Friday, 10 August 2018
Wednesday, 25 July 2018
The character history method from part 2 should produce interesting, three-dimensional characters with a bit of mystery and personal plot hooks.
By comparison, demons are cartoonish, one-dimensional, one-trick ponies — which is intentional. Demons are all about a character’s singular purpose in life and how it’s both a path to power and damnation. Whereas the human side of the character should feel “real” with believable professions, the Demon side is much more like a character class.
I. Brief notes on demons
A demon represents a character’s drive. What I mean by this is that the demon is essential for the character’s heroic aspect. A superlative warrior unmatched in combat owes their ability to their demon; their identity is the demon, the two are inseparable.
There are six Demon Realms that define six dimensions of activity.
A Demon Realm has associated lesser and greater suits, or petitions which may be made for magical aid. A demon can access the lesser and greater suits from its realm, as well as the lesser suits from two adjacent realms.
A demon always seeks to transgress against its master. It achieves this goal by accumulating power through its master’s over-reliance on its services.
When a demon successfully transgresses, it undergoes metamorphosis.
II. Generating the demon character
To generate the demon half of the PC you need to decide on Drive, Demon Realm and Seeming.
Drive is a lot like a Character Class. It’s a direction for the character’s life, something they’re supernaturally good at. The basic fantasy tropes of fighter, magic user, thief and so forth work here; in fact I really encourage thinking in these terms. The demon is all about power and exceeding human capability, and the powers it bestows fit into these particular classes. In fact, it’s probably not possible to think about Drive without thinking about your demon’s Realm at the same time — so we’ll cover that next.
The Realm of Violence defines warfare, causing harm and injury. Its demons are demons of combat, demon weapons. It borders the Realms of Durance and Majesty. It is almost always associated with martial Drives, i.e. fighters and soldiers.
The Realm of Durance concerns surviving pain, disease and injury, and superseding the limits of the body. Its demons are armour, shields, wards and pacts. It borders the Realms of Violence and Flux. It will be associated with martial pursuits as well as the wilderness, for example scouts and rangers, barbarians, and possibly some priests or druids.
The Realm of Flux concerns movement through and perceptions of space and time, and its demons are transporters, teleporters and gates. It borders the Realms of Durance and Contrivance. It is often associated with athletic and/or larcenous Drives such as thieves, acrobats, or assassins.
The Realm of Contrivance is about satisfying desires and needs. Its demons are lovers, seekers and procurers. It borders Flux and Voyance. Its drives are frequently arcane, including illusionists and sorcerers.
The Realm of Voyance deals with knowledge of past, present and future. It borders Contrivance and Majesty, and its demons are scryers, seers and ledgers, and its drives frequently involve priests, oracles and sages.
The Realm of Majesty controls minds. Its demons are possessors, controllers and parasites. It borders the realms of Voyance and Violence. Its drives are politicians, leaders and enchanters.
Last, have an idea of what the demon looks like — to the PC, and to the external observer. Many demons, especially low level ones which are only beginning their metamorphosis, appear as some kind of motif on the character. A fighter might have a particular sword, for example. It could be clothes, body art, a piece of jewellery. It could be something large and immobile, for example a hotel, but this would limit the scope of the game to in and around the hotel (which wouldn’t play easily with a hex crawl).
Perhaps more interesting is the PC’s internal perception of their demon. If you go with the idea of the player to their left playing the demon from time to time, that player will be helped by knowing how the PC actually sees their demon. Is it a voice in their head, a long shadow from behind a tree, a reflection, a speck of dust in the corner of their eye? Or is it more overt, like a goblin that sits at the end of their bed?
III. Example: Kayl’s demon
We know a lot about Kayl’s past from part 2, but what about their ambition?
The obvious choice is to follow Kayl’s background and make them some kind of witch or mystic. Perhaps when the adventure starts they’re just on the cusp of awakening; they have realised their potential and manifested their own demon.
For Kayl’s Drive we simply write Fane Witch. That’s nice and punchy; it’s direct in the description with just a little hint of the connection to their backstory.
If Kayl’s a witch, the more obvious Realms for their demon are Voyance, Contrivance and Majesty. Contrivance would make them some kind of conjurer or illusionist, and a very physical kind of magician. Majesty would make them a kind of social manipulator, and confrontational with it. The middle ground is Voyance, which would make them a seer and able to connect with other worlds. Note that they will access minor powers from Contrivance and Majesty as well.
What is this demon’s Seeming? Kayl’s player decides that they have taken to wearing makeup outwardly, great black smears over each eye which makes them seem strange and ferocious despite their youth. Inwardly their demon mostly manifests in their dreams; it is the voice of the matriarch interred at Aelfa, speaking from the threshold of her tomb under a sky like ash.
And that’s all for now. I’ll come back to StormHack with actual mechanics in the near future. But the next post will be something a bit different.
Monday, 5 March 2018
This was unexpected:
(it made me wonder if he’d read what I wrote and this was some very, very oblique vaguebooking)
The opening tweet is a bit nonsensical: if you’ve created a rule for a new kind of action, then surely the system reflects that by definition. But I don’t want to take it out of context so here’s the whole text for this point:
Mechanics concern: Bolting on new tech. If you’ve got a rule for a new kind of action in the game, that is fantastic. If it’s core to the game that’s even better. The trick is to make the system reflect that, which might make for a deep (and possibly uncomfortable) dive.
If games looks like “Everything Blades has plus a random treasure table” or really “and plus anything” then chances are there is still to many Blades in your Dark! Consider these ideas (and I’d love to hear more):
Create your system from the fiction you want to see. Decide what you care about (that’s really important, this is your game, what YOU care about is what matters here) and build from there.
Consider your values and how they affect your design choices. They always are!
Question the narrative of play. Why the are the characters taking the actions they do? What is happening in your setting? How do those interact?
Leave spaces to fill in the details, but define enough of it that everyone knows the basic parameters they are working with.
Crucially Nittner is speaking as a publisher to a potential pitch, so his opinion is critical (in more than one sense): this is what he would like to see from a differentiating product. I’m not that audience, although I am an advocate for genre awareness (hence Fictoplasm). But I’d also say, why not bolt things on? A lot of games are modular by design, Blades included (along with PbtA, OSR, etc.).
The other interesting thing is this is Evil Hat, home of FATE, a system so generic and malleable that it should be simple to apply desired settings (a great strength, particularly if you’re developing games). But with FitD suddenly talking about baked-in mechanics which drive towards a particular genre. I’d be very interested to see how much the different Forged products differentiate themselves from the source and each other. I think I’m right to say the best PbtA games require incredible dedication and thought, plus engagement with the playtest base to achieve the creator vision.
Will company oversight help the differentiation, or will everything come out smelling of FATE?