Changing Changeling: A Selection of Historical Resurgences

According to the Changeling: The Dreaming rulebook, the phenomenon that made the return of the Changelings possible was the one of the first truly global media events: the landing of the Apollo 11 mission on the Moon. The collective energy of the dreams, hopes and aspirations of all humanity (or at least, a very large majority of humanity) combined with the event to set free a rush of Glamour, the energy that powers dreams, and thus, the Dreaming itself, and returned the Fae to the Earth they had abandoned six centuries earlier.

There are five assumptions implicit in that account:

  1. Technology – and specifically communications technology – somehow empowered these dreams.
  2. Only uplifting dreams could be the source of such an event.
  3. It took the collective energies of a majority of humanity to achieve this.
  4. The Shattering took place when it did.
  5. All the faeries came back at once.

Tinkering with any of these assumptions can lead to some very different Changeling games. In the spirit of wonder and imagination, then, here are some ways to use a different time and type of Resurgence to shake things up in a new Changeling chronicle.
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Tetris

How do you create a strip variant for a game of falling objects? It’s not as hard as it looks – but getting the competition naked might just be.

To play Strip Tetris, choose a particular kind of Tetris. All players should use the same instance of the game – not just the same version, but the same actual copy of the game.

One player plays at a time, and insofar as possible, the game must be positioned so that other players can also see the screen, for the purposes of verification.

Each time the current player succeeds in clearing the screen entirely, each other player must remove a garment. If this isn’t fast enough, add in that all players except the highest scoring each round must also remove a garment. If that still isn’t fast enough, agree on a certain number of lines to be cleared for each garment – 20 or 25 are good choices.

(If you are the player removing garments, do not wait until the game is over to count up the lines – keep a track of the running tally, and remove one each time a multiple of the number is reached. It’s much more distracting that way. 🙂 )


Notes toward Mage: The Ascension 2.0 part three – The Theocracy

Like the Technocracy and the Traditions, the Theocracy finds it necessary to have all nine spheres covered. After all, their opponents do. But like the Technocacy and unlike the Traditions, the Theocracy has fewer groups, so some of them need to double up on their sphere responsibilities. The different sub-groups of the Theocracy are called Orders, and are as follows:

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Notes toward Mage: The Ascension 2.0 part two – The Last Twenty Years

Just to open, I’m pretty much ignoring the metaplot established in various Mage books, which is pretty much what I’ve been doing since 1993 in any case. I’m taking the setting as it was originally introduced, and simply updating the timeline to allow for the events of the last two decades. Think of this as what it would be like if the game were introduced today. Kind of.
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Notes toward “Mage: The Ascension 2.0”, part one – Traditions and Spheres

Writing that crossover between Mage and Planescape the other day got me thinking about what Mage would be like if you were to run it now. And the more I thought about it, the more I thought that this what not only something I wanted to do, but would also give me the chance to fix a few things that had always bothered me in the past.

Like, for example, the way that the Spheres and Traditions never really made sense to me the way they were.
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Fiasco Fridays: Locations

Locations are probably the least important element of a Fiasco game. They exist primarily to provide colour. But it doesn’t have to be that way – there’s no reason why a Location can’t be vital in and of itself, although using that way tends to push it more towards being an Object in game terms.

Fiasco Locations should be appropriate to the setting of the game – and whatever settings are cliches of the genre should always be represented in the playset, even if they never get used. For instance, Hit The Mattresses! would hardly capture that classic Mafia feel without including a barbershop.

HIT THE MATTRESSES!
Locations
1: The Mob
  1. The opulent home of the Don
  2. A mob-run speakeasy or strip club (depending on the era)
  3. The Don’s favourite barbershop
  4. An understanding mortuary
  5. A safehouse that may or may not still be safe
  6. A stakeout
2: The Law
  1. The detective’s bullpen
  2. An interrogation room
  3. The cells
  4. A courtroom
  5. The evidence lockers
  6. In a police car
3: Neutral Territory
  1. St Joseph’s Cathedral
  2. The best Italian restaurant in town
  3. The agreed meeting place
  4. A schoolyard
  5. The zoo
  6. A kosher butcher
4: Disputed Territory
  1. A shooting gallery
  2. A subway station
  3. A classy brothel
  4. A much less classy brothel
  5. A backroom crapgame
  6. The racetrack
5: Bad Places
  1. A dead end alley
  2. A junkyard
  3. A deserted factory
  4. A drunken mob-doctor’s surgery
  5. The sewers
  6. The landfill
6: Around Town
  1. A run down pool hall
  2. The best bakery in town
  3. A Chinese laudromat
  4. A classy hotel
  5. An average cinema
  6. The newstand

Some notes about generating locations:

  • More than any other aspect of the game, Locations set the mood and genre. They have to be true to our pop-cultural expectations.
  • Like Relationships, Locations are best kept broad with most of the details to be filled in by the players unless you’re specifically trying to evoke a particular time and place. That said, it is a good idea to give some direction to the emotions they inspire. Above, I included a whole category of Bad Places, specifically intended to make the point that if something is happening in these locations, it’s going to be unpleasant for everyone, and potentially fatal for someone.


Fiasco Fridays: Objects

Objects are the next element. They follow on from Needs logically: the Need is the reason to fight, the Object is usually one or the other of the stakes for the fight or a complication to it.

Objects can be tricky. Unlike Locations, they can imply other Needs and Relationships than are already specified, which adds to the complexity of the game, although usually in a good way.

HIT THE MATTRESSES!
Objects
1: Legal
  1. An officer’s service weapon
  2. A signed warrant with no details filled in
  3. The keys to the evidence lockers
  4. A blood-stained judge’s gavel
  5. The police light from an unmarked car
  6. The contact details of an informant
2: Illegal
  1. A shipment of very hard drugs
  2. A stolen sculpture
  3. Unregistered weapons
  4. A car with no plates
  5. The take from this week
  6. The Don’s ring
3: Evidence
  1. A taped statement
  2. A confiscated weapon
  3. Seized drugs
  4. The murder weapon with the fingerprints
  5. Security camera footage
  6. The negatives
4: Awkward
  1. Handcuffs (police but not in police custody)
  2. Handcuffs (furry)
  3. A policeman’s badge
  4. Hard to explain porn
  5. Love letters from the wrong lover
  6. The will
5: Innocent
  1. A take out pizza
  2. A child’s toy
  3. A pack of cigarettes
  4. A typewriter
  5. Someone’s lucky dice
  6. A dozen red roses
6: Tools
  1. Safe-cracking
  2. Carpenter’s
  3. Tyre change
  4. Electrician’s
  5. Plumber’s
  6. Birth control

Some notes about generating objects:

  • Objects need to be broad, so that they can be attached to nearly any relationship. One example from above is the police officer’s badge – it logically goes with the police officer, but it’s so much more interesting if it’s someone else who has it.
  • Many of the objects listed above can easily wind up in the game even if they’re not chosen during set-up – in Hit The Mattresses!, for example, very few characters will be without guns, even if such isn’t specified above.


Fiasco Fridays: Needs

The next step in creating a playset is the Needs. This is probably the section of the game that requires the most attention, because it’s the Needs that drive almost all the action and generate all the conflict.

I like to think of Needs in Fiasco in terms of the three questions that JMS once described characterisation. He said you have to know what a character wants, how far they’re prepared to go in order to get it, and how far someone else is prepared to go to stop them. This being Fiasco, the answers to the latter two can safely be assumed to be “stupidly far”, leaving the remaining question, what does the character want?

But in Fiasco, Needs are applied not to characters, but to relationships – and thus a need has to be something that either or both the people in the relationship can have. Most times, it will only be one or the other of the characters, because if they both want the same thing, there’s no conflict, and without conflict, there’s no game.

HIT THE MATTRESSES!
Needs
1: To Get Out…
  1. Of this family
  2. Of this war
  3. Of the blame
  4. By any means necessary
  5. Smelling like roses
  6. With your skin intact
2: To Prove…
  1. Yourself to your superiors
  2. Yourself to your enemies
  3. Yourself to your lover
  4. Yourself the better man or woman
  5. Who really did it
  6. Who the rat is
3: To Get Even
  1. With the one who betrayed you
  2. With the one who cheated on you
  3. With the one who showed you up
  4. With whoever set you up
  5. With the one who stole from you
  6. For that thing that time
4: To Make It Big…
  1. In your organisation
  2. In an opposing organisation
  3. In the eyes of your lover
  4. Financially
  5. In the press
  6. Even if it kills you
5: A reason…
  1. To keep going
  2. To stop
  3. To do the right thing
  4. To give a crap
  5. Why you shouldn’t do it
  6. For this war
6: To Show…
  1. That you still have it
  2. That the old ways are the best
  3. That the new ways are the best
  4. That you keep your word
  5. That you’re a badass
  6. Them all!

Some notes about generating Needs:

  • It’s good to go broad with Needs. That’s why, for example, I have a category labelled “To Get Even” rather than ‘To Kill” – it’s more surprising, and more fun, when the players can decide what form their revenge should take


Fiasco Fridays: Relationships

One of the ways in which Fiasco differs from other games is that the way characters are defined, initially, is in terms of their Relationships to each other. Every player character has two Relationships that are spelled out in detail: one with each of the characters of the persons sitting either side of them.

These Relationships may, of course, imply other relationships: say your character has two Relationships: Husband and Wife, Father and Daughter. By implication, the people either side of you have a Son-In-Law and Father-In-Law Relationship. It’s this sort of density that makes Fiasco so entertaining to play: because each character has two Relationships, nothing can happen in a vaccuum. In addition, the other elements of the game – the Objects, Needs and Locations, are all attached to a Relationship, not a character, which helps to drive the action.

Structurally, Relationships – like the other three elements – are defined on two levels. There are six broad categories, such as Work or Family, and then each of those has six actual Relationships in it.

In this particular case, I’m writing a playset that will be set against the backdrop of war between two rival Mafia families in a major (but unspecified) American city. This logically suggests several categories to begin with – Family and The Law quickly spring to mind, as does “Family” and Love (which is a category that appears in almost every playset just because of its fantastic potential to screw things up). For my mast two categories, I choose Bystanders, to broaden the range of characters, and Miscellaneous, for those relationships that belong in this setting, but that I couldn’t fit elsewhere (either because their more appropriate category was already full, or because they didn’t really seem to fit in any of the other categories).

HIT THE MATTRESSES!
Relationships
1: Family
  1. Heir apparent and resentful sibling
  2. Parent and child
  3. Kissin’ cousins
  4. Estranged siblings
  5. Husband and wife
  6. The grown-up child and their real father
2: “Family”
  1. Don and Consigliere
  2. Rival Capos
  3. Capo and Soldier
  4. Friends from different families
  5. Enemies from different families
  6. Third Family mediator and the one who doesm’t trust them
3: The Law
  1. Undercover cop and unsuspecting partner
  2. Crooked judge and bagman
  3. Cop and witness
  4. Cop and informant
  5. Double agent and handler
  6. Crusading DA and contact who’s on the take
4: Bystanders
  1. Clean and dirty relations
  2. Witness and wannabee
  3. Didn’t see a thing and Doesn’t believe that for a second
  4. Guy who knows a guy and Guy the guy knows (non-gender specific)
  5. Protection racketeer and “protected”
  6. Helpful witness and Lying witness
5: Love
  1. Lovers across family lines
  2. Lovers across legal lines
  3. Secret lovers
  4. Cheating lovers (on other people)
  5. Cheating lovers (on each other)
  6. Criminal and civilian
6: Miscellaneous
  1. Undertaker and best customer
  2. Out of town gambler and contact in town
  3. Legitimate businessperson and “legitimate businessperson”
  4. The Fed and the Local
  5. The reporter on the crime beat and their source
  6. Confession-hearing Priest and the one doing the confessing

Some notes about generating relationships:

  • Paired opposites are one of the most fun kinds of Relationship – I’ve used that above a couple of times, notably the Helpful & Lying Witnesses and the Heir & Resentful Sibling, but also with Legitimate Businessperson & “Legitimate Businessperson”
  • Relationships should be left fairly unspecific, so that the details can be filled in later. Didn’t see a thing and Doesn’t believe that for a second is a good example of this – it doesn’t specifiy who saw anything, or even if they saw it, nor does it explain who doesn’t believe them and why.
  • A certain portion of relationships fall under the heading of necessary connective tissue, because something has to connect across categories rather than just in them.
  • It’s frequently impossible to avoid hierachical relationships, which means that one player is going to be able to give another player orders at some point. Don’t worry about avoiding this when writing playsets or playing the game: Fiasco is a game of screwing up big time, so disobeying orders you don’t like fits right in.