the plea for mars

[reverancepavane]

More years ago than I care to remember I wrote an AD&D module for a tournament. It was a fairly standard conceit, in that it opened with the Bad Guys™ raiding the palace of a city and kidnapping the princess from her tower. The players, being the first responders on the scene, arrive on the tail end of this event, just in time to witness the bad guys make their getaway. After dealing with the rearguard, they have the option to pursue immediately themselves (something the gamemaster should encourage), or organise a proper rescue party. [If they did the later they'd automatically "lose" the tournament btw, as they could never catch up to the kidnappers, but they could still have fun as the module bifurcated heavily at that point. (They were warned).] The fun bit was the freedom of choice offered to the players, because we allowed them to build their own characters (using the rules we provided) and take whatever equipment they wanted. Often the players got to run the same characters in two completely different dungeons (I'm not sure if this was the case with this one as I wasn't present at the Con where it ran). This could end up with, say, a party deciding that 4 druids (plus 2 other classes) was the way to go and ending up in a situation where most of the druids special abilities don't really come into play. What I also enjoyed about this module is that it was set on the dying Mars (and where, in pulp SF conceit, Earth is inhabited by Stone Age primitives and Venus by dinosaurs). Fighters and thieves could translate almost untouched. The spellcasters used the remnants of the lost technology to duplicate the powers of spells. Magic users became "Scientists" who had a rote understanding of how such arcane devices worked and could create their own if they found the right parts. Clerics became the "Engineers" who through their devotions and under the command of their God(s) ran the cities aging support infrastructure (there were many cities which had been abandoned because the gods had withdrawn their favour), and could commune with the City God (or gods) in their Temples. And because you can get away with a lot more in a tournament than you can in a campaign, spells were single-use devices. So instead of having memorized the spells, it represented the devices that the spell-casting character was carrying at the time of the raid (and whose secret of operation was jealously guarded secrets). It lead to the interesting idea that players could regain unused "spells" from the body of their spell-casting opponents (after they had disarmed the requisite booby-traps that were a standard amongst Scientists who jealously protected their secrets). And yes, spellbooks were coded design schematics for devices. It also explained why the cleric with the party was most probably from the Order of Medik from within the city cult/temple. Similarly the basis of the various demi-human races changed (they were all engineered off-shoots of the Anyway, I wrote the module on this basis, beginning with a skimmer chase across the desert in pursuit of the kidnappers, with encounters along the way, and a final confrontation with the kidnappers. [Or if they waited and formed a proper posse, they got to have fun stomping around the desert with troops, lots of spell support, and eventually realise that the kidnappers had made their getaway. Fortunately everybody apparently took the rather pointed hints that they should immediately grab the remaining raider's skimmer (after having killed the rearguard), and pursue. But I don't like forcing people, so I gave them the choice.] But I wrote a lot more background than was really needed for a tournament module. Especially one built on the pun that "magic" swords and armour were manufactured from various grades of a material called plas (plas wun, plas doo, plas ree, plas orr, plas phi), and the idea that anyone could use a standard magic wand (a pistol) or a magic staff (a rifle) [although there was always a risk with such valuable relics that something might go wrong, and recharging or fixing one was a dedicated job for a Scientist, often needing resources that were zealously guarded by the temples (Scientists had inherited the blame for the world dying and were generally looked on in suspicion by most, especially the Engineers)]. Because I found the word quite attractive as somewhere to adventure. There is always something intriguing about breakfasting in the ruins. It's surprising how many people take an unreasoning dislike to roleplaying in a science fantasy D&D game (in general, I was never told if people freaked in the tournament, and the feedback I did get was that people thought it was fun). But it's a fairly standard trope from the very beginning of the hobby. Dave Arneson's Blackmoor campaign featured more than it's share of ancient technological artefacts (such as The Blue Rider's impressive strength-enhancing magical armour and flaming sword), and even Empire of the Petal Throne's Tekumel was originally a struggling colony that had been cut off by some cosmic catastrophe from it's space-faring roots. Not to mention it was also a standard trope of the fantasy of the time. [Many people credit Tolkein as being the inspiration for D&D, but whilst it had a profound impact on the wargames that D&D grew out of, I always found that D&D owed a lot to the pulp fiction of the time as well.] Why do I mention this. Well I've come to the decision that I'm not going to reboot my old D&D campaign, because it's tied too closely to the players who created it, and most of them are no longer around. So that leaves me looking for alternatives. I do like the idea of The Crater, which is the source of all magic in the world as a traditional megadungeon, but since that was envisaged to rely heavily on the third dimension (pathways clinging precariously to the sides of the crater with minidungeons and even entire towns carved into the sides of the crater). And good 3D design is something that the tabletop doesn't really do well, and probably best done with miniatures, especially with floors mounted on polystyrene blocks for height. And I don't really do miniatures. And there is an intentional separation from the wider world in play there, since the "Empire" is struggling to maintain control of the outpost there, especially in light of the hostility of the surrounding nomad tribes who believe The Crater is taboo and keep raiding the supply caravans (and any magic prospectors that they can find). And yes, it is more than reminiscent of Pavis (Runequest/Glorantha) for the set-up; that's because Pavis is such a brilliant adventuring idea. And I'm thinking I want something with a bit more campaign interplay in the style of my old campaign. And I've just been reading the excellent dungeon module Anomalous Subsurface Environment by Patrick Wetmore which makes me want to revisit a similar theme. The Orbital Gods are such an excellent idea, and they remind me of the City Gods of the Martian tournament. And City States are so much easier to do in D&D. The main problem is that, whilst my trick for dealing with spells worked well for a tournament module (since there was no effective difference between a mage memorizing a spell that disappears on use and a one-use magical device that must be activated, the application of such a distinction in a campaign is less clear, and may result in a fundamental change in the nature of the game. If it becomes a simple game of searching the ruins of the past for Lost Tech then it simply becomes another Gamma World, which is what I don't want. Although truth to tell, probably nothing will come of this either, besides copious notes, but then, it's a good thing I do like constructing worlds. The interplay of the necessary systems required to get the world to live on it's own has always fascinated me.

Comments

[reverancepavane.livejournal.com]

I always role-play my wargaming, probably because it wasn't a game to the person who first taught me. One of his early lessons was the fact that your troops aren't just bits of plastic but represent living human beings, and you didn't want to have to write condolence letters to their parents. Something he had to do too much during Vietnam. Which is why I can't stand a lot of modern computer games that are set up on an "acceptable casualty" basis. It's also why I'm generally better at strategic games than most of my friends, because I'm not willing to take risks and I maintain an active reserve to exploit opportunities. And it made an easier transition when I later had to command units in the field. My first reactions are always going to be conservative and defensive. I'd much rather get you to attack me than the other way around. As long as I'm prepared for your attack. I like playing open secrets. It's a technique where you, and everyone else are public about your deep dark secrets. It allows the other players to tease you about the secret. In fact, done properly, the secret generally never gets invoked unless you are caught point-blank. It works well, because people now know something about you and can play to that. Whereas if your secret is actually a secret then no one can play with it and a whole crutch of your character goes unrevealed. Of course people who aren't used to this might try to use this to their advantage, in which case, unless they have actual evidence, you greet it with great disbelief and ridicule. [A good example of this is the "He's a girl" scene in Shakespeare In love.] Of course, cleverly forcing a reveal is probably fun for both parties, but it should mark a critical part of the campaign play, not just be used as an opportune advantage of the moment. And of course, there is always the opportunity for bad play to be taken as an example of the character's moral inrectitude. ["Thank you for telling me. Yes. I do know. I've known for a long time," he says drawing the curtains. "And I'm glad you've come to me and no one else. You see, I've secretly loved her for a long time and this allows us to see each other. And now, you loathsome little worm, I shall have to reward you and protect her."] As I say, it's best to be on stage with your characters and larger than life. Especially with LARPS. The players are your audience as well as your fellow players. Play to them. As for our favourite albino lupine, the actual situation is a lot more complicated than that, although there is an element of truth, especially for the Masquerade/Redemption phase. On the other hand, I got sick and tired of Champions coming out with a new edition every few years with no actual changes apart from presentation. One of the reasons I look forward to a Harn-like system of integrating electronic rules into one document, so you can buy rule updates and supplements integrate into the base rule system. Sort of like D&D4 with it's DDI web interface, which not only negates the needs for the books but has actually relegated them to being obsolete.

[maelorin]

i agree with all of this.

most larps i've been involved with have encouraged/required a 'dark secret' and/or 'fatal(ish) character flaw' ... but short of putting it on a badge, they rarely ever get revealed - since players think it's awfully clever of them to have this secret motivation.

but, as you suggest, a larp is *theatre*; a live-action, ad-libbed movie. i come back to by earlier comment: i prefer to play cooperatively rather than competitively with others.

and i've tended to find that more in table top than live action roleplaying. tt games tend to be party-centric, so players tend to see the point of cooperation. larps have come to be viewed as everyone-for-themselves scrambles...

the two times i've broken open the 'seal of my secrets' in larps*, to further the game and to try to encourage roleplaying, others have reacted so badly (ic and ooc) that within weeks i've actually left the game entirely. people forget that they can actually *talk* to other players in both ic and ooc modes.

* both times were entangled with plots surrounding my character and the princedom of the current vampire game. months invested in political manoeuvring dashed against the wall of ooc jealousies** (the first time, that my lowly character kept upstaging an st's girlfriend's character; the second time, that my lowly character was not only out-counter-manoeuvring theirs and their whole clan *and* covenant but also, again, jealousy - this time between a bf and gf over ic interactions between my character and her character.)

** if anyone had bothered to talk to me, instead of just about everyone else, the ooc situations could have been resolved, and their ic entanglements likewise. instead, i was forced to reveal ic secrets in response to the way players acted ic over their ooc jealousies. having done so, *other players* then reacted badly (in the roleplaying and personal ethics senses) ... and i chose to leave the games rather than try to salvage what little trust was left between us.

[reverancepavane.livejournal.com]

What use is there having a Dark Secret if it can never be discovered? As a character or a campaign? One advantage of everyone having an open Dark Secret is that it is often mutual annihilation if you invoke it. Another trick is to use the Paranoia method where everyone knows that everyone is a Traitor, it's just that they need proof. A lot of Paranoia games with inexperienced gamemasters fall apart far too early as the players assassinate each other without proof (and then get terminated for wasting valuable Computer resources - the other Troubleshooters). Again it's a matter of where the gamemasters put the focus of the game. Straight power conflict is a lot easier to write. And yes, Vampire games have always had a big ooc relationship problem, mainly because vampires are big on seduction. It's just a game, but few people are secure enough in their relationships to be able to view such a thing without becoming green-faced monsters. [It's one reason I'm very fussy over my dance partners. I'll willingly dance with people who are definitely not interested in me (and whose partners also realise this) or with those whom I am an item (<sounds of chirping crickets>), but am very chary about any of the middle group.] But it's a cultural thing. Because people have never tried opening up their characters they haven't realised the benefits of doing so. Then again, mostly they are after being the top of the power struggle, which is actually very very very (and I say this as a contributor to the original Vampire Players Guide), un-Vampire. It's called the Masquerade for a reason guys! [Think formal measured dances and masks and hiding from the outside world, not flurries of activity. That's the caitiff problem signifying the End of Times.] Again differences in what people want. [BTW, you'll really like Ver Sind Die Nacht ("We Are The Night"). A decent German vampire flick. German's understand vampires.]

[maelorin]

i tend to play vampire as a game of manipulation, rather than muscle or magic. i can do more with a few jedi mind tricks than most with a plate of dots on their sheet. (of course, with some dots, i can really go to town :p)

in my first big vampire larp (over 1998-2001) we had sub-games for different styles of players. i managed to straddle the brujah-gangrel battle game while also playing the ventrue-toreador political game. but then my character was technically a caitiff, albeit one accepted by the ventrue clan as a ventrue offspring. [auspex, fortitude, potence as in-clan disciplines, with ventrue feeding restriction plus loyalty to the ventrue clan as bloodline weaknesses - his childer all gained the same traits]

i shall have to look for a subtitled copy of "we are the night".