Frequency

Last night we wrapped up THE FORKS, a Shadowrun campaign (powered by Fate) that I've been running about once a month since last fall. The last session was entirely satisfactory, with lots of heart-wrenching moments, although I felt that I wasn't able to push the players as hard as I would have liked in the climactic battle. Part of that was down to a truly spooky run of bad dice rolls (I don't think I got a roll that was higher than 0 all night long), although I felt like as a Fate veteran I should have this stuff figured out by now.

THE FORKS was a gritty crime drama take on Shadowrun, stripped of its usual excesses of glittering tech, heaps of cash, and action movie assaults on corporate strongholds. This was set on the mean streets of The Barrio, a desperate slum in the dustbowl sprawl that London, Ontario has turned into in 2050. Since there seemed to be no canonical drama in the region, according to the Shadowrun wiki, I decided that turning Ontario's agricultural heartland into a dusty wasteland ruined by agricorps gave it a nice Mad Max/Dirty Thirties vibe that would feel different than the Seattle Sprawl game I ran a few years ago. A lot of it focused on two of the three main characters fighting for the affections of Morning Glory, an exotic dancer who was also the obsession of a local Mob boss. As expected, with three female lead characters, it also became a story about the place of women in the Shadowrun universe, and I made sure to include as many female supporting characters as allies and enemies as possible.

Energized

We had a really great session last weekend, and we've been talking about it all week. Let me gush a little.

I've written here about NOT FADE AWAY, our ongoing saga of reincarnated heroes played out against the vast canvas of thousands of years of history. It's a game that we went into rebuilding the group, rebuilding trust and creating a new social contract, and also taking on a project that was crazily big and ambitious. Of all the games I pitched, this was the biggest and most difficult, and that's usually a good thing - you break new ground by being ambitious and doing hard things - but it's also been challenging. We're about at the 2/3 mark of the game now, and we're just beginning to hit our stride as a group. I've been happy enough with the game as it stands, and I think the players are too, but until you have a really breakout session where you see how good a game can really get, it feels hard. It feels like you're working toward something, and you can almost see it, but you're still struggling to get there.

We finally had that breakout moment.

Agency

I was thinking about this topic because it's a foundation issue for good GMing, and for good roleplaying in general. Agency is one of those bits that gets tangled up with a lot of other things. It's small when you give it a passing glance, but the more you look at it, the more important it becomes. If you're really rocking a game, you can weaponize agency into a powerful tool - and indeed, a lot of modern games do exactly this.

Agency is, put simply, the power that is shared amongst players at the table to create the ongoing narrative of the game. In the traditional gaming world, much of this lives at the level of the player character and how it interacts with the rules. The more accomplished the character becomes, the more mechanical advantages it has to affect the world of the game, mostly in the realm of combat, but often in less obvious or flashy ways. Agency also lives at the level of social contract in a game - unless the rules explicitly define what power players have (assuming a model where there's a GM at all), the GM decides where the players can make contributions. This may include players inventing world details as part of character building, such as important NPCs, or including backstory that is explicitly designed to be part of play.

After-Action Report: NOT FADE AWAY

We just finished the 7th session of NOT FADE AWAY, the Fate Accelerated campaign I've been running since February. The game is about immortals, or rather about beings called Pilgrims who are serially reincarnated with the same memories to carry on an eternal battle against their shape-changing enemies, the Rakshasa. It's what Highlander would look like if the immortals were genderfluid beings who spent as much time bickering as they did swordfighting.

So far, no anthropomorphic tigers in smoking jackets. Alas.

The Long and the Short

There are undercurrents swirling below the surface of the roleplaying hobby, invisible to the eye, but powerful enough that they affect just about everything we do. These are the mostly unspoken core assumptions about what our hobby is and how it is pursued at tables around the world. Roleplayers gather in small groups, negotiating acceptable conduct and proper play style, and rarely question the idea that their particular orthodoxy is one of many.

Once in a while that you get two gamers together talking, sharing stories, and realize that this is not the case at all. What is this other person talking about, we wonder? 'Cause it's sure not gaming. We have A Way Of Doing Things, and that's the only right and proper way. This guy's weird.

Raise a Glass to the Revolution!

Rebellion is the theme of a lot of great fiction, from Star Wars to Game of Thrones. Whether you're looking for a game of simple goals (plucky rebels fighting against an evil, monolithic enemy) or complex political machinations and reversals (and possibly lots of characters dying or having tragic or horrifying fates), the rebellion is a story frame that provides a lot of interesting gaming potential. A dramatic game is probably going to concentrate on the GoT side of the equation, exploring the conflict of powerful opposed personalities and possibly on the ideas they stand for. But I'm here today to write about a particular kind of rebellion narrative that I'm eager to weaponize for the game table.

BEYOND THE WALL AND OTHER ADVENTURES (Review)

When I was just getting into the roleplaying hobby, Dungeons & Dragons was a bit of a sensation. It wasn't unusual to find a copy of the Basic and Expert D&D box sets at toy shops and hobby stores (in those days that mostly meant shops catering to model-building, something I was never very patient with) alongside the stuff normal kids liked. For a few years, the essential tools of the hobby could be found practically everywhere, before the craze passed and it returned to the dim depths of specialty stores. In those days, you could find two adventures practically everywhere: The Keep on the Borderlands, and The Village of Homlett. Back in the day, the latter irritated me more than anything, because it was only the first part of the Temple of Elemental Evil series, something that took many years to actually be released. Where was the storied dungeon? This stupid Homlett adventure was just about a village, for cryin' out loud.