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Started by Ron Edwards, September 09, 2003, 05:26:51 PM
QuoteOther than this aspect of being in the 'other,' has anything else come up that brings the characters in contact with it beyond the demons themselves? Or has no one explored that side of things, being caught up in their own stuff?
QuoteA) Have the characters been limited to this experience of the otherworld? Do any of the other rituals touch on this sort of direct experiencing?
QuoteB) Are they really there, or is this all in their heads?
QuoteIf they are there, then: 1) Has anyone tried to wade around and see what's on the other side, or is that not an option?
Quote2) Are they vulnerable there to any Tom, Dick, and Harry demon who comes wading by?
QuoteH'm ... how 'bout if cult guy who attacks Urma is actually Veniamin in action? trying to lure Urma into killing the innocent host? [key: Marca wants Urma to live] & the Widdoes are part of the real cult, which ...
Quote1) Did you hand out the handout before our after play. Was there any discussion about it? Did you find out from it whether your concept and the players concept was different? The same?
Quote2) Why the known demon's only constraint? Arbitrary challenge you put on yourself? Were you looking to achieve something specific with it?
Quote3) What the heck did Victoria's player do with all the stuff going on with Victoria's demon? Has there been any punishing? Any sort of confrontation there beyond the show and tell stuff so far?
Quote4) How did the befriending of the detective actually happen? How did they get from leeching to handshaking?
Quote5) Given that a big possible NPC washed up pretty early in Melanie, how have you been moving Craig forward?
Quote from: Ron EdwardsI also recognized that the concept of sorcery we're using permits demons to come into play very easily - just kill someone, or know they've been killed. So I wanted "demonics" in the game to arise from events in the game.
QuoteI decided not to. It's clear to me that Nev, much like one of the finest role-players I know, Mario, prefers to have his character's personal crises arise without much reflection on his (the player's) part. If it doesn't "hit" in a given scene, then he won't force it.
QuoteThe fourth session, in particular, paid off big-time.
Quotethis implies to me that in most games you've run that events don't usually trend towards a lot of new demons mid story. Or was it more that you really expected a _lot_ of demons created in this setting, and so didn't want to add more to the mix?
Quote from: Ron EdwardsYour first surmise is correct. The starting-demon dynamic is usually so strong in my games that most of our attention focuses on that. Other demons usually were set into action by me, the GM. So I was hoping that we'd see more player-input into demon creation via the events (i.e. deaths and revealed-deaths) of play.
QuoteProblem: I didn't follow up on my intentions of making a really good, kick-ass Rituals and Sorcery handout. It would include special effects for the Gates (beyond the first of which does use the Sorc & Sword otherworld rules) and provide some guidelines for (a) seeking a particular dead person, (b) seeking long-dead vs. recently-dead people, and (c) seeking particular demonic abilities or qualities regardless of who the dead person was.
QuoteFrank also used his Lore successfully to get an "image" of Vega's last moments, which provided a look at a new NPC. Combined with Walter Stone's police savvy, this clarified a whole bunch of things for Urma and Craig even as Victoria's actions, via Veniamin, clarified a whole bunch of things for her and brought about the third-session climax for her character.
QuoteSo this session represented, for me, a certain retrenchment on Nev's part as he started to find his feet as a Sorcerer player and shook off some habits from previous play. This continued through the third session (when he actually took some ribbing from the other players about getting his character into action), but then blossomed during the fourth.
QuoteH'm, I just decided explaining the events of play ("the story") isn't going to work too well without the relationship map. So I just set it up, and I'll see about uploading it soon.
Quote-Venue for our first meeting: my basement, in the evening (how Gamer!).- For our first session of play: my front lawn, in front of all the neighbors, including one magic moment of seeing the jock teenager across the street and his friends head into his house with a box of Axis & Allies under his arm.- For our second session: my living room, in the afternoon.- For our third session: my wife's parents' back yard, by their pool, on a very sunny afternoon.- For our fourth session: Frank's apartment, at their dinner table, in the afternoon.
QuoteWhen you're dealing with the various players do you handle them scene by scene, or will you play through with them to some breakpoint and then move to the next? Are you keeping them relatively close to each other in time, if not physical space?
Quote4. Coming up with the in-game context for sorcery is flat-out, hands-down, the biggest stumbling block for any group who's used to a post-1990 context for how "setting" and "system" interrelate for a role-playing game. Failing to create such a thing means that #2-3 above have no hook to hang their hat on.Meaning, Yes, I'm working on the next handout and planning to rev up the River context substantially.
QuoteFrank came up with the psychometry idea by himself, if I remember correctly. I think we're still considering it a Contact of a sort.
QuoteI don't quite understand your first question; the two options sound like the same thing to me. I use the simultaneous-scene method and cut back and forth among scenes as they play out. The technique is outlined pretty carefully in Sex & Sorcery, in the last chapter, including a bunch of jargon called Bobs, Weaves, and similar.
QuoteTime is a little labile, as we feel free to shift a little forward or a little back regarding separated-in-space scenes' relative positions, but not very much.