Young Playtest Group First Storymap

[M. J. Young]

Good stuff, Steve; I think that will help.

The spies were not a trait; they were simply a created fact that seemed reasonable. Lucifer had been defined as someone with significant insight and some local influence that had been impacted by Teresa, and Ryan stated that the Lucifer had created this network to provide him with information. As such, it's much like Doug's sword, a prop that functions within the game world. In another sense, it's very like Teresa's Blessed power--there's no place on a character sheet for that to be written, but it's a tool she can use at need.

The problem I think arose from the aspect of opposed versus unopposed actions in the rules. Somewhere (it might be in private correspondence, in which case it's not canon, obviously) Seth commented that if a Blessed wants to blow the doors open on a village and enter, and no one is acting against that, it's just ratified as "yes, that's something you could do". That outcome-resolution approach is something of a shock to my old action-resolution mind. I had been seeing Lucifer's efforts to gain information as an unopposed action, and using narrative limitations on it--it takes time for information to reach him, she's gone beyond his local network, that sort of thing. The notion that this was actually a matter of tracking Teresa, and therefore an opposed action, had not occurred to me.

It's also worth noting that one reason Kyler has Teresa on the run is to avoid rolling. There's a 10% chance of a serious botch in Alyria, and we've had a lot of rolls go by without that occurring. Most such contests involve Teresa, so Kyler has thrown the dice more than any other character, and he's beginning to get edgy about cumulative odds--that whoever rolls the most frequently has the highest chance to botch, all other things being equal. I'm not sure he'd like the idea that he has to roll the dice to escape; on the other hand, the recognition by the player that running doesn't save him from rolling could pull him back toward Arius and Lucifer.

Having the spies return unreliable information in an open game might be tricky, but I think my players could handle it.

I had wondered how Lucifer intended to expand his network; I'll have to put that point forward. I thought it a creative solution--I said that Teresa had gotten outside the net, and rather than go looking for her himself, he said he would make the net bigger. How that's done is still a bit up for grabs.

Your observations regarding Lumina are on target. Teresa is choosing mostly for her own survival, and Cory is acting as a calming voice in trouble, but neither of them seem to have any better idea than to get away from pursuit. Doug is still confused, thinking that Teresa is a villain, and so unable really to make a solid choice (although his decision to investigate before acting was strong). Bruce has come out a bit too dull to be aware that there's a moral issue at work here--he's reduced it to a job, and perhaps in some ways is a more despicable villain than Lucifer for that. Arguably, Lucifer is the impetus for the moral choices; but most of his actions have been based on utility and safety. Lumina has done very well several times, from pressing on to warn Teresa to heading back to confront Lucifer. She's got the Full Virtue, and has done quite well in the part.

Thanks for the insights.

--M. J. Young

[GreatWolf]

Sorry that I haven't replied sooner.  I've been out of town.

As I've read your description of the game, it does seem to me that (with the exception of Lumina) the players are being far too safe with their characters.  This is often the result of a fear of failure.  However, the question should be raised:  What does failure look like, in this context?  In Legends of Alyria, failure is when the story is not enjoyed by everyone.  Each player needs to be making decisions about his character with this in mind.  How will my choices impact the enjoyment of the game for everyone?  Also, the players should take some comfort in the safety nets provided in the game.  So what if Kyler rolls Blood Moon?  Does that mean that he is out of the game?  Success and failure are both opportunities to advance the story.

Example:  Teresa is trying to escape from Bruce.  The dice are rolled and Teresa gets a Blood Moon.  What then?  Here's a possibility.  Teresa and Cory are ambushed by Bruce and Doug.  Caught off-guard, both are easily captured.  Bruce then decides to have some fun and begins to torture Cory.  This would also please the dragons, so it makes sense.  Now, suddenly, there is an opportunity for Doug to realize what is going on.  How will he react?

Another point to consider is the necessity of Author stance when playing Alyria.  Your players need to see themselves as creating a story together.  Therefore, they should be encouraged to use all the information available to them as players to advance the story as a whole.  They need to remember that character survival and character success are not the point.  Rather, ultimately, the point is the creation of an enjoyable story.  Is Lucifer acting in a satisfying way?  Would the players enjoy a story with such a villain?  What about Bruce?  Are the players (on some level) frustrated with Doug's failure to see the truth?  Are they satisfied with the developing story?  Remember, it is the responsibility of all the players to assure that this is occurring.

So, something to consider is a discussion with your players OOC about where the story is going and why they are pursuing the choices that they are pursuing.  Make sure that everyone is on the same page.

I'd also suggest reading the Interactive Toolkit by our very own Chris Kubasik.  It is in four parts:

http://www.rpg.net/oracle/essays/itoolkit1.html
http://www.rpg.net/oracle/essays/itoolkit2.html
http://www.rpg.net/oracle/essays/itoolkit3.html
http://www.rpg.net/oracle/essays/itoolkit4.html

I particularly like his comments in Part Three about the characters being Problem Magnets.  It's a bit long, but I'm going to quote it here:

Characters Should Be Problem Magnets. To begin with, you need to allow your character to get into trouble in the pursuit of his or her Goal. Remember, this Goal matters so much it defines the character; without it, your character would no longer be himself or herself. Because this Goal is so vital your character can indulge in all sorts of ridiculous, extraordinary, and even dangerous behavior in pursuit of this goal. We're not looking for the characters who want what is safe and steady, who can rationalize their Goals out of existence because it might mean trouble. We want characters who throw themselves with wild abandon into their desires, dreams and passions!

Be surprising! Let your character's passions and Goals drive him to actions that calmer men would not commit. In Le Morte D'Arthur Sir Balin kills an enemy of his family, the Lady of the Lake, in the middle of King Arthur's Court. This is a terrible crime, not just for the murder, but because the laws of Hospitality require Arthur keep all safe within his castle walls. Balin brings terrible shame upon Arthur. In punishment, a punishment he could have anticipated had he considered his actions beforehand, the High King banishes Balin.

Now, in most roleplaying game sessions, the encounter would usually go something like this:

"You enter the Great Hall of King Arthur. There rests the Round Table; a few knights are gathered around it, telling tales of deeds done in recent months. Servants carry platters laden with pheasant and roast pig back and forth. Arthur sits on his throne, speaking with a woman. You move toward the Round Table to take your place and see the woman is none other than the Lady of the Lake, your family's sworn enemy, upon whom you have sworn an oath to kill. What do you do?"

"I glare at her, biding my time for the proper moment of revenge."

"What?"

"If I do it now, I'll get in trouble."

NO! Go up and lob her head off! Or don't. But it should always be an option to get carried away. Too often in our games we mock other players for doing the "wrong" thing, when in fact these actions are the most interesting things going on in the game. Driven by character Goals, spontaneous and dangerous, these actions are the cornerstone of the spontaneity possible within roleplaying games. In Le Morte D'Arthur, after Balin is banished, he takes part in many adventures to win back a place of affection in Arthur's heart. Thus, the story continues, unfolding in ways unexpected, in a manner no one could have predicted had Balin "played it safe."

Look for problems! In the Prisoner of Zenda, while Rudolph Rassendyl tries to save a nation by imperonating the country's king he falls in love with Princess Flavia, the king's fiance. Oops. That wasn't part of the plan. It complicates things. He's given a choice because of this lovely problem. He could side with Rupert von Hentzau, the bad guy, kill the king, get the Princess and the Kingdom and live happily ever after-a dream come true. Or he could refuse von Hentzau's offer of a dark alliance and get nothing. He refuses, of course, and leaves the princess and the kingdom after saving the day. But the fact that he had to make the choice, the fact that he was tempted-made his refusal of the offer richer. He became a much nobler and interesting man than if he never had any affections for the Princess at all. And in a roleplaying game the decision made when a choice is offered is always uncertain. The character might accept the offer, what then? What will happen next?

As the designer of the character you shouldn't simply depend on the Fifth Business (the "gamemaster" of a story entertainment) to provide you with trouble. You should look for trouble for your character. For example, if you were playing the Lead character in the Prisoner of Zenda, choose to fall in love with Princess Flavia don't make the Fifth Business force it on you. Look for problems in your character's background as well. Han Solo had Jabba the Hutt on his back before Star Wars started. Luke was the son of the Dark Lord of the Sith, and didn't even know it. You have to think: "What problems can I load my characters with?" Problems provide obstacles, and obstacles mean unexpected action must be taken. This is always more interesting than saying "We draw our swords and kill it," for fifth time that night.

Moreover, you know best of all what kind of problems you want for your character. You might tell Fifth Business, "'I want my character to be torn by the legacy of his father," and leave it up to him to decide who your father is. Or maybe you'll create the equivalent of a Darth Vader and say, "This is dad." Filling in some of the blanks yourself or leaving it all a mystery - that's not the part that matters. What does matter is that in a story entertainment you're not the passive passenger in the gamemaster's roller coaster. You are a co-creator with the Fifth Business and the other players of a story.

In the Hero System, there are all sorts of Disadvantages players can choose from. This is a step in the right direction, but all those numbers....

Why should problems built into a character be balanced against a proportional advantage? The implication is that you only take bad stuff to be more powerful. Not in a story entertainment. In a story entertainment you build problems into your character's background and decisions because they're entertaining. This isn't about being fair. Stories aren't fair. Rassendyl doesn't get the girl in Prisoner of Zenda. It's a great ending.

(I thought that you'd especially connect with the Prisoner of Zenda remarks.)

Something else to consider is the judicious application of Bangs (to use Ron's terms).  Is the game slowing down?  Are the players running out of steam?  Then drop a bomb somewhere to give your players something to react to.

Possibilities:

**Bruce and Doug are assaulted by villagers who mistake Doug for a Misbegotten.

**Teresa and Cory get lost.

**Teresa, Cory, Bruce, and Doug all get caught in an Outsider "rainfall" and end up hiding in the same cave.

This may or may not be necessary.  I've found that players are often willing to provide their own Bangs, if they are given the creative freedom to do so.  However, if they are running out of steam, then give them something to jump start events.

Other random thoughts:

I would normally treat Lucifer's Spy Network as a piece of "equipment".  In other words, you are dead on when you equate it with Doug's sword.  Therefore, the spy network acts as a narrative excuse to perform certain actions, and it provides color.  Therefore, if Lucifer is trying to discover something about Teresa, and Teresa is trying to avoid it, then you have an opposed action, as Steve pointed out.  Insight vs. Insight would make the most sense in this case.

The question that remains, though, is what happens when Lucifer fails.  I think that allowing him to continue rolling forever is not a good idea.  First, as you note, eventually Lucifer will find Teresa.  Second, it lacks drama.  Third, it lacks any sort of risk for Lucifer.  Therefore, I would suggest adding an element of risk for Lucifer to continue to use his spy network.  Lumina's presence and ongoing investigation could be sufficient.  Or perhaps he is visited by a dragon, who demands the death of Teresa by the next ceremony.  Or perhaps the citizens of the town begin to investigate.  Who knows?  Anyways, some pressure on Lucifer would be good.

Something else to consider is the activation of Traits.  It seems like your players are consistently able to cancel opposing Trait activation.  This by itself is not necessarily a problem.  However, I was wondering if you had considered these two aspects of this tendency:

1)  Narration to include Traits.  When a Trait is activated, it must impact the narration of the conflict resolution.  Traits are not merely methods of garnering power in conflict.  By activating a Trait, a player is primarily giving focus to the resolution of the conflict.  Make sure that your players know this and make sure that they are playing it out.

2)  Trait activation provides I/C.  Don't forget to evaluate the activation of Traits for I/C awards.  You can even think of it as a way of balancing the game a bit.  If (for example) poor Bruce is consistently getting the short end of the stick through constant activation of his evil Traits, start awarding him Corruption as "compensation".  Fairly soon, Bruce's character will be able to begin dictating the course of the story through Corruption expenditure.

Another random thought for your players:  Conflict resolution is supposed to function as a narrative signpost.  It's not about winning and losing.  It's about pointing the story in a certain direction.  Make sure that they know this.

Hopefully this is all helpful.  I appreciate the playtesting, and I'm looking forward to hearing more of what happens to your characters.

Seth Ben-Ezra
Great Wolf

[M. J. Young]

He is alive.

It's good to hear from you, and I think that will be helpful--although I'm going to have to go back and do a lot more reading on awarding I/C, and since 1) I seem to be finishing early and 2) Mom works tonight, we might be getting to that next installment after dinner.

Anyway, it's a possibility.

--M. J. Young

[M. J. Young]

If anyone is holding their breath awaiting a game report, please don't. It happens that I've got a really killer URI (head cold, sinus infection) on top of my seasonal asthma, and was too beat last night even to suggest a game to anyone.

I'm making some  chicken soup (what Salem County, New Jersey residents call Pot Pie, but it's more like Chicken and Dumplings) right now. (I'm also taking Tussafed and Avelox, thanks to my family physician.)

--M. J. Young

[hix]

Consider my breath exhaled. Get better soon
and look forward to hearing the next installment.

Steve.