Issue 2

A Kingdom Is

Jarry_velo (3)

“Imagine the perplexity of a man outside time and space, who has lost his watch, his measuring rod and his tuning fork.”

Alfred Jarry
Exploits and Opinions of Doctor Faustrall Pataphysician



Issue 2 of Machineries of Joy is dedicated to the Nørwegian Surreal and includes contributions from:

Colin Beaver
Elizabeth Lovegrove
Jeanette McCulloch
John Rose
Matthijs Holter
Ole Peder Giæver
Ralph Lovegrove
Steve Dempsey
Tore Nielsen

Here is the PDF:

Nørwegian Surreal

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Make a scene

Approaches to establishing, cutting and actively using scenes in roleplaying and freeform games.

A conversation with Austrian game aficionado Johannes this Easter reminded me of the unstated premises in play cultures. We played together for the first time at Danish Fastaval, having discussed games online for a year or so. He said having me as GM shed light on some expectations he’d found unclear in Matthijs’ Draug 2 draft on this blog.

Namely; how “we” run scenes.

Photo: Ole Mørk Sandvik (1927), via Nasjonalbiblioteket.

This article aims to illustrate some of that, from my perspective but with help from friends. They will appear in colorful comments along the way:

Elin is a veteran of the regional larp and freeform scenes, and co-editor of the Larps from the Factory anthology.

Matthijs is founder of this blog and a productive local designer.

Mikael is on an epic quest to play all the indie games.

In indie/freeform circles these days, thinking and planning in terms of scenes is well-established. I use the term loosely like in a movie context. Scenes are discrete parts of the action where something central to the story happens. You can cut back and forth between scenes occurring at the same time, like when central characters are in different places. Or you can compress a bunch of (down)time in those cuts, using it for pacing.

Stories have been compressed and chopped up in more easily digestible chunks since we started telling them. But I hope there will be some useful reminders for our particular format – roleplaying – below.

Cut!

The first encounter I recall with explicitly stated scene framing was at a local gaming convention in the early 00’s. It was a fairly straightforward fantasy scenario, but with an experimental approach. The GMs were instructed to cut ruthlessly, sometimes even in the middle of the action, and then establish a scene somewhere completely different, giving the characters (and players) little information about what had happened between scenes. That particular empowering of the GM made a lasting impression.

Since the word “cut” is in use as a safeword in local larp, I tend to say “thank you”, perhaps signalling with hands or other body language that it’s time to wrap up.

When to cut?

Using this technique, you’ll develop a sense for timing, of what’s right for the story. Generally, I’d say “cut sooner rather than later”. If the scene had a particular purpose or conflict in focus, when that has been resolved or complicated further could be a good place. I’ll usually try to cut before the scene, and players, lose steam and energy.

Erik Werenskiold (1883): Illustrasjon til “Kjærringen mod strømmen” i P. Chr. Asbjørnsen og J. Moe, Eventyrbog for Børn. Foto: Nasjonalmuseet / Ivarsøy, Dag Andre. Fotolisens: Fri ikke-kommersiell bruk (CC-BY-NC).

Matthijs: “Once your group is used to this rhythm, you can play with it by not cutting when the group expects you to. It becomes an unspoken statement, an expectation that something significant can or will occur”.

Elin: “What Matthijs mentions is also a good method to prompt the players to look for what kind of story you are after.”

Often it’s a matter of cutting when you see a good opening for it. It can be an interesting exercise to time scenes (I’ve hardly done this before last week), to get a feel for how long they are in minutes. Might surprise you.

When a really good, punchy line has just been delivered by one of the players can also be a great place to end the scene. You sort of underscore such statements when cutting after them. “And on that note…”

If some time is about to pass in the fiction, but you don’t expect anything particularly relevant to the story or interesting to the characters/players will occur during that time, skip it with a scene cut & time jump. E.g. don’t spend several minutes of game time having character shop around for junk they need to complete a task. Just assume they get it (or not), and move on.

Cutting is also an effective tool for pacing. A slower pace for more introspective scenes or “looking into personal issues”, a more rapid pace for action scenes, confusing circumstances and so on.

Elin says: “To provide a tight story, cutting is one of the primary jobs of the GM as they (often) have the only clear plan on how the story will develop. Unless it’s a prewritten game with clear instructions for when to (or when not to) cut.”

(Note that our discussion covers a wide spectrum of games, from GMless, via scripted freeform and chamberlarp, to convention games with prewritten scenarios and to more improvised home campaigns. I’d rarely say I had “a clear plan for where the story should go”, because finding out together is a big part of the joy. But in a convention game, that way of putting it will often make sense).

You could also, more trickily perhaps, cut early in an emotionally charged scene, to deny that tension release.

Elin: “Another technique is postponing the cut, to keep the characters lingering in the moment, and play on what’s beneath the surface: doubts, saving face, being uncomfortable and revealing their humanity.”  

With great power…

I think my GM style can seem authoritarian. But I believe I have more of a bird’s eye view than the players, and will often “know better” than them what the sweet spot for cutting is.

I also make an effort to see all the players, even those whose characters are not central to the scene/dialogue, and consider it part of my responsibility that everyone gets a chance to take part. In an ideal group, I think that’s everyone’s responsibility, but this isn’t an ideal universe. So even if you’re in the middle of something fascinating with your character, I also keep an eye out for Ola, whose character hasn’t been in the spotlight for a while.

Making it crystal clear who has this responsibility at a given moment will also allow the other players (whether the game has a GM or not) to focus on playing their characters and making things up. There is someone there who will help them when they start rambling, or when the scene is losing its edge.

Finding the Tao

Torghatten: Fruitful Void. Photo: Amanda Graham, via Flickr. (CC BY-NC-ND 2.0)

I am aware of, and have made sort of a resolution to work with, my impatience as GM. My sessions tend to run 2-3 hours. To my mind, that is focused, high-tempo play, with little downtime and meta/off-game talk. I do short breaks every hour or so, but little of that in-between “are we playing yet or talking about Something Else” stuff. I enjoy this up-tempo play style, both as GM and player. But see some challenges:

  • Some players are slow(er), but still have gold to contribute if given time.
  • There is value in slow scenes, and in breather scenes. Tempo shifts, stuff that doesn’t necessarily have anything to do with the main action, but still highlights characters, opens the floor for surprisingly sweet or humane moments…
  • My default style can be a little exhausting.

Matthijs adds: “I have yet to explore those slower scenes fully, myself. Very often I feel there’s untapped potential in these breather scenes, and that we’re missing out by cutting scenes too quickly.”

Mikael: “Sometimes a slow buildup to establish characters and setting is necessary groundwork. This can also be done in the middle of play, to add context.”

Setting up scenes:

When I’ve cut a scene and want to establish a new one, I early, clearly and briefly establish who is there, where this is and what is going on.

Sometimes, the rough sketch for a scene will come from my prep or a scenario, usually it just grows naturally out of the action. Previous scene: they decide to go to the library to investigate, this scene: at the library. Often “what do you do?” establishes the basis of the next scene. It’s also good to ask the players if they have an idea for a scene they’d like to see. If you never give up asking for this kind of input, it usually starts coming naturally after a session or two.

Poster, ca. 1897-1915. Keller & Toft/National Library of Norway. Public Domain.

A great way of activating players whose character is not in the scene is letting them play secondary characters. I do this all the time, or ask them about other kinds of input.

Mikael cautions: “Keep in mind that NPCs often are your main vehicle to drive the narrative forward as GM. Only use this tool when you think the other players are willing to add as much tension as you (the GM) would. If this holds true, it should work fine.”

When I started using this technique over a decade ago, I was surprised how players (in general) would often push harder than I would allow myself as GM. Both messing up their own character’s plans, and those of the group. The early Itras By chance/resolution card experimentation drove this point home clearly.

(I’ll admit that not all NPCs are created equal, though. With a few, “central to the story” type NPCs, I may give a little instruction before “outsourcing”. Or keep them out of player hands.)

Outsourcing other elements of story also works. Maybe a player whose character is in the scene will ask about some detail: “what’s the weather like?” “What does this glyph symbolize?” I’ll often ask a “non-active” player to make up details like that. This has the added benefit of keeping players invested in the story, and focused during the session.

This collaborative approach also takes some of the entertainer responsibilities off my shoulders, and I like to think it underscores that what we’re doing is a collaborative pastime.

“Prompt”?

The term “scene prompts” wasn’t really in my active vocabulary before this Easter, but it seems to be something I do. The term reminds me of an early image I formed of GMing: poking an anthill with a stick. Throwing something at the characters and see what they do. Put them in a situation, some drama, some noise. If it’s boring, send in the guy with the gun, etc.

Photographer: Solveig Lund (1869-1943). Telemark, Norway 1905-10. Digital copy of postcard. Owner Institution: National Library of Norway. Public Domain.

Now, it’s usually best if the “prompting” or poking or whatever is a bit more focused, that there is some method to the madness. Some Forge-ite coined the term “character flags”, I still think that’s quite good. Look out for what is important to the characters (and the players). If they have invested character points in a +1 tubular flux wire of welding, you can safely assume they want to weld some shit together.

  • Read their character descriptions (or stats if that’s how you roll). It’s a wishlist addressed to you and the group. “I want to see this cool stuff in play!”
  • Listen to what the players connect with, what their characters talk about.

But also: surprise them, throw them some curveballs from time to time.

Mikael suggests an excellent alternative to reading up on old character and campaign notes: “Ask what they want”.

Make the scenes primarily about the characters! Not your cool plot, or some super-interesting NPC you made up. Make sure all of them get in the limelight. In 90% of roleplaying games, the characters are supposed to be at the centre of the action, the drama. You can certainly play around with that premise, if you do it in a mindful way. But not just because you forgot.

A scene can be “about” one character, and the scene based approach can be a good way to highlight an individual character’s intrigues or cool thing. Usually, I prefer at least two active characters per scene.

Elin, with her background in freeform, has the following tip: “if you have time to plan these scenes, mirror-scenes that seem to be primarily about one character but deliberately reflect the story of another character – or whole groups – can be really fulfilling, for both players and GM”.

What kind of scene?

On the topic of scenes, Mikael adds: “a big part of playing with scenes is to have players set an objective for the scene. It can either be something at stake or a color scene for characterization.”

Matthijs notes, along the same lines: “Prime Time Adventures does a cool thing where the group also decides whether this is a plot or character scene. It helps bring focus to the scene and balance to the story.”

(Personally, I’ve been underwhelmed by several systems for formalizing “the nature” of a scene before it’s actually played. Or at least that part of the system. I remember PTA as good fun overall.)

If you want to have a look at a different and elegant take on scene framing, I encourage you to keep an eye out for Jackson Tegu’s “The Boiler”.

That’s our show, folks! Readers are welcome to continue the discussion in comments.

Pregame prayer

Close your eyes if you wish. Hold hands if you wish. Someone reads.

Breathe.

Together we will ascend to the sphere of imagination.

We will meet angels and demons, gnomes and elemental spirits, maybe even gods.

They all stem from ourselves. They all gain reality by our words. We will see them, with our mind’s eye.

Yesod is the sphere of dreams, the unconscious, sexuality. Of the Moon. The word means “Foundation”.

Our journey is not without dangers, the creatures we will summon are real, after a fashion. And it will be us, speaking these words.

For the duration of the spell.

But we are armed with the sword of discernment, the cup of compassion, the wand of creativity and will. And our feet are firmly planted here, on this material floor.

Now, let us open our third eye.

And begin.

 

A GM’s Guide to Session Prep and Play

200 Word RPG Challenge contribution: Supplement.

You have characters, setting and system. You’re running a game tomorrow. What do you do?

Pick two (or roll 1d8):

1. Skim character and campaign notes. Note ideas.
2. True dilemmas: sketch situations the characters must react to.
3. Outline 3-5 NPCs. Names and keywords only. Link some to characters or plot (adversaries, helpers, obstacles).
4. Countdowns: events that will unfold unless the characters intervene.
5. Keywords about scenes/locales, groups (with agendas), special items.
6. Extrapolate ideas from specific character agendas/abilities/backgrounds.
7. Organize some of this info on a mind-map. Keywords will suffice.
8. Detail one element you really dig. Delve into it.

If more time:

* List(s) of names. People, places, items.
* Random-tables: monsters, events, weather, locations, etc.
* Maps.

(May be recycled in later sessions).

_GM Principles (during the game)_

Practice two each session (pick or roll 1d8):

1. Ask questions, build on the answers.
2. Accept, and add (go with player ideas).
3. Decline, but offer.
4. Reincorporate elements.
5. Be obvious (say what comes to mind).
6. Discrete scene-framing and cutting.
7. Throw curveballs.
8. Sometimes delegate responsibilities (like NPC control).

And:

* Take breaks.

Sources: Imagonem, Old Friends, AW, Sorcerer, Håken, Play With Intent.
Thanks: You guys, David Schirduan.

20.000 Little Islands

“I have, with no exaggeration, lost track of Archipelago. There are now hacks and translations that I only find out about by chance, and I don’t remember all the stuff that’s been done with it.

All is as it should be. The game is officially out of my hands. Who would have thought it.”

–        Matthijs Holter

Archipelago is a story/role-playing game where each player controls a major character. Players take turns directing and playing out a part of their character’s story, leading them towards their selected point of destiny, while other players interact with and influence that story. The latest edition also utilizes fate and resolution cards, as well as the ritual phrases.

(The majority of the games and downloadable documents linked below are for free download, as usual here on Nørwegian Style):

Playsets

In other languages

Hacks, expansions, adaptions

Summary

It’s hard to know with these things.

Put together, the Archipelago II and III main landing pages have gotten 19.650 page views since 2009. Dropbox doesn’t provide download statistics, which would be even more “proof of the pudding”. Many sites link directly to the Dropbox documents, so we just have no way of knowing the exact # of downloads over the past seven years.

If we missed your favorite hack, adaption or translation, please let us know in comments.

Cover photo: Høgåsen, Hidra/Hanne Feyling/Visit Sørlandet (CC BY-ND 2.0).

 

 

 

Shrine Master

shrine1

Itsukushima shrine, torii gate. Photo: Joe deSousa/Flickr (CC0 1.0)

Of course he knew the Empire was built on airy, at times vulgar, symbolism. He was, after all, an educated man. He knew how to interpret the Laws of the Elders. Could equally well listen to the speech of the stars as kiss one of his concubines below. He believed neither in ghosts, nor in symbols as anything other than representations.

Still, a part of him; one might say the child, believed firmly in the virtues:

1. Fidelity to the large and the small family. Even when the decisions of the concubines or the Emperor seemed enigmatic.
2. Friendliness and good will towards strangers.
3 . Ritualized blasphemy by the altars along the roads, at night.
4. That you will reap as you sow.

Now he was standing by one of the altars, on the road to the Imperial City. The sunset painted the sky in shades of gold, pink, violet and orange. But not red, that color had been forbidden by the Emperor.

Soon the star-song would begin.

The altar was a scrawny, ancient spike of stone. The little roof that was supposed to protect the sacrificial gifts; fire, incense, beautiful stones, blood, flowers and perfume, against wind and weather would probably break down completely in a few hundred years.

He left a small, twelve-sided die for the enjoyment of the altar-eaters. Said a silent prayer to The Guardian of the Road that the ghosts he didn’t believe in would leave him alone this night.

On the long way home.

Shrine Master is about building those wayside shrines. It uses the Soft System.

The Soft System

Character set-up
Goal
Problem
Relations (max 3)
Background
Occupation/Skills
Twists/ story seeds/ complications/ intrigue magnets

Skill/ability check results

On a modified roll of 1d12:

12. Critical hit
11. Yes, and
10. Yes, and
9. Yes, but
8. Yes, but
7. Yes, but
6. No, but
5. No, but
4. No, but
3. No, and
2. No, and
1. Conflict escalates

With a table you can add modifications to die roll results. E.g: you have a relevant ability = +1, bigger chance of yes-roll. Very difficult task = -1, etc.

The results are interpreted by another player (one who’s character is not attempting the action. Everyone can make suggestions.)

Whimsy

At the beginning of each session, the players get one Whimsy card each (draw two cards, keep your favorite). They can be played at any time during the game, the player interprets the result. Inspiration can be used to buy more whimsy cards, at the rate of 1 Inspiration point = 1 card.

Original whimsy cards: http://www.darkshire.net/jhkim/rpg/systemdesign/cards/whimsycards.html

Inspiration points

Any player or the GM may award one (1) inspiration points to another player during a session. These can be spent [in interesting ways] to hack the narrative, setting or outcome of die rolls.

They are awarded when:

– A player does or says something unspeakably cool.
– A player acts in accordance with Goal or Problem.
– A player complicates matters in interesting ways.

The inspiration points are awarded immediately.

Inspiration points are dialed back to zero at the start of every new session.

Can be used to make small additions to the GM’s descriptions, add detail to the setting (the GM forgot to mention), auto success, introduce (useful) NPCs, buy a new whimsy card, etc.

Principles

Listen
Give others a chance to speak. Hear what they say. See how you can build or act on the information they impart to the story.

Accept, and add
If something is stated or established in the fiction, it’s probably true. Characters and ghosts may lie, and you may forget details. But try to stay with what has been said. Add your own details as they come to you. Don’t try too hard. Say the first thing you think of. Reincorporate elements that have come up previously.

Decline, but offer
It’s perfectly fine for your character to refuse a suggestion, but try to come up with a counteroffer. Don’t block or stall the game. If you get stuck in discussion-paralysis; act. Make up something, like an accusation. Do something stupid.

Just pause. And breathe.

Reincorporate
Before you add a new element, consider: what has already been established? Can I re-introduce it into play? Will it create contrast, or shed new light this time around?

shrine2

The home village. Photo: dynamosquito/Flickr. (CC BY-SA 2.0)

Stay fluid
Be willing to discard your plan, or even better; don’t plan for a certain outcome. Pick up on the creative “balls” others throw out for you to play with. Go along with ideas. This is key to having fun in this game.

Let the story emerge
There are no true secrets here. There isn’t a prewritten plot to discover. This story will emerge during play, and you will see the totality in the end. Relax. Give your character and the ghosts time to play their hand, say their piece. Watch what the others do. Listen.

You don’t have to be funny or smart. Let the words come to you at their own pace.

Your little village needs a new wayside Shrine, the last one was torn down by the forces of nature. You play the Shrine Master and her henchmen. They will gather holy materials for the shrine, and build it where the last one stood.

Random story table (d12)

1. Another Shrine Master, searching for the same material as your group.
2. Sex in the City: your materials are located in a brothel in the Imperial City.
3. Sacrifice Emotion: you must recall and reenact a childhood memory to empower the Shrine.
4. An Infidel Demon tries to usurp your shrine. You must battle it with your wits.
5. Consumption: shrine building proves costly. You must get day jobs. It’s terrible after a life spent adventuring on the road.
6. Enabler: you meet a wrinkled old crone who offers to make shrine building easier if you make a sacrifice.
7. Tallest tower: an essential shrine component is located in the top of a near-inaccessible tower. It symbolizes our vain efforts.
8. Priestess: you must also recruit a priestess to cater to the shrinal needs. She must be a virgin, and very hideous.
9. A special kind of stone is required for the shrine. You must establish a quarry and safely transport the stone to your home village.
10. The Shrine Master’s concubines approach her for a favor, interrupting the quest.
11. Harmonious ritual: the group must create a ritual to empower the shrine.
12. Personal demons: the entourage have to confront and battle their personal, manifest demons in order to complete the shrine.

Game master instructions

Because all new indie games must be AW hacks:

Thunderous roar: Give brief, short descriptions that relate to the setting. “The crystal shines like crimson terror. It’s cold and hard to the touch. Electric fragrance in the air.”
Address the characters, not the players.
Show, don’t tell.
Abrupt change: every time your attention strafes something you own: a secondary character, an object, organization or relationship: consider killing, destroying or altering it for good.
Name everything, make everything human: create a list of names before the game. Give the secondary characters simple, understandable, human motivations.
Ask questions, build on the answers: “when did you first understand you’d be building a shrine? Why do you want to build the shrine? What does the new location look like?”
Give them what they want, reveal the consequence.
Be a fan of the characters: give them what they fight for, let them build their shrine… but only at the very end.

Support wheels

To be used if there is inaction or you’re stuck. Choose something from this list that will fit what has already come to pass. Shake things up, good:

Separate them.
Take a prisoner.
Give them a dilemma/tough choice: you can save one friend, not both.
Announce future threat: a great, big column of black smoke on the horizon. A nasty noise in the bushes. A rumor spreading.
An eye for an eye: hit them the way they hit your secondary characters.
Reveal your hand: state what you plan to do, execute.
Take away their stuff (except what truly defines them)
Activate their flaws.
Explain possible consequences and ask if they still want to go through with the plan.
Offer an opportunity that comes with a price.
Always ask: “what do you do?”

Other tips
Maps, handouts.
Ask follow-up questions: «yeah, tell me; what does it look like on the road? What will the shrine look like in the end?”
Digression and detail, sometimes.
Go around the table, give everyone spotlight.
Take breaks. Take your time.

Endgame

The game ends when the shrine components are assembled, and it’s erected by the road near the character’s home village.

Go around the table. Ask the players what their character added to the shrine, and how it looks in the end. Go in great detail, this was the goal after all.

Creative Commons License
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.

Italian Archipelago III playset

La spada e gli amori (The Sword and The Love) is an Italian adaption of Archipelago III, designed to let the players emulate chivalric literature!

Mammut RPG

lsega-coverUn paio di settimane fa, sempre su questo blog, chiudevo l’annuncio dell’edizione italiana di Archipelago con queste parole:

P.S.: Dato che non riesco mai a far stare fermo il mio cervello, vi comunico che ho già qualche idea per “sfruttare” il sistema di gioco di Archipelago per un certo tipo di storie.

Ed ecco finalmente è giunta l’ora di spendere qualche parola in più su un gioco il cui nome in codice è attualmente La spada e gli amori.

Cos’è La spada e gli amori?

La spada e gli amori nasce come hack di Archipelago, per raccontare storie tipiche della letteratura cavalleresca (in particolare del ciclo bretone, o arturiano). Il gioco, infatti, ha due illustri genitori: I romanzi cortesi di Chrétien de Troyes e Archipelago III di Matthijs Holter. L’atmosfera generale deve molto alle opere del primo, mentre le regole sono prese di peso dal gioco del…

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And now for something completely different…

insight

Insight Fantasy RPG is currently kickstarting. Made by fellow Nørwegian Even V. Røssland. A bit different to the fare we usually serve up at this blog, but who knows? Even writes:

“What the GM knows is not always the truth. Change the story as you play, and complete your quests in a way no one could have predicted.”

Guess that sounds like us, after all…

Couldn’t make WordPress talk to the Kickstarter embed right now, but there’s a video and everything over there. Stretch goals, I’m sure. 

Reviewers say of the previous incarnation, The Insight RPG System:

RPG.net
Style: 5 (Excellent!)
Substance: 4 (Meaty)

“An interesting, simple universal RPG system that’s worth the intro price.”

GMSMagazine review video (YouTube)

“What I hope is gonna happen is somebody – please – approach the designer and have a Kickstarter campaign, to get it out. Because this is an absolutely brilliant RPG system, and it’s flexible enough that you’ll be able to use it for pretty much any game.”

Guess this is your lucky day, YouTube review person!

The game’s homepage and Facebook page