Fiasco: Tainted Love, Pickled Heads, and, Strangely, a Leopard

My buddy Clint, who runs our Shadowlands game, was feeling a little burnt out tonight, so he wasn’t up to running the game we had scheduled. I offered to teach everyone Fiasco, because I really wanted to play it again, and I knew that one game and everyone would be hooked.

So, the four of us gathered and decided to use the New York City 1913 playset. I was a little leery of this, because I don’t know all that much about the time period. Turns out I really didn’t need to.

I’m starting to think this is a hidden feature* of Fiasco – the playset provides seasoning and flavour, but the core of the game remains very similar in all playsets, so you don’t need to fret about lack of familiarity with a given setting. You use it as window dressing for the universal story: not-so-clever folks get into a mess and everything spirals out of control.

We wound up with a young Jewish man secretly in love with a woman who was involved in the labour movement. She and her brother were hoodlums with a dark secret in their past. The brother had stolen a leopard from the zoo and wanted to sell it*, and was also hiding the fact that he was gay. He was the target of a serial killer stalker who was a friend of the Jewish man, who knew that the serial killer had the pickled head of a murderer hidden somewhere in his apartment.

The rest, as is the case with Fiasco games, just writes itself.

Some memorable scenes:

  • The Jewish man asking to borrow the pickled head in order to impress the woman.
  • The woman’s plot to stick the leopard in the offices of a warehouse to kill the management and help get the union formed*.
  • The inevitable escape of the leopard, the crash of the bakery van, and the revelation that the pickled head belonged to the woman’s father.
  • The flashback where we learned how the Jewish man and the serial killer met and where the head came from.
  • The claustrophobic closet scene in the first act where we learned that my nice young Jewish man was going to wind up with his head in a jar of brine.
  • The two thugs figuring out that their buddy was gay.
  • The woman kicking open the serial killer’s door to see him and her brother in what appeared to be a passionate embrace, with the pickled head of her friend sitting on the table. And the ensuing gunplay and suicide attempt.

So, how did things end? Well, my character was a pickled head in a jar. The woman wound up in a coma for 30 years, so her brother got to be her first visitor when he got out of prison. The serial killer died clean, which is the best he could really hope for.

Have you ever seen the movie Something Wild? It starts as a fairly light-hearted comedy, with a yuppie Jeff Daniels “kidnapped” by a very attractive (but slightly crazy) Melanie Griffith, and dragged across the country to attend her high-school reunion. Fun stuff. Then Ray Liotta shows up and things turn rather dark and grim.

That was how this game went. From the wackiness of trying to impress a girl with a pickled head, to the plot of trying to stick a leopard in a warehouse office, to the fun by-play with the two thugs figuring out their buddy’s gay, it was light, if a little twisted. After the leopard got loose and disappeared, though, things turned pretty dark, and just got darker as the second act kicked in.

We all had a blast, as usual, and we came to an interesting conclusion about the game.

See, it’s set up to create some pretty adversarial relationships between the characters, and the players have a tendency to try and stick each other with strange and difficult-to-use baggage in the form of needs, objects, and locations. And there’s a certain gamish, strategic element in trying to accumulate the right types of dice to have your character come out well in the end. But those things are artificial, and as you play, you begin to care more about the coolness of the story than about the survival of your character. Indeed, you can begin to root for a nasty, horrific end for your character, just because it would be neat.

Fiasco reinforces and rewards the right kind of story in subtle, delightful ways. It produces the spectacular, horrible, blackly funny car wrecks of humanity that we all look for in Coen Bothers or Guy Ritchie movies, and it does it in an effective, unobtrusive, and engaging manner. Everyone winds up rooting for the complete meltdown of the characters and situation.

Anyway, it was fun, and the ending was as messy and horrible as we could have wished for. We’re going to play again soon.

 
 
 

*Or maybe not so hidden. Back

*And really, what fence wouldn’t want to buy a leopard? Right? Back

*Also, it would get the leopard out of the apartment she shared with her brother. Back

WorldWide D&D Game Day: Red Box

This coming Saturday, September 11, is the next WorldWide Dungeons & Dragons Game Day, celebrating the release of the new Red Box starter set. We’ve got four DMs available to run the game at Imagine Games and Hobbies, starting at 1:00. This is a perfect Game Day for anyone who’s interested in D&D, but who has no experience with the game to come by and give it a try. It should also be fun for more experienced players, who will get to try out the new character builds from the Red Box set.

So, come on down and play with us.

ICONS – The New Centurions #2

Saturday night we had our second ICONS game. More and more, we’re finding that the game is a good starting point, but has some issues that need to be addressed for it to do what we need it to do.

We added another character*, and once again found some difficulty with the random character generation. Beyond the disparity of potential starting characters, and the challenge of coming up with a reasonable framework to explain truly strange groups of powers, it takes far longer than I think it should. The implication I get from reading the character creation section is that it should be fast, to get you playing quickly. I find that it takes about the same amount of time to do up a random character as it does to build one using point-buy, which really undermines any advantage the random method produces.

Now, to be fair, a lot of the time is spent just looking up the powers – again, the book really needs an index, or a reference sheet of some sort – but the extra time one would spend making choices in point-buy is offset by the time you spend in random generation trying to figure out how to fit, say, teleportation, paralyze, and wall-crawling together*.

Another issue that arises in this game that needs careful attention on the part of the GM is the lock-key style of powers. That is, each power* seems to have a very specific application and at least one counter. This means that the GM can easily* build foes that render one or more characters simply ineffective. Now, there are other things that characters can do besides just beat up the villains, but the four-colour style of the game, and the shallowness of the system, really puts the onus for that on the players and GM to come up with pretty much everything except the combats. Which means that making a character ineffective at combat renders a character ineffective at most of what the game tries to do. More support for other things would have been good.

And we’re all pretty fragile characters. Even my robot has no armour or resistance to damage – rolling such a thing on the random table is somewhat difficult. This makes dodging and evading terribly important in combat, because one high-power hit can take out pretty much any of us. Given the prevalence of damage mitigation in the source material, it strikes me as a little odd, not to mention challenging for the characters who didn’t roll high on physical abilities.

One other thing we’re having problems with is the similarity of the game to the FATE system. It’s enough like FATE that we think we understand how it works, but there are a couple of places where it differs enough to really trip us up. For example, using Determination works very differently from using Fate Points, and the flatter probability curve on d6-d6 vs 4dF means that your scores aren’t as reliable in ICONS as they are in FATE*.

That’s an awful lot of complaining, isn’t it? It sounds like I really dislike this game, and that’s not the case at all. I quite like it. But I think it’s important to be reasonable about the strengths and weaknesses of the game.

Anyway, this session had us meet the new character in the sunken ruins of the Century Club NYC headquarters, with six of the Centurions seemingly held in stasis by Dr. Methuselah and his weird math. While investigating the scene and trying to figure out what was going on, we got blindsided by someone else (very shadowy, got the drop on Queen Celeste), who forced us to leave the room for a minute or so. When we came back, he and Dr. Methuselah were both gone, though the Centurions were still stuck there.

Investigating the building, we discovered the archives of the Century Club, talking about their heroics and accomplishments. These archives ended abruptly on September 6, 1933, and since that time, there have been no public superheroes in the world. September 6, 1933, was also the last recorded appearance of Dr. Methuselah.

My (rather naive) robot character then convinced the other two characters that we needed to become the New Centurions, to bring back a sense of hope and empowerment to the embattled citizens of NYC. We agreed, and then went to work reclaiming the Century Club to use as our headquarters.

While we were in the middle of that, another sinkhole appeared along another ley line, and we dashed off to deal with that. Another fight with the stone creatures*, this time with squishy civilians around*. Once we had them on the ropes, a bigger, Kali-esque stone creature rose from the fissure, and asked us why we were invading her realm. She, the Queen of Below, gave us a chance to explain that we had thought she was the one doing the invading, and then she gave us leave to investigate in her realms.

We left it there for the evening, but we’re looking forward to getting together to give it another try. Potentially with another player joining in*!

*And player! Welcome, Fera! Back

*Our solution: gravity manipulation. Back

*With its concurrent sub-system, but that’s another story. Back

*And accidentally! Back

*When you combine these two differences, you can really wind up hosing yourself when using Determined Effort, not achieving the result you wanted and using up all your Determination in the attempt, rather than being able to cut your losses. Back

*And we still didn’t have anyone with the right kinds or strengths of powers to easily deal with them. Back

*One of them had a camera phone, so Queen Celeste’s secret ID may be in jeopardy now. Back

*You in, Tom? Back

Fearful Symmetries: The Stag Moat

Friday night was the latest installment of the Fearful Symmetries game.

Emeric and Izabela decided to continue to focus on the person who stuck the knife in Izabela’s door. The only name they really had was Giaccomo Malvora, a White Court nobleman from Naples who was reputed to hunt Jeleni Prikop – the Stag Moat – for the remnants of Rudolf’s menageries that were said to run loose there.

So, they went snooping after Giaccomo Malvora.

Amadan warned them that what was going on looked like the power games that are played by followers of the Hunter, an aspect of the Erlking, and that the encounter the pair had had with the Erlking had marked them as rivals and targets. He also said that, if it was Giaccomo Malvora behind this, that his sister, Lukrezia, the head of the household, would not take kindly to it. Though coming to her attention was probably not a good idea – the Hussites who had thrown the Imperial emissaries out of the window a few months back had been spending some time in Lukrezia’s company, and look what that got everyone.

The plan the heroes came up with was to go into the Stag Moat and try and turn the tables on Giaccomo, or whoever it was hunting them.

This decision came after some substantial time debating, investigating, and preparing, and I’m always glad to see the players caring enough about the game that they do agonize a little over the options and mysteries. The upshot of things, though, is that they didn’t have enough solid information to unravel all the questions, and eventually opted to take action regardless. I’m even gladder when this happens, because nothing drags a game’s energy down like endless dithering and navel-gazing.

It’s a fine line to walk – as a GM, I’ve got to make sure that the mystery is intriguing enough that they puzzle at it, and that the stakes are high enough that they take it seriously. At the same time, I have to make sure that there’s enough time pressure that they are prompted to act, or that the stakes aren’t so high that they refuse to budge before exhausting every conceivable option. The ideal kind of feeling I want when the characters finally put a plan into motion is the essence of the scene in season 4 of Buffy the Vampire Slayer, just as the gang heads out to face down Glory and rescue Dawn. They’ve done all they can reasonably do, and they just pray it’s enough*.

So, into the Stag Moat, with all their preparations.

Now, at this point, I wasn’t sure how this whole thing was going to go. I knew what was going on, and who was behind it, and so forth, but the characters hadn’t uncovered the full picture. When they headed into the Stag Moat, I needed to come up with a satisfying way to wrap up this immediate storyline, though I wanted to make sure there were enough dangling threads that they could eventually come back and find out the deeper secrets*. I decided to make it a gauntlet that they had to run, to prove themselves against the one who had challenged them. And, as all literary challenges must, it had three phases.

The first was a huge bowman in camouflage who almost got Izabela with a javelin-sized arrow. They managed to capture him alive, but he could give them little information, because his tongue had been cut out. They took his weapons and told him to leave the park, which he was only too happy to do.

The second was a larger pack of the nasty, warped hounds they had fought earlier. They wrapped these up fairly quickly, despite the fact that I had the hounds team up and attack in a coordinated manner, using maneuvers to try and bring down the characters. Izabela’s amazing roll on her whirlwind evocation kept them bouncing around in the air with no hope of escape while Emeric roasted them one by one.

Oh. There was also a deadfall trap that destroyed Izabela’s conjured horse, which slowed them down and bottled them up enough for the hounds to make their initial attack.

The last opponent was Giaccomo Malvora, who stalked the characters through the woods, using his Incite Emotion power to make them more and more nervous*. When they finally spotted him, they made very short work, with Izabela binding him up in the spirits of the animals he had killed, and Emeric unleashing the sword Beortning and using it to skewer the White Court Vampire, pinning him to the earth.

As they were questioning the poor, shrieking, burning fellow, another man showed up. He told the characters to let the vampire live, and things pretty much went downhill from there. Emeric got pissy when the fellow didn’t feel that he was in Emeric’s debt for letting the vampire live (the guy explained that it was for the sake of Emeric and Izabela that he made the suggestion), and Izabela got pissy when the man didn’t seem to want to help defend Prague.

The stranger told them that the hunt was over, and gave them each an old stone arrowhead on a leather thong as a trophy. He also told them that he was not the one who challenged them. Izabela asked for the name of the one who had, and was told it was Konstantin Arkady. When Emeric pushed the point of how he had let Giaccomo live as a favour to the man, he tore out the vampire’s heart and ate it, saying again that the favour was his advice to Emeric, not Emeric sparing the vampire.

At this point, Emeric threw the arrowhead on the ground, saying that if the man wasn’t going to honour his debts, then he wanted nothing from him. The stranger said, “That’s the third time you’ve insulted me. You’ve got one chance to take it back.” Emeric declined, and the fellow said, “You’ve got one month to kill me. If you don’t do it in that time, I will come and kill you.”

As a GM, I knew that things would come to a bad end. In fact, I had planned it. See, Emeric is very much the alpha-male, in the best Norse traditions. He never backs down or admits to losing an argument. If you want to put him in his place, you need to put him in his place. Physically. So, I know that whenever I throw another alpha-male into the mix, if that character isn’t instantly and obviously waaaay out of Emeric’s league (Odin) or outside of his circle (Zuckerbastl, Amiel), there will be a fight.

So this guy not showing any obvious power and interfering in Emeric’s life was guaranteed to get a fight going. I wasn’t sure if the fight was going to happen there or not – I was hoping not, but ready if it was going to happen – but I knew that this would generate an enmity that would need to be resolved.

And that enmity is one more tie into the game world for our characters’ emotions.

That’s pretty much where we left it. I gave the characters a significant milestone, and I look forward to seeing what they plan to do next. I know Izabela has had some interesting ideas about the curse on Gold Lane, and they now have the name Konstantin Arkady to look into. There’s still the dangling Petrunas Cult storyline hanging around*, too, and some other things I’ve got on the back burners.

Another fun game.

 
 
 

*Giles: We few, we happy few…
Spike: We band of buggered. Back

*Which I’m not going to talk about here. Back

*I basically cribbed the stats for Lara Raith, and made a couple minor changes on the fly to reflect that Giaccomo’s a hunter in 1620 Prague. And a dude. Back

*Well, not really hanging around, because things have been happening, but the characters don’t know about them, yet. Back

ICONS #1 – Spectacular Origins Issue!

I was planning to try the Battlestar Galactica boardgame this past Saturday evening, complete with the Pegasus expansion. Unfortunately, I left the invites too late, and only two people were free to take me up on the offer. Three players is sub-optimal for BSG, so instead Clint offered to run a game of ICONS so that we could check out the system.

He and I had both read ICONS in .pdf format, and both had sought the hard copy version out at GenCon because we liked it so much. This was easier for me than for him, because it was just on the other side of the black drape divider between Pagan Publishing (where I was) and Cubicle 7 (where it was). So, we had picked it up, and read it, and were both very intrigued by the random character creation, the pared-down FATE-style rules, and the four-colour superhero defaults.

He, Penny, and I got together to roll up characters – Clint made one along with us, even though he was running the game – and for Clint to run us through a short adventure.

We spent the better part of two hours working out characters, which seemed like a long time for the quick-start, random style of the game. But it was the random style that threw a couple of problems at us. Here are a couple of issues that arose:

  • As with all random character generation methods, there is a significant chance that one character is going to wind up being just plain better at stuff than the others. Or worse. Yeah, you can play with a character that has fewer powers, or lower powers, or lower stats, but we wound up with a situation where one character had less everything than the others. By about 25%. Now, there’s a point-buy method you can use to avoid this problem, and we came up with a simple house rule to avoid the boned-character syndrome (basically, allow the character to buy up extra levels in skills/abilities to meet the minimum point-buy value), but it’s still something you need to be aware of. And then there’s the flipside: what do you do with someone who rolled significantly better on everything than everyone else? Scale the character back? Doesn’t seem really fair. While I don’t worry too much about character balance in games, I do worry about whether the characters have equal chance to be cool in game.
  • The random power distribution can cause some strain in coming up with a good theme for your character. This is offset at least a little by the idea of bonus powers, but it can be easy to forget about those. Gotta remember them. On the other hand, I wound up with a character concept I would never have come up with on my own, and am pretty happy with my character.
  • The book needs an index, or at least a more complete table of contents. Or at least an alphabetical list of the powers, with the page they appear on. You spend a lot of time in character creation and in play looking up your powers, and they’re not arranged in a very useful manner. Well, they sort-of are, but it’s not the best choice. The powers show up in the table where you roll for your powers subdivided by power type. In the Powers chapter, they are again subdivided by power type, then listed alphabetically within that type. So, you need to remember that Precognition, say, is a Sensory power, and not a Psychic power. A reference list or index would have made looking stuff up soooooo much easier.
  • The section on calculating Determination says that each ability above 6 counts as a power for purposes of calculating starting Determination, while the example says each power above 7 counts as a power. It would have been good to have this clarified.

Those issues aside, I really enjoyed the character creation phase. It reminded me strongly of the old Marvel Super Heroes game from TSR, with the random rolls and interesting surprises along the way. As I mentioned I wound up with a character that I wouldn’t have come up with on my own, one that I quite like and am finding interesting to play – a prototype emergency rescue robot with advanced probability predictive algorithms to help him get to emergency scenes prior to the emergency actually taking place. Think RoboCop with precognition, but licensed to fire and ambulance services, and no weapons beyond his strength.

After character creation, Clint led us through a quick setting creation phase. He gave us a short paragraph about an alternate NYC, where repeated terror attacks, the declining economy, and a couple natural disasters had turned it into an urban war zone. We added some ideas about the widened gap between the corrupt, wealthy haves in their fortified townhouses and the desperate, despairing have-nots, resorting to a feudal gang allegiance to stay safe and alive. The New York Restoration Authority, consisting of some remaining civil government along with a few police and emergency workers, bolstered by the US Army, were trying to reclaim the city and bring it back from the brink, but feudalism and anarchy had taken root in the neighbourhoods, and the corruption among the wealthy residents made the outlook bleak.

This gave us a place filled with potential adventures, but with a slightly darker, grittier outlook than standard 70s-style four-colour comics. Think Batman with a slightly-more-friendly version of the No Man’s Land storyline.

The adventure threw together my robot and the voodoo queen of Manhattan (Penny’s character) to figure out what was causing a series of sinkholes to show up along the ley lines of the city, apparently excavated by earth spirits inhabiting bodies of rock and concrete. We chased them down to an underground site where we found a group of people in outmoded clothing trapped in some sort of stasis – the members of the Century Club from our Spirit of the Century games. And that’s where we left it for this session.

With our familiarity with FATE, the system was pretty easy to pick up, though the way you can spend Determination works quite differently from Fate Points, and Aspects are also used somewhat differently. And you’ve got stats! The wider numerical spread using d6-d6 rather than 4dF also threw us for a bit of a loop, and we had trouble coming to grips with what the change in the probability curve meant for our stats and powers.

The combat worked pretty quickly and easily, though it’s easier to take someone out in combat – unless they’re pretty buff – than we expected. Because neither of our characters was a real brick, we had some real problems with the earth spirits in the concrete bodies, especially as they could sandblast us when we hit them. It took some quick thinking and Determination spending by Penny to save our collective butts.

The biggest thing that was different was that all the tests were rolled by the players. The GM didn’t roll to hit; the player had to roll to avoid being hit. As someone who GMs a fair bit, I really like this idea, though I’m not sure if it’s easily exportable to other games where so many things are handled by opposed rolls.

We all had a great time with the game, though, and I think it’s going to wind up an ongoing, if irregular, feature of our group.

Oh, and if you’re interested, here’s the character I came up with:

S.P.E.C.-T.E.R.

Strategic Probability Evaluation Computer – Tactical Emergency Response

Prowess: 7               Intellect: 4
Coordination: 6     Awareness: 6
Strength: 7              Willpower: 6

Powers
Life Support 3 (Breathing, Heat, Radiation)
Precognition 4
Danger Sense 7

Qualities
“I am here to help.”
Wired Into the Emergency Network
Official Emergency Vehicle

Challenges
Public Servant On Call
Inexperienced With Emotions
Shannon Murphy, Maintenance Technician
Archenemy: Infrastructure Network Control Intelligence


Dateline – Storm Point

Yesterday we had the latest installment of the Storm Point campaign. I’ve been working on fitting more into each session of play with this game, because I was unsatisfied with the way it was turning into the fight-a-week club, too similar to the D&D Encounters format. There have been a few specific challenges to that strategy, though:

  • Fights have been too tough. This is sort of a feedback loop: I want a challenge for the characters, so I build a tough encounter, but that means that we only get through one encounter in a session, so I want to make sure that encounter is memorable and challenging, so I build a tough encounter…
  • The actual setting of the adventure is not optimal for highlighting things like NPC interaction and roleplaying encounters. They’re in a ruined dwarven city, looking to repatriate the bones of one of the character’s ancestors, so the place is pretty empty, except for the foul creatures that drove the dwarves out in the first place.
  • Focus is tough in this group. In previous posts, it may have seemed like I was bemoaning this fact and blaming the players, but that’s not the true story. The real story is that we have all been friends for years, but as time has gone on, we see each other less and less outside of the game. So a large part of the enjoyment that we all have in the game is the socializing, and I’m as guilty of it as anyone else. And this is not necessarily a bad thing.

This session, I worked to address the first two points, and wound up doing some work on the third one, as well.

After the interesting combat last session on the crumbling stairs over the lava, the party had found its way down to two different ways into the dwarf city: worked mines and natural caverns. I explained that both would probably lead to the city, but that the mines might be easier to navigate, though more heavily patrolled. The caverns might have less-organized monsters, but would be tougher to find their way through. The group chose the mines.

I built almost identical skill challenges for each path, shifting the DCs as I felt appropriate. The idea was that they needed 12 successes to get through the mines before 3 failures. Every time they made four successes without a failure, they found some raw amethyst in the mine, giving them some interest in the actual skill challenge. Every time they rolled a failure, they would run into a patrol of bad guys. If they had any successes with the Stealth skill, they would have a chance to evade or surprise the patrol; otherwise, they’d have to fight. Twelve successes would see them into the upper city of Silverfalls, while three failures would mean that they had wandered into the caverns and had to get through that skill challenge next.

They made it through the skill challenge with two failures, giving them two combats, and letting them find one cache of amethysts. I threw in an extra cache of amethysts for completing the skill challenge, and because I had pushed the players pretty hard on the final combat.

See, the combats were less of a challenge than I usually make. The group is 8th level – 9th level, after this session – and the first combat was a level 7 encounter, while the second one was level 8. The third, if they had triggered it, was level 10. Usually, I make the encounters a couple of levels higher than the party to make sure it’s a good challenge. The party can handle it, but it means we get through one encounter per session, and the players usually want to take an extended rest after about two encounters, meaning they’re not getting any of the rewards for passing milestones.

We made it through both combats and completed the skill challenge this session, and I was very pleased. We started the last combat about an hour before the time we normally look at stopping for the evening, so I told the group that I was going to be a bit of a dick about running this combat to keep things moving, and that they should be thinking about what their characters are going to be doing before their turn comes up, and that that I was going to limit their waffling time.

In truth, I had to make some noises about hurrying up during the first couple of players’ turns, and they decided I was serious. We got through that combat in about an hour, rather than the two I was fearing it would take. These guys can focus when they want to.

So, we got them to the upper city of Silverfalls. Along the way, they fought drow and troglodytes – and a few demons – and found on the corpses little chits of stone carved with Deep Speech symbols that lead the party to believe that there are aberrations pulling the strings.

I count this session as a huge success for the game, based on the following facts:

  • Effectively three encounters completed.
  • Got through the tougher combat in about an hour.
  • Interest from the players in the non-combat stuff, including some discussion of the history of Silverfalls.
  • Laid some groundwork for possible roleplaying encounters with some of the monsters.
  • Less-challenging opponents allowed the characters to shine, doing some very cool stuff, including a nice teleport bait-and-switch by the fighter and the swordmage, and a very wuxia-style attack by the monk that wound up putting down the boss monster in the first round (assist by the ranger softening the target with a couple arrows).

So, thanks and congratulations to my players. I think this kind of adventure structure is going to make our games more fun.

Oh, and yes. I wasn’t just taunting you with the beholder mini. Fair warning to Milo “GM Weaksauce” Tarn.

Enemy Mine: The Adversarial GM

Had an interesting experience the other day that led to some interesting conversations that led to some interesting musing that I thought I’d share.

Here’s how it started.

Imagine Games and Hobbies is running the D&D Encounters program here in Winnipeg. I do the organizing for them – ordering the packages, arranging the GMs, reporting on the games, stuff like that. I also ran a table through the first season, but couldn’t commit to it this season. One of the GMs wasn’t able to make it to the session this past Wednesday*, so I sat in for him. We were joking about how I was going to do my best to kill at least one of the players.

The game went well, and nobody died, though I had them on the ropes a few times. One of the players, who had played at my table last season, said, “I don’t like this. I want Barry back. You’re too mean.” And this morning, I had this little exchange on Twitter:

Me: Players in #dndenc last night as I was roughing up their characters: “We miss our regular DM!” I count that as a win.

The_Eardrums: @Neal_Rick so that’s what i’ve been doing wrong – all this time i’ve been trying to make it a fun experience for EVERYONE, not just myself.

Me: @The_Eardrums Yep. Make ’em cry if you can. Gamer tears are like candy.

And then I had a conversation with one of my players, with whom I work. She and I talked a little bit about the idea of the adversarial GM, and what that does in the game. It got me thinking and, because I can’t seem to have an unexpressed thought*, writing.

The Adversarial GM

There is an inherently adversarial relationship that roleplaying games set up between GM and players. The GM, after all, is the one who designs the opposition and, in many ways, personifies the conflict. It’s the GM who gets the yea or nay vote on whether cool plans work, and whether the characters succeed in their goals. When a monster kills a character, it’s the GM wielding the offending dice. When a character falls into a pit and gets impaled on spikes, it’s the GM who put that pit there. When a thief picks a character’s pocket, it’s the GM who made the thief do it.

The GM is the adversary, right?

Some games go farther to encourage this than others. Paranoia goes perhaps the farthest towards making the GM the bad guy, but Amber does a pretty fair job of it, too, and I’ve got to say that Blowback seems to do it pretty solidly, too. Most game talk about how the GM is supposed to work with the players to make a good, fun game, but in the end, the GM* is the one who comes up with the opposition, the conflict, the failures, and the consequences*.

When you walk into the dungeon, or start the shadowrun, or decide to investigate the haunted house, or whatever, you know that your GM is just waiting to lay some hurt on you. And you’ve got to use all your wits, resources, rules-knowledge, and luck to escape with your life.

It’s all crap, of course.

The Absolute Power of the GM

I’ve been gaming for the better part of three decades. I have run, and played, so many games that I can’t keep track of them. And I came to the conclusion long ago that the GM can kill the characters, using the rules and playing fairly, any time he or she wants. If you factor in the ease of cheating*, characters don’t have a chance. The GM can kill them on a whim.

If you accept the above paragraph, it’s obvious that the GM cannot be a true adversary, or the players would keep dying.

This leads to the tendency among GMs to want to be seen as tough but fair – if you play at the top of your game, you can beat the GM, but only if you play at the top of your game. It’s the player-on-the-other-side syndrome, as expressed by Aldous Huxley, who might as well have been writing about RPGs, GMs, and players when he wrote this:

The chess board is the world, the pieces the phenomena of the universe, the rules of the game are what we call the laws of nature. The player on the other side is hidden from us. All we know is that his play is always fair, just and patient. But, also, that he never overlooks a mistake or makes the smallest allowance for ignorance. To the man who plays well the highest stakes are paid with that sort of overflowing generosity with which the strong shows delight in strength. And one who plays ill is checkmated without haste, but without remorse.

There are a couple of problems with this approach, though. Metagame thinking enters play in two equally dangerous ways: first, the idea that the GM will never pose a challenge to the players that they can’t overcome, and second, that there is always a right way to solve a given problem. The first type of thinking means that the GM can never scare the characters away with a challenge, forcing them to back off and find a different way*. The second type of thinking can lead to a lot of wasted time as the players try to find the secret WIN button to solve the problem.

All of this is also crap, of course.

The Hidden Power of the Players

In reality, the players exert tremendous power in the game, through their ability to walk away. If players leave the game, the GM loses power.If the GM is going on his ultimate power trip, demanding top-level tactical and strategic play from players who really just want to talk to NPCs and pretend to be nobility, the game’s going to evaporate. If the players aren’t getting what they want, they won’t play. That’s why a lot of early GM advice books talk about how important it is for the GM to make sure the players are having fun, even at the expense of his or her own fun.

This power is subtle, because it’s mainly social, but it’s dominant, because players tend to outnumber the GM. A group of players with a united vision of the game can impose that vision – and associated play style – on the GM, just by the way they play the characters, the things they decide to attempt, and the interest they show in the various plots the GM shows them. So, in a lot of ways, the GM is always at the mercy of the players, driven to perform for their entertainment. Of course the GM is going to be adversarial.

And this, also, is crap.

We’re In This Together

Well, the three points above aren’t really crap, as you probably know. But they are incomplete in and of themselves. It’s a mix of all three of them that produce the power dynamic in a game.

Gaming, as I’ve said before and will say again, is a social activity. There is an expectation that people in a gaming group – players and GMs alike – will adhere to the culture of the group, behaving in a manner that reinforces the shared values and practices of the group. What I mean is that, if you’re playing with your friends, you still act like you’re friends when you’re playing.

Really, everyone has walk-away power. If the GM isn’t having fun, no more GM. If the players aren’t having fun, no more players. And the social pressure that shapes the nature of the play experience comes from both sides of the screen, so the GM has a big influence on the type of game – of course.

But there is an adversarial factor in the role of GM. Of course there is. There has to be for the game to work. But it’s a false adversarial relationship, because of the true goal of the game. What’s the true goal of the game? Well, it’s not to beat the monsters, or win the hand of the princess, or even to hang out and spend time with your friends.

The Evocation of Cool

In my opinion*, the true purpose of playing in a roleplaying game is to create a story that abounds with moments of cool, for various values of cool. What I mean is that the cool that I’m looking for in D&D is a different kind of cool than what I’m looking for in Trail of Cthulhu, and both are very different from the cool I look for when playing Fiasco. Hell, the kind of cool I look for with different gaming groups playing the same system will vary based on the group.

But I’m always looking for the cool, whether as a GM or a player. And I do what I can to bring moments of cool with me to the table.

See, as a GM, it may seem that you have the best position to produce cool at the table. After all, you control the environment, set the challenges, lay out the story development, all that good stuff. The players just bring their characters. But there’s a reason you’re playing a roleplaying game and not just writing your online novel: the true moments of cool, the best moments of cool, all come from an intersection of ideas between the GM and the players.

It’s not the shattered, ancient stone stairs over the pool of lava that makes that fight cool, it’s the characters leaping from platform to platform over the gaps while doing their best to fight off the phase spiders. It’s not the short audience with Odin that makes the trip to Valhalla cool, its the scene where one character tries to bluff his way to a better seat in the meadhall. It’s not the crystals growing inside one of the characters that makes the Chaugnar Faugn encounter cool, it’s the frantic use of speakers and high frequencies to shatter those crystals.

The evocation of cool is the responsibility of both the player and the GM, because only when both sides are working for it will it truly be memorably cool.

All The Sweeter

But let’s get back to the adversarial GM idea, because it factors into the evocation of cool in a special way.

As GM, you are expected to act as an adversary to a degree, simply because you are the one who produces the bulk of the conflict, difficulty, and challenge in the game. You pick the monsters, lay out the traps, set the mystery in place, do the NPC’s scheming, and generally work to make life more difficult for the characters. That’s part of your job.

And in order to maximize the cool, you need to make sure that the challenges are actually challenging, as well as making sure that they’re interesting. The players want the excitement of being challenged in game, whether they’ll admit it or not, both because it’s more interesting, and because they will value their achievements more. If you hand them a great reward, they want to feel as if they’ve earned it*, or else it doesn’t really mean anything to them.

What this means, though, is that you need to be able to judge their capabilities properly, and set the challenge at the right level. Often, this may mean having to adjust things on the fly, making sure that things are just difficult enough for what you’re trying to achieve, and no tougher.

Now, that’s not to say you shouldn’t throw the characters an easy challenge from time to time. It’s vital that you do that, because it will emphasize both how much tougher the tough challenges are, and how much more capable the characters are becoming. In fact, having the bulk of the challenges be of low to moderate difficulty really underlines when you’re taking the gloves off.

Perils of the Adversarial GM

Yeah, so the GM has to act, at least in part, as the adversary. But never, ever, ever should you start to believe that you are, in fact, the characters’ opponent – or worse, the players’ opponent. It will kill the fun, both for you and for the players, and may even threaten friendships.

I’ve talked before about the way Amber sets up an adversarial relationship between the GM and players. While the general notions are fun, the game went, I feel, waaaaay too far in making sure the players knew that the GM was there primarily to screw them over. That bred such an atmosphere of distrust in the game – a game with no dice, so nothing could be blamed on luck – that, as GM, I felt constantly on the defensive about every decision or judgment I made. Players would always seek to find away around a negative answer from me, and I had to resort, far too many times, to the sorry answer of, “Because I’m the GM and I said so!”

Another friend and I had an ongoing problem for years that we had to work hard to overcome – it was a weird competitive thing that neither of us was aware of. When I ran a game and he played in it, I would do my level best to crush his character. When he ran a game and I played in it, he would do his level best to crush my character. It got to the point where the other players were convinced that we were going to come to blows over some slight in the game. The truly bizarre thing was that neither of us was aware of doing it at the time, yet it was painfully obvious to everyone else at the table.

What we’re talking about here, of course, is trust. You need an underlying atmosphere of trust beneath any adversarial relationship that develops between players and GM. The players and GM need to trust each other, and each other’s vision of the game, enough that they can strive together for those moments of coolness that make the games worth playing. Even if it looks like someone’s being a dick, if there’s a solid level of trust that’s been well-earned and respected throughout the game, that someone will get the benefit of the doubt* that there’s a non-dick purpose in it.

But abusing the trust, intentionally or unintentionally, will cause the trust to evaporate, and the adversarial relationship to blossom in the most negative way. These kinds of things can sneak up on you, and really sour your games. Remember, you’re playing the role of the adversary; you’re not actually the adversary.

There’s only one way to make sure this doesn’t happen, and that’s to talk. Check in from time to time, as GM or player or just as friends, to see how the game is going, and what people are enjoying and what they’re not. Don’t let things fester – drag them out into the light and fix them. It’ll make the game work better, last longer, and be more fun.

 

Those are my thoughts after my discussions earlier this week. I hope they make sense; I’m just glad to get them coherent enough to write. The subject is a tricky one, but I think I’ve sorted out my position well enough in my own mind.

What about you folks? Any thoughts? Let me know.

 
 
 

*Feel better soon, Barry! Back

*I heard that, Sandy! Back

*GM-less games, of course, spread that burden among the players. Back

*Of course, the GM also comes up with the allies, the celebrations, the successes, and the rewards, but mostly we overlook that, don’t we, players? Back

*Which is just a pointless dick move. Back

*Well, he or she can, but it tends to elicit cries of railroading. Which may need to be another article in the future. Back

*And it should be obvious by now that that’s the only opinion I truly care about. 😉 Back

*Here’s a neat idea for a game that I’ve seen work very well: give the characters a huge sum of money, or a magic item, or whatever kind of reward the game system allows, with no strings attached. If you’ve got savvy players, they’ll immediately start worrying about why, and you’ve got an entire scenario based on them trying to figure out what’s going on before the other shoe drops. Back

*For a while, at least. If the trust is not rewarded, the benefit of the doubt will evaporate. Back

Adventure Construction

I’ve been doing a lot of thinking about building adventures over the past couple of months. I want to talk about what got me to thinking about this, and about what thoughts I’ve had.

When D&D 3e came out, for a long time, I ran nothing but D&D. Right up into 4e, in fact. And D&D made up the bulk of what I was playing, too. Now, before 3e, I was running a much broader variety and range of games – Vampire: The Masquerade, Mage: The Ascension, Call of Cthulhu, Nephilim, Amber, stuff like that. But D&D was fun, and easy for people to get into, so I started doing more and more of that.

Lately, I’ve been running less and less D&D, and more and more other games. I’ve found that – well, this sounds needlessly harsh, but it’s the best way to describe it – running so much D&D has caused my adventure-building muscles to atrophy*.

Don’t get me wrong: I love D&D. I love playing it, I love running it. But it focuses on a very specific type of adventure – one that is easy-to-access, simple to understand, and driven by external conflicts. Now, I don’t want to get into a huge discussion about all the exceptions to this because, yes, it can be run in other ways, with different types of adventures, and all that. The fact is that the support material – the adventures, the articles, the advice in the books, the entire Building Adventures chapter in the DMG – all focuses on producing that specific play experience, for good or ill*.

So, when I started looking at running other, different types of game, I found myself reiterating the D&D adventure model, whether it fit the game or not, because that was the style of game I was most familiar with, and most comfortable with prepping and running. That left me* vaguely frustrated and unsatisfied with the way I was running these games, which led me to go back to first principles and start thinking about what adventures are, what they aren’t, and how I like to build adventures. Here’s what I’ve come up with: my universal adventure-building checklist. It’s high-level thinking, and doesn’t get into the specifics of how to build a good adventure for any specific system – just my sort-of metathinking about adventure construction.

1. Know Your Audience.

The group playing in the Storm Point game is very different from the group playing in the Hunter game, which is different again from the group playing in the Armitage Files game, which is different from the group in the Fearful Symmetries game. There are a number of factors that contribute to the kind of adventure you’re going to create:

  1. The focus level of the group. Storm Point is beer-and-pretzels D&D, with a lot of out-of-character discussion, distraction, socializing, and occasional viewings of YouTube videos. Fearful Symmetries tends to focus strongly on the game pretty much from the get-go, with few tangents, and the players keeping track of multiple storylines. They require different kinds of adventures.
  2. The interests of the group. My Armitage Files players are interested in the creepy mysteries, with nice touches of historical accuracy, and the opportunity to risk death or madness for the chance to make the world a marginally brighter place. The Hunter characters are more interested in following a trail of clues and solving a puzzle, rather than in the mood created by the puzzle, but also in the interactions between the PCs. If you’re not giving the group what they’re interested in, they’ll stop being interested in the game.
  3. The size of the group. I’ve got six players in Storm Point, three in Armitage Files, two in Fearful Symmetries, and five in Hunter. Smaller groups mean you can give more individual attention to the characters, and focus more on their own agendas. Larger groups mean that you can throw more complex and varied problems at the group and they have a good chance of solving them.

Gaming is a social activity, is what I’m saying, and the dynamics and interests of the group should have an impact on the types of adventures you build for them. Also, remember, you’re a member of the group: your focus level and interests count for something, too.

2. Know Your Game System

This is not about knowing all the rules of the game you run, though you’ll find that makes things easier in the long run. What’s more important is knowing what kind of play experience the game has been designed to produce.

Every game has a play experience that it excels at producing. It has to, because it’s the product of human minds that value certain aspects of play over other aspects. These assumptions – conscious or not – seep into the design of the game, colouring the final play style. After all, no system can do everything equally well, so any system is going to be stronger in some areas than in others.

Examples? D&D focuses on set pieces linked by either geography (site-based adventures) or time (event-based adventures) or both, producing strong, well-defined climactic moments of conflict. Dresden Files RPG focuses on creating strong emotional investment by the characters (and the players) in the events and settings. Hunter focuses on the inner emotional life of characters in crisis situations. Trail of Cthulhu focuses on the desperate struggle to find enough information that the characters have a chance of confounding the threats they face.

Now, all these games do more than what I’ve listed above*, but these are the play experiences that the designers seem to value, and therefor that the games support most strongly. You can build a dungeon crawl in Trail of Cthulhu, sure, or an introspective game of personal horror in D&D, but the game system does not offer as many tools to do those things. Knowing what the game system does best helps you figure out what sorts of adventures will work well in that system.

3. Get an Idea

The first two steps are pretty passive*; this is where you need to start doing the real work. You need an idea for your adventure.

Writers always get asked where they get their ideas, and if you weed out the flippant answers that they give because they’re tired of the question, the true answer comes down to “I get my ideas wherever I can.” Adopting the same approach for designing adventures is the best way to ensure that you keep the ideas flowing strongly. How do I get my ideas?

  1. Reading game material. I read a lot of games, even games that I’ll never play, because I never know what will spark the idea for the next adventure.
  2. Reading my game notes. Setting stuff that I’ve developed and forgotten, notes about what the characters have done in game, throw-away comments, anything can lead to a good idea.
  3. Reading other books. Fantasy, science fiction, horror, mystery, history, literature, travel, comic books, mainstream fiction, whatever. Wherever there’s a good story, there’s something I can loot.
  4. TV and movies. Don’t be limited to genre stuff, either. Cities of the Underworld has been very helpful for building dungeon crawls, for example. Steal from whatever looks good*.
  5. Paying attention to my players. Sometimes the actions of a character will resonate with an idea in your head, and you’ve got a whole adventure sprouting up out of nowhere.
  6. Ask the players outright. “Okay, gang, you’ve finished this adventure. What are your characters interested in doing next?” Not only can it give you an idea for an adventure, it also shows you what the players are finding most interesting and fun about your game*.

What this all means is that you should steal shamelessly from any source that strikes your fancy.

4. Flesh Out the Idea

I use flowcharts* to build my adventures, and I usually wind up building two or three for each adventure. One always shows the background for the adventure: what is happening, and why. Another may map out the relationships between NPCs (and PCs), or serve as a framework for encounters, events, or scenes. These are usually pretty quick to build – ten to fifteen minutes for each, I find. Once I’ve built the flowcharts, I add detail to them, making sure there are at least a couple of ways that the characters can become entangled in the plot, and this can take a little longer.

One of the important things I decide at this point is how well the idea fits the game and the audience. Sometimes, you can tell right of the hop if things area  good fit or not, but sometimes you need to start trying to fit the peg in the hole before you realize it’s the wrong shape. Questions I ask myself at this stage:

  1. How fluid is the adventure? For Storm Point, I want decision points, but still want to keep things pretty linear. For Armitage Files, I want a solid idea of what’s going on behind the scenes, but not assumptions about how the characters proceed, giving them lots of freedom. For Fearful Symmetries, I try and keep a few different plots simmering, letting the characters wander into whichever ones catch their interest.
  2. How long is the adventure? I try and keep the Hunter games to very episodic single-sessions, while I figure on five to seven sessions for each Storm Point adventure.
  3. Does the adventure leverage the good things about the audience and the system? I try and make sure that the game hits the hot buttons of the players and the sweet spot of the system.
  4. Does the adventure do what I need it to do in the game? In an ongoing game, I’ve generally got a couple of themes I’m exploring with the types of adventures I create and run*. For example, the big theme in the Storm Point game is “What makes a hero?” In Armitage Files, the main theme is “How much of a monster will you become to fight the monsters?” I try and make the adventures look at some facet of the theme in some way, though I try to be subtle about it.

Structurally, at this point, I look at some specific things to make the adventure fit and seem part of an ongoing narrative.

  1. How can I incorporate what has gone before? I always, always, always look for ways to tie an adventure into what the characters have already done in order to provide continuity. Even if it’s just letting them talk to a couple of NPCs they’ve met before.
  2. What will this lead to? If I’ve got an idea of the next adventure, or the one after that, I like to seed some hints into the current adventure, again providing some continuity.
  3. How much do the characters need to remember from earlier adventures for this one to work? If the answer is anything more than nothing, then I need to look at ways to build reminders into the game to avoid having to exposition dump on them.
  4. Where do the characters come into the adventure? I need a few hooks or exposed bits of the background so that the characters have a chance to get involved in my plot.
  5. What happens if they succeed? I need to have a firm idea of what success looks like in terms of the adventure, and what the effects of it will be. Now, success can look very different in different systems: in Trail of Cthulhu, sometimes the best you can hope for is survival, while success in D&D is usually measured in experience points and gold pieces.
  6. What happens if they fail? Similar to above.
  7. Is the complexity of the adventure appropriate to the audience? In Storm Point, I keep the plots simple. In Armitage Files, they’re substantially more complex. In Fearful Symmetries, I go out of my way to make things tangled, with conflicting demands on the characters.

Once I’m satisfied with the structure, and the way the adventure has shaped up, I move on to the next step. If it’s not working, I tear it apart and see if I can make it work. Sometimes, I can’t, and I junk it – not the best answer, but sometimes you have to kill your darlings.

5. Add the Crunchy Bits

Okay, so by this time, I’ve got a fleshed-out idea that suits my audience, my game system, and what I’m trying to do with the game. Now, I need to turn it into something playable.

This is the step when I stat things out, which, for D&D, takes up the most time. Other game systems make it easier to improvise stats for opponents, but I still need to set up some baseline things – a standard mook, stats for a big bad, the difficulty to do something that I know is going to come up, stuff like that. I like to have the mechanical things worked out before I sit down to play.

The other thing that I try and put together are a couple of well-described, atmospheric scenes that I think are going to come up. That might mean writing a description of a spooky old house, or it might mean coming up with a set of personality traits for a major NPC, or it might mean doing up a hand-out of an old letter that’s found in a flooded cellar. These are the little touches that can bring a game to life in play. These may be set pieces, or floating events that I just want to be prepared for, and sometimes they don’t get used. That’s okay, though; I can usually recycle them for other adventures or purposes.

What I have at the end of this is a set of game notes, with my flowcharts and stats and atmosphere pieces. I usually tuck everything into a folder, and put it away for a bit, taking it out for a last review a couple of hours before the game.

6. Postmortem

This is, in many ways, the most useful step in building adventures. After you’ve run an adventure, take a look at it, and ask yourself what worked and what didn’t. Be honest – both about the good and the bad – because you’re only doing this for yourself*, and this is how you get better. Look at how the players reacted to things, where they did something unexpected, where they ignored the clues, and where they were right on board. Write some notes.

Also write notes about what happened in-game: I’m a big fan of consequences for actions, and like to build what the characters do into the world. This helps the setting seem more dynamic, when you have others reacting to what the characters have done, and again builds in more emotional investment for the players. It also can help you spark a lot of ideas for the next adventure.

 

So, I don’t know how helpful that is for anyone else, but it’s helped me sort out my process for creating adventures for games. How about you folks? Any tricks you use to put your games together? I’m always willing to steal a good idea or three.

 
 
 

*Atrophy isn’t the right word, really. I dug myself into a rut, and it’s taken some effort to first recognize the rut, and then to start working my way out of it. Back

*Generally, I think it’s for good, but too much of anything gets stale. Back

*And my players, at least to a degree, though they’ve been kind enough not to say so. Back

*And, indeed, others may differ on my take on what their strengths are, but these are my takes on them. Back

*Though the implication to “Know Your Audience” is that, if you don’t know your audience, you need to learn about your audience. Back

*I still have plans to someday build a campaign arc based on the song The Riddle by Nik Kershaw. Back

*Added, subtle bonus: it shows the players that you value their input and gives them a feeling of control over the game, which leads to emotional investment and heightened interest. Back

*Actually, I don’t. What I use are more like mind maps, but that’s such a pretentious phrase, I hate using it. Also, I tend to use flowcharting software for this step. What I’m building is a visual representation of the relationships between different elements of the story. Back

*What can I say? I’m a literature geek. Back

*Unless you’re an exhibitionist GM with a blog, that is. Then you get to talk about your failures in public. Back

WorldWide D&D Game Day: Dark Sun

Just a quick reminder to folks in Winnipeg that I will be running the Dark Sun game day tomorrow at Imagine Games and Hobbies starting at 1:00. And when I say “I will be running,” what I mean is that I, along with D&D Encounters DMs Barry, Kevin, and Rob, will be there to put four tables through what looks like an interesting and challenging adventure.

So, come on out and play with us.

Dateline – Storm Point

Sunday was the latest installment of the Storm Point campaign. It was an encounter that I had been planning for quite some time, eagerly anticipating building an impressive structure for the fight, and having a lot of fun with it.

The plan was for a fight reminiscent of the Bridge of Khazad-dum scene from Fellowship of the Rings, with a desperate battle on a set of precarious stairways, platforms, and bridges, over a pool of lava. I had intended to build the encounter area using the Sewers of Malifaux Terraclips from WorldWorks. Unfortunately, they weren’t available at GenCon as I (and, I think, they) had hoped, so I was forced to fall back on my Dungeon Tiles. These work just fine, but they lack the 3D elevation stuff I was really hoping for. Now, I also have a bunch of .pdfs from Fat Dragon Games, which are very nice, but I have found that I just suck at building the paper terrain, so…

Anyway, I went with the Dungeon Tiles.

What I wanted in this encounter was to have the party very constrained in their movement, but have the monsters less so. I looked through the books for some good flying monsters and monsters with good ranged attacks, but nothing really fit what I had decided this part of the Silverfalls ruins would contain. Then I remembered the phase spiders.

Phase spiders worked perfectly. The popped in for a surprise attack when the party had made their way out of the entryway and onto the stairs, and they kept up a nice hit-and-run attack pattern that drove the players nuts. I put in a couple of spider webs on the platforms, too, both to hamper movement and to give the spiders some place nasty to teleport characters without just dropping them in the lava (which would give a save, which would prevent the teleport, etc.).

I messed up the way they phase spiders’ defensive teleport thingy worked for the first few rounds, though. The new version of the Monster Builder, while it uses the new monster format which I like, is still pretty buggy, omitting some minor elements from the stat blocks. Little things, like when a power recharges, or the climb and teleport speeds, or what triggers a triggered action… you know. That last one caused a few problems, because I had overlooked it when printing out the stats for the game, and got it wrong the first couple of times. But we straightened it out.

The combat itself was everything I could have hoped for. Characters were getting teleported all around the area, spiders were popping in and out, a couple characters were dropped unconscious from the venom, they were jumping over the lava from platform to platform, knocking spiders over the edge, everything very cinematic and exciting.

They managed to dispatch the spiders, and make their way to the exits, where they opted to head through the entry to the mines, rather than the entry to the caverns. I’d planned some fun stuff for each, and they’re going to run into that next session.