional weirdness in Chicago, some suggestions about what they call The Vancouver Method for just making stuff up, and suggestions for how to build your city on the fly. So, there are a ton of options if building cities in the way they outline is not to your taste.

The four high-level steps are:

  1. Choose a city, themes, and threats.
  2. Fill in locations and faces.
  3. Make the player characters.
  4. Turn themes and threats into Aspects.

I’m only going to do the first step this time, because it alone is a pretty big topic. I’ll continue with the rest of the steps in future posts.

Step 1: Choose a city, themes, and threats.

This step could easily be the easiest one of the bunch. Or, it could be the hardest. It’s simple to say, “Let’s Dresdenify my home town!” Even if you live somewhere kind of boring, like I do, you’d be amazed at what a gameable setting you can throw together with a little brainstorming and discussion. It can be harder to pick a city that no one is really familiar with – that may entail a lot of research, though the book is careful to point out that you should stop doing research when it stops being fun. Even if that point is before you start.

The really difficult part comes in when you realize that you’re spoiled for choice. See, they make a point in the book of saying that, while the default assumption is that you’re going to play in a city, that’s not the only setting that can be built this way. Some of the ideas I’ve been toying with in my head to suggest when my group gets together to build our campaign:

  • Winnipeg. Yeah, we’ve already done it, but we could do it again – better. With more time and a better understanding of the game, I think the results would be even cooler than they already are. We could keep the best stuff, and add to it.
  • A fiefdom in the Nevernever. They mention this idea in the book, and it would be cool to set up a “free faerie city” idea, where the fantasy quotient is higher than in a mundane city – even a Dresdenified one. Anyone remember the Grimjack comics?
  • A few small towns in a larger geographic area. Driving down through the midwest of the US every summer, I’m struck by how the higher population density throws so many little towns into such a small area, and how many of them have colleges. The area around where I grew up here in Manitoba are similar, but with more distance between the places. You could treat the whole area as one city, with the various towns and rural areas being the neighbourhoods. It would allow you to bring a lot more of the feral supernatural stuff.
  • A warden squad. Make the characters responsible for much larger geographic area, like an entire state or province. Again, you’d need to change the resolution level: neighbourhoods become cities and counties, for example. Now, this idea seems to restrict characters to just Wizards, but it doesn’t have to. I figure that most Wizards, like Harry, have some contacts with other character types, which would let you mix in pretty much any character the players want.
  • Mystical archaeologists. Now, the whole world becomes the setting, with the neighbourhoods being different ancient civilizations: Roman, Aztec, Celtic, Greek, Fey, whatever. Or maybe the neighbourhoods become time periods. You cold, of course, just set the neighbourhoods as different geographic regions or archaeological digs, but that’s not nearly as interesting, I think.
  • A traveling company. Here, I’m inspired by something like Carnivale, or the latest season of Heroes. The idea of a traveling carnival with a supernatural element can also have echoes of Something Wicked This Way Comes. But it doesn’t have to be a carnival or circus; the road company of a musical or even a Copperfield-style magic show could work very well. Also, I’m currently reading Iron Sunrise by Charles Stross, and can see the potential of setting it aboard a ship on an extended cruise. Again, the definition of the neighbourhoods grows and changes to fit the framework.

Now, I think it’s pretty obvious from the preceding ideas how the setting you choose will influence the entire campaign, from character choice to the kinds of stories you tell. Some of them imply very specific types of relationships between the characters – they’re all wardens, or they’re all crew members on a cruise ship, or whatever.

Once you’ve got the basic setting picked, the book recommends you start research. Find out more about the place you’ve chosen, so that you’ve got some good ideas to bring to the table for the next part of the process. Read up on the history, the interesting places, visit some tourist sites (even if only online), or check out other source material. Talk to each other about what you’re finding out, and make a list of cool ideas that come to you.

When you’ve got some basic knowledge, you come up with the themes and threats. The book defines themes as problems that have been around for a long time, while threats are problems that are new. For example, in Magical Winnipeg, one theme is the fact that the city is a melting pot of so very many different ethnicities, all dealing with the elements and environment of the Canadian prairie. A threat is the upsurge in violent street crime driven by the dangerous were-hyenas of the Mad Cowz.

In my mind, what you’re looking for in a theme is dynamic tension. What do I mean by that? Well, let’s take a look at someplace like Washington, DC. What I know about the city is purely from reading and watching the news and TV shows, so I freely admit that I’m an outsider and may be behind on the development. Doesn’t matter. It’s just an example.

Washington has a special place in the psyche of the US, as the seat of government and site of numerous important monuments, museums, archives, etc. But it also has a large crime problem and crushing urban poverty. It has some of the richest, most powerful people in America living right alongside some of the poorest, most disenfranchised people. This contrast is something that can work very well as a theme, because it sets up tension between the haves and the have-nots in your story that spawns all sorts of adventure ideas, complications, and opportunities for heroism.

Themes are pervasive. They don’t go away, and are generally beyond the ability of the players to resolve, unless that becomes a primary focus of your campaign or you’re working at a much higher level of power than standard. But in that case, your themes should ratchet up, too, becoming great epic issues: the pull between mortality and immortality, for example. Themes are questions and issues that your characters struggle with, that force them to make choices and take action and thereby define themselves.

Threats, on the other hand, are issues that your characters can come to grips with and overcome. Maybe not all at once, but over the course of a few adventures. Taking on a were-hyena street gang, for example – it may take several adventures to roll up the gang’s hierarchy, but it can be done. Threats are where the conflict comes into the game; they are the primary sources of adventure fodder, though they are heavily informed by the themes.

Now, this is where you need to start thinking about the supernatural elements you’re going to add to the game. Some of the choices you make here will be constrained by the choices you made in setting the power level for the campaign: if you’re running a Feet in the Water game, you probably don’t want a whole bunch of the supernatural right out in the open, unless the campaign is going to focus on the issue of how relatively mundane folks deal with the overwhelming nature of the paranormal. On the other hand, if you’re playing a Submerged game, you want a lot of the magical stuff to be up front, or else your characters are going to walk all over the rest of the people in the world.

But that said, really the amount of supernatural stuff you want to add is going to be a matter of aesthetics. What are you trying to accomplish? What do you want the feel of the game to be? Those things will guide the choices. What I find useful is looking for just the coolest bits of weirdness to layer on, and letting the rest grow organically from there. For example, Winnipeg (like most cities) has a real wealth of ghost stories – the old Masonic Temple, the Hotel Fort Garry, and the Vaughn Street Jail are all said to be haunted, not mention dozens of other less interesting buildings around town. Rather than write up each individual haunting, I tied them together with the Council of Ghosts, based in the Vaughan Street Jail, that deals with policing the restless spirits of the city. That covers a big chunk of the supernatural in a general and interesting way, but leaves me free to create the kinds of ghosts and ghost stories that the game needs.

Where I’m going with this is here: start layering in the supernatural right from the start, but remember that for modern fantasy to work well, you need a solid mundane world to support it. Don’t turn every event in the history of your city or every place of interest into something linked to the supernatural. Use it as seasoning, and let the game shape how it grows and influences the rest of the world.

But more on that next time, when I talk about locations and faces.


Last time pays for all.

Rechan says:

On the topic of using Evocation for maneuvers: Does the target get a defensive roll, or are you just trying to statically beat their defensive skill?

Fred got this one on the comment thread. Thanks, Fred! Just to elaborate how that meshes with the earlier comment about the power levels needed for Evocation, the target still makes a defensive roll, but the attacker needs that minimum amount of power to make the Maneuver take place. So, if you’re trying to tag someone with Blown Away, and they’ve got Great +4 Might, you need to have 4 shifts of power in your air Evocation for it to affect them, but you still need to roll to hit their Fair +2 Athletics, and they get a roll to dodge it.

So any word on your next Dresdenverse campaign? :)

Well, I’ve talked it up with some of my players, and the interest is there. But I really want to wait until I’ve got the physical books – it just makes everything easier. That said, in the next week or so, I’m going to start posting some thoughts here about designing the campaign. Starting with some ruminations on the Power Levels and what they imply in terms of characters, stories, mood, and tone in the game. And then, I think, I’ll look at some options for settings that aren’t cities.

You can drop inhuman x or other supernatural powers into the Were-form right? Or is there anything else that symbolizes the “You have a form that you use to battle”? I’m actually pondering a “Dr Jeckyl/Mr Hyde” character.

You can certainly drop those things on the template. In fact, you must add at least -2 worth of other powers. There is, however, a limited list of what qualifies for Were-Form powers. Of course, as has been discussed repeatedly, the templates are simply a guide.

Christopher says:

Regarding what you said about Buffy-verse vampires:

That’d work. Of course, it wouldn’t be that difficult to build Buffyverse vampires with the system, but then you either need to create a new Court, or get rid of the Dresdenverse idea of Courts, with all their wonderful rich politicking potential.

Maybe vampires are like humans — and some of them just plain HATE politics. The Buffy-verse vampires, what with their long history of “impulse control,” could well be just a breed who “hate all that donkeys and elephants crap,” and are looked down on (IE “never mentioned”) by the vampires of the various courts. After all, there are renegade wizards and wild fey– why not some “rogue vampires?”

Just a thought.

Sure! That’s completely doable. It’s just that – in my mind – that’s creating a new Court, even if it’s the Court of No-Court, if you take my meaning. But yeah, that works fine.

Bosh says:

Question: how supernatural something is seems to scale with how powerful they are (more supernatural = lower refresh blah blah), how then does the game handle critters that are very supernatural but not very powerful at all such as Toot Toot?

Fred got this one, too. Thanks again, Fred! One thing that I’d add is that not all your bad guys – or good guys – need to have started at the same Refresh as your PCs. So, even if Toot-Toot has only a -4 Refresh Cost, that doesn’t necessarily mean he has free will – he may have started with a Refresh of 3, say.

Sephilum says:

What stunts must a ghoul take according to the template? And what is the base refresh cost for each?

Fred got this one, too! Go, Fred! And thanks once more! For an example of how we twisted that idea around during our playtest, check out Christian Manger. Take note, though, that the number noted for those Powers are not the same in the final game version.


‘Thanks for doing all of this. You’re awesome! :)

You’re welcome!

Fred Hicks says:


I’m looking at the discussion of a pure mortal being able to fight a wizard, above — talking about an expert martial artist with a few stunts and a ton of fate points going up against a wizard, and “see how long that wizard lasts”… Well, right! Wizards are potent when they get a chance to prepare — or, if they have a solid talent at Evocation, when they get a chance to see you coming. But they’re squishy, too, which is very true to the source material. In Storm Front, Harry gets taken down by a relatively common thug with a baseball bat at one point.

How someone will fare in a conflict in our system is highly, highly dependent on how much control they have over what battles they get into and what circumstances and preparation they can bring to bear. It’s definitely a “planner’s” system in that respect — which again, we feel resembles the source material pretty well. Combo that with our advice to GMs to put the PCs under time pressure, always driving things forward, the ability to make those choices will certainly be constrained at times. That’s the tension of the novels, and that’s the tension I want to see in a game.

This is a very important little clarification here. Looking back at the discussion Fred mentions, it’s easy to see how the impression can be that Wizards don’t have a chance against Pure Mortals, and that’s just wrong. The point that I was trying to make was that Pure Mortals can share the stage with Wizards, and Knights of the Cross, and Faeries, and Vampires, and not be the weak sisters!

Character creation in DFRPG is essentially point-buy, and that means that most characters will wind up with a specialty area or two. Can Murphy beat up Harry hand-to-hand? Sure. But Harry can probably prevail at range, thanks to his magic. If you want to triumph in this game’s conflict system, you gotta know your Sun-Tzu, and bring your strength against the enemies weakness.

And surprise, as ever, is the great equalizer.

Rel Fexive says:


Numero uno – Evocation can be used for an attack OR a manoeuvre – um, maneuver – but it takes a bit more power to do both? So a ‘firebolt’ could burn someone or set them “on fire”, but more power will do both at the same time?

John Hawkins came up with a good compromise for this on the comment thread. Thanks, John! One thing that needs to be said, though, is that you essentially get a Maneuver whenever your target takes a Consequence – the attack is putting an Aspect on the character. So, if you hit someone for 5 shifts of damage with your firebolt, and they’ve only got 4 stress boxes, they may wind up taking the Consequence Clothes on Fire from the attack.

Numero, uh, duo? – I like the ‘rogue’ or ‘wild’ vampire idea for a Dresden/Buffy mashup, but if I were bringing the two together somehow I think I would concentrate more on bringing a Slayer-like character into a Dresden game then trying to force the two to mostly coexist somehow. To me there are too many disparities (the Courts, the nature of vampires, etc) for it to be a smooth blend. Others might have other ideas of course :)

Both universes are pretty full of good source material and rich mythology. Picking and choosing what you take from each is the secret to a good mash-up, and everyone’s gonna have their own ideas.

Only one more Q&A?!? How will we cope?! ;)

Re-read the novels. That’s what I’m doing. 🙂

James says:

When can I buy it and how much will it cost?

John Hawkins got the when part. As for cost, Your Story is set at $49.99, and Our World at $39.99. Prices were apparently just added to the home page today.

Knave says:

My earlier point was more that the beauty of the thing is that clever aspects and a stack of fate chips to use them gives a character as much flexibility/spotlight as serious power does so packing in the stunts is certainly not the only way to skin this particular cat.


Tim “Your Personal Undead” Popelier says:

I don’t think this has come up yet, but I might be wrong. (gosh you should be sick of people saying that by now, no wonder your stopping)

I’m not stopping because I’m sick of the questions, just because doing this is eating all my time, and I need a little bit of that back. 😉

Anyhow, could you give us a idea of how true names as handled in the game. And perhaps also, how are they used as a bartering offer like harry does, do they add a special tag for the demon, (know part of your true name) or something like that?

True Names work in a few ways. For one thing, they act as symbolic links to a creature, letting spellcasters target them with Thaumaturgy at a distance. Second, they can be tagged for bonuses using spells (like Bindings) against creatures. Third, they can allow Evocations to target a demon’s essential self, instead of just its corporeal manifestation.

Knave says:

@Rick re: Harry v Victor S.

Thanks for the info : ) – I’m guessing that Victor’s statblock has had a tune up since it was published in the October Status update on the dresdenfilesrpg.com where it had both his conviction and discipline as Great and Killing Flame as 7 shifts ( conviction + rod + lawbreaker bonus ). – I assumed he’d cast it with a roll of 0 for an effective Weapon:7 + 4 targeting. (assuming he managed to soak up the 4 shifts of mental stress that would cause him – granted)

which would mean Harry with an athletics of Fair (again by the character sheet from the site) would need to roll better than +2 to make the dodge and avoid taking a hit of at least 7 shifts of fire damage… which basically brought me back to the magical defence, and my clarification question:

How much damage does the defence prevent? Assume that Harry does have 7 shifts of damage and 4 shifts of targeting coming at him, in order to take no damage does he need to summon up a defence of power 11 with no targeting element, only control? Or is it power + targeting of 11? i.e. in an attack the discipline ‘finesse’ element (sort of) counts twice – once for control of the power and once for targeting and in that targeting capacity as a bonus to your effectiveness – the ‘what makes Luccio so dangerous element’ – but from what you said that targeting element isn’t present in defence. Is that right?

Because if it is right Harry sure as heck better win initiatiative and shoot first, or just creating the shield he’ll be taking (superb conviction(5) 1 shift + an additional 6 shifts of mental stress to get the power to 11 plus 11 – (good discipline(3) + roll) mental stress to control it -> which works out at 15 +- 4 to defend against 11 damage… which can’t be right?

If the targeting roll does count toward the total he’d need to make a shield of power 8 (4 stress) + take 5 stress on the control (assuming he rolled 0) to control the shield… in which case he needs to soak 9 mental stress to prevent 11 physical damage… which still seems wrong.

The last possibility I can think of is that he only needs to defend against the power of the spell -> i.e. 7 damage. In which case he’d need to spend 3 stress getting the power to put up the shield and 4 to control it (again assuming a 0 roll) for a total of 7 mental stress to avoid 11 physical stress, which is at least better than dodging with an athletics of fair.

I’m probably way off base though.

Thanks again, and sorry for getting all mathematical on you :p

No worries about the math. But I missed something that Matthew pointed out below. Thanks, Matthew! You may be new to FATE, but you’re dead on with what you said.

Harry’s block only needs to beat the targeting roll. If it keeps the fire from hitting him, he takes no damage. He’d only need to soak up all the damage with the block if he had failed his defense roll entirely, in which case he’d deduct the shifts of power in the block from the damage. For an example in the novels, check out what happens when he tries to soak up a blast from a flamethrower in Blood Rites.

Lucart says:

If someone has an aspect on them like ‘Thrown to the Ground’ on them, does that aspect have to be tagged in order to impair their movement? Are they still free to move at will (with the aspect still there) as long as nobody has tagged it trying to stop them?

Knave got this one. Thanks, Knave!

Rechan says:

If DFRPG is about an enemy’s prep, how do you avoid the pitfall of “The PCs kick in the door of the villain’s hideout, and pretty much walk into a death trap because the villain has prepped his lair/has all his toys right on hand”? It’s rather easy to imagine any villain being fairly prepped for a frontal assault. And as the DM, you can give your villain as much prep as you want – so how do you justify LESS prep on his behalf?

Knave and Tim had some good advice on this in the comment thread. Thanks, Knave and Tim! My own advice is trying to stay within the bounds of verisimilitude with the villain’s prep, based on the following questions that I ask myself:

  1. What does the villain want? This says a lot about his outlook. Someone who wants world domination is going to be a much better planner (well, maybe) than someone who just wants to eat all the homeless people he can find.
  2. How is the villain pursuing this goal? Careful plotters are better at prep than psychotics with poor impulse control.
  3. How far along is the plan? Early on, not as much preparation time has been invested than later on.
  4. What does the villain know about the heroes? Pretty much every supernatural creature knows Harry, and will have some idea of how to deal with him, but fewer know Sigrun Gard, and may not have planned for that battleaxe.
  5. What resources does the villain have? If you’re living on the street or hiding your dark magic from your wife, it limits what you can set up. Also, as far as resources, information sources and resources for advance warning become important.

Now, you don’t have to answer these questions in order to find out how much prep the villain can set up – you can, but you don’t have to. What I often do is work backward – decide how ready the villain is (i.e. how hard do I want to smack the players), and then come up with the answers that lead to that.

Also check out the scenario-building advice in the book. It’s got some very good bits on villain motivation and resources.

Matthew says:

(new to Fate/DFRPG discussions; be gentle)

Regarding the Victor vs Harry discussion:

Doesn’t the attack have to ‘hit’ (control roll >= defense roll) in order to do any damage at all? So wouldn’t it make sense to use your defensive magic to ‘deflect’ the incoming attack (via a Block) instead of trying to ’soak’ the damage? In the example given (Weapon: 7 with 4 control) a block strength of 5 would be enough, rather than 11 shifts to negate the damage. This might entail simply using Discipline as a Block (possibly powered by Fate points) rather than formally casting a spell. Or perhaps an actual spell would add shifts to the defensive control roll, making it easier to block attacks at the cost of stress to cast the defensive evocation.

Then again, I won’t pretend to fully understand the system. Perhaps one of the experts can clarify?

As I mentioned above, Matthew, you got this one right. I had missed this important bit when writing about it previously. Thanks for chiming in and setting us straight!

Exploding_brain says:

Could Bob be made into a playable character? Maybe only when he’s riding Mister (who obviously has an ample supply of free will to loan him). I have this image of B-squad adventure, in which Bob (with Mister’s help), Toot-Toot, and Mouse, (and maybe Billy?, or would it be more fun to add Butters or Molly?) have to deal with something in Harry’s absence.

Bob has no stats in the book. Could he be a playable character? Sure, you could work him out that way, especially with him riding Mister to cut down on the cost of his Spirit Form power. And that B-squad adventure sounds like fun, though I’d go with Butters rather than Billy or Molly, just to keep the overt powers down. But that’s just me.

What kind of game mechanics reflect Little Chicago?

No game mechanics are given for Little Chicago. I’m gonna quote the reference from the book here, because I think it’s a beautiful example of how flexible the game is, and how much room there is for both player and GM creativity:

Little Chicago gets some play here, but it’s unclear how that manifests—is it a complex high quality spell component, or an actual focus item investment, or a special plot contrivance concession by the GM? Jury’s out— each GM out there might run it differently.

See what I mean?

How hard would it be to remove the problems that wizards have with post-WWII technology? Maybe you want to drift the game into something that would allow Mage style Sons of Ether, or Ghostbusters tech. Or possibly you want that one-of-a-kind wizard who has found a way to prevent that particular complication.

Bosh is right that it’s easy to remove. Thanks, Bosh! But there is a little more to the effect than just compelling an Aspect. There are rules and mechanics for both accidental and deliberate hexing of technology, for good and ill.

Do other types of magic mess up modern tech? Could Harry use Toot-toot to wipe the hard drives of his enemies?

Hexing is reserved for mortal spellcasters, and there’s a very interesting discussion as to why that is in the book.

One last time, thanks so much for the (deep and extended) peek at the game. It makes me more confident that ever to say the following:

@Evil Hat, now I know how some folks feel about the iPad. To misquote Ryan Sohmer, I dearly want to transfer money from my bank account into yours, and I’m OK with that. :-)

I’m right there with you, my friend. And thanks for the kind words.

Murph (No,not that one) says:

Just found out about the upcoming DFRPG a few weeks ago and have greatly enjoyed reading this Q&A, so a big CHEERS to Rick and all the contributors.

On behalf of myself and all the other folks chipping in, you’re welcome!

Anyways, a quick question if you don’t mind. How much refresh does Physical Immunity cost during character creation? (I have a descendant of Balder concept for an NPC I would mind solidifying up a little)

Physical Immunity is a stunning -8, but you get some of that back when you take a Catch, which is required for the power, as John Hawkins points out in the comment thread. Thanks, John!

Thanks for all your effort Rick, it must have been quite taxing at times.

You’re welcome. It was work, but it was a labour of love.

@Fred It’s been close to 13 years since I’ve done the whole P&P gaming thing,but this has seriously relit the fire so to speak and I can’t wait to get my hands on the books. The fate system sounds awesome and much more along the lines of how I prefer to play than the old systems I did indeed play. I think I will have to buy SOTC to get a general feel for the system while waiting for DFRPG. (not to mention it sounds pretty damn cool itself!)

John’s recommendations for other games to check out is very good. I would go a step further, and say to take a good look at the Indie Press Revolution site – there’s a wonderful, varied assortment of games that will knock your socks off. I’m particularly partial to Dogs in the Vineyard, Trail of Cthulhu, and How We Came To Live Here for innovative design and cool ideas.

So, thanks for the hard work and the openness about the development of the game. I, and I’m sure many,many others, really appreciate it.


Oh, also, from a previous Q&A session someone was asking which element lightning came under air or earth. I don’t have it with me, but I seem to remember in Storm Front (novel or comic) that Harry was talking about all five elements being present within the storm while squaring off against the toad demon. I swear he states that lightning represented fire, just in case anyone was still wondering. I’m probably wrong, stupidity runs in the family.

There’s a good discussion in the Evocation section called Mommy, Where Does Lightning Come From? that talks about how phenomena can be mapped to different elements, based on the desires and imagination of the Wizard, so yeah, lighting as Fire works just fine.

Knave says:

@Matthew – re: magic defence

That’s possible, but my understanding is that a fire evocation produces actual fire, so it doesn’t really track to be able to deflect it just by rolling discipline without casting – unless you can do the same thing against a flame thrower.

True, but if the block makes the fire splash into the wall instead of hitting you in the face, you don’t need to worry about the fire. Well, not as much. As for the flamethrower, the difference is that magical fire will require fuel to keep burning. If it hits a barrier of force in mid-air, there’s nothing there for it to burn, so it goes away. A flamethrower, though, is spewing burning fuel that sticks and clings to the nothing in the air, and we go again to the scene in Blood Rites.

Rel Fexive says:

RE: magic defence — such a defence, like with Harry’s shield bracelet, is apparently done as a Block that can be eroded by every attack it blocks (or so I’ve deduced from previous comments). I’ve not got ‘the book’ but I reckon that means that a character would cast a spell in the normal way (power/Conviction, then control/Discipline) to end up with a number of shifts that represents the strength of the Block/shield. This would probably then be matched against the number of shifts used in the attack – any attack – and probably with the “damage bonus” added on; so shifts + Weapon:X vs Block shifts, because heavier hits are harder to stop.

I imagine the Block then either stops the attack cold (by having more shifts) or lets some through (by not having enough), and can be reduced by the hit in some fashion. This would seem to reflect the source.


Evocation blocks collapse if the attack punches through. They also only last for a single round, unless you spend some of your power shifts on maintaining it. But if you use it as a defense instead of armour – the deflect vs. soak discussion from above – you only need to beat the targeting roll to avoid taking damage.

vultur says:

Are there stats for fungus demons?

In general, asking for a complete list would probably be too much; but we’ve seen previews of the character types, but not really anything on the monsters. Can you give an idea of what monsters are included?

Rechan gave a very nice and complete answer to this in the comment thread. Thanks, Rechan!

Lanodantheon says:

Awesome Q&A!!!


Probably the last question I’ll be able to ask before just doing it myself when the game comes out.

How would I give someone a “Spirit Sword ” ala Yu Yu Hakusho. Basically it’s a conjured sword made of Spirit energy. My first blush is Claws.

If anyone else with access to the material cares to weigh in, please do.

And indeed, someone else did! Thanks, John Hawkins! His very complete response pretty much covers anything I could have thought of, and more. There are a myriad of ways of doing something like this in the system; you’ll pick the one that produces the jazz you like best when you build your character, and negotiate with the GM.

It’s all about negotiating with the GM. 😉

So, we wind down to the end of this little Q&A.We’ve got 14 installments, and a total word count just north of 37,000. That’s about a third of a good-sized novel. And this final one is the longest of the bunch.

I’ve put a link to the complete Q&A series on the DFRPG Playtest Samples page, so it’s easy for folks to find.

I want to thank everyone who has come by to read, to ask questions, to answer questions, and just generally talk about the game. I think you all start to understand my enthusiasm for the game by now, right?

And you’re all going to buy it, right?

I especially want to thank Fred, Lenny, and Chad, not only for joining in on the discussion and helping keep me honest and on track – obviously, they know the game far better than I do – but for having the visionary idea of a Disclosure Pledge for the playtesters in the first place. It’s a fairly new way of looking at the community of gamers, as a vocal force that you can mobilize on behalf of your product, and it shows a great deal of respect and appreciation for their fans out here in the world.

And it let me see and talk about the game early, so bonus! 😉

It’s been a fun ride, everyone. Thanks for sharing it with me.

Now I go back to my other games, and my other writing. But I’m not leaving Dresden Files behind. Not by a long shot.

I am eagerly awaiting the June release of the final hardcover books, so I can get into setting up my own campaign.