End of the World plots are popular because they are easy. Characters don’t need any personalty or background to save the world. Everyone wants to live and the end of the world is the one situation from which nobody can simply walk away. It’s the absolutely lowest common denominator, there isn’t anything more basic in storytelling than that.
If you want a different kind of threat, then the characters need to have something they want to protect. Bob the chaotic neutral human thief does not value anything but his life. Why should he care and not just run away?
Continue reading “How about not saving the world?”
I saw this game a few weeks ago and had never heard anything about it before. Reviews have been very mixed, but usually being either ver negative or quite positive, so I looked a bit closer at what things people thought were bad or good, and decided to give it a try. The biggest issue with the game is, that it’s clearly overpriced, it’s not a 45€ game, and I bought it second hand on ebay for just 20€.
With that in mind, I was otherwise pleasantly surprises. The game has some similarities with the first Witcher and Dragon Age 2, but is clearly more low-budget than the big games of the genre from recent years. The craftsmanship isn’t anywhere near Mass Effect or Skyrim. But other than that, I think it’s quite decent, and personally I’ve been growing to its B-Movie charme. After all, Sword & Sorcery originated in pulp magazines and all movies are B-movies of questionable quality, so the game is in good company here.
I particularly like the combat, which is the meat of the game. And instead of the combat systems in Dragon Age 2 (press attack really fast) and the Witcher (press attack at a steady speed), you actually have to think a lot more when you strike and when you block and even use quick reflexes to evade in split seconds at times. On a few times I died quite a lot because I wanted to get through without potions, but even then the autosaves are really good and you always start right before the fight in which you died,with no repeating of previous enemies. The other quality of the game are its style and looks. The engine isn’t great and the levels no huge monuments, but I very much enjoy the experience, like in Mirror’s Edge or Shadow of the Colossus. You are in a band of mercenaries in a world overrun by the undead hordes of a group of mysterious sorcerers and help out a group of sages who have an idea how they could improve the chances of survival for some people by summoning a spirit of fire. It doesn’t work quite as intended, but you end up with special powers and fire magic, which give you a significant edge aginst the undead and the demons leading them. It’s not great literature, but a decent enough background story for a quite fun game with both swordfighting and sorcery.
I would rate the game 4/5, though with the added advice to get it for less than full price.
A new trailer for Witcher 3 has been released a few hours ago.
If you remember a bit about the kinds of games I’ve been describing in previous articles, it won’t come as any kind of surprise that I love the Witcher games. This trailer looks really good, though it’s also a strong reminder why I usually don’t watch trailers or read previous for games I am interested in. This one does give away some details of the story, that would have quite surprised me if I’d be playing the game for the first time without knowing anything about it. It’s nothing major and thinking about it, it was mostly just me being dense that I hadn’t seen them coming since the moment I finished Witcher 2. It does, however, do it’s job of making me really excited about seeing how everything will actually turn out in the final game.
I was playing God of War again, which has lots of great bosses and ridiculous amounts of violence. And it got me an idea:
In many RPGs, player characters go unconscious when they lose their last hit point, but are actually dead only once they reach -10 hp. For the sake of simplicity, this is often ignored for enemies, and once they are out of hit points, they are simply dead for all intents and purposes. However, to add a little more gritt to my campaign, I plan to adopt a rule that any enemy brought to exactly 0 hp is not outright dead, but severely enough wounded to go down and lose the ability to fight, move, or even make any loud shouts. So at the end of a fight, there’s a certain chance that two or three of the defeated enemies are still not quite dead and semi-conscious. It’s then up to the players to finish off the dying, ask them a few last questions, use magic healing or treat their wounds so they will survive, or just leave them behind to die.
In Astonishing Swordsmen & Sorcerers of Hyperborea and probably most OSR games, a Trauma Survival check might be appropriate for enemies who are left to die, but the chace for that (default 75%) seems much too high. I probably go with an Extraordinary Feat of Constitution in AS&SH, which would only be 4% for most enemies, and maybe 8 or 16% for the tougher ones. Of course, if an enemy should survive, the GM would be pretty much obliged to have that NPC appear again later on in the campaign.
I can very much see why such a rule doesn’t appear in most RPGs, though I would kind of expect to see it in Lamentations of the Flame Princess. I’m usually not a fan of gore, but I think in this case some additional appaling consequences of violence can go quite a long way to reinforce the feeling of Sword & Sorcery, and also is a great opportunity for players to flesh out the peculiar personalties of their characters.
These masks are made from wood or bone, but sometimes more exotic materials as well. Most cover only the upper half of the wearers face or leave an open space for the mouth. They are usually painted in stark colors or decrated with feathers or leaves. These masks are used by shamans to help them communicate with spirits, as it makes them appear not quite human and separates them from the mortal world, and allows them to peer into the spiritworld and see things normally hidden from human eyes. Each mask is different in both appearance and specific abilities and the more powerful ones have often been handed down from masters to apprentices for many generations. Common abilities are:
- Infrared Vision (as the spell).
- Detect Magic (a limited number of uses per day or permanent).
- Surprised by spirits only on a 1 in 6 chance.
- +2 or +4 Willpower bonus on saving throws (replaces and does not add to the modifier from Wisdom).
- Immunity against fear.
- Immunity against mind reading and mind control.
- +2 or +4 bonus on reaction rolls against spirits.
- Observers are unable to identify the wearer of the mask and can only remember his clothing (including the appearance of the mask).
- Wraithshape one or three times per day.
- Permanent charm person.
- Suggestion three times per day.
Now, after I made a list of the kinds of behavior I want to encourage in players of the Ancient Lands in the second post, the next step is to think about what elements would be required or very vulnerable to risk, in achieving that. In a way, this is defining the Purposes I’ve been talking about in the first post. You don’t necessarily have to start with an idea for an element and then find a place for it to fit. Particularly in the early stages it makes s lot of sense to consider what roles there are that need to be filled.
As I outlined in the previous post, I want players to be suspicious about authority, stand up to their convictions, and question established structures, yet accept their limitations and coming to terms with doing things they are not proud of. How is that done in the works I mentioned as references? What makes those characters develop in the direction that they do?
Continue reading “Function and Purpose, Part 3: Application”