The reason why I chose only chasing and not being chased was because Huey was supposed to be the kind of person who doesn't want to flee. So I might suggest, for instance, changing it to "when you are chasing or your opponent is otherwise trying to evade you." If that's too inclusive, I could just take what you suggested (running after people probably also gives practice in running from them).
I'd definitely make it both towards and away. The skills overlap a lot. You could also buy another stunt, then, for just chasing and add another +2. Maybe pursuit of justice.
It may not fit who he's supposed to be, but it'll come in handy when he's not being compelled by his aspects to do something stupid. :)
I've been looking at the book a bit more, and I'm thinking that our Bargain stunts are effectively 'superpower' extras. Does that seem accurate? If so, is it also accurate to say they might be 2-refresh stunts? If so, that makes it a lot easier to balance things. Like...
Gun: +2 to attack with Shoot (or maybe, force a consequence on a successful shoot); can use shoot to create advantages in relation to fire.
Skelly: Gain a +2 Advantage when you take a consequence, Deny the enemy an advantage when you take a consequence (Once per scene); Take 1 reduced damage from all physical attacks.
Lucky: Once per scene, create a story detail related to your luck. (Normally something like this might be once per session and still be really cool. Since it's a 2-fer I think once per scene is a good fit)
Leader: Once per scene when you use Create Advantage, two allies gain a free boost (+2 bonus, usable once), regardless of the outcome.
Does that make sense, overall?
Sorry, I've been in a weird place this week. It's not a big deal, but it's slowed my posting a bit. But I want to keep this momentum, because I'm really excited for this game.
Huey: I'm fine if you just want it to be a bonus for chasing or capturing if that's your thing, I could see that working. Serra is correct though that you probably wouldn't want to rule out the option of ever wanting to take flight, but unless I'm compelling you to do so (which I'm not sure I see an easy aspect for) it's completely your choice!
Serra: YES, that's a fantastic way to look at it/structure it. In my head I've been roughly looking at it as worth 2-3 refresh worth, and I think you're right that stating it that way makes it easier to evaluate for balance.
------------------------------------------
The conversation slowed regarding game aspects as well, which is fine. It seems like we're all in for something along the lines of Sold My Soul.
- As far as motivation for this, currently I'm assuming that this means you all are together with the common cause of either manipulating your way out of this bargain, or potentially even enhancing it (for those that wouldn't want to get out of it). Either way, you want to know more. Does this settle well with most of you? Any further clarification?
The second aspect looks more external, in what do your surroundings pose as a threat/goal? I've seen mention of a pervasive lawlessness, which works well. I also like supernatural things as well, and would like to lump that in (but not exclusively). I guess my greater question here is this:
- Scope: Would you rather have one more-or-less central location, a hub, where you mostly interact? Or do you prefer something more sprawling, with frequently changing locales?
Finally, if people are good with it, once we have these game aspects figured out, I'll open the gameplay thread for our Phase Trio.
I want that in the gameplay thread, rather than discussion, because I want you to think of it as your character's pilot; as if the first episodes of a show highlighted one character a week, with the other characters there in the peripheral.
For your Phase Trio, each of you will pitch your pilot episode. Tell us what it is that your character is after or struggling with, and the basic structure of the plot. This doesn't have to be an essay, in fact it's possible it could just be a paragraph. The core book outlines these questions if you need help focusing on what to cover:
- Something bad happened. What was it? Did it happen to you, to someone you cared about, or to someone that you were coerced into helping?
- What did you decide to do about the problem? What goal did you pursue?
- Who stood against you? Did you expect the opposition you got? Did some of it come out of nowhere?
- Did you win? Did you lose? Either way, what consequences arose from the outcome?
This is just the first step, and two other players will add their own roles into your story. But the mistake I see most often at this step is that people only "introduce" a story or complication (e.g. "I was after this ancient book that I discovered was hidden in a sealed crypt in New Orleans, but as I entered the Mausoleum I heard a familiar voice behind me..." [end phase])
Don't do that :). You're not starting a story that other people finish, like passing around some sort of story baton until you find out how it all ends. You're outlining a full (but compact) story of which you are the spotlight character. The other characters don't finish it (you should have), they just interject themselves and the complications or assistance they provide.
I hope that helps. And again, we won't do that until we know what are characters are after (first game aspect) and the general scope we're looking for (second game aspect).
I prefer the idea of fixing the 'starting town' as it were, and that being a main priority early. Setting right some clear wrong, with well-defined locations to start, then spreading outwards from there in a more natural way, or being drawn there by story.
As for Serra, I've been leaning towards werewolf more than anything else, Monsterwise. In particular, White-wolf style werewolves. If you're familiar, the Uktena tribe seems to be a really solid fit for her.
I'm fine with Sold My Soul Manipulating her way out would be the most likely reason for Nora or even something like paying off the debt by working for him in exchange for ours souls back after X amount of jobs?
Lawlessness is the most common theme I've seen in westerns maybe moving into supernatual problems like other people that have made deals like us but don't want out?
Scope: I think a Central Hub would be best to start and maybe pushing out from there as we gained power/influence.
After working with Hotaru these are the stunts we've come up with:
-----------------------------------------
Stunts:
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• Miss Fortune: When you succeed with style on a defend action against an opponent’s Fight roll, You get to attach the Jinxed situation aspect to your opponent with a free invoke, instead of just a boost.
• Black Cat: Gain +2 to Speed when using it to Defend against an opponent’s Fight roll.
• ?: Use Survival in place of Charm when dealing with nonhuman animals.
• ?: When someone is compelled by one of their aspects, and you are affected by the results of that compel, once per scene you may gain a fate point, just as if you'd been compelled.
Just so I understand phase trio - we have a complete (but compact story about how we arrived where we are? As in, the physical location of the town? I like that image.
It will also help me if we have a few fixed reference points - like the name of the town, and where it is - very general - like Montana or Arizona, or West Texas or Colorado. Ranching country or mining country or both. I assume sheep herders are moving in also, raising tensions with the cattle ranchers.
I'm good with sold my soul.
As for scope, I like the depth possible with a single town and adjoining areas.
Could be that all of us are looking for a bargaining chip. Some to get out of the deal, some to get a better deal.
I'm just going to go with Nose for Trouble for my third common stunt. That fits well with being able to predict what people are going to do.
• Lie Whisperer. +2 to all Empathy rolls made to discern or discover lies, whether they’re directed at you or someone else.
• Mind Games. You can use Deceive in place of Provoke to make mental attacks, as long as you can make up a clever lie as part of the attack.
For Skills,
Gamble +4
Charm +3
Occult +3
Craft +2
Brains +2
Resources +2
Shoot +1
Contacts +1
Grit +1
Fight +1
Just got home from work. Gonna read, then post some stuff.
Looks like my phone post failed.
Under the circumstances, it's ideal to explain what you're doing in town as part of your story, but it's most important to establish who you are and provide a hook or two for your gm and other players. The story should also help to establish more of who your character is, thus gaining another aspect.
I think that "sold my soul" could work, but I would have to figure out why it's not going well for Huey before he would consider undoing it. The pilot is probably a good place for that to take place if I end up doing that.
Any chance I could talk you into opening up the gameplay threat for dotting purposes?
Any chance I could talk you into opening up the gameplay threat for dotting purposes?
Yes, certainly!
Other than the first person to post in a thread, you can make a post in the gameplay thread, and then delete it, in order to get your 'dot', without retaining the rest of the content. :)
Dotted, thanks that will make it a bit easier to keep up with
Ok then, let's do some phases. I apologize that it probably feels like I'm drawing this out (perhaps unnecessarily so), but each of these should feed off of the other.
It seems like you're all united by your individual bargains and the curse it brings. You're not agreed on whether you want to remove it, cheat it (keep the benefits but loophole the cost), or possibly even enhance it--which works out just fine. Regardless, you want to discover more and it gives you something to look into.
Scope is tightened to a specific town and its surroundings as well. That doesn't mean that there couldn't be trips that move outside of that, but it provides a central locale rather than a sprawling story of travel.
As for the town, what are you guys looking for as far as geography? Obviously it's western, and I like the ideas of clashes with other cultures (Native American, Mexican, Chinese, etc.) if that's something that interests you as well. But that could easily be located in several different places. As far as what's around, whatever you guys might describe becomes canon (if you describe miners, there must be some mines. If you mention ranchers, then there's obviously sprawling ranches. If there's a riverboat, then there's a river. Etc.)
The name of the town (in my mind) seems to be the last bit of foundation you might need to build a story there. Here's some popular double entendres/evocative/ironic monikers: Town of...
- Pariah
- Perdition
- Brimstone
- Serenity
- Tombstone
- White Chapel
- Devil's Gulch
- Deadrock
- Gravehallow
- Snakewood
- Hope Valley...
Have a brilliant one, or at least one you'd venture floating out there?
..... Aaaaaaaaaaaand, :
In the Gameplay Thread, write out your first phase, which is a small adventure/encounter/struggle that your character went through before the game actually begins that other characters will then involve themselves in. There are 3 very intentional things that make this part of the game so valuable (in my opinion):
- Setting Creation: Whatever you talk about becomes true in the setting--characters you create, locales, groups, events, etc. You are populating our world.
- Group Cohesion: You are not all going to meet in a saloon and suddenly decide to be best friends in some contrived manner at the beginning of the game. You've already met. You may not be friends, but you know each other and have spent time together before. These are pilot episodes into your shared pasts.
- Character Development: You will pull your last 3 aspects (yep, 3, the bargain aspect is a bonus) from these phases. So this is an opportunity to highlight something fascinating about your character--either through connections, outlooks, interests, lessons, etc.
Here's the advice offered earlier, to consolidate in one place:
For your Phase Trio, each of you will pitch your pilot episode. Tell us what it is that your character is after or struggling with, and the basic structure of the plot. This doesn't have to be an essay, in fact it's possible it could just be a paragraph. The core book outlines these questions if you need help focusing on what to cover:
- Something bad happened. What was it? Did it happen to you, to someone you cared about, or to someone that you were coerced into helping?
- What did you decide to do about the problem? What goal did you pursue?
- Who stood against you? Did you expect the opposition you got? Did some of it come out of nowhere?
- Did you win? Did you lose? Either way, what consequences arose from the outcome?
This is just the first step, and two other players will add their own roles into your story. But the mistake I see most often at this step is that people only "introduce" a story or complication (e.g. "I was after this ancient book that I discovered was hidden in a sealed crypt in New Orleans, but as I entered the Mausoleum I heard a familiar voice behind me..." [end phase])
Don't do that :). You're not starting a story that other people finish, like passing around some sort of story baton until you find out how it all ends. You're outlining a full (but compact) story of which you are the spotlight character. The other characters don't finish it (you should have), they just interject themselves and the complications or assistance they provide.
Under the circumstances, it's ideal to explain what you're doing in town as part of your story, but it's most important to establish who you are and provide a hook or two for your gm and other players. The story should also help to establish more of who your character is, thus gaining another aspect.
Ready. Go. (In the Gameplay thread. I see this as part of the actual game, just without rolling or GM intervention yet).
I am going to hold off to see how others do this as I am not all that clear on what you are looking for. I am writing what I think you want on my google docs......so I should jump in quickly if things are as I think they are (I am not actually paranoid if you are all plotting against me).
I vote for Perdition, White Chapel, or Deadrock.
I particularly like the connection of an 1871 White Chapel to the 1888 White Chapel murders in London (a.k.a. Jack the Ripper). That could be an interesting connection to work.
Personally, my vote goes for Serenity or Absolution, with Perdition in third.
White Chapel bumps up a bit higher with the note of the Jack the Ripper stuff that would have been utterly lost on me.
Any of them are actually fine with me (I don't want to explore why I knew that about Jack the Ripper!).
I can easily modify my future postings under gameplay with whatever name or territory we choose.
It may be tonight or tomorrow before I get anything substantial up. Yesterday's work day went to crap, and I have to work again today... and probably tomorrow. We'll see, sorry for the delay on my part.
I would choose "Serenity," but I'm fine with any of the others suggested.
To make sure before I start writing, are we all on the train with each other? And also, since we're supposed to have already met, are we supposed to include details about that in our stories? Or is it just assumed?
I just assumed it was how I arrive in town. A further posting was to be getting off the train in whatever town we are in.
I can also delete and start over.
Cool intro, Orland. I'm assuming that's not the Phase Trio, so these tips aren't directed specifically at you but at the questions coming up in general.
Here is the explanation from the book, on the System Resource Document: System Reference Document - SRD
In general, you want to cover a full story, as in, we want a summary of something you think is really cool that happened, the basics of what it involved, and how it ended. You truly have carte blanche here to create whatever you find interesting, without any GM interference, so make it something that fascinates you.
So, for example, Orland could pick up from his intro (and I'm going to make this fairly brief as an example):
While travelling to the town of [Serenity/Absolution/Perdition/White Chapel], the train breaks free of its tracks and careens wildly into a gulch--a wreck of twisted metal and mangled passengers. Orland is one of only a couple dozen survivors, helping to organize the ragtag group and set up a means to survive as they work to rescue loved ones, salvage a means of surviving, as well as protect themselves from the elements and assaults from the region's natives. Everyone looks to him in his leadership, due to his extensive experience and natural gravitas.
Ok, probably not incredibly interesting, as I didn't create much setting or characters, etc. I honestly didn't put much work into that, but you can see how it summarizes the situation pretty well, leaving room for others to jump in with complications or aid, and I could pull an aspect about Orland from it: Everyone's Hope for Leadership, or Prepared for Every Contingency, etc.
Serra: No worries on delays. I'm not rushed on this, though I'm pretty excited for it. I want you guys to love what you're making though!
Huey: You can make any kind of story you want (in fact, it most likely won't be in the same place as Orland's, since you're going to be telling a different story. The next phase is where you guys begin to add yourselves to other people's beginning phases.
So you could tell us about something that happens later at whatever this town is, or maybe something in a further past (which serendipitously would involve the others.
I -really- like the idea of the train wrecking. Because it fits in -so well- with also tying Nora into his story. She knew better than to trust that train...
I'll also have something similar to Orland in that vein; I wrote quite a lot and didn't like it a whole lot overall, but it covers quite a bit of ground in the way of backstory.
I'll leave that in a spoiler and then do something more after - though if you like the idea of appearing in the story in a broader way in the 'intro' section... feel free!
Hi! Sorry about the absence. As I've noted in other campaign threads lately, my computer got a virus and I needed to reformat. I've done so, and now I'm getting ready for work. Expect a LONG post after work tonight.
Not a problem Fernando.
The three we have are perfect. Once we have the remaining three, we'll have everyone add into someone else's. Here's the list (in alphabetical order), and who will be crossing with whom in case you want to be thinking about it.
Amaziah (1) - Serra (2) - Orland (3)
Fernando (1) - Amaziah (2) - Serra (3)
Huey (1) - Fernando (2) - Amaziah (3)
Nora (1) - Huey (2) - Fernando (3)
Orland (1) - Nora (2) - Huey (3)
Serra (1) - Orland (2) - Nora (3)
So if your name is listed with a (2), you will be adding onto the initial story summarized by the first name in that row (their Phase 1). Whatever the first person described is canon, but you will be adding in how your character was also involved in that incident and either assisted or complicated it.
Finally, after the second name in each row (Phase Two) has established that character's involvement, the third name (3) will do the same--adding further to the story with their character's involvement and assistance/complication.
By the end, we have 6 episodes--one featuring each PC--with the other PCs interwoven through the background; plus a lot of setting and history type flavor to draw on later.
You will all draw your final three aspects from these phases (one from each phase) to complete your character. As with before, we can all help with these. However, I have no problem rewording or changing things around as you all get a better handle of the game, rather than waiting for the first milestone.
There, I've updated mine a bit to make it easier to slide into.
The Family Business isn't Dead covers Serra's awakening after a night in which she'd blacked out to discover her father to be a hunter of monsters and gone. She does her best to find things out, but eventually settles on approaching the town priest, Lazarus, the last black name in the ledger, and the name that appeared most often therein. She decides to follow in her father's footsteps, quite literally, in order to try to find out who he was, and make sure that he work he did wasn't in vain, and didn't end in tragedy.
Perhaps your name appears in the ledger, black or red?
Perhaps you were there meeting with Lazarus?
Perhaps one of the people she questioned was in your vicinity and you offered aid (to one or the other!)?
There are many ways to find yourself touching in Serra's story, for good or ill. It's perhaps not as open or thorough as I'd like, but I feel it was long enough. :)
Serra's stories provide the following setting pieces:
Priest Lazarus A Savior of Men and his Church The Last Bastion in a Godless Land
The Willmore Homestead, Secluded Sanctuary and Mostly Hallowed Ground.
Her father, and his Ink in the Ledger, though not the answer as to where he'd gone.
I love the Mostly Hallowed Ground aspect, since that really easily goes both ways. It's a great fit.
So to clarify ....
Orland posts a story that adds to Serra's first post. Nora will follow Orland.
I am assuming these stories are happening somewhat simultaneously, or at least they are going to end at the same time? With all of us converging in the same location for different reasons at the same time?
This will percolate with me overnight, and I will continue the storyline tomorrow. Unless I misunderstand the game plan, in which case all bets are off!
@Mostly Hallowed Ground: Yup!
Addendum: Last Bastion in a Godless Land: Do you think God-Forsaken is a better adjective there?
Re: Stories: It's more you add your character into the story. Like 'Hey, you know, my character is actually pretty religious; born in a Scottish family, the only thing he cares more about than god is his drink. He'd totally be in the Church and maybe overhear a bit of that.' Or 'My character would totally be around for one of those conversations where some Jackanape opted to comment on her chosen profession. I shut that up, real quick.' So on and so forth.
The idea is to do a couple of things: Add to my story, introduce your character to mine, and more importantly, add to your own story and character. No character survives unchanged in the first few chances you have to play them, and this helps you get a good bead on who they are, and show us what kinds of thigns you want to see in the story, and show us what a story about your character would be like.
From here on, it's very collaborative. There will be steps made towards our 'personal arcs' just like any television show with good character development, even as we follow along the main arcs. So... what's your story? How does it begin? How do our two 'major players' in the story meet up?
Also, I'm very open to slight changes to the story in order to better fit your characters in. Heck, it'll be a better story with a bit of group-think!
Yes to everything Serra just said. That's the concept precisely.
As to your assumption: are these stories all happening simultaneously and converging at the same place/time?
Nope. Don't worry about that. These stories all likely happen at different times, and don't need to overtly connect at all. This is a lot like a short "background story" you would write for a typical recruitment on these boards. Maybe it happened in the immediate past, or maybe it's a bit more distant. When we start, all together, these will just be snippets from your pasts that help tie you all together.
What you wrote, Orland, is really interesting; but you don't want to make any calls for other characters. Your addition to a phase is simply how you are involved in that story. How maybe you jumped in to help, or maybe were part of the problem, etc., but you don't want to be declaring any decisions or actions on part of other players. I only point this out because I want to protect everyone's authorship of their own character.
Have you read through the SRD on the Phase Trio? It has examples that might help you understand, and I apologize that I haven't been able to outline it properly :/.
Let me take some time with what you wrote and see if I can suggest a way to distill it down to only Orland's actions/decisions.
My problem is that I learn by playing, and pbp may not be a good way to learn Fate. Perhaps bowing out would be the best thing, leaving you with a more manageable 5 players.
I'm going to work up the story of how I came to own the saloon, which should introduce some other townsfolk.
Don't be dismayed, Orland. I'm having trouble getting my footing, too. I'm sure it will all pay off.
No, I'm completely fine with what he did. He came to me via PM; generally it's bad to 'control' a character, but there's nothing out of the ordinary going on there at all (except where I'll bring it up)!
In fact, the anger sort of plays off of how her bargain works. And she's likely a bit upset with the guy anyway. :)
So, the idea I have is that (like we talked about) this probably goes down after she follows one of the leads up, and winds up coming up empty handed and is on her way home... but happened to have an idea of whatever the thing was.
The wording probably isn't fully canon, but I like her ignorantly asking which country he was from in the worst way. :)
How do you feel about her being unable to bring herself to kill it and Orland having to take her gun to finish it instead of her?
As for the necklace, I'm thinking it's more a 'broken shackle' her father made for her beast than a 'monster finder'. :3
Sorry all, it's been a crazy day. Orland, I wouldn't recommend you quitting as long as you're willing to fight through the confusion, I want you here :). I also apologize as I didn't know you had already spoken with Serra, so my fear there was unfounded.
Also, what timing! Look what just got uploaded today:: High Quality Fate Core Play Example
I will struggle through.
Good video.
Perfect, I think we're all good on your Phase Two then Orland, if you and Serra are both together on how that works. I also am thrilled that you've given me another song to add to my mix for this game. Well chosen!
I know we're all kind of in a holding pattern for the moment, so please let me know if there's more I can do to help anyone along or clarify some confusion.
I got really excited at work today while thinking about Amaziah, as a result of reading your intro (which I need to respond to).
First: I feel like my character would likely be antagonistic towards yours as a result of your story, if she knew what was going on. I don't want to just jump straight into the 'I don't like you.' thing, though.
Second: I was thinking of an aspect or Stunt name as a result of your Morningstar (which is a great name!): The House Always Wins Not sure what it'd do, but it just seemed thematically appropriate.
@Orland: Don't forget that you should gain an aspect from our interlinked story. It should have helped to show who your character is. If you need a suggestion, I noticed a lot of inappropriately timed humor, which to me is a great aspect in and of itself. You could either invoke it to take the tension out of a situation, or it could be compelled to say something funny that you shouldn't have (most likely self-compelled).
So you are thinking of something like Scottish sense of humor or even just Inappropriate sense of humor or maybe Falls off Trains well?
Again, it will help defuse tense situations or help open a negotiation(?)
I'm not sure, really! But you do need an aspect from it! So I was just making a suggestion in case you didn't have any ideas, having read over it. Does that sound like an aspect he should have, or does it not? Do you think you'd enjoy playing a character with that aspect?
I would probably go with British sense of humor rather than Scottish, as they are basically the same dry, understated, possibly sarcastic, wit.
Just not sure how that is a benefit.
He also was sneaking through the night so he could get stealthy or similar, which makes some sense and is more obvious than British sense of humor.
He also effectively waited out the creature and shot it, so something that gives him a benefit in an ambush situation, like Ambushes Bushwackers or Shoots from Cover
I keep reading through these intros, which are giving me plenty of ideas. I love this phase trio thing so much! It's like a GM's greatest trick...
And Orland, I'm really intrigued by British Sense of Humor. Like you, I'm trying to think through what that would mean. Sometimes it helps to simply outline a couple "I could invoke it when..." and "It could be compelled to..." examples.
For Instance:
British Sense of Humor
This could be invoked when...
- In any manner of social situations involving witticisms, or even physical ones where Orland's wit keeps him or others calm.
- ...?
This could be compelled to...
- Make that sarcastic remark on the tip of my tongue that everyone hopes I'll hold in.
- ...?
As I said, I'm still thinking on it. But I think the reason I like it is that it says something significant about your character, which is the point of aspects. It's not what you can do, but who you are. And any time you want to benefit from that, it means you'll have to be making those kind of witty comments.
Ex. "Oh dear, that was a bad shot! Here, let me make some sarcastic, biting comment and reroll as it catches the target momentarily off guard.
On a second note, we seem to have some dead air from Nora, our Homegrown Bounty Hunter; and Fernando, our Hopelessly Dead Romantic. That's a shame because they had equally fantastic character ideas!
If you are still around or return, Nora and Fernando, I would still love you to be a part of this. Truly! But for the sake of progress, I'm condensing the Phase Trio list to intertwine the four of you that are posting:
Amaziah (1) - Serra (2) - Orland (3)
Huey (1) - Amaziah (2) - Serra (3)
Orland (1) - Huey (2) - Amaziah (3)
Serra (1) - Orland (2) - Huey (3)
*The ones in bold are already on the books.
Nora is definitely still here. So don't dive into adding to my story just yet.
I've been waiting to see if Amaziah minds me not-necessarily being 'on his side' in his story before writing.
Also, do folks mind if Serra and Nora are in a relationship?
Nora is definitely still here. So don't dive into adding to my story just yet.
I've been waiting to see if Amaziah minds me not-necessarily being 'on his side' in his story before writing.
Also, do folks mind if Serra and Nora are in a relationship?
Doesn't bother me, just adds more interesting ties.
And I'll keep Nora in it then. Glad she's still around!
----------------------------------
Amaziah (1) - Serra (2) - Orland (3)
Huey (1) - Amaziah (2) - Serra (3)
Nora (1) - Huey (2) - Amaziah (3)
Orland (1) - Nora (2) - Huey (3)
Serra (1) - Orland (2) - Nora (3)