What's He On About Now?

So, judging from the traffic coming in this past day, people are very interested in the Dresden Files Role Playing Game preview sent to the playtesters a couple of days ago. I’m still working my way through the books (did I mention it’s almost 700 pages?), but I figured I’d do two things to help satisfy the desire for information.

First, I’m going to invite questions. Want to know something about the game? Leave a question in the comments, and I’ll do my best to answer it. One proviso: I’m working from the preview and, while it’s fairly complete, there may still be some last-minute changes. From what I’ve seen, I doubt it, but you should know.

Second, I’m going to put a chapter-by-chapter breakdown of the two books below, with a brief comment on what’s in each chapter. That’ll give you some idea of what to expect when the book comes out and you go buy it.

Because you are going to buy it, right? Right.

Volume One: Your Story

This book is about playing the game. It’s a combination of player book and GM book; the co-operative nature of setting up the game advocated in the book makes this a natural choice.

Chapter One: Harry’s World

This chapter gives a short overview of default game world, based on the Harry Dresden books by Jim Butcher. It lays out some important concepts that you need to understand about the underlying assumptions of the world and game, including a section on Maxims of the Dresdenverse.

Chapter Two: The Basics

Here you get the bones of the FATE system, the modified version of FUDGE that’s the engine driving the game. It covers the mechanics of your character sheet, the dice you roll, what they mean, and how to use Fate Points.

Chapter Three: City Creation

Part of the fun of playing DFRPG is creating the city to be a home base for the game. This chapter walks you through the steps, including showing you where in the process you create the PCs. The system is more structured and focused than the playtest version, and you wind up with a nice collection of aspects and NPCs for your city, as well as some good dynamic situations for your players to deal with.

Now, there’s a sidebar in this chapter that talks about how you don’t really have to do this step as a group with your players. They recommend doing it as a group, though, and so do I. Why? because that way you make sure that the city you build has all the pieces for the kinds of stories and conflicts that your players are interested in dealing with. And it’ll give you some interesting surprises throughout the process.

Chapter Four: Character Creation

In the previous chapter, they recommend that you do the character creation as part of the city creation, to help tie the characters more tightly into the setting. This is a good idea. They also recommend doing character creation as a group. I think this is essential for any FATE game. The novel phase of character creation pretty much demands it.

They also mention the idea of having the GM create a character, and I found this to be a great idea in the playtest. We had multiple playtest character generation sessions, and I created a number of NPCs this way. It gave me a nice stable of NPCs with ties to and history with the PCs. I’m going to go one step farther than their recommendation, though; I’m going to suggest holding a couple of extra character creation sessions to have your players help put together some NPCs.

Chapter Five: Types & Templates

This is where they list the different types of characters available, and what powers and stunts you need. The options outlined here are:

• Pure Mortal
• Champion of God
• Changeling
• Emissary of Power
• Focused Practitioner
• Knight of a Faerie Court
• Lycanthrope
• Minor Talent
• Red Court Infected
• Sorcerer
• True Believer
• Were-Form
• White Court Vampire
• White Court Virgin
• Wizard

There’s also a discussion about what to do if you don’t want to play one of these archetypes, but instead want to play something different, like, say, a Ghoul. Really, it’s pretty easy and flexible.

Chapter Six: Advancement

I haven’t looked closely at this section yet, but along with the standard information about how the characters advance, there’s also a section on how your city advances, which I think is a brilliant idea.

Chapter Seven: Aspects

Aspects are the meat of the system. They’re what makes FATE work. The discussion in this chapter spells out everything you need to know about them, including the kinds of things that make good Aspects, and what I call the Aspect Trick – picking Aspects that do double or triple duty for you.

Chapter Eight: Skills

Not much to say about this chapter. It’s skills -  the list of them, how to use them in different situations and for different purposes, stuff like that.

Chapter Nine: Mortal Stunts

Stunts are what give mortals their edge in the game. The way things balance, mortals will be the ones with the most stunts available to them. These are usually special ways to use some skills, or a different thing you can spend a Fate Point on, little things like that. Nothing huge, but stunts can really add flavour and variety to a character.

The chapter consists of three pages of rules for creating your own stunts, and then about nine pages of example stunts. This is very nice; one of the things my group had asked for during playtest was an expanded list of example stunts. And Evil Hat came through in spades.

Chapter Ten: Supernatural Powers

The counterpart to the stunts of the previous chapter, supernatural powers are the extra gravy you get for playing a supernatural character – the things that set you apart. These are expensive, and really cut into the Refresh Rate of Fate Points. This is the primary balance mechanic between mortal and supernatural characters, the thing that lets you play a Karin Murphy alongside a Harry Dresden. There’s about thirty pages of these, and it covers a wide enough range to let you build just about anything you want.

Chapter Eleven: Playing the Game

This section covers pretty much the entire mechanics of the game – it’s about thirty pages (well, twenty-eight), and handles actions and physical, mental, and social conflicts. Except for spellcasting, this is all the system you need. The system is great for running very cinematic, action-packed scenes, and we found that physical conflicts were threatening enough that the players were worried every time one came up that their characters would die. This is, I think, important for a game – there needs to be some risk, or success and failure stop mattering. It also led to some great roleplaying, as players (and characters) did their best to figure out ways to avoid the risk of combat, sometimes even just running away.

Chapter Twelve: Living With Magic

Here’s where the nature and flavour of magic in the Dresdenverse are laid out. Here, you find out about things like hexing, The Sight, soulgazing, the Laws of Magic, Thresholds, and Wizard biology and senses. The next chapter tells you how magic works, but this is the chapter that tells you how magic feels.

Chapter Thirteen: Spellcasting

It’s a game about modern magic, based on a series of books with a Wizard for a main character. You better bet that spellcasting gets some love, here. I’ve already talked a little about how the system has been changed to bring spellcasters into balance with the other character types. There have been a couple of other things added that really fill in some gaps: first, along with Evocation and Thaumaturgy, they’ve added a section on Sponsored Magic, which is essentially what you get when you make a bargain with a demon or a god. Second, they’ve included a nice list of examples of all the different things discussed in the chapter: evocations, thaumaturgical rituals, focus items, enchanted items, and potions. Very useful, because this is the most complex part of the game.

Chapter Fourteen: Running the Game

This is the GM chapter, and covers the GM side of all the things spelled out in other parts of the book. As is usual with Evil Hat stuff, it’s solid, useful, and detailed. The advice is practical and insightful, everything focused on telling a good story with the game.

Chapter Fifteen: Building Scenarios

One of my favourite bits of Spirit of the Century is the section on building adventures. This chapter does at least as good a job, showing how to build the kinds of situations and events you see in the Dresden Files books. It’s all about connections, in this game, tying you into the city and characters you’ve already created, so that everyone has an emotional investment in what’s going on.

Chapter Sixteen: Nevermore/Baltimore

All through the city-building chapter, they use the example of Dresdenifying the city of Baltimore. Here, they give you the results of of the fleshed-out example, a ready-to-play city for your use.

After this, there follows a glossary and index, as well as copies of the various forms and sheets used in the game. The index isn’t filled in, yet, but the rest of the stuff is complete and useful.

Volume Two: Our World

This is the setting book for the game, though some of the setting elements are covered in Volume One. As I said previously, you cold probably play the game without this book, but I think you’re really going to want it. Especially if you’re a fan of the books.

It looks like the book is going to open with a new story by Jim Butcher; for now, they have the short story Restoration of Faith as a placeholder.

Chapter One: Old World Order

Here we’ve got the low-down on the various power groups in the Dresdenverse and how they relate to one another. There’s a detailed discussion of the Unseelie Accords, as well as a lovely little section called Supernatural Conflicts That Could Kill You RIGHT NOW. Fun stuff.

Chapter Two: What Goes Bump

This chapter has a complete, detailed, statted roster of monsters, spellcasters, animals, and mortals. This does double-duty, both as a section of adversaries, and as a blueprint for building characters. It also has a very useful little list of how the various different supernatural baddies stack up against each other, so you can answer that vital question, “Who would win in a fight between a Faerie Queen and a Dragon?”

Chapter Three: Who’s Who

And this is where you find all your favourite characters from the Dresden Files. And the ones you love to hate. And the ones you’ve completely forgotten about. This section is amazingly complete – even if you never play the game, if you’re a fan of the Dresden Files, this book is a wonderful guide to the world.

Chapter Four: Occult Chicago

Carrying on in that theme, here we have Harry’s city: Chicago, in all it’s supernatural glory. Yeah, that’s right. Between the two books, you get two, fully-worked up cities, in case you don’t want to create your own, or if you need some inspiration. Because of the wealth of source material in the series, Chicago is a little more fleshed-out than Baltimore, and it’s got a lot of good information for play.

That’s it. After that, you get the index.

So, there’s the look at the two volumes of the game. I gotta say, it’s impressing me more and more as I read through it. It’s good stuff. I can’t wait to buy my hard copies this summer.

But that’s enough out of me. What are you folks interested in? What questions can I answer? Let me know, and I’ll do my best.

Yesterday, those of us who were lucky enough to be part of the Dresden Files Role Playing Game playtest received a special treat from Fred Hicks of Evil Hat: .pdf copies of the (mostly) finished game.

Guess what I spent last night reading?

I’m not done yet, but I wanted to talk a little bit about my first impressions of the game. Keep in mind that not everything in these files is quite complete; of particular note, the introductions and indices are blank, the short fiction by Jim Butcher isn’t in there yet, none of the page references are completed (page XX), and a few – but not really all that many, from my initial look – pieces of art are missing. That said, here are my initial observations.

The books are gorgeous. The layout is attractive and readable. It’s busy without being distracting or illegible. The marginal notes are a nice touch, being comments from Harry Dresden, Billy the Werewolf, and Bob the Skull from the game world. They entertain, give insight into the game world, and help to clarify some rules points.

The books are big. Combined, we’re talking about nearly 700 pages. Now, from my initial glance, it seems like you might not actually need the Our World book, as all the rules for actually playing exist in the Your Story book. Having said that, the Our World book contains all the statted creatures and characters that you might want for running the game. For example, you can create a changeling character using only the Your Story book by making up the powers and abilities of a fey of a given type in conjunction with the GM, but the Our World book will give you a list of different types of fey and their powers and abilities, so you don’t have to do that work. And it’s always nice, speaking as a GM, to have a bunch of statted NPCs to throw into the game spur of the moment. You might not need Our World, but I really, really think you’re going to want it. Especially if your a Harry Dresden fan, just as a reference book for the world.

City building is substantially fleshed out, with more detail and structure, to help you create the kind of setting you want to play in. The running example is Baltimore, and it turns into a very interesting place as it gets Dresdenified.*

The section I went to pretty much right away was Spellcasting. See, during the early playtests, Wizard characters pretty much walked all over other character types, not so much because of their powerful, but because they were so flexible. A Wizard could, with a little time and effort, be great at anything, which caused them to overshadow other characters from time to time. The specific issue was with Thaumaturgy, which lets Wizards do pretty much anything they can imagine. I wanted to see if this was dealt with in the final version.

It is dealt with. Wizards still have their signature flexibility, but the price of using magic is higher. They get worn out and damaged (and possibly crazy) faster, which leads them to husband their resources more. The difficulty of accomplishing some of the bigger things with Thaumaturgy is increased, meaning that, if you want to do this, you’re going to be spending more time, more effort, and taking a bigger risk to get it done. I think it’s a very nice balance that lets a Wizard accomplish almost anything if they have the time, materials, and dedication, but limits what they can do within the game to things that are simpler and don’t step on the toes of the other characters.

That’s about all I’ve got for now. I haven’t finished reading both books (did I mention 700 pages?), but plan to do that this weekend. So far, I am very impressed with what I’ve got in hand. Kudos to the folks at Evil Hat for putting together such a fantastic game, and thanks again to Fred for making these files available to us playtesters.

It’s got me wanting to run a new Dresden Files game in Winnipeg.

*Yes. That’s a word, now. Why? Because I said so. Back

Tonight was supposed to be our Shadowlands D&D 3.5 game, run by my friend Clint, but we had to cancel because one of the players is sick*. So, four of us were sort of at loose ends, looking for something to do rather than just call the evening off. I suggested some board games, but Clint asked if there was any one-shot I was prepared to run.

Now, running some one-shots is one of my goals with my change in gaming priorities, so I suggested possibly Mutant City Blues or Trail of Cthulhu, two games that I’ve been wanting to try, but haven’t got around to, yet. The problem was prep time; This was at about 1:00, and game time was 7:00. I didn’t have time to adequately prep the games, create characters*, re-read the adventure, and get back up to speed on the system, and also take care of the other stuff I have to do today.

And then I remembered Spirit of the Century.

Some time ago, I came up with and organized a Spirit of the Century Pick-Up League, with the bold plan of encouraging the play of the game in our group. We created characters, posted our character novels, and played a session. Everyone had a good time, and we agreed we should do it again.

That was more than two years ago. Life gets in the way, sometimes. But tonight was a great opportunity to resurrect the League, throw together an adventure, and play SotC again.

That’s what I did.

I broke some of the rules in the League Charter*, in the interests of time. I cribbed the adventure from the adventure design section of the rulebook, where they have the skeletons of five or six different adventures mapped out for the GM. And I didn’t send out an invite, both because of the time and because I wasn’t hosting the game. I cobbled together two pages of notes, shoved the rulebook and my Fudge dice in my bag, and away I went.

I started with the characters – Sky Knight, Artemis Argo, and Myra Hawkridge – going on the maiden voyage of the New Golden Hind*, a galvanic turbine driven ship designed by Dr. Hubert Toynbee. The ship, designed to run at a steady 70 knots and to withstand extremely rough seas, was going to make a crossing from Liverpool to New York, and the members of the Century Club were going to go along for the ride.

On my notes, this section of the trip took up about half a sentence. In play, it ran to about an hour, because everyone was having fun with the idea of the trip, and I kept elaborating on the ship, and playing up Toynbee’s intense scientist mode. So, we stuck with this bit for as long as people were enjoying it.

When I felt the time was right, and there was no more to explore on the ship, I moved on to the next scene: the terrible storm that wrecks the ship and strands our heroes (and a bunch of extras) on a mysterious jungle island in the North Atlantic*. There they found a cave for shelter, and spotted some old ruins up the side of an extinct volcano.

After getting shelters set up and water found and food gathered, our heroes took off to explore the jungle. They were called back to camp by gunshots, and found that velociraptors had attacked*, carrying off one of the sailors. Being pulp heroes, the characters set off into the jungle, following the trail. Along the way, they fought some velociraptors of their own, and some pterodactyls, and a sabre-tooth tiger*.

Then, of course, the Ultramegasaurus showed up and chased them. This was a (completely fictitious) dinosaur that was too big and fierce for them to actually hurt, but Argo used a great little feature of the game to declare that the thing’s vision was movement-based, like a frog or a T-rex, and he and Myra froze while Sky Knight lured it away.

When the group made it up to the ruins, where the trail led, they found a mostly-insane scientist had saved their sailor from the dinosaurs, and was trying to use him to bargain for a way off the island and away from the evil Dr. Methuselah – one of the game’s iconic archvillains, with the ability to use math to alter reality. It seems Dr. Methuselah was planning to bring through a host of Ultramegasauri through a time-gate that had already brought through other dinosaurs, smilodons, and the tropical climate*. As the poor deranged scientist was begging to be taken away, Dr. Methuselah solved him out of the reality equation, and he vanished.

Which led to the showdown in the time lab, which ended with Argo throwing a stone chair through the time machine and Sky Knight and Myra co-operating to decapitate Dr. Methuselah, thanks to their arcane or hyper-technological abilities.

Of course, that didn’t stop Dr. Methuselah from continuing to talk.

So they stuck his head in one box, his body in another, and, now that the time portal wasn’t messing with radio transmissions anymore, Sky Knight called in the Draco to pick everyone up and snow started to fall.

The game was a blast, and everyone had a lot of fun. I think that I’m going to have to start working to revive the League, have another character creation session for those that don’t have characters, and get things moving again.

Because I want someone else to run a game so I can play.

*Hope you feel better soon, Fera. Back

*Y’know, Pelgrane Press, some generic pre-gen characters for your GUMSHOE games downloadable from your website would be a great thing to add. Just sayin’. Back

*I made ‘em, I can break ‘em. Back

*It started out called The New Argo, but then Tom chose to play Artemis Argo, so that name didn’t work anymore, and I had to come up with a new one on the spot. I think I did pretty good. Back

*Yeah, I know. But it’s a pulp game, and when you get shipwrecked in a pulp game, it happens on a jungle island. And probably dinosaurs will show up soon. Anyway, I explained it in-game. Back

*See? Dinosaurs! Back

*I did mention this was a pulp game, didn’t I? Back

*Told you I explained it. Back

I’m back from GenCon. As always, it was a real blast. I got back around 9:00 last night, and had to be up for work this morning, so my recollection is kind of chaotic, but I want to talk a little bit about it while it’s fresh.

Here we go, in no particular order:

• Once again, I spent my time with Scott Glancy of Pagan Publishing and Jared Wallace of Dagon Industries, both fine gentleman. We shared the both with Shane Ivey and the Arc Dream Publishing crew, and they were a good bunch of fellows, as well.
• Greg Stolze spent a lot of time in the both, flogging his games Reign and Dirty World. I got to know Greg back in the days I was writing for Unknown Armies, and it’s always a pleasure to spend some time with him.
• Ken Hite, one of my favourite connoisseurs of the weird and the real and the intersection of the two, stopped by a few times. He’s got a new book out: Tour de Lovecraft. It’s a collection of his blog entries, and takes you on a tour through all 51 of Lovecraft’s Cthulhu stories. Good, good stuff. I bought two.
• I got to touch base with Fred Hicks and Lenny Balsera of Evil Hat. They were both pretty busy, but it was good to shake hands and attach faces to names. Nice folks.
• At the Pagan booth, we had the printer’s proof of one of their next books, Mysteries of Mesoamerica. My good friend and GenCon traveling partner, sculptor Clint Staples, wrote a big chunk of the book, and it’s been a long time coming out. But it’s more than worth the wait. This book is absolutely beautiful!
• Had dinner a couple of nights with Gwen and Brian from Sigh Co. Met them last year, and they’re very nice people. Good to see them again.
• Fantasy Flight Games is rapidly becoming the powerhouse of the show. I bought a new expansion for Arkham Horror from them that I didn’t even know was coming – The Black Goat of the Woods. There were about four other games I would have liked to pick up, but the budget can only be stretched so far.
• Last year, I passed on the Campaign Coins, and I regretted it. This year, I bought the starter set, and feel much better about myself. They’re very nice.
• Also picked up Aces & Eights, BRP, and Alpha Omega. Haven’t had much chance to get into them yet, though. Look for thoughts in future posts.
• Didn’t get to play in Scott Glancy’s playtest this year, but he did talk to me some about the scenario and his thinking behind it. I just want to go on record as saying that there is something broken inside his very soul if he can come up with stuff like that, and I thank him for it.
• Seemed to be a larger female turnout this year. More, there seemed to be more females buying game product for themselves this year. I like to see this; the hobby has a lot to offer everyone, regardless of gender, and it’s good to see it grow.
• For those interested, the final tally for the count on Saturday was 43*.

So, it was a good trip, and I had a lot of fun. Thanks to everyone I spent time with down there. You guys are what makes the trip worthwhile.

*Those who know don’t need to ask. Those who ask don’t need to know.

Looks like the second round of the Dresden Files RPG playtest is about to get underway. While the first round was the Bleeding Alpha, this one is the Burning Alpha, and it’s got a new graphic:

DFRPG Burning Alpha Playtest

[EDIT: I am a moron. I haven't been able to figure out how to put a graphic in this post yet.]

[EDIT: Got it. I think.]

We who were involved in the Bleeding Alpha are getting to see the files and try them out, and still talk about them, but the focus on this round is really on new folks trying out the game. The canny Evil Hat contingent is setting up a special mailing list for the Burners, while still encouraging us Bleeders to use our list.

So, what does that mean for me?

I don’t know that I can get the old gang together for another extensive playtest – it’s summer, now, and people are scattering. Also, I’ve run some number of one-shots and short adventures in the past several months, and people are starting to push me to do a longer campaign again. I don’t want to start a campaign using a test ruleset, so…

Besides, I’m still trying to find the time to do a test run of Mutant City Blues.

Still, I’m going to be reading the revised rules, and I’ll probably talk about some of the changes here. I may even revisit some of the play reports and characters, to show how they would change in the new rules.

Also, I encourage the new playtesters, you Burners out there, to send me a link to anything you post about the game. I’ll put it up here, and we can help keep people up to date on what’s happening.

The blood has been spilled. Now, the fire will purify.

So, Simon Rogers over at Pelgrane Press did a nice thing: he sent me an early draft of Mutant City Blues, an upcoming GUMSHOE game. The idea (floated to him by the inestimable Fred Hicks, of Evil Hat fame) is for me to take a look at it, give it a try, and talk about it on my blog here.

Well, that was more than a month ago, and I’m just getting around to it now. I got distracted by the shinies of Dungeons & Dragons 4th Edition, and it just kept me from giving Mutant City Blues the attention it deserves.

Mea culpa.

Now I’ve finished a read-through, and I want to talk about my initial thoughts on the game. I plan to run a playtest in the next couple of weeks, though summer vacation time is upon us, and that means it’s a little harder to nail down enough players. I’m working on it, though.

Anyway.

Mutant City Blues is another GUMSHOE game, one that I think I’ll actually be able to get my players to try. Why not the other GUMSHOE games? Because they’re all horror games*, and horror doesn’t rank high on the list of styles my players enjoy**. Fair enough.

Mutant City Blues, though, is a superhero police procedural. If you’ve ever read the comic book Powers, or Alan Moore’s wonderful Top 10, you have a good starting basis for the world. Superpowers are more common than in Powers, and less common than in Top 10, but the feel and style are pretty similar. The setting also has hints of influence from sources like the Wild Cards novel series, Marvel Comics style mutant social issues, police procedurals in the vein of Michael Connelly or Ed McBain, and, of course, the ever-popular CSI and Law and Order TV series.

It’s a pretty rich background, and more space is devoted to it than any of the other GUMSHOE books to date. There are in-depth discussion of how super powers interact with the world of law enforcement, and with society in general, that help to give what could be a very flighty game a solid, grounded feel. In particular, the sections on how super-powered police officers fit in with the rest of the force really shine.

On the super power front, this game takes a very different approach from anything else I’ve seen. First of all, everyone has the same origin: a flu-like virus referred to as SME (Sudden Mutation Event). So, no magic rings, no alien babies saved from doomed planets, no radioactive arachnid incidents, etc. You get a bad cold as a mysterious virus rewrites your DNA, then you can tie people up with your hair.

You also don’t have free rein to pick your powers separately; they are arranged in a special diagram, showing the links between different powers, and the drawbacks generally associated with them. You get a certain number of points, pick one power you want from the chart, then have to spend more points as you move around the chart from that initial choice to take other powers. For extra points, you can skip over intervening powers, but every step costs points. Some of the powers are drawbacks; you can’t skip over them, but at least they don’t cost you any points. They show the types of problems normally associated with the kinds of powers you have.

So, let’s say I want to have super-speed and lightning-fast decision making. I can do that, but I wind up with a tendency to attention deficit disorder, because that drawback is between the two powers I want. I also am very unlikely to be able to command fish, which is way over on the other side of the chart, and it would cost a lot of points to move over there.

This may rankle some players. It sets arbitrary limits on what power groups you can reasonably have, and it can be a little difficult to figure out at first glance. The thing that I find interesting is that the system has been worked out, not so much to balance things, but to simulate the game-world idea that super powers tend to occur together, and that scientists are starting to understand which types are more commonly found together. It creates verisimilitude in the setting, and only incidentally balances the characters.

Very strangely for a superhero game, powers are not really balanced against each other, and this is deliberate. After all, in real life, people are not point-balanced, so why should RPG characters be?***

There’s also a sidebar that talks about what you should do if you don’t want to use the primary game-world conceits of grouped powers, a single origin, and little to no power balance, which is nice.

The largest section of the book (72 pages in the draft I have) is the listing of super powers and explanations of how they work. There’s a nice wide variety, and there are some that can be used as investigative skills, allowing you to find clues, as well as the more common powers that work like generals skills.

I haven’t talked about investigative skills and general skills, have I? Well, I mentioned how the GUMSHOE system works in this post, but maybe a little more detail is in order.

GUMSHOE is pretty focused and optimized for investigative games. It’s all about finding the clues and trying to interpret them.

Notice that I didn’t say “trying to find the clues.”

If there’s a clue available, and you’ve got the right skill to find it, you find it. Period. No rolling, no chance of failure. All you have to do is use the right skill.

That makes sense, right? I mean, the drama in CSI is not about whether or not Hodges is going to be able to identify the gritty white powder on the duct tape holding the victim’s mouth shut. The drama is about how Grissom interprets it and what he does about it.

Same thing here.

Finding clues takes investigative skills. These are pretty granular, with technical ones like Evidence Gathering and Fingerprinting, and interpersonal ones like Flattery and Flirting. You get a fair number of points to buy investigative skills; the number of points you get is based on the number of players in the game, and is balanced to make sure that you can cover all (or at least most) of the investigative skills no matter what size the group. So, you get more points if there are only two players than if there are six.

General skills are things that don’t get you clues. Things like Scuffling and Driving. These work more the way skills work in other games, with rolls and a chance of failure.

Super powers come in both flavours, which is where this little digression started.

So. 213 total pages. 72 pages of super powers. 61 pages of world background. 15 pages of tips for GMs and players. 19 pages for the introductory adventure. 2 pages for the table of contents. That leaves 44 pages of GUMSHOE rules, including character creation, system, lists and explanations for skills, and super powered combat. GUMSHOE is a pretty lean system.

And what do I think of it?

So far, I’m pretty intrigued. The setting and system really appeal to me, and I think I’ll have better luck floating a superhero police procedural game to (most of) my players than a horror game of any stripe. Now, I’ve got to send out the call for my testers and run the intro scenario.

I’ll let you know how it goes.

* As an aside, I think that the system fits very nicely with horror games. Horror games, in general, seem to mesh really well with mystery and investigation modes of play.

**My friend, Michael, just got back from Spain, and he’s a big Cthulhu fan, so I should be able to talk him into playing in a Trail of Cthulhu playtest.

***That’s actually a much deeper argument for another day, having to do with player perceptions of fairness and entitlement rather than anything that is intrinsic to an RPG in and of itself. But, as I say, for another day.

**Warning** The following post is a lot more rambling than a lot of my other posts. Caveat Lector.

Lately, I’ve become enamoured of co-operative world-building for games.

As an idea, anyway.

I’ve been reading Mortal Coil, and listening to the That’s How We Roll podcasts about building the setting for Faith, Faces, and Fingerprints. When my friend Clint started his new D&D campaign, he threw it open for the players to create chunks of the setting. And that was fun.

My long-running D&D campaign is wrapping up next weekend, and another game I run is going to be wrapping up in a few (3-4) months, so I’m starting to think about the next game. And I’m toying with the idea of building the world collaboratively.

I’m torn, though.

Here are the pros, as far as I’m concerned:

• Real buy-in from the characters. If they make something up, they’re going to care about it.
• Ideas I could never have come up with. Other people are going to think of things I never would have, and that’s going to create a world with a different flavour than I would have on my own.
• It shows me, as GM, where the players want the focus of the game far better than just getting them to tell me.
• The players will have a better knowledge of the world they created than if I create something on my own and expect them to read it. ‘Cause I know that some of them won’t.

Here are the cons:

• I’ve got to live with the results, even if I don’t like them.
• Fewer surprises for the players.
• Players need to make a bigger up-front investment of participation than they may be used to. They have to want to do it.
• Some may create more than others.
• I’ve never done this before, and I don’t know how it’s going to work out.

In the middle is the question of verisimilitude: Which way makes the most real-feeling setting? The one with the single, unified vision or the one with the wider range of input? I don’t have the answer to that question, and I probably won’t until after I try the collaborative method. Maybe not even then.

Different approaches address the issues in different ways. Mortal Coil uses a co-operative set-up of a Theme Document to set the generalities, and then a chip-buy process in game to add facts during play. With the resource-based way to add facts, it means that each player has the same ability to influence the world, and those who jump in first wind up with less ability to jump in later.

The question method used in the Faith, Faces, and Fingerprints makes sure that each player (including the GM) is forced to contribute a certain amount. This gets everyone’s input, but it can put some players on the spot, and it means that certain players may not want to take part.

In my friend’s game, he threw out a large number of pieces that we could take and flesh out, if we wanted, and provided some rewards to encourage us to do so. This led to pretty much everyone doing at least a little creation centred around our characters, though some did more and some did less.

I think that it’s fairly necessary to come to a collaborative session with a foundation to build from; Mortal Coil builds this with the Theme Document, while in the other two examples, the GM brought the basics and others embellished. Clint had a much more solid world built, leaving a number of niches to the players, while the Evil Hat folks had much less of a filled-in structure to start with.

Of course, depending on the rules set you use, you may find some of the particulars of the setting dictated by the rules. If you’re building for D&D, you either fit in all the D&D stuff, or you have to explain why it’s not there to (or with) the players. A more open rules set, like FATE or Mortal Coil, lets you build the rest of the game on top of the setting, without having to worry so much about that.

I’m greatly enamoured of the Mortal Coil world-building, but I absolutely hate the resolution mechanic. If I were to marry the world design with FATE, possibly using FATE points in place of Magic Tokens, it might work. The one downside to the Mortal Coil world system is that it’s hard, really hard, for the GM to prep anything before the setting building, because there’s nothing to work with yet.

On the other hand, if you design too much of the setting, and the campaign story, before hand, it limits the meaningful input for the players. So, another dichotomy to resolve.

We did some collaborative setting building in our DFRPG playtest, producing Magical Winnipeg. It was quite a success, though we did it mostly by e-mail, with me collating and parsing all the input.

We’ve also really embraced collaborative character creation, in pretty much all our games, to make sure the character types work well together, and decide why we’re together, and to help each other with our ideas and concepts.

I realize that the right way to create a campaign is whatever way produces a fun game. I know I can build the standard kind of campaign and have it work. Now, I’m toying with the idea of building a collaborative setting to see how that works out.

I dunno, though.

Any input from you folks would be welcome. What do you find good/bad about collaborative setting design? What methods do you use? How much of a foundation do you start with? What rules sets do you game with? How does it work, or not? Talk to me.

Now that our Bleeding Alpha Playtest phase is winding down, I want to thank my players for their dedication, willingness to try new things, good feedback, and just being great, creative players.

• Thanks to Sandy, and Anne Carriere’s iron filing packed snowballs.
• Thanks to Kieran, and Lucky Firth’s eagerness to sell his mortality to the Bramble King.
• Thanks to Chris, and Paul Roman’s surly and world-weary acceptance of all the crap he had to go through.
• Thanks to Clint, and to Christian Manger’s tug-of-war conversations with Madelein de la Neige.
• Thanks to Penny, and Rowan Aurelian’s willingness to blow up her own head to make the magic work.
• Thanks to Vickie, and Elaine de la Roche’s remorse over using the shotgun on the Mad Cowz.
• Thanks to Fera, and Gerhardt Rothman’s trick with the car antennae.
• Thanks to Tom, and Elias “Legion” Thorne’s willingness to throw himself into any physical threat he could find.

It wouldn’t have been nearly as much fun without all of you.

Thank you all.

Characters

• Rowan Aurelian
• Elaine de la Roche
• Gerhardt Rothman
• Legion

We rejoin our intrepid heroes outside the Legislature, having followed their now-functioning magical compass to the building after leaving Mad Cowz territory. The compass has stopped working again, and is just spinning in circles*, so they can’t get a good pinpoint on their quarry, the warlock Demissie. There follows some discussion about whether to go in immediately, or to wait until after nightfall, when the civilians will have cleared out.

In the end, they decide that it’s too dangerous to wait, and need to go in now. But how to bring all their hardware with them past the metal detectors and sheriff’s deputies guarding the entry? After significant debate, they decide that Rowan will veil herself and carry the weapons in, after the other three have already entered. This works fine, but shorts out the metal detectors and crashes the computer at the security station because of the magical interference. Not a huge deal, but enough to make the characters nervous.

They meet down in the washrooms in the basement, near the cafeteria, and gear up. Rowan tells them that the building was constructed according to mystical principles, and lays out a few of the big ones – the giant statue to Hermes on roof, the sacrificial star pit, the main stairs with three sets of thirteen risers, the statues of Hermaphroditus, the use of the golden ratio in the structure, the statue of Moses with horns…** They decide, based on what they know of Demissie and his flavour of magic, that the most likely place to find him is in the star chamber with the Hermaphroditic pillars at the bottom of the sacrifice pit.

They don’t find any sign of him down there, but Gerhardt notices that the urns by the pillars have been moved slightly, and people seem to avoid walking through the centre of the star. They do some more investigating, but don’t find anything else of note, and start attracting the attention of one of the security guards when Rowan starts moving the urns around.

Faced with this, Rowan decides to risk using the Sight. She finds a bench near the wall, sits down, and opens her third eye. She sees the place as an ancient temple to the power of Hermes Trismegistus, the Thrice-Great God of Magic, and manifesting the union of the male and female, divine and mortal, in the form of Hermaphroditus. She also sees a tortured ghost, wrapped in barbed chains, bound to each of the twelve pillars in the place, and magic gathering at a bloodstained altar in the centre of the star, presided over by a dark, malevolent shadow.

She closes her third eye and blasts at the centre of the star, deducing that the black shadow she saw was Demissie. Unfortunately, her blast isn’t powerful enough to break the veil and ward that have been set up. Demissie responds with a mental attack, sending the shrieking ghosts he has slain into her head, and rattling her a fair bit.

Taking his cue from Rowan’s attack, Legion launches himself at the middle of the star, but is blocked by the ward, formed out of tortured, bound spirits, which wrenches at his brain. Gerhardt uses his kinetomancy to smash all the urns, thinking to break the circle that way, and Elaine starts clearing the civilians and security guards from the room.

Rowan, already very taxed by the magic she’s been throwing around, pulls out all the stops and tears away the wards and barriers around Demissie, revealing him and his small table of ritual implements in the middle of the room. He responds by loosing the twelve bound ghosts and sending him at the heroes. Gerhardt tries to topple the pillars of the room to break up the magical flows, but loses control of his kinetomancy, sending a destructive pulse of force out in a broad splash rather than a focused blast. This topples a couple fo the pillars, splits the marble floor, and tosses everyone around a bit.

Legion and Elaine make short work of Demissie once his defenses are down, and Rowan drives herself almost to collapse banishing the ghosts. The threat ended, our valiant heroes run for the hills before the security guards get it together enough to detain them.

And they all lived happily ever after, because it’s just a playtest.

Comments:

• While there are detailed rules in the playtest package for hexing equipment, they’re pretty involved. The author suggests instead to just wing it, which I did, and it worked fine.
• After three sessions, the two spellcasters were getting pretty good at figuring out how to do off-the-cuff magic, including tapping into the power of the Hermetic Temple to power their stuff.
• The minion system from Spirit of the Century works nicely for things like the twelve ghosts attacking our heroes in a very cinematic vein, but I’m not sure it’s got the entirely right feel for the books. Then again, I sure wouldn’t want to run the final battle from Summer Knight or the zombie-stomp from Dead Beat without it.

So, those are the six playtest sessions done. I’m taking a bit of a break from Dresden Files now; just writing up a report for Evil Hat, and then taking a breather. Six sessions over three weeks is a lot, and I need to put it aside to avoid burnout. Besides, I’ve been pushing a number of other games in our group off the schedule for this one, and we need to get back to them.

Having said that, my group has expressed interest in a continuing game, so we will be back again.

And I’m probably going to start talking about the other games I run or play in on this blog, so you may find something of interest.

Don’t be strangers.

*Thanks to Demissie sensing the destruction of the decoy doll and throwing up a veil.

** All of which are real.

Characters

• Anne Carriere
• Lucky Firth
• Christian Manger
• Paul Roman

We pick up back in Assiniboine Forest, just after nightfall, in the killing cold, after killing another ogre. Christian and Paul have a heart-to-heart about how Christian’s a FRIGGIN’ GHOUL! While this is going on, Anne spots shapes moving in the shadows, surrounding our heroes.

Paul conjures some light, catching all the wyldfae in their furs, feathers, and beads stalking through the dark winter forest. They freeze for a moment, then Crazy Tomcomes in and extends the invitation of the Bramble King to join him at his court for an audience, as Christian had requested. They agree, and follow the fae company to a mound of brush in the middle of the forest, and through a stone doorway into the Bramble King’s hall. Along the way, Anne warns the others about the dangers of faerie food and drink, and how fae cannot lie or break a promise.

It’s a cross between a faerie mound and a native lodge, with a huge central fire-pit and blankets and tapestries hanging on the wall. There are scores of fae inside, dancing, drinking, and eating, and they all go silent when the characters enter. Crazy Tom announces them to the Bramble King, a two-foot-tall, porcupine-like little man seated on an antler throne on a little dais carried around by a troll. He invites them to sit with him around a sumptuous feast, which none of them touch.

The war council doesn’t go very well. None of the four wish to pledge themselves to serve the Bramble King (except Lucky, but he doesn’t want to swear anything until he hears the reciprocal pledge), and the Bramble King doesn’t seem to want to offer anything unless the oaths are made. He even tempts Anne with a cure for her sister, but she doesn’t trust him enough to bite. Finally, the Bramble King sees that he’s not getting anywhere, calls them all cowards, and vanishes along with his court and hall, leaving our heroes sitting in the snow and dark.

Now they’re pissed.

They retire to Archangel Fireworks to talk about their options and to load up on supplies. They decide that they’re not going to walk away from a battle between the faeries, internal matter or no, and that they really want to show up the Bramble King. So, they go off to First Folio to see if Artemis Black has a copy of the Unseelie Accords and the Covenant of the Consecration of the Two Waters. The Unseelie Accords fill roughly a hundred volumes, too much for them to get through in one night, so they go looking through the Covenant to see if they can find a loophole.

And find it they do. The actions of the Winter Court constitute an external invasion against the Assiniboine Ramble, one of the protected powers of the Consecration of the Two Waters, and the mortal casualties show that the engagement is spilling over onto other protected parties. With the proper invocation and sacrifice, it is possible to gain the blessing of the Two Waters to act as champions and intercede in the matter.

With that idea, everyone goes and gets some money for the sacrifice, warm clothes, and weapons, and they all meet at the Forks, where the Red and Assiniboine Rivers meet. Out on the ice at the confluence, Paul conducts the ritual sacrifice and asks for the blessing of the spirits. He gets it, and uses his Sight to confirm that the Two Waters spirits are pleased.

Then it’s back once more to Assiniboine Forest in the cold and dark, to the closed portal to the Nevernever. Paul tears it open with only minor problems for him and his companions, and they troop through into the stronghold of the Winter Court noble leading the attack. After a desperate run through the snow while being chased by rimehounds, they get to the lodge of the noble, and demand entry. When the doormen are a bit too slow to respond, Christian takes the decision out of their hands, and the door off its hinges.

Inside, after a little conversation, they are faced by a very angry Sidhe noble and his two ogre guardsmen. Things go rapidly to hell, and Lucky winds up putting a bullet through the noble’s forehead with the single shot he manages to get off before his gun stops working*. In the ensuing astonished pause, Christian pops the head off one of the ogres, and Paul demands that the Winter Court leave off its invasion in the name of the spirits of the Two Waters.

With the fae thus cowed, our heroes beat a hasty retreat back to the mortal world and warmth. The cold snap breaks, and each of them receive an amulet from the Bramble King. Three of them reject the gift, but Lucky seeks out the Bramble King and pledges himself to his service**.

And everyone lived happily ever after***.

Comments:

• It is incredibly fun to GM conversations with the fae. I made it a game to see how few of their questions I could answer, shifting the topic, responding with questions, and turning to new people to speak to. Throw in a few straight answers to keep ‘em guessing, and it’s a hoot.
• Nothing moves a story forward like a pissed-off PC.

* I believe he spent five Fate Points on that little trick.

**No mechanics on that, because it happened essentially out of game.

***But only because this was the last playtest session.