Hello, everyone. I finally got a bunch of my friends to try The Pool with me. After telling everyone a little about the game and having everyone read the very brief rules, we were all excited and willing to give it try. I have gamed with all of the players before and I'm usually the person in the GM/Narrator/Whatever you to call it chair. Since I now live in Japan and they are still in Washington state we have been getting our gaming fix by roleplaying online using OpenRPG. We all decided to get together online to play a session of the Pool and allotted three and half hours to do so. The game would have two sessions. The end the this post contains the actual first session.

Before Game Preparation:1) Introduced the Pool and provided the rules for those interested. We decided to play the original Pool first before trying any variants. Talked a little about independent gaming and other topics like collaborative narration just to provide a little introduction to topics some of my players are not familiar with. Tried to explain a little about what the game was and what it wasn’t. I don’t like to surprise players with gaming styles. I always want them to have some idea as to the style of gameplay and mechanics so that they are not upset or under false or prior assumptions.

2) I asked each player to provide a brief (sentence to paragraph) setting background for our game session to take place in. Anything was okay. They had one week to provide a setting. Providing a setting was not mandatory for play. After two weeks we would all vote on which session to use for play. I would only vote in case of a tie. I also explained to the players that I would flesh out the winning setting a little by providing things like NPCs and maybe a few starting plot hooks to get things rolling.

3) The Setting that had the most votes was the following provided by one of my female players:

The Carmalitta Opera House in 1920s Boston. It is a very successful theater despite the mysterious disappearances of dancers and actors for the last several years. It is known by understudies far and wide as a place to get your big break.

Setting:

As I said, I would flesh out the setting a little in order bring NPCs in and provide a number of details just to get the players started. I did not do any other pre-game setup/plot setup/etc besides this. This is what the final introduction setting looked like:

The Carmalitta Opera House in 1920s, Boston. The Carmalitta Opera House is a very successful theater despite the mysterious disappearances of dancers and actors for the last several years. It is known by understudies far and wide as a place to get your big break.

Andrew Reed, a once famous opera composer has suffered a hard time over the last several years at the hands of both critics and friends alike. Almost forgotten, Andrew has re-emerged claiming to have created “the best opera of our time.” After much effort the opera is ready to be performed.

Not chancing that the significance of this event will be forgotten anytime soon, Andrew has scheduled a Masked Ball to be held at the Carmalitta’s ballroom just prior to the performance which is to be held the very same night. Everybody who is anybody has been invited from Boston and beyond.

It’s now Friday morning and tonight’s preparations are being completed. Only an afternoon rehearsal remains before guests from all over begin arriving at the prestigious Carmalitta Opera House.

Characters:
I informed all the players that they would have one week to think of and write up a character before our game session. I also provided a list of pre-made characters since I know that many of my players are very busy. Therefore, a player could either make a character on his/her own or chose one of the pre-made ones. Any of the unused pre-made characters I simply set aside as possible NPCs with possible altered backgrounds.

Four people (I made five) decided to play the Pool (2 males 2 females). Out of those four, two decided to use one the four pre-made characters I provided. The other two made their own. Here are the playing characters used for the game:

Michael Bannister (Premade) Pool: 6
Michael Bannister is a struggling artist (painter) making ends meat. Most would say that Michael’s work is average at best; however, Michael knows he’s good. Anyone that says otherwise can go to hell. Despite public opinion, and his notoriously bad temper, Michael has been commissioned to produce all the stage art for Andrew Reed’s production.

Traits:
-Struggling artist +1
-Conceited +2
-Bad temper +2

Chuck MacDougal (Premade) Pool: 5Chuck cleans up after people. Chuck likes cleaning while people with pretty voices practice. Chuck likes hiding backstage and watching people with pretty voices that other people with lots of money pay to see. Chuck hates when people make fun of him or call him stupid. Chuck hates when people touch his pretty red-handled mop.

Traits:
-Janitor at the Carmalitta Opera House +2
-Loves listening to people with pretty voices (That is, loves opera) +2
-Hates when people ridicule him, call him stupid, or touch his beloved red-handled mop +1
-Stupid, slow on the uptake, simple, etc +1

Latisha England Pool: 6
Latisha England, opera house board of director member and beautiful, affluent Boston socialite, was the only dissenting vote against the Andrew Reed production. In her words, contemporary opera is a stain on the Carmalitta’s shining reputation. She is frequently seen in the company of handsome opera tenors, some of whom have disappeared.

Traits:
-On the Carmalitta Opera House’s Board of Directors +1
-Beautiful +2
-Affluent socialite +1
-Doesn’t like contemporary opera (Snob) +1
-Only dissenting vote against Andrew Reed (Stubborn/Strong-willed) +1
-Enjoys the company of handsome tenors +1

The last character was Thomas Grinch, a reporter for the Boston Daily. Sorry, but I can’t seem to find his background or traits right now. This was a player made character.

Here are the remaining Pre-made characters that I set aside as possible future NPCs.

Cynthia King
Cynthia King is an up and coming opera performer in the Boston area. Her talent and good looks have caught the eye of Andrew Reed, a famous opera composer, who has cast her for a part in his newest production. Cynthia desires, above all things, fame . . . and a little fortune.

Detective Murphy
Detective Frank Murphy is a veteran of the Boston Police Department who has a knack for getting strangers to open up to him. Frank’s biggest weak spot is his softness toward dames (and doughnuts). He tends to look for excuses when a pretty lady is concerned. Frank never travels without his trusty snub-nose revolver.

Lastly, I made a list of random names and possible professions or connections to other players and NPCs before the game so that I could have a handy list ready if I needed to introduce a character quickly.

Gameplay:
Overall, I think our game was a success. Everybody enjoyed themselves, as did I. Since this is the most important thing I am very happy with the Pool. Still, even though the players had a good time we had a little trouble at times (especially starting off) and we wonder if we were handling things “properly,” with regard to mechanics, during the game. As I said, we enjoyed ourselves but we still want to know if we “did it right.”

Here are some the issues we encountered:
1) In the beginning of the game players were a little confused about their ability to contribute to the overall story (Ie using MOV and basic roleplaying). For some reason (maybe a poor explanation on my part) many players were just free-forming. Basically, they simply introduced elements and plot background as they saw fit. They would roleplay in an element that sounded good without asking other players or asking me. Now, there is nothing wrong with this style of play although lack of guidelines can make it very confusing as to you can do what. Therefore, I paused the game after a few minutes to explain that introducing a new element to the story could only be done by means of a MOV. Additionally, if a player wanted an MOV they would have to force a Trait into play and call for a roll. Granted, of course, that it was reasonable to bring said Trait into play.

2) After a couple of rolls and MOVs the players loved it. The only problem now was that the players always called for a roll when I cut back to their characters (I was using cut scenes) in order to get a chance to use a MOV. Players could always find a way to employ a Trait and call for a roll. Basic roleplaying almost completely ceased and the game just turned into called rolls. Success meant the player would move the story along by means of an MOV (unless they took a die) and a failed roll meant the player had to let me move along the story. Now, we had a lot of fun doing this. The players loved it. However, we simply want to know if this is how the Pool was intended to be played? I was a little concerned that players completely abandoned explorative roleplaying in order to move the story elements that already been introduced along. Is this just a habit from “traditional” gaming?

3) At some point during the game I noticed players weren’t properly explaining a general intent before calling for a roll. They would simply say something like, “I want to use my WHATEVER Trait.” If they had a success they would explain what they were trying to achieve and what happened. Is this correct? Must a player first describe a broad intent or can they simply state a Trait they want to use?

4) I really sucked at first when a player took a die and let me explain the outcome. I was a little nervous and had no idea what to do at first. I think I got a little better after a few times. The same thing happened when a player failed a roll. Later I just decided to hose any character that called for roll and then failed to produce a one. By hose I don’t mean I killed them or ripped them from the game, I simply introduced some kind of new element that would have be overcome by the player in the future. The players also loved this and only made them call for more rolls because now they also wanted to see what I did to their characters should they fail the roll.

5) Lastly, the game setting and the contributions of the players during the game have created a mystery. Some of the players have expressed concerns about this. I have been asked questions like, “how can this mystery be solved if there is no predetermined plot,” “how do we know when we are close or the game is over,” and “which one of us decides the final answer or solution to the mystery?” My answer was that we all contribute to the story; therefore, we all must decide, within play, how to bring an end to this story that satisfies all of us. However, this is easier said then done. One player said that this cannot be done and that maybe the Pool is not good for this type of setting (mysteries). I have urged that the player be patient and wait until we are finished. We have only played one session so far. We have set aside one more night to finish this particular game. I know the player’s background involves games like Call of Cthulhu in which often a predetermined mystery must be solved by the players, and this may be making it more difficult for him. Any suggestions? How should I handle this during play? Etc.

Now, what follows is our actual online game session, word for word. I have only edited things like spelling mistakes, and unnecessary comments like BRB, and “How’s the weather in Japan.” I have also added a few notes to highlight some of the points I made above. Some of the notes were also for my players. Lastly, any names other than the player character ones listed above are being played by me, the GM. I simply use a /name function on OpenRPG to swtich NPC names.

Any, and all, comments are welcome. I would love to hear what you have to say. Also, please excuse any spelling or grammar mistakes in this very long post.

Thanks,
Phillip

*****Actual Game Play*****

GM: The 1920s:
Thanks to Henry Ford and mass production, one could buy a ford for $290. The Nineteenth Amendment has been passed allowing women the right to vote in national elections. The Volstead Act became effective January 16th, 1920 and made the sale of a drink containing as much as one half-ounce of alcohol unlawful. This one unsuccessful act brought about much of the flavor of the Jazz Age or Roaring Twenties as we now know them. This was a period of prohibition and intolerance, speakeasies, flappers, gangsters, and crime.

But there was also . . . opera.

It's now Friday in the fall of 1922. Warren G. Harding now runs things over in the White House, but even he wishes he could catch a train to Boston for the premiere of Andrew Reed's newest opera composition. Yes, that's right. Who needs the White House when you have the Carmalitta Opera House? Sorry Harding, old boy, guess someone forgot to send you an invitation.

Despite that it's late morning the sky outside is dark. Rain clouds have been moving in since the previous night, and the radio predicts the storm to break sometime this evening. No matter. Preparations for tonight's event continue. Only an afternoon rehearsal remains before guests from all over begin arriving at the prestigious Carmalitta Opera House. What a show it will be!

GM: As preparations are being done. Thomas Grinch has started an interview with Latisha England at the Carmalitta Opera House.



Thomas Grinch (Boston Daily): "Hi Ya! I'm Thomas Grinch with the Boston Daily."
Latisha England: "Hello Thomas, I am Latisha England, on the board of directors for the Carmalitta Opera House."
Thomas Grinch (Boston Daily): Quotes: "Got a second for a quick interview?"
** Thomas Grinch (Boston Daily) smiles winningly. **
Latisha England: "Of course Thomas, anytime for the Boston Daily."
** Latisha England sits down, crosses her legs and smiles expectantly. **
Latisha England: "What would you like to know Thomas?"
** Latisha England smoothes an errant hair out of her eyes. **
** Chuck MacDougal scoots his mop to the corner and takes his favorite place backstage, behind the rarely used black curtain. **
Thomas Grinch (Boston Daily): "As you well know, Andrew Reed’s work has been, well, allow me to speak frankly, going down the crapper recently. My sources tell me that this may have to do with a wee, well alcohol-related problem."
Thomas Grinch (Boston Daily): "What do you expect from this, very possibly his last, effort?"
Latisha England: "I have heard that about his work as well, which is what lead me to try to persuade the board to choose another opera for this season."
Thomas Grinch (Boston Daily): "Ah ha!"
Latisha England: "However, the board felt that this opera was spectacular. So, the show will go on."
** Thomas Grinch (Boston Daily) scribbles on a notepad furiously. **
Latisha England: "I expect any performance at the Carmalitta to be outstanding, this opera included."
Latisha England: "Our performers are some of the best in the world."
Thomas Grinch (Boston Daily): "And the leading lady? The Carmalitta's rising star."
Latisha England: "You have heard of Cynthia King?"
Thomas Grinch (Boston Daily): "What can you tell our readers about her?"
** Thomas Grinch (Boston Daily) winks. **
Latisha England: "Her voice helps you transcend your daily existence—a true gift to hear."
** Thomas Grinch (Boston Daily) scribbles down the name. **
Thomas Grinch (Boston Daily): "But untested and unknown in major circles before this event."
Latisha England: "Ah, true Thomas, but that is what the Carmalitta is famous for . . . finding the star before she bloomed. We like to be the place of blossoming."
Latisha England: "I have complete confidence in her ability. I know her performance will not disappoint."
GM: At this time, three people walk into the theater (where the audience will sit tonight) where you are having your interview.
** Latisha England looks towards the disturbance. **
GM: One is a beautiful, but mean looking, lady who appears to roll her eyes at Latisha. The other is an expensively dressed, middle-aged gentlemen, and the last is a very, very old women with a expensive walking cane.
GM: They are Olivia Mansfield, Philip Kangly, and Wendy Barnsfield, the other board of directors for the Carmalitta Opera House.
Thomas Grinch (Boston Daily): "I look forward to this opening performance. I am sure you are very busy with your duties and I really can not take any more of your precious time. May I continue this interview after the performance at the cast party?"
Chuck MacDougal: Can you clarify where Latisha is being interviewed?
GM: She is sitting where the audience would to watch an opera performance. The stage is just ahead of them.
Latisha England: "Thomas, allow me to introduce the other board members."
** Thomas Grinch (Boston Daily) stands and offers his hand. **
GM: Cut scene.
GM: What is Michael doing?
** Michael Bannister is going through all the set pieces making sure none of the workers has damaged them. **
** Michael Bannister is ordering people about to make sure his opera goes well. **
GM: So you are on the stage?
** Michael Bannister is in the rafters where pieces are hung to be lowered when needed. **
GM: Okay.
GM: Chuck, are you doing anything special?
** Chuck MacDougal is hoping the singing will start soon. If it takes too long, I will leave my hiding place and begin checking the floors. **
GM: The singing is scheduled to start later this afternoon during the final rehearsal. It is late morning now.
** Chuck MacDougal gathers up the mop bucket and heads out to the lobby to give things a thorough going over. **
GM: Cut back to the interview.
Latisha England: "Thomas, may I introduce to you my excellent board members. Olivia Mansfield, Phillip Kangly and Wendy Barnsfield."
** Latisha England looks a little ill at ease. **
Thomas Grinch (Boston Daily): "Hi Thomas Grinch, Boston Daily."
** Thomas Grinch (Boston Daily) extends his hand to the other members. **
** Olivia Mansfield adjusts her shawl and does not shake your hand. **
** Philip Kangly shakes your hand. **
** Wendy Barnsfield nods kindly but looks as if she might fall over should she try to shake your hand. **
Wendy Barnsfield: "Young man."
** Wendy Barnsfield nods again. **
Wendy Barnsfield: "Ah, Latisha, dear . . . how nice to see you here already."

Latisha England: "Thank you Wendy, you know how I love hearing the last rehearsal."
Latisha England: "Wendy has been on the board the longest and is largely responsible for guiding the Carmalitta to its present state of excellence."
Wendy Barnsfield: "I do love opera. It's true."

** Latisha England smiles kindly at Wendy. **

** Olivia Mansfield sneers. **
** Thomas Grinch (Boston Daily) scribbles furiously, taking in expressions of the board members. **

Thomas Grinch (Boston Daily): "As you well know, the reputation of the Boston Daily has been made by asking the 'hard questions.'"
Philip Kangly: "Exactly what are the hard questions, Mister Grinch, when it comes to opera?"
Olivia Mansfield: "Yes, enlighten us."
** Thomas Grinch (Boston Daily) turns to Ms. Mansfield. **
Thomas Grinch (Boston Daily): "Ms. Mansfield, would you comment on Andrew Reed? As I understand it, you are one of his prime supporters."
Olivia Mansfield: "I support good work, especially when it benefits the Carmalitta."
** Olivia Mansfield looks toward Latisha. **

Thomas Grinch (Boston Daily): "Mr. Reeds works as of late has, well let's be frank, not been up to the standards the Carmalitta is know for."
Thomas Grinch (Boston Daily): "Rumor has it that this may be Mr. Reed’s last opera."
Thomas Grinch (Boston Daily): "Would you like to express your opinions to our readers?"
Olivia Mansfield: "I don't speculate on rumors, Mister Grinch. Although I know it is a past time for those of your profession."
** Thomas Grinch (Boston Daily) nods graciously. **
** Latisha England tosses a cold glance at Olivia. **
Philip Kangly: "Andrew Reed will bring in badly needed funds for this House . . . "
** Olivia Mansfield shoots Philip an icy glare. **
** Philip Kangly becomes very quiet. **
Thomas Grinch (Boston Daily): "Then dispel some rumors for us. We have a composer with a drinking problem, a lead that is virtually untried. Would you like to tell me what is really going on?"
Latisha England: "Opera, my dear man, opera."
Latisha England: "I ask you, what composer does not have a colorful life?"
Latisha England: "Or perhaps it’s a case of singers not getting along with the director. It happens all the time."

Thomas Grinch (Boston Daily): "And the other supporting singers. Three now have left town without a word?"

Thomas Grinch (Boston Daily): "No one has heard from Alicia Brown, Eustace Harding, or Gustav Pinkerman for weeks. Could this be a case of the rats jumping from the sinking ship?"

** Chuck MacDougal mutters, "Mmm, Alicia Brown, sings like a bird, she does." **

Thomas Grinch (Boston Daily): "Dispel some rumors for us. What is really going on?"
** Thomas Grinch (Boston Daily) looks directly in the eyes of the board members. **
Olivia Mansfield: "A show is happening tonight. That is what is "going on.""

** Michael Bannister rushes down from the rafters shouting "They are ruined! The sets are ruined!" **
GM: The three board members look up.
Michael Bannister: "Who cares about them? They were terrible. The sets are ruined. The show must not open."

** Latisha England looks distastefully at Michael. **
Olivia Mansfield: "It's that painter. Why Andrew hired him I'll never know."
** Michael Bannister stands between the reporter and the board of directors, "The show must not open tonight." **
** Latisha England’s voice sounding strained, "Michael, what do you mean by ruined?" **
** Thomas Grinch (Boston Daily) scribbles furiously on his notepad. **
Michael Bannister: "Ruined."
Michael Bannister: "Someone else has painted on them."
Michael Bannister: "And cut a hole in them, but the paint is what ruined them."
Latisha England: "That does not make sense Michael, when you placed them yesterday they were . . . umm, perfect.""
Latisha England: "Cut a hole in them?"

** Latisha England eyes are wide. **
Michael Bannister: "The set for the end of the first act, the balcony at night."

Thomas Grinch (Boston Daily): To the members of the board: "I can see that you really can not afford to have me take any of your precious time before this performance. May I continue this interview at the cast party later tonight?"
** Olivia Mansfield ignores Mister Grinch. **

Latisha England: "Yes, of course Thomas. And I am sure the performance will dispel the rumors for you."
Michael Bannister: "There is a series of shadows beneath the balcony, someone cut a slit in the set and then repainted the cloth to cover it up."
Michael Bannister: "They just slapped on black paint. As if a shadow were just black, with no form or depth."
Michael Bannister: "They ruined it."
Michael Bannister: "It will take me days to redo it."

Latisha England: "So, they are hiding the cut?"
Wendy Barnsfield: "The opera canceled? Oh, dear . . ."

** Wendy Barnsfield begins sobbing. **
Latisha England: "I am sure we can get this cleared up Wendy."
** Latisha England puts a kind hand on Wendy's shoulder. **

Thomas Grinch (Boston Daily): To Bannister: "Dreadful! Please, you must show me the damage!"
Michael Bannister: "Are you someone important?"
** Thomas Grinch (Boston Daily) smiles winningly. **
Thomas Grinch (Boston Daily): "Thomas Grinch, Boston Daily."
Latisha England: "Michael, this is Thomas Grinch."
Michael Bannister: "So, no."
** Thomas Grinch (Boston Daily) extends his hand. **
Latisha England: "So, yes."
** Thomas Grinch (Boston Daily) scribbles furiously in his notepad. **
** Michael Bannister calls up for the stagehands, "Lower the balcony set from Act 1 Scene 4." **
GM: They do so.

Latisha England: "Michael, can anyone assist you in the repair?"
Michael Bannister: "No one can paint like I can. You know that."

Latisha England: "Yes, that is true Michael, but in a bind, such as we have here, perhaps a less than perfect job can see us through until you have time to do the proper repairs."

Thomas Grinch (Boston Daily): Focused on Bannister: "Any ideas of who would want to vandalize your work?"
** Michael Bannister turns up his nose and ignores the reporter. **
** Michael Bannister goes to the set and points out the cut and the paint job. **
Michael Bannister: "Here it is . . . a cut of 6 inches, which the audience won't notice. And the terrible paint job which destroys the whole tone of the set."

** Latisha England calmly walks over and peers closely at the area of the set Michael points to. **
** Thomas Grinch (Boston Daily) looks over everyone's shoulders at the damage. **
Latisha England: "Olivia, would you be so kind as to stand in the front row and tell us what you see?"

Olivia Mansfield: "I've heard enough."
Olivia Mansfield: "Michael, you better get your act together and be ready for tonight’s performance."
** Thomas Grinch (Boston Daily) scribbles furiously in his notepad. **
** Olivia Mansfield walks out. **
** Latisha England moves out of the way. **

** Olivia Mansfield stops and looks back. **
Olivia Mansfield: "Well, Philip?"
Philip Kangly: "Oh, yes of course."
** Philip Kangly leaves with Olivia. **
** Wendy Barnsfield sits down in a seat. **

Latisha England: "Michael, perhaps from a distance, it won’t' be so noticeable."
Michael Bannister: "Then I demand that a notice be made before the show that that set was tampered with and should not be considered to represent my work."
Latisha England: "Anyway Michael, you heard the boss, the show must go on."
** Latisha England sits down next to Wendy. **
** Latisha England begins to talk quietly to Wendy and ignoring Michael. **
** Thomas Grinch (Boston Daily) scribbles furiously in his notepad. **
Michael Bannister: "I will do the best I can with the set, but it will not be my best work."
** Michael Bannister goes off to get the paint to fix the set **

GM: Cut scene.



GM: Chuck.
Chuck MacDougal: "That's a nice looking floor; now to check on the singing room:
GM: (Note: Remember to add elements to the story you have to bring your traits or pool into play, usually by creating conflicts that need to be resolved.)
** Thomas Grinch (Boston Daily) Thomas will go to the lobby and find the man he noticed behind the curtain earlier. **

Thomas Grinch (Boston Daily): "Hi there, Thomas Grinch Boston Daily."
** Thomas Grinch (Boston Daily) extends his hand. **
** Chuck MacDougal looks at him crookedly, "That’s a mighty long name, Mr. Daily." **
** Thomas Grinch (Boston Daily) smiles. **
Thomas Grinch (Boston Daily): "You are the Janitor here, are you not?"
Chuck MacDougal: Yessir, I am. Been taking care of this place for some time, now.
Thomas Grinch (Boston Daily): "I bet a good job like this is hard to come by, isn't it. You like it here, yes?"
** Thomas Grinch (Boston Daily) smiles. **
Chuck MacDougal: "Oh yes. I likes listenin' to the pretty ladies singing with all their might."
** Chuck MacDougal holds the mop handle protectively. **
Thomas Grinch (Boston Daily): "Ahhh. I couldn't help but notice that you were behind the curtain earlier. The curtain next to the damaged set . . ."
Thomas Grinch (Boston Daily): "If someone on the Board of Directors were to find out that someone like you accidentally damaged Mr. Banister’s precious work, well, that person would not be here long. Probably lose his job. Probably be put out on the street."
Thomas Grinch (Boston Daily): "You would not like that, would you?"
** Thomas Grinch (Boston Daily) smiles. **
Thomas Grinch (Boston Daily): "No more listening to beautiful ladies singing, yes?"

Chuck MacDougal: (I'd like to use my janitor trait to tell what I saw cleaning up.)
GM: (Okay, Tammy, you can do that. I will give you +2 dice. Do you wish to gamble any from your Pool?)

Chuck MacDougal: (Yes, 3. So that's 2+2+3, right?)

GM: (Yes, roll d6s.)
GM: (Note everybody, if Tammy succeeds then she can tell him something she saw (she makes it up and adds it to the story). If she doesn’t succeed she may still tell him something (or maybe not) it will be up to me.)
Chuck MacDougal: [7d6] -> [5,4,1,3,4,2,5] = (24)
Chuck MacDougal: (I rolled a 1 so I can tell, right?)
GM: (You rolled at least one 1. You get short control over the story now. Please go ahead.)
Thomas Grinch (Boston Daily): (Yes, I also wish to use my Smooth talker skill to collect suspicious info from the janitor, +2 dice, and I wish to add 2 dice from my Pool. My reporter senses tell me that there is good dirt here at the Opera House.)
GM: (Wait, John. She may be telling you something anyway. Also, watch trying to use your traits against another player. Something like that could be simply roleplayed out normally. Also, remember the MOV guidelines regarding other players.)
** Thomas Grinch (Boston Daily) listens intently. **

Chuck MacDougal: "Well, Mr. Daily," Chuck leans in, "I had an awful time cleaning up the black paint somebody left back there. Terrible sticky stuff. I try to tell Mr. Bannister that painting should be done outside, not on my pretty floors."
Chuck MacDougal: "I don't think he listened, though, cause, last night, there it was, all over the floor."
** Thomas Grinch (Boston Daily) nods understandingly. **

GM: (Perfect. Now there is a new ‘black paint’ element in the story and he (Chuck) tried to tell Mister Bannister about it.)
GM: (Now the game resumes.)
GM: Cut scene.



GM: Latisha England.
Latisha England: (I would like to use my board of director trait to see what I can learn from Wendy during our whispering.)
GM: (Okay, I'll give you +2 dice. Do you wish to gamble any of your Pool?)
Latisha England: (If I don’t' gamble I would be using 3 dice? 2 from you and 1 from my trait?)
GM: (Yes.)
GM: (However, any dice gambled are lost if you don't roll a one and I would control the outcome.)

Latisha England: (Hmm. I will gamble one more from my Pool for a total of 4.)
Latisha England: [4d6] -> [5,4,2,3] = (14)
Latisha England: (Drat.)
Latisha England: (So 5 left in my pool?)
GM: (I get to describe what she tells you, or doesn't tell you; and yes, your pool drops by one.)
Latisha England: (Ok.)
GM: Wendy sits there with you as she stares at the stage. She seems to be waiting for the show to begin. She answers your small talk questions with more small talk answers and occasionally begins crying (she does that a lot). She drifts in and out and you quickly become tired of this conversation despite that you like her.)
GM: Cut scene



GM: Michael
** Michael Bannister uses white and black paint to redo the shadow with the right depths of black. **
** Michael Bannister talks to no one while working, pointedly ignoring everyone. **
Michael Bannister: Done.
GM: The late morning becomes early afternoon . . .
GM: Some of the performers begin showing up: Margaret Timmons, Alex Courtly, and Lawrence Gray. Cynthia King, however, does not show up at this time.
GM: The three of them head toward the stage.
Margaret Timmons: As she gets onto the stage, "Hello, Michael."
** Michael Bannister ignores her and continues painting. **
** Margaret Timmons rolls her eyes, "Fine." **
Lawrence Gray: "Where's Andrew and Cynthia?"
Alex Courtly: "Who knows."
GM: The three of them begin getting setup and warmed up for their afternoon practice.
GM: Cut scene. Back to Thomas and Chuck.


Thomas Grinch (Boston Daily): "Tell me Chuck, I can call you Chuck, right?"
Thomas Grinch (Boston Daily): "Was the paint still wet when you found it?"
Chuck MacDougal: "Yes, sticky and black but came up with a little elbow grease."
GM: (Go ahead and use your Smooth Talker Trait, John.) Note: John has convinced me to allow him to use a trait in a whisper and I allowed it.
GM: (I'll give you +2. Do you wish to gamble any from your Pool?) Note: John told me he would gamble I die in a whisper.
Thomas Grinch (Boston Daily): Traits: Smooth Talker: [1d6, 1d6, 3d6] -> ([3], [6], [2, 4, 6])
Thomas Grinch (Boston Daily): (No ones.)
GM: (Hee, hee. I get to narrate. Also, your Pool drops by one because of the gambled die.) Note: I first asked Tammy if it was okay to have her get annoyed with the pesky reporter before I posted the following.
GM: Chuck has listened to you long enough. Not to be rude or anything, but the pretty voices are about to start singing and Chuck would much rather listen to them than you. "Sorry, Mister, I have to work to do. Can't talk all day." With that, Chuck heads out of the lobby and heads toward the stage."
** Thomas Grinch (Boston Daily) frowns disappointedly. **

GM: Cut scene.



GM: Back to Chuck again in his new location.
** Chuck MacDougal stands in front row center for a moment, deciding where the best area to "clean" while listening would be. **
Margaret Timmons: Seeing Chuck down below, "Hello, Mister MacDougal. How are you today?"
Chuck MacDougal: "Hello Ms. Timmons. I'm fine, but a bit behind on my work."
** Alex Courtly looks over his shoulder at Chuck and turns back to Lawrence while shaking his head. **
Alex Courtly: "It's that strange janitor."

Chuck MacDougal: (I'd like to use my ‘Hates to be Ridiculed’ trait to tell what happens next.)
GM: (Go ahead. I'll give you +2. Will you gamble any from your Pool?)
Chuck MacDougal: (I’ll gamble 3 . . . +2 from you, and +2 for my trait for a total of 7 dice.)
GM: (Okay, roll.)

Chuck MacDougal: [7d6] -> [2,2,2,6,4,2,4] = (22)
Chuck MacDougal: (Shoot, failed.)
GM: (You lose three dice from your Pool.)
GM: Chuck overhears Alex's remark. Not only does this make Chuck mad, but he is embarrassed in front of the nice Miss. Timmons. Enraged, and before anybody can do anything, Chuck grabs his red-handled mop, leaps on stage, and smacks Alex right in the head. Margaret lets out a yelp and other stage workers quickly rush over to restrain Chuck.
Alex Courtly: "What did you do that for! You idiot!"
Lawrence Gray: "Alex, are you alright?"
Chuck MacDougal: "You are the strange one, Mr. Courtly!"
** Thomas Grinch (Boston Daily) enters and stands in the doorway to audience seating and watches the events. **
Thomas Grinch: Quotes: scribbles furiously in his notepad.
Margaret Timmons: "Chuck, calm down please. What's the matter?"
Chuck MacDougal: "Nothing Ma'm I've got work to do."

Latisha England: Is Alex a handsome tenor?
GM: Yes, he is.
** Latisha England rushes up to Alex, full of concern. **
Latisha England: "Alex, are you alright?!"
Alex Courtly: "No, that fool hit me in the head with a mop! Oh never mind, I'll be fine!"

** Latisha England glares at Chuck. **
Latisha England: (Ok, could I use my ‘snob’ trait or ‘likes company of handsome tenor’ trait to add an element to story?)
GM: (Yes you may. I'll give you +3 dice for your roll. Do you wish to gamble any from your Pool?)
GM: (You get your Snob Trait which is +1 add the +3 bonus from me. Lastly, you can gamble any of the 5 left in your Pool.)

Latisha England: (I am not sure what I want to add . . . I just want to roll. : )
Latisha England: (Can I use both or just one?)
Latisha England: (Both traits that is.)
GM: (No, you cannot. You may only get the bonuses from one trait. The one you decide to use.) Note: Kerstin decided to use her Snob Trait.
GM: (What is your general intent using your snob related trait?)

Latisha England: (To, as a board member, take "disciplinary" action against Chuck's out burst.) Note: In Hindsight, such an intent such as this could probably be simply roleplayed out without a roll.
Latisha England: (Ok, I am NOT gambling this time . . . so just 4 dice.)
Latisha England: [4d6] -> [5,1,5,2] = (13)
Latisha England: (Yay!)
GM: (The show is yours.)
Latisha England: (So I can do a MOV or add one die to my Pool?)
GM: (Yes, which do you want?)
GM: (+1 to Pool or MOV?)
Latisha England: (I think will go with adding one die back to my Pool, please.)
GM: (Okay, then I take over the show, but I must narrate it a way that is positive toward your general intent since you succeeded. I simply do it my way.)
Latisha England: (Ok, changing my Pool back to 6.)
GM: Latisha, full of anger, glares at Mister MacDougal. "Sir, I'll not have that kind of behavior in this Opera House!" Latisha continues to give a lashing while affectionately rubbing Alex's head. When she is done she says that she better not see Mister MacDougal anywhere near the performers ever again!
GM: Cut scene.


GM: Michael, are you doing anything at this time?
Michael Bannister: "I am a genius."

GM: Besides the obvious.
Michael Bannister: "The set was ruined but with a few hours of work I was able to restore a masterpiece."
Michael Bannister: "Now the show can continue. I just hope the singers do not ruin my beautiful set with a bad performance."
Alex Courtly: "It will be fine. Nobody is coming to look at your work anyway."
** Michael Bannister goes the front of the opera house to check out the programs and make sure I get proper mention in the program. **
** Alex Courtly sighs as Michael leaves. **
GM: You find the programs you are looking for.
GM: As you begin to go through the programs, Olivia Mansfield walks up.
Olivia Mansfield: "Can I help you with anything, Michael?"
** Olivia Mansfield smiles a rather unfriendly smile. **
Michael Bannister: "Making sure my name is spelled correctly."
Michael Bannister: "There is always the slim chance that someone who comes to the Opera will have good taste."
Olivia Mansfield: "Yes, there is always that chance."
Michael Bannister: "Did you see the amazing work I did fixing the set?"
Olivia Mansfield: "Yes, I saw it. Amazing is over stepping your bounds just a little don't you think?"
Michael Bannister: "You mean I should do a poorer job so as not to distract from the singing? I was hoping they would just get good singers. Speaking of which, when does the practice start?"
Olivia Mansfield: "They should be starting now. Philip and I heard a commotion a moment ago. Is anything else wrong?"
GM: Note, Philip is not with the two of you now.
Michael Bannister: "Nothing is wrong. The set is perfect."
Michael Bannister: "Assuming they spelled my name correctly in the program."
Olivia Mansfield: "Of course. Let's be frank, Michael . . ."
Olivia Mansfield: "Why an asshole?"
Olivia Mansfield: "Excuse me if such language offends you, but my question stands."
Michael Bannister: "Excuse me?"
Olivia Mansfield: "You heard me."
Olivia Mansfield: "I'm not one to repeat myself."
Michael Bannister: "And I'm not one to try to explain art and artists to those who think having money means they have taste."
** Olivia Mansfield smiles that unfriendly smile. **
Olivia Mansfield: "Of course."
Olivia Mansfield: "Thanks for the stimulating conversation, Michael."
Michael Bannister: "It isn't my conversation that is a gift. It is my painting. And you are welcome for that."

** Olivia Mansfield walks away with a lot of hip movement. **
Olivia Mansfield: Cut scene.


GM: Thomas.
Thomas Grinch (Boston Daily): (I would like to use my Reporter Trait, and call in with a stop the presses report of the events here.) Note: Again, in hindsight, this kind of intent could have just been roleplayed out without calling for a roll.
GM: (Okay. I’ll grant +2. Any gambling?)
GM: (Your Pool is down to 8.)
Thomas Grinch (Boston Daily): (Oh yes, my entire remaining Pool of 8 dice.)
GM: (Wow, okay. Roll.)
Thomas Grinch: Traits: Boston Daily Press Pass: [ 1d6, 2d6, 8d6] -> ([3], [1, 1], [5, 6, 3, 3, 6, 5, 6, 4])
Thomas Grinch: (Thank you GM for the two successful dice!)
Thomas Grinch (Boston Daily): (Mine all suck, apparently.)
GM: (MOV or +1 to your Pool?)
Thomas Grinch (Boston Daily): (MOV)
GM: (All yours.)
Thomas Grinch (Boston Daily): Thomas finds a pay phone and calls in to report the events happening here at the opera house. The report will appear on the front page of the "entertainment" section, and will include:
Thomas Grinch (Boston Daily): -an affair between Latisha England and Alex Courtly, a drunken composer (Andrew Reed) on his last chance, and performers abandoning the opera house like rats leaving the sinking ship.
Thomas Grinch (Boston Daily): The final quote:
Thomas Grinch (Boston Daily): "I suggest everyone attend. This is liable to be the best comedy event of the season!"
Thomas Grinch (Boston Daily): Done.
GM: Your editor loves it so much that he tells you it should be in the evening edition, and that he will have a paper boy standing outside the Carmalitta House passing it out.
Thomas Grinch (Boston Daily): Ha HA!
GM: Cut scene.


GM: Latisha.
** Latisha England continues to flirt with Alex. **
Latisha England: "When does rehearsal start Alex?"
Alex Courtly: "Now. I should get busy."
** Alex Courtly gives Latisha a charming smile. **

GM: As you comfort Alex you notice that he has some kind of black tar on his shoes.
** Latisha England smiles charmingl,. "Just one more thing dear . . ." **
Alex Courtly: "Yes?"
Latisha England: (Can I use my Beautiful Trait to determine what the black stuff is on his shoes or get him to confess to something?)
GM: (You can use your Beauty Trait to get him to tell you something of your design if you wish.)
Latisha England: (Ok, I would like to use my Beauty Trait, please.)
GM: (An additional +2 dice from me. Do you wish to gamble anymore?)
Latisha England: (Yes, one from my Pool, so a total of 5.)
GM: (Okay, roll.)
Latisha England: [5d6] -> [4,1,3,1,2] = (11)
Latisha England: (Woot!)
GM: (MOV or +1 to your Pool?)
Latisha England: (MOV.)
GM: (Remember, it involves your Beauty Trait.)
GM: (Go ahead.)
Latisha England: (Ack! Hmmm . . . ok., please stop me if I am messing this up.)
GM: (I will.)
** Latisha England leans into Alex as he looks down at his shoes and whispers softly, "Are you messing with that dreadful painter?" Latisha's voice is full of hope. **
Latisha England: (Do I answer for him?)
GM: (You're effectively the GM at this moment. It is all yours as long as you follow the MOV guidelines.)
Latisha England: (Ok.)
Latisha England: Alex looks at Latisha's radiant face and full figure, which he has a nice view of and says . . .
Latisha England: "Darling, I would be lying if I said I didn't have anything to do with that small "inconvenience."" He then gives Latisha a sly wink." (Done.)
GM: (Very cool.)
GM: Alex, not having time to further explain himself to Latisha, joins the others and begins the afternoon rehearsal. Cynthia King does not show up for this rehearsal. The afternoon passes and as it does the storm outside continues to brew. Michael works, Chuck listens to the practice, Thomas snoops, and Latisha ponders what it would be like to be with the good looking tenor, Alex. Finally rehearsal ends and there is only a couple of hours left until the guests begin arriving for tonight’s Masked Ball.
GM: Cut scene.


GM: Chuck.
** Chuck MacDougal completely ignores Latisha's orders to stay away from the stage. He's the janitor, after all, and he moves back stage to empty the garbage cans." **
GM: Okay. Note: it was the performers, not the stage.
Chuck MacDougal: (I'd like to use my Janitor Trait to see if I find a clue to add to the story.)
GM: (Okay, +2 dice from me. Are you going to gamble any more from your Pool?)
Chuck MacDougal: (no gambling so 4d6.)
Chuck MacDougal: [4d6] -> [6,5,2,5] = (18)
Chuck MacDougal: (Poo.)
GM: You go about your duties back stage. Sweeping and cleaning. You are still mad at Alex. "I'm not stupid!" you tell yourself. As you put the mop bucket away, the closet door shuts on you. When you try the closet door it won't budge. You have locked yourself in! "I'm still not stupid!" you tell yourself again.
Chuck MacDougal: (hahaha)
GM: Cut scene.


GM: Michael.
Michael Bannister: I want to know who sabotaged my paintings.
** Michael Bannister looks for someone who doesn't like him. **
GM: That's everybody.
** Michael Bannister goes around asking people if they are jealous of him. **
Michael Bannister: (I want to roll using Conceited and Bad Temper to find someone that doesn't like him.)
Michael Bannister: (Really, really, doesn't like him.)
GM: (Roll. I'll give you +3 because this sounds interesting. Are you gambling any dice?)
Michael Bannister: (Sure, I'll gamble 4.)
GM: (You can only use one trait at a time, however. Which will it be?)
Michael Bannister: (Oh, only one trait, okay I'll still gamble 4.)
Michael Bannister: (So I get 9 dice.)
Michael Bannister: [(9d6).takeLowest(1)] -> [2] = (2)
Michael Bannister: (Fail, total failure on 9 dice!)
GM: (You lose 4 dice from your Pool. I'll narrate the outcome.)
GM: Michael begins going around asking people insulting questions with an attitude. It doesn't take him long to have just about everyone at the opera house wanting to ring his neck. Eventually he finds Olivia Mansfield and begins to really dig into her because of that earlier "asshole" comment. They are alone in an office room off in a section of the opera house near the front. One remark leads to another and Olivia finally slaps Michael! He then slaps her back! She stares at him in astonishment. Suddenly, they eagerly embrace one another, kissing. Eventually, kissing leads to other things.
Thomas Grinch (Boston Daily): Soo much to report, so little time . . .

Latisha England: lol.

GM: Cut scene.



GM: Thomas. Note: John whispers with me about using his Press Pass trait to sneak around the opera house and dig up some more dirt.
GM: (Okay, John. Roll your Trait +1. Are you gambling any?)
Thomas Grinch (Boston Daily): (I think I would like to gamble all 8 again.)
Thomas Grinch (Boston Daily): (This is just too good.)
GM: (Okay.)
Thomas Grinch: Traits: Boston Daily Press Pass: [ 1d6, 1d6, 8d6] -> ([3], [1], [5, 2, 5, 2, 2, 4, 2, 2])
Thomas Grinch (Boston Daily): (And the GM die yet again is the only one to get a 1!)
GM: (MOV or +1 to your Pool?)
Thomas Grinch (Boston Daily): (MOV)
GM: (Your show.)
Thomas Grinch (Boston Daily): While Ms. Mansfield and Mr. Bannister are going at it, they fail to notice that the office door slowly opens.
** Thomas Grinch (Boston Daily) Click! **
Thomas Grinch (Boston Daily): A flash occurs, and both suddenly look up to see Thomas with a camera (now with a burnt out flash bulb).
** Thomas Grinch (Boston Daily) smiles. **
Thomas Grinch (Boston Daily): "I'll be talking with you later, Ms. Mansfield."
Thomas Grinch (Boston Daily): This is all overheard by Chuck, locked in the closet.
Thomas Grinch (Boston Daily): In the very room.
Thomas Grinch (Boston Daily): done
GM: (Wait. That last part about Chuck will not count.)
GM: (Chuck is in a backstage closet. Sorry.)
GM: (Everything is fine but the last part.)

Thomas Grinch (Boston Daily): (Sorry, no Chuck then.)
GM: Cut scene.


GM: Latisha.
** Latisha England goes home to change for the masked ball. She will be attending as Snow White. Before she goes, she seeks out other board members to ask them about Cynthia King. **
Latisha England: Is Wendy still there in the front row?
GM: Yes.
** Latisha England turns to Wendy at the end of rehearsal and begins to chat with her. **
Wendy Barnsfield: "Yes, dear? The rehearsal was very nice, wasn't it? Although, I was a bit disturbed by some of the numbers. Strange songs for opera don't you think?"
Latisha England: "Yes, Wendy, I couldn't agree more . . . this music is a bit . . . grating on the ears."
Wendy Barnsfield: "Well, that's modern opera for you."
Latisha England: "I hope the audience tonight finds it more acceptable."

Latisha England: "What about Cynthia, will she be here tonight?"

Latisha England: (May I try the Board of Directors trait again?)
Wendy Barnsfield: (What is your intention?)
Latisha England: (To find out what is going on with Cynthia.) Note: Again, just to be clear, this could also be done by simply roleplaying with the GM. Of course what you would fine out may be different than want you hoped for or thought.
GM: (Okay, +3 from me. Are you gambling any?)
Latisha England: (Yes, I’ll gamble one for a total of 5.)
GM: (Okay, roll.)
Latisha England: [5d6] -> [3,3,2,6,5] = (19)
Latisha England: (Well, I guess I can't be greedy.: )
Latisha England: (My Pool drops back down to 5.)
GM: Wendy continues, "Cynthia you say, dear? Well I don't where that little miss is or who she thinks she is . . . missing an important rehearsal like this. Maybe she had a private rehearsal with Mr. Reed. If I understand correctly it wouldn't be the first, if you know what I mean. By the way, I saw you talking to Mr. Courtly earlier. Ms. King used to talk to him a lot too."
GM: Cut scene.


GM: Chuck
GM: You are locked in a broom/mop closet backstage.
Chuck MacDougal: "I'm not stupid. I'll show them."
Chuck MacDougal: (I'd like to use my trait of liking opera to listen for the singer who was nice to me earlier.)
GM: She is no longer here. The others left after rehearsal. No need to roll.
Chuck MacDougal: (Question)
GM: (okay)
Chuck MacDougal: (can I roll for something that and not have a related trait?)
GM: (You can roll the dice anytime you want, even if you don't have a trait. The Trait only gives you a bonus when attempting to affect the story with traits related to the character.).
Chuck MacDougal: (Okay, so then I'd like to roll using my Janitor Trait to see if I can figure a way out of the closet.)
GM: (Remember, however, that most simple actions and other things can simply be roleplayed out between us. When you want to do more than that you cast the dice.)
GM: (For example, we could simply roleplay between us a way out of the closet. However, if you want to add something special to the story that may involve getting out of the closet or finding something in the closet, etc then you can roll dice.)
GM: (Anyway, +2 from me. Are you gambling any?)
GM: (I think you have two left to gamble with.)
Chuck MacDougal: (Yes, I’ll gamble 2 for a total of 6.)
Chuck MacDougal: [6d6] -> [3,3,4,1,4,4] = (19)
GM: (MOV or +1 to your Pool.)
Chuck MacDougal: as I said, "I’m not stupid." I move aside the brooms and pull aside a loose wall board. It is well worn from many uses. It lets me into the corridor leading to the stars’ dressing rooms. "Well what's this? I thought I got all that black paint cleaned up." I follow a dirty boot trail to Alex Courtly's dressing room.
GM: (Nice.)



(End of Session)