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[Sorceror & Sword] The Heart of Africa
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hix



Joined: 25 Jan 2006
Posts: 406
Location: Poison'd

PostPosted: Wed Nov 22, 2006 8:50 pm    Post subject: [Sorceror & Sword] The Heart of Africa Reply with quote

I had the brainstorming / character generation session for a long-awaited game of Sorceror and Sword yesterday. I'm GMing. The players are Sean and Gino. Sean's a screenwriter who's been super-keen to try Sorceror since his experience with The Mountain Witch. Gino's in my regular Tuesday night group. We've all been friends for 15+ years.

I pitched 3 settings at them. Here's what they went for:

Africa.
The cities are decadent and super-sophisticated, filled with scheming viziers and dusky maidens.
Out in the savannas there are demons made of smoke, the walking dead, and savages.
The protagonists are white men from faraway empires.
There's two fisted adventure, sex, and racism.


From that, Sean immediately seized on the idea of playing RASPUTIN. He's travelled here to find the heart of Africa, feeling that if he can understand this country then he'll understand himself.

Why? Because Rasputin is an orphan, who survived on the Russian streets by thieving and using women. But a nasty sexual relationship with the manipulative CONTESSA, a Sorceror, led him to understand that he was not entirely human ... and that answers about the source of his inhumanity lie in Africa.

Rasputin is agressively acquiring sorcerous power. He's bound an arrogant spider totem that Boosts his Lore and gives him a Cover/Past of Witch Doctor. Rasputin also has the Destiny that he'll become the Rasputin of history, an evil manipulator of men. Sean loves the idea that as he penetrates deeper into the mystery of Africa, Rasputin will delve into the heart of himself, and what he learns there is unpleasant and disturbing. Think Lex in Smallville - and the tension of wondering exactly when he'll turn bad.

Gino decided to play a more light-hearted, initially side-kick character - SEBASTIAN Wilfred Ellery - dissolute son of an English lord, sent to Africa to make his fortune. What's cool about his character is that he's starts off racist and superior, but Gino gave him the Destiny of "African Crusader", an Allan Quartermain/Great White Hunter figure who goes native and completely surrenders to the African way of life.

Sebastian has Lore 1. The sorcery he's picked up is from watching Rasputin and getting into scrapes out in the wilderness. However, Gino *loved* the idea of having Brush with the Unknown as a descriptor for his Stamina. He described a duel with a Sorceror where a demon scraped his cheek, leaving a glowing red scar ... and since then, Sebastian has been ever so slightly faster and stronger than before.

So, racism and discovering the darkness in oneself. They're a classic partnership: Rasputin, serious; Sebastian, more carefree. And we know that at some point in their career, they're going to fall out massively once Rasputin's true nature emerges.

Gino suggested that he wanted to play something from Season 3 or 4 of a TV series (like Buffy). This TV idea became a guide for our thoughts on the 'unit of play' for the game. Episodic, two- or three-part stories, Adults Only content, but occasionally revisiting locations and characters.

Gino again suggested a starting point - a city high in the trees of a forest, the only source of a buoyant wood that is as hard as steel. Rasputin and Sebastian are traders and explorers, and they're here to get the rights to the wood. In my prep, I've decided that MALLAM Koli is the man who has the monopoly over the wood, and since Gino mentioned Sebastian was interested in an African woman, I made her the daughter, MAKEDA Koli.

For Kickers, Sean actually suggested one for Gino, that he wakes up in bed with the Contessa. Gino says that she manipulated him into it somehow & he's primarily interested in why she did it. But he also wants Makeda to know it happened, and for that to throw their whatever-it-is (attraction? UST?) into ... not uncertainty, not jeopardy. I guess it's a point where they need to define what it is.

For Sean, his Kicker is finding out that the Contessa is here. Why? It must have something to do with him. And why did she sleep with his friend?
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hix



Joined: 25 Jan 2006
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Location: Poison'd

PostPosted: Wed Nov 22, 2006 8:54 pm    Post subject: Reply with quote

Sean and Gino,

1. I need to know, who are some people you care about in the Forest City of N’Koli?

2. Define your Destinies more precisely, if you could (just a sentence will do). Here’s what I’ve got:

Rasputin becomes a ruthless power in Imperial Russia.

Sebastian W. Ellersley becomes the Champion of Africa, against colonialism. Or possibly a Great White Hunter figure (Allan Quartermain).

(I think you can both do better than me with this stuff).

3. One of my events is “Sebastian stops receiving funds from his parents, and doesn’t know why.” Are you cool with this – I would like to put the two of you in a position where you *need* the rights to export barksteel. I don’t want that to be anywhere near the focus of the story, but just to have it as a significant thing at stake would be good.
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PostPosted: Fri Nov 24, 2006 6:12 pm    Post subject: Answers to questions (and hopefully more questions...) Reply with quote

1. Okay, some folks in N'Koli who we've known from previous adventures.

Dakibu, an ex-lover with a martyr complex. She has this amazing way of ending up with men who are completely wrong for her, including Rasputin... most memorably with a high priest who had her lined up for his next sacrifice to his Dark Gods. Rasputin and Sebastian have gotten her out of the frying pan on more than one occasion. She always thinks she's going to get back together with Rasputin. She's wrong.

Imamu is the local wise man with his eyes on political power - an enemy of the lads. His plan is to use Rasputin and Sebastian (outsiders to the culture) in a series-spanning attempt to re-establish 'the old ways'. Initially he did this by openly setting us up as enemies to be attacked, but since the first season he's been far more subtle. Lately (ever since we acquired the totem) he's been sucking up to us. He's a staunch opponent of the barksteel trade, and we figure he's probably part of the reason why negotiations have been difficult of late. He's not based in N'koli, he travels all over the wider region, but he has this really annoying habit of turning up wherever we are...

Nadra is someone we don't know, but Rasputin would like to know... She's beautiful, he knows that much, but he's never managed to snatch a decent amount of time with her... Who is she? What does she want? And why does she never remember meeting us before?

2. Rasputin finds his dark heart and comes to accept it. Freed of morality he uses his powers to take control of the Russian Empire before coming to a sticky end (luckily for the rest of humanity).
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PostPosted: Wed Nov 29, 2006 4:19 pm    Post subject: Reply with quote

You realise that this game will have to have dinosaurs. Yes dinosaurs.

I like the characters. I never thought I would see Rasputin and Allan Quartermain in the same story (except perhaps League of Extraordinary Gentlemen).

Any details on demons for the PCs yet? Oh and what are sorcerers, demons and humanity in this game?
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hix



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PostPosted: Wed Nov 29, 2006 9:07 pm    Post subject: Reply with quote

Dinosaurs. Of course there will be dinosaurs! Thanks, Luke. There will also be giant crocodiles and Prester John

Sorcerors are those people willing to traffic and deal with the old spirits of Africa.

Demons are ... pretty icky, actually. They seem to be legends, ancient beasts, normal objects (like rocks and sticks) embued with life. It's all very living and primal. I don't want to go into examples just yet, because there's a few more demons about to come into play next session.

Humanity is the standard '& Sword' definition: don't be a dick to people that you know (where 'know' means love, trust, saved the life of, had adventures with, dislike but have had to work together before, etc ...).

As for starting demons, Gino decided not to have one for Sebastian - which is actually an option in '& Sword' - you don't necessarily have to start off with a bound demon.

Sean, on the other hand, definitely thought Rasputin would have one. So, he made up Jalali, a spider totem that thinks he's a king - insists on being called "Your majesty" and likes to eat small living things. At the moment, Jalali and Rasputin are having a fight because Rasputin won't feed Jalali Rasputin's three-year old baby.

Oh yeah, we played the first session. Stuff happened.
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PostPosted: Thu Nov 30, 2006 8:41 am    Post subject: Reply with quote

hix wrote:
As for starting demons, Gino decided not to have one for Sebastian - which is actually an option in '& Sword' - you don't necessarily have to start off with a bound demon.


I think grokking demons and sorcerer is one of the hardest things in this RPG. However, I can really see Sebastian having a bound demon, especially with the whole "Heart of Africa" thing from Allan Quartermain. I would see it taking the form of a lion but actually represent what Africa means to the explorer's heart. Awesome stuff.
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hix



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PostPosted: Fri Dec 22, 2006 10:06 am    Post subject: Reply with quote

So, we played Session 1 about a month ago. To reprise:

Sean’s playing Rasputin, a Russian sorcerer eager for the demonic knowledge he knows can be found in the heart of Africa.

Gino’s playing Sebastian, a racist English fop exiled to Africa by his parents.

The joint Kicker was that Sebastian sleeps with The Contessa, an old Russian girlfriend of Rasputin’s. Sebastian is angry at being drugged and manipulated into sex; Rasputin wants to know why this woman he hasn’t seen in three years is in Africa, in this city, sleeping with his best friend... because it sure as hell ain’t a coincidence.


***

Soon after Sebastian wakes up in the Contessa’s bedroom, he gets into a fight with the Contessa’s bodyguard, Azaan – a one-sided fight that ends with Sebastian being thrown out a window.

Sean suggested that Rasputin could be walking by and sees Sebastian land. This would put the two of them together more quickly than I’d expected, but I thought it was a good idea because it’d introduce the central relationships quickly. And it let me introduce Rasputin’s three-year old baby, Yvan, which was my big spike to Rasputin’s Kicker.

My highlight of the session was a sequence that started when Rasputin and Sebastian arrived back at their apartment to talk (two or three scenes into the game) until the end of the session

* I loved playing Jalali, Rasputin’s demon, who wants to eat Rasputin’s baby in exchange for pivotal information about Rasputin’s past.

* Sebastian’s romantically involved in the daughter of the city’s dictator. I had the dictator throw Sebastian in jail, so he could find out if Sebastian’s intentions were honourable.

* Throughout that scene, there was a dead body in the cell. It was the body of one of their business rivals, which I left there, unexplained, for a while. Then I threw Rasputin into the cell as well and a full-on social and physical conflict ensued, with the two of them trying to convince the dictator they were innocent, and then trying to overcome the guards in an escape attempt.


Thoughts

I really liked GMing for 2 players. It was easy to keep both of them involved and the whole game felt like a conversation rather than ringmastering.

There was also a light, funny tone to the game that I hadn't expected. This was driven by Gino’s portrayal of Sebastian's upper-class attitude, and his willingness to take pratfalls.

The relationship between the PCs felt well-established. These two characters have been travelling together for a while, and Gino and Sean have been friends for ages.

Any time there was a reference to anything that had happened before, I eagerly jotted it down and inserted it into the timeline I’d written up. As far as I’m concerned, the timeline is the setting.

Even though I'd prepped most of the bangs for Sean's character (Rasputin), I found I was giving most of the screen time to Gino. It seemed fair to me and - from later conversation – to Sean as well.

I’m not entirely sure if Gino was ENGAGED with his Kicker. But he did what it says in the rules – made sure his character had a reason to stick around, and found something to care about. In this case, that someone (probably an old enemy) was killing their business rivals and framing Rasputin and Sebastian for the murders.

On the ride back home, Sean and I had a good talk. I’ll paraphrase some of the points here:

- Quite often I was dominating the narration of conflict outcomes, rather than letting all three of us contribute to figuring out what the situation now looked like
- Sometimes the narration of conflict outcomes didn’t take account of everything that had happened inside the conflict.
- Sean seemed a little ... uncomfortable (?) about conflicts where opponents stated intentions that weren’t directly in opposition.
- Sean also commented that you can get on an upward spiral (a life-spiral?) of bonus dice, that can start to guarantee success. On the other hand, this did lead to Gino carrying around 8 bonus dice and frakking vapourising a spider demon with a single thrown dagger – which was the single coolest moment of the entire game for me.

My main concern was that I found the prep for the game was really tough. Generating the web of characters, figuring out what each NPC really wanted, coming up with bangs. For both sessions 1 and 2, it felt like a lot of work for really good results – but certainly more prep than I’ve been used with with games like Primetime Adventures and Burning Empires.
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hix



Joined: 25 Jan 2006
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PostPosted: Fri Dec 22, 2006 5:30 pm    Post subject: Reply with quote

Session 2 started with the two PCs in a bar, having just obliterated a spider-demon who’d been trying to kill one of their business rivals. I decided to not throw any Bangs in to the story for a while and just give the players a chance to slip into character and rediscover the world.

It quickly became apparent that they weren’t interested in immediately following up on either the Contessa or the source of the demon attacks. Instead, both Sean and Gino wanted to know more about Nadra - an NPC who Sean had introduced in the prep. Sean described Nadra as having “no memory of Rasputin, despite having met him many times before.” That was a clear signal to me that Sean wanted me to come up with a twist on what had caused the memory loss.

Sean decided to have Rasputin feed his demon a monkey, and then Boosted Lore to see if the memory loss had a sorcerous cause. I revealed that Nadra had had premonitions of being sacrificed by Rasputin on a mountain-top – and as GM to players, I suggested that this could have resulted from having been Hinted.

I think Sean enjoyed me batting the ball back to him like that. Certainly there was a nice moment laced with irony and foreshadowing where Rasputin assured Nadra and Sebastian (and himself) that Rasputin would never hurt Nadra.

***

Here’s a big thing: influenced by Burning Empires, I wanted to show the players what one of the NPCs was up to. Kigongo is a cannibal/witch-doctor who wants Rasputin’s demon for himself. Kigongo was pissed off that his demon was killed at the end of the last session. He decided to summon an even-more powerful demon to wreak havoc on Rasputin, Sebastian and everyone they loved.

So, I made rolls to Contact and Pact in front of the players, described what was happening in creepy detail, and established a significant sense of threat ...

... which turned out to be completely tangential to what the story has turned out to be about. And by ‘story’ I mean ‘what all 3 of us are riveted by’. The story is now about the consequences of a fight that went horrifically wrong for Sebastian.

***

The fight happened because we'd reached a point at around 8.30pm where we could've ended the game, but I felt like we hadn’t quite hit the right note to end on yet, so we kept playing.

Gino has Sebastian track Kigongo to his abandoned room. It's filled with lots of gross evidence that Kigongo is going to engage in a bad-ass summoning.

Sebastian knows Rasputin’s at the Contessa’s for dinner, so he runs over there to warn him. This is hilarious and completely throws me for a loop because in an earlier scene Rasputin was drugged by the Contessa – so I had no idea what Sebastian was going to find there. I ask for a couple of minutes to think about what he finds.

An aside: that drugging was pretty interesting because Sean only failed his roll by one. I told Sean that he had the option to resist the drug’s effect, but that he’d be carrying one Penalty. Instead Sean choose to have Rasputin drop to the floor unconscious – because (I believe) that’d be more interesting for the story.

So, we all know there’s going to be a big conflict coming up. I ask Gino how his character will approach. Gino says Sebastian’s the kind of guy who’d just burst in. So he finds Rasputin trussed up on the floor, and the Contessa and her bodyguard Azaan packing to leave the city.

NB: Azaan is a demon, but Gino thinks Azaan is human.

Sebastian attacks.


Carnage ensues.

Carnage like in the first round Azaan gets the drop on Sebastian and bites his throat with 2 successes of Special Damage: Lethal, leading to 9 Lasting Penalties and 4 Temporary one.

Cut to: Gino, swearing.

Cut to: Steve, explaining the Will roll.

The fight continues and goes completely out of control, ending with Sebastian bleeding on the floor with 16 Lasting Penalties, and Rasputin snatching his baby from the Contessa.

The demonic threat from Kigongo is now completely off-topic to what’s really of interest. Rasputin and Sebastian both want revenge on the Contessa.

- Rasputin, for being drugged and humiliated (v. similar to Sebastian’s kicker).
- Sebastian, for having his ass handed to him by a demon and nearly being killed.

The big questions now are:

- Will Rasputin sacrifice his Baby to Jalali or not? (With the ‘not’ covering a range of options)
- Will Rasputin and Sebastian summon any demons (to either heal Sebastian or take on the Contessa)?

***

There was also a nice meaty scene in the middle of the session where Sebastian ended up at dinner with the city’s dictator, Mr Koli. I had no idea how to play this scene until I realised Mr Koli could make subtle digs at Sebastian’s suitability as a son-in-law. I had a lot of fun speaking over the top Gino every time he tried to get a word in, and then realised this scene was the perfect opportunity for Sebastian to put forward his case for getting the barksteel tender. Which was the stated reason for the players being in the city in the first place.

So we had this great in-character conversation where Bonus dice were handed out to him and me each time either of our characters made a good point. Then there was a tense, evenly-matched roll, which we all agreed the fate of ‘who gets the tender’ was completely riding – and Gino succeeded.

***

So, great session with a couple of Humanity Gain rolls – for Gino rescuing an NPC slave called Baraka, and Sean, when Rasputin stayed to help the near-dead Sebastian instead of running.

My main concerns now are:

- making sure that Gino’s PC (who’s got 16 penalties) isn’t cut out of the game too much.
- talking with Sean and Gino about the Kigongo sub-plot & whether they’re interested in dealing with it in this adventure, or whether it’s actually the ‘next’ (unwritten) adventure for Rasputin and Sebastian.

Still, chaos, comedy, and an important lesson that Special Damage: Lethal means exactly what it says.
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PostPosted: Sun Dec 24, 2006 11:03 pm    Post subject: Reply with quote

Great couple of sessions so far, a lot of fun. The relationship between Sebastian and Rasputin is the thing I'm enjoying most to date - I can feel the camraderie there, and it's great playing off against the strength of that, knowing that their friendship is not going to last forever...

I've been thinking about the next session, and I have a new suggestion about where we could go with it. (Steve, I realise you feel you've finished the prep for it, and I respect that! Feel like this is not oppositional, more complementary...)

It strikes me that this is a possible time we could use a flashback structure, cutting periodically back in time to a previous adventure, one where Sebastian is active and well.

Let's think about the current timeline: Sebastian is down for the count, and Rasputin out for revenge. I don't see that many choices left in the next session. The question for me during the next session is not whether Rasputin will seek revenge (right now, it seems a given), but how far he'll go.

So one way to frame this would be to cut to a previous adventure: potentially where Sebastian and Rasputin had to make life-or-death decisions about whether to spare someone or not, or forgive someone or not. Anything that deals with Sebastian in his uncrippled state is going to have extra poignancy when we come back to the current timeline (Plus this gives Gino as a player more to do...) And the outcome of such a previous adventure might make Rasputin go further, or pull back... I don't know yet (depends on the outcome of such an adventure) and therefore keeps more options alive...

I guess a lot of this is stemming from the fact that I'm actually just not that interested in summoning/using demons - which seems to be central to the game - but ultimately is a predictable outcome to this conflict. Given we probably are going to resort to using demons to cause some God almighty devastation, I then become more interested in investigating more deeply the whys and the what does this mean for the characters...

Cheers,

Sean
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hix



Joined: 25 Jan 2006
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PostPosted: Mon Dec 25, 2006 9:16 pm    Post subject: Reply with quote

Merry Xmas, Sean!

Quote:
The question for me during the next session is not whether Rasputin will seek revenge (right now, it seems a given), but how far he'll go.


I just want to point out how awesome the above quote is. The first thing written on the back cover is "How far will you go to get what you want?" Finding that out is, in fact, the point of the game.

***

Is 'Sebastian's helplessness' the main reason you're suggesting this flashback structure, or is it equally (or more) about comparing and contrasting your characters' attitudes to a similar situation?

My take is that you feel Rasputin is now fully committed to a dark and terrible retribution, and that without a flashback to soften him, then that's what he'll do. Which you feel will be boring to you (and, therefore, us). Accurate? Off-base? Partially complete?

By the way, I'm fascinated by what Rasputin's retribution will be.

***

And I'm beginning to wonder exactly how 'out of the game' Gino's going to be. Sure, he's got 16 penalties - but:

a) Gino can make Will rolls any time he wants.
b) Sebastian can interact with any NPC he wants to.
c) Sebastian can interact with Rasputin as much as he wants to.
d) Rasputin can Contact and Summon demons for Sebastian, and then Seb can Bind those demons. If he wants. I got the impression that getting some demonic allies is a strong possibility for what Gino wants to do next.
e) as Chris Kubasik said in the Forge thread:

Quote:
Gino of course can get Boost dice from a demon. Or get a demon to do things for him while he's healing. He's a Sorcerer. He's got options if he wants to use them...


It seems to me that Sebastian / Gino can play as much of a role as you in whatever retribution you both decide to take.
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Sean M
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PostPosted: Fri Dec 29, 2006 11:10 am    Post subject: Reply with quote

Hi Steve - hope you've had a great Christmas too.

Thanks for giving such a considered reply to the flashback structure suggestion.

As to why I was interested in a flashback structure, I think there was five reasons, in roughly this descending order.

1) Getting more interaction for Gino in the game, particularly between Rasputin and Sebastian which I'm really enjoying
2) It's something I've never tried - to run two timelines in a role-playing session concurrently - and Sorcerer allows this to work, because the survival of our characters is not the point of conflict
3) I think the outcome of the earlier story could change the outcome of the current timeline story - at the very least, it will alter the flavour and probably enhance the poignancy
4) I'm realising that Rasputin's key issue is about control, and his own personal control over himself and his circumstances. I think that the pursuit of power for him is about the expansion of his ability to control his circumstances. The Countessa is a great opponent for bringing this out, as she's certainly challenged his personal control!
5) I am worried about the game descending into 'Rasputin pursuing his black revenge'. The balance with his humanity is important to me. I'm also not very interested in pursuing the demon element of the game, which seems to me where the next session is heading.

However, all that said, I'm not really that keen about pursuing the flashback structure in the next session, because

a) As you've stated, Gino and Sebastian can still participate
b) There is still quite a lot to be resolved in the next session, and the end of the Countessa isn't necessarily the end of the session anyway.

Cheers,

Sean
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Sean M
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PostPosted: Fri Dec 29, 2006 11:17 am    Post subject: Reply with quote

Hmm, reviewing my last post I realise that this point...

"4) I'm realising that Rasputin's key issue is about control, and his own personal control over himself and his circumstances. I think that the pursuit of power for him is about the expansion of his ability to control his circumstances. The Countessa is a great opponent for bringing this out, as she's certainly challenged his personal control!"

...doesn't actually explain why I'm interested in the flashback structure!

My feeling is that I haven't expressed this conflict to date - having only come around to realising it myself - and that a previous story could allow the opportunity to make this clearer.

Of course I could always use the current action to make it clear! Which seems smarter...

Cheers,

Sean
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hix



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PostPosted: Fri Dec 29, 2006 12:55 pm    Post subject: Reply with quote

Hi Sean,

I wanted to focus on another element of your reply.

Quote:
I am worried about the game descending into 'Rasputin pursuing his black revenge'. The balance with his humanity is important to me. I'm also not very interested in pursuing the demon element of the game, which seems to me where the next session is heading.


It sounds like you're concerned about the tension between consistent characterisation of Rasputin and your own needs as a player. If so, then that's good; it's an difficult and unpredictable place to be.

But remember, we're playing using 'Author-stance'. That means you get to decide what happens. You don't have to do anything just because you think Rasputin would do it.

Whether demons get involved is entirely up to you.

Whether Rasputin pursues his revenge (and how far) is entirely up to you.

If you're not interested, then I guess you'll have to come up with a way of resolving things without resorting to sorcery or vengeance. Which would be equally fascinating.
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PostPosted: Sat Dec 30, 2006 9:58 am    Post subject: Reply with quote

Hi Steve,

Is not that I'm not interested in Rasputin pursuing revenge, just I've played games where 'evil' characters got to do what they wanted, and that wasn't either interesting or pleasant...

So 'wary of the game descending into 'Rasputin pursuing his black revenge'' would be the best way to put it. I just want to address the humanity inside the character as well as the other side...

Cheers,

Sean
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hix



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PostPosted: Sat Dec 30, 2006 12:05 pm    Post subject: Reply with quote

I respect that. I've been in similar 'evil' games too, and didn't particularly enjoy them. Strangely, Jeremy R was a big part of both games Wink

Sorceror is well-suited to exploring these issues. However, it's probably worth reviewing the Humanity mechanic.

Rasputin has a Humanity of 4. That means he can fail 4 Humanity checks before hitting 0.

If he hits 0 in the Heart of Africa setting, he'll become an NPC for a little while and perform 'unspeakable acts'. This'll be something horrific and worst-case that we'll determine at the time. It will have consequences. And he will continue performing unspeakable acts until he 'snaps out' of it. This is triggered by an external force.

However, until that point Rasputin is capable of acting in a humane and rational way. To be specific, when Rasputin's Humanity is at 1 (one failed check away from snapping) he is still capable of being loving, considerate, generous and kind - exactly as if he had a Humanity of 10.

Humanity does not affect how you have to portray your character - which, now I think about it, is a fantastic way of allowing the player free-reign to make thematic choices no matter how deep into the shit they may have gotten themselves!

***

Quote:
Of course I could always use the current action to make it clear! Which seems smarter...


So, with all that, I'm getting the feeling you'd be comfortable proceeding without the flashback structure - as long as we're all mindful that what Rasputin does in the NOW is entirely up to you.

Is that right?
_________________
Cheers,
Steve

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