Right, cue the theme songs:
Dorothy - Gun in My Hand
Crowder - Keep Me
It was simple, he replied. He said the natural order of things was the most vicious crime ever perpetrated on mankind. It turned men into slaves who crawled from cradle to grave in servitude, their pathetic existences hardly qualifying as life at all.
Chaos, on the other hand, revealed mankind’s full potential: where there were madmen, there were geniuses; where there were the most depraved villains, the greatest heroes rose.
To upset the status quo was mankind’s highest calling. And there was no greater bastion of the status quo than Purgatory.
—The Stranger aka The Devil, Hard West
Year of 1871 - You and yours got it in the neck good. Ain’t that always the way it goes? That flannel-mouthed demon had an offer too good to be true, which you were too enticed to pass up. Now, nearly a decade down the trail, that four-flusher’s got your world up the spout, and Hell itself is damn close on your heels. But that doesn’t hold a candle to what you can dish out in return. In fact, I wager you’re fittin’ to euchre the devil himself; soon as you can figure how. It's a risky hand, but a good gambler knows it's all in how you play it.
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This is the recruitment for a High-Octane, Supernatural, Spaghetti Western son-of-a-b**ch PbP game, ridin’ a crazy horse called Fate Core.
• Spaghetti Western - A style of Westerns (gunslingers, outlaws, wide open ranges, and lawless territories) characterized not by white hat heroes and sunsets, but by gritty noir-style antiheroes, darker plots, and over-the-top action. It's somehow pulpy with larger than life heroes as well as deadly.
• Supernatural - Demonic bargains, clairvoyants, shamans, mythical beasts, voodoo practitioners, undead, mystical relics, werewolves, forgotten gods and cultists... yeah, everything you can stuff into that grisly saddle-bag. I'm not talking overt though, it's too slick to be out in the open like that. To most people, that stuff's just stories.
• High-Octane - While this is heavy role-play by nature of a story game system, it's going to be relatively fast paced and hard hitting (for a story game). Character development happens during the action, as I don't intend many opportunities to catch your breath. Do that when you're dead. I also have next to no intention of keeping this historically accurate to the period. I intend the old west feel with fairly rampant anachronisms (such as the 1960s phrase in this heading).
As for Fate Core:
- Core Rules - which are Pay-What-You-Want, so snag them for free and support the other once you discover how great they are.
- Official SRD - for quick reference.
I intend to help anyone new to the system, and actually really enjoy doing so. But you'll really want to read the rules rather than just rely on me, so you don't get frustrated. Here's some extra reading that may help.
Learning Fate Systems from a d20 Background
The Fate Mindset and Paradigm Shifts
The Book of Hanz - This has a lot of musings from someone working through really getting the system. They're fantastic, and each is quick (though the entirety is extensive).
In general, characters in Fate Core are Competent, Proactive, and Dramatic.
• Competent - You're not beginners. You're proficient, impressive, and made to do impressive things. So your actions don't need to be timid or reserved, and certainly not safe. Go big because you can - it's pulp style gaming.
• Proactive - There are no rails here (metaphorically speaking). The game drives from what your characters want, and we make it memorable together. So this game calls for creativity and rewards those who take initiative and have something they're after, while reactive characters tend to take a back seat.
• Dramatic - As powerful as you are, the best characters have some serious flaws. The more you can embrace that, the better your character will be and the greater the story that comes out of it. Make brilliant mistakes and push for drama over perfection.
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The Hook - Every character has made a deal with the Devil himself (herself?). There's something you got from the deal: an item, a power, a companion, something "well worth the price." But obviously, Faustian bargains tend to have downsides as well. Outside of that, we'll work to tie all your characters together in a nice little posse.
And don't worry, you don't all have to like each other, but you share a common debt and we'll work a common cause as well.
You will help me define the rest -- what you're really after, what the big struggle is, etc. So if you want to brainstorm some ideas, that's great, but it'll be something everyone is behind; so be willing to be flexible.
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In Fate Core terms, all I'm looking for at the moment is a High Concept[b], a [b]Trouble, and one more Aspect (I'll refer to it as your Bargain Aspect).
The year is 1871, not long after the end of the Civil War, in a lawless land west of the Mississippi River. That can give you some anchors in history to pull from, but don't hesitate for a second to break out of traditional molds. Gender, Ethnicity, Religion, Style... I intend to break out of the historic expectations for these, but set them against that backdrop. So if you want to be a female, Buddhist, Chinese immigrant marshall; then that's very much a thing. People won't act like that's common place, but it'll be a thing because you made it so.
High Concept: What's your character in a nutshell? This should include Race/Ethnicity/Cultural background as well as some sort of vocational/lifestyle/archetype denotation.
Want some inspiration/ideas?:
Trouble: The book has great advice on good troubles. My only advice is this: (1) This is separate from your Faustian Bargain, and (2) Think of this as answering, "What do I want to constantly be battling against? What do I want the GM to be throwing in my path again and again?"
Bargain Aspect: This can be loose right now, but I want at least an idea of what you got out of this bargain. And yeah, it's significant enough that you get a full Aspect out of it. Whatever this is, however, also belongs to the force that granted it... so expect compels here as well.
*In addition to these three Aspects, include a brief paragraph (this doesn't have to be more than a few sentences if you don't feel like writing more) explaining the concept. We already should have a pretty great picture from those above aspects, but this could give them some necessary context/explanation.
Once we set up our players/general characters (I'll have to cap it at 5, which is my personal limit), then as a group we'll figure out all the other things like Game Aspects, Phase Trio, Skills and Stunts, etc. (So yeah, character creation is involved. But think of it as the first session of gameplay)
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This is my character. I tried to include everything necessary.
High Concept: America's Greatest Hero
Trouble: I Fear Nothing
Aspect: Cursed Gun
Having grown up during the Civil War, Huey was convinced that he was born to be the soldier, the one who would heroically lead the Confederacy to victory against the tyranny of the North. A few days before his eighteenth birthday, the Confederacy was no more. Not picky about the causes he fought for, Huey signed up to join the American army. But the war was over, and a soldier's life was, he found, quite dull. With no way to demonstrate his heroism, Huey was never promoted. After four years, Huey was at his wits' end.
In a dream, a sinister-looking man appeared to him and offered him anything he wanted. When he asked for "something heroic," the man handed him a gun, saying that it would make him a hero, but adding that it would also make him a villain.
Huey escaped from the army, and began to use the gun to shoot game. Remarkably, he never missed, but the bullet always left a mark on the ground that resembled Huey's own face.
The High Concept: The Undertaker's Daughter - Functionally the town's Undertaker, Serra Willmore, took over the family business when her father - and the body of the stranger he was sitting in a Wake alone with - disappeared. The only living relative of the town's Undertaker, no one had claim to the business, but that doesn't make her fit for the title - not yet, anyway.
Serra has something to prove - that she's good enough. And not just to the town, but to herself. But just because she often is, doesn't mean she always gets taken seriously.
The Trouble: The Family Business isn't Dead - Things best left buried have a tendency to turn up wherever Serra goes. Whether it's a skeleton in the closet, or a skeleton in the dry earth, Serra has a tendency to know more than folks want her to, especially folks that want to let sleeping dogs lie.
Serra has a tendency to stir the pot, and look into things best left alone, not to mention stumble into secrets long-forgotten. Also, monsters.
The Bargain: Six Feet from the Grave - Serra's bargain came at the age of twelve; her family was dying, and there was the answer right in front of her. Something as intangible as a promise for a full life? For her family to not be put in the ground? An easy trade. The stranger didn't give her the full hand she'd asked for though: Her mother and sister still died, and now her father's gone missing...
Serra had always been told to stay in town and not wander too far. To not go anywhere near the well where the train tracks crossed the old road down to the mine. Didn't mean she listened, and definitely didn't stop her from talking to strangers...
This seems interesting! Love Westerns (especially of the spaghetti variety)
Is it okay if I get back later with character concepts (a little busy this week)?
The High Concept: The Sergeant Major A Scotsman, of the Royal Scots Fusiliers. Survivor of the Crimean War and the Siege of Sevastopol, as well as numerous other conflicts. A 20 year veteran, mustered out and headed east from Calcutta to San Francisco and the American West.
The Trouble: He hates nobles and bullies. He hates to see anyone Lord over anyone else. They are just bullies. Whether they are of the blood or just a power hungry jerk in a backwater town.
It doesn't help that Orland has done his own share of bullying over his time of service - beating the locals to take their food, lashes to his own men from incompetent officers, the British Government taking what it needed from starving populations.....and Orland helped it all
The Bargain: A Life Crimea and Sevastopol was a place of great advancement in technology, mainly in the way of taking lives. Explosive naval shells, the telegraph, rifled bullets becoming common, and...incompetent officers. Nobles who purchased their commissions so a stint in the Army could serve their political interests back home. All these things trying to kill Orland, but the most dangerous was the Colonel of his Regiment. In the trenches, in the great fields of mud surrounding Sevastopol, a fresh faced soldier offered to solve that problem for him, for the mere price of his soul. And it wasn't as if Orland's soul was worth all that much, was it?
The Colonel died the next day, when his horse fell and crushed him against a wooden redoubt. Too bad the next Colonel wasn't any better an officer.....
Orland is my submission. He still needs some tweaking but I am getting there. Thanks to Serra for the format.
The DM's link should work just put 0 for the price and they'll let you have it for free so you can try it out and pay later if you like it
I present John "Devil-Eyes" Reynolds.
Core Concept: Devil-eyed fighter - John's bargain changed him. Once brown eyes now faintly glow red, like the last dying embers of a fire, and the glow becomes more intense as his temper flares or he closes in for the kill. He was never a slouch in a fight, but in the six years since his deal with the devil, he's become very, very good at it with a brutally lethal style that is unnerving to watch as he silently slaughters those in his way or those he seeks vengeance against.
Trouble: Bloody-minded - Even before his bargain, John was a bloody-minded individual. Bullies that hurt his sister were found tied to a tree, bloodied and battered. A merchant that cheated his father would find his draught animals butchered and his cart aflame. A southern belle who had insulted his mother would have her prize pet strung up in a tree. It has, admittedly, gotten worse, but it has nothing to do with his faustian deal.
Bargain Aspect: Vengeful Juggernaut - John and his father were both drafted by the Confederate Army in 1861 after the Battle of Fort Sumter. John's father died in Gettysberg and John barely avoided capture. When he returned home to a small farmstead near Prattville, Alabama in 1865, he found it ablaze with Union soldiers dragging his sister somewhere and his mother screaming from somewhere inside. He charged the soldiers with murder in his eyes and a bellowing every curse he'd ever learned. The officer in charge turned and fired off every round in his revolver into John's belly as the maddened man in Confederate uniform raced to bury his knife in the man's throat. John had to settle for gouging the man's eyes before being shot twice more and falling to the ground. As he lay there bleeding, he heard the sickening crack of the soldiers hanging his little sister and the horrible screams as his mother burned to death.
A spring storm rolled in and John's blood mixed with the rain as he lay on the ground dying. A man in a fancy black suit and hat came to him and offered him a chance to live for his soul.
"Lemme kill the bastards," he answered, "all the bastards, and I'll bring you theirs too."
That night, he began his slaughter of the 5th New York by burning the general in his tent and hanging his second in command with the same rope that had been used to kill his sister.
When you say 'nearly a decade down the road' do you mean it's 1871 around when we made the deal, or around when the game starts?
What time of year is it? Later is somewhat better!
Is it possible for a character to have just made their deal, or is it important to your story that their 'decade is almost up'? (ala Supernatural)
The DM's link should work just put 0 for the price and they'll let you have it for free so you can try it out and pay later if you like it
Ah, thanks! That's what I get for not actually looking ... :)
I'm looking at working up a Professional Gambler. I'm thinking instead of the itinerant wanderer, this guy won a substantial asset in the area. My initial thought was that he won a whole town, sort of like Lando Calrissian, but maybe that is a little too big. So maybe a saloon brothel. He is trying to make an honest living, if by honest you mean running a bar, brothel, and gambling den.
If that sounds good I'll try to massage it into a proper submission. I'm not too familiar with Fate, but I've played Dresden a couple of times.
Worked with Hotarukin to get what I could and get a basic grasp on the system, not sure if all of these work but everything is open for a rework
Theme - The Great Chicago Fire of 1871
A Chicago-born Irish woman running from a past she wishes she could forget, after fleeing to the wild west Nora had to quickly adjust to this new lifestyle or end up 6 feet under. In an attempt to atone for her past while bring some justice to the west Nora found the life of a bounty hunter to be her true calling.
Luck of the Irish is a cruel contradiction for Nora, anytime she gets involved something goes wrong for her and those around. Bad luck is what inevitability lead her into making a deal with the devil and fleeing her home in an attempt to protect her family from her own presence.
Bad things happen around Nora and that's why she does what she can to make sure she is always around bad people
It was a normal October night, Nora was doing one last check around the barn before going to bed. Her lantern burned dully as she drowsily made her rounds until fate intervened, a single misstep sent Nora and her lantern tumbling into the hay-strewn ground turning their barn into a blaze that pierced the night sky.
Panicked she ran for help knowing James would still be awake with his gambling buddies but the first person she ran into was a complete strange. His voice was cold and calm as he spun beautiful tales about how he could ensure her family would be safe from the fire and the law if she was willing to strike a deal. Knowing she would never be able to live with herself if her family had to pay for her mistakes Nora accepted without a second thought.
The eldest of three children born to Irish Immigrants Catherine O'Leary and Patrick O'Leary, Nora was born and raised in Chicago, Illinois. She lived a farm-life and enjoyed spending time with the animals, it was people she couldn't stand. Chicago had no lack of Anti-Irish sentiment but Nora had a lack of patience for these people, she quickly became a well-known "scrapper" not willing to deal with any of the insults slung at her or her family...which in hindsight likely didn't help the stereotypes of the Irish being violent.
Nora's great mistake was what caused her to flee her home and as an assumed casualty of the fire no one would come looking for her, meaning should could leave her family with the knowledge they would be protected by her deal.
After leaving home out of fear of her family's safety the self-exiled woman set off to create a new life for herself. Viewing the lawless land in the west as the perfect place for someone like her she set off for the Mississippi were she began dishing out her own law in an attempt to forgive herself for the sins of her past.
MacMata's character:
Highly trained in the best medical schools of New England, Clive Fisher became a traveling doctor. Unfortunately, he encountered one person he couldn't fix. Full of pride, he operated on her, but she didn't survive. Her family has been after him since, so he fled to the Lawless West.
Trouble - Afraid of Blood
Although he's a skilled surgeon and medical doctor, Clive is deathly afraid of blood, after that one incident with Nancy Blaire, the woman whose death caused him to go on the run in the first place. He now brings with him his assistant, Gus Higgs
Bargain - Redemption
Clive hopes to regain his status as a practicing doctor, maybe even sometime returning to the Northeast. For now, he's getting clients out in the west. He doesn't want people to think of him or the medical world as monsters.
that fated woman with an inevitable end (cancer). He told the family he could save her, but she died of bloodloss. The Blaire family was enraged, and being wealthy, could afford agents to track him down. Panicked, Clive packed up his medical supplies and caught the nearest train to Chicago.
He has reinvented himself, keeping Nancy and a few other mistakes from the minds of the settlers out in the west. He just wants to return home and set his wrongs right, but for now travels with Gus Higgs, a fellow Harvard graduate and surgeon. Clive has also realized how gross blood was, now vomitting when seeing it, but keeps on with an excellent eye for matching symptoms with diseases or other occurrences.
These look fantastic! I'll try to help offer some suggestions as well to punch some of the aspects up (Aspects should be strong statements, say more than one thing, etc.), and throw out some questions to help me understand some of them better. But that may take me a little bit to get through.
If any of you have suggestions for others on how to punch up their aspects, please offer them as well. Writing strong, intriguing aspects is a difficult art (luckily you can continue to adapt/change them as you get better at it) and a community can really help in that.
Of course, you aren't required to take any suggestions, mine included.
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First, to answer some questions:
Ailill MacMata: I'm glad you got the link to the pdf. EvilHat is big on providing things at whatever cost people are willing to part with. If you really enjoy the system, then you can help still pay more for them later as support.
Hotaru of the Society: My intention was that the current year is 1871, so it's been around a decade so far that you've lived with this bargain (long enough to outlive the glossy newness and realize the downside). I wanted to give that window as well in case someone's background involved the Civil War - it would allow the bargain to take place before it ended.
Specific time of year doesn't matter to me yet, so if you prefer later that's as good to me as any currently.
And the deal could be fairly recent if you prefer. My concept on the deals was a more or less permanent thing, but we can massage or alter that if people feel passionately otherwise.
I'm really intrigued by the idea that part of what makes all of your characters really powerful/significant is also tied into something you regret or can't fully control. But it's collaborative right? So I'm open to suggestions or cool directions.
Tumbler: That sounds like a pretty cool idea so far. Being pulpy, this will be rather action/adventure oriented - but I see no reason why that wouldn't be able to involve your town/establishment! If you've played Dresden, you've got a strong grasp.
Disclaimer: I'm not in any way trying to be offensive here. I'm using some terms that are not entirely acceptable in polite company in 2017, but were common in the time frame.
Amaziah Bienville
The High Concept: High Yellow Gambler passing as a White Businessman- Amaziah was born in the 1830's, the child of a placee in New Orleans. His mother and grandmother were beautiful placees, and though he is a mix of Native, African, and Caucasian blood, his skin does not betray him. Everyone who knows Amaziah knows him as a white man. In his youth, Amaziah was educated as a free man of color. He read Latin and Greek, studied piano and the violin, but always was drawn to the River. How many times was he beaten for hanging about the stevedores and Kentucks who frequented the shacks by the River. In his early years, he would con them with simple scams, medicine, gris-gris, the occasional betting on the throw of bones. At the age of 16, well educated but broad shouldered, he stepped onto a boat headed upriver as a stevedore. His mother cried for a week at his disappearance.
When he stepped off the boat, he had some money in his pocket, a vest, a watch and chain, and some keen observations of humanity. With his new stake, he bought clothes to make him seem a man of some means but little taste. He won a few more games, was caught cheating and had a few teeth knocked out.
The Bargain: Years later, Amaziah longed for nothing so much as to settle down. He was a drunk, a gambler, addicted to the bottle, laudanum, and the thrill of the bet. He could read people as well as he could read Plautus, but he longed for the simplicity of home. A dark stranger offered him a chance to settle down, and he took it. In a late night battle of wits and luck, he won the Mother Lode. On the cusp of the War between the States, he became the Mayor of a whole town.
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Alright... cracks fingers.
I really don't like critiquing other people's stuff online. It's something I worry about a lot, as it's very easy to be taken badly, and also very easy to forget the person on the other side is a human being... but despite that, I think the system sort of requires it, so I'll go over things, one at a time. I'm also new to the system, so I could be a bit off in some thoughts.
First: Observations, this is generally an @All:
To write a good aspect, it's fundamentally important that you understand what they do in game. While this may depend on a number of things, aspects on a character typically do one or more of five things:
1) Grant permission
2) Make you awesome doing some things
3) Hinder you in some circumstances
4) Complicate your life
5) Create setting
It goes into more details there. But when coming up with aspects it's important to try to get at least two of those. I aimed mostly at 2, 3, and 4 as I made my character. 5 comes on its own, assuming people don't dislike what you add. 1 comes for free with the example of our bargain. As long as it fulfills at least one, it's decent, though!
This might be a bit early to bring up, but as we each bring out our starting aspects, we're participating in world-building. Simply by making the characters that we're making we're working on #5 from that list, so I'll start with general observations.
1) Most of the group has focused on being 'fighter type' characters. The basic descriptors suggest that 'fight' or 'physique' or 'shoot' are going to be primary skills. Characters will become more fleshed out once we get to skills. As the game seems to be leaning towards this rather strongly, it's not unusual. That being said, characters like mine, the gambler's (maybe), and the doctor may well be well below the 'fighty' curve. It's crucial that if any/all of us get in that it's understood that we'll need to be creative in what we add, and don't be afraid of making other people look cool in combat!
2) I'd been looking at a smaller scope for the story, but we've got characters from Chicago, characters from Scotland, characters hunting folks from New York, etc. As such, we seem to be a bit larger in scope than I'd initially intended... or something is really looming in my little town. This isn't a bad thing, it just means I need to adjust my aspects, a bit, if our scope winds up being larger in scale!
3) Do we care about humanity as a sort of statistic? It seems like something we could use as an extra, whether it's a stress track for our soul, or something else entirely. It may not fit with the sort of game you guys want to play at all, and it may not fit what the DM is interested in, either. If we do, it might be neat to have a stat called 'Piety' and use a 'confession' mechanic to start the healing process. I know my character won't be very pious, but won't be a *ahem* demon, either.
I'm gonna stick the rest in spoilers, as this has gone on for a bit. I do encourage folks to read under spoilers that aren't their own, though! Especially the DM. Speaking of...
What ways do you expect to use them or have them compelled?
How set on 'resembling your own face' are you for the mark it leaves? I'm imagining the sort of 'wanted poster' silhouette.
Would it be just as good to you if it were a particular mark or brand?
Perhaps a brand that either you or the gun also share, that you can't seem to hide from view?
How set are you on 'never miss'? A lot of the fiction of the game is going to be in reflavoring shots as 'misses' on occasion, that cause secondary damage (maybe they sprain their leg diving away). There's a stunt in the core book that models the 'my shot will at least wing them' sort of thing. Your gun may wind up being a little less deadly than you'd like if you opt for 'it never misses'!
How do you like the idea of your Bargain aspect being named 'Marked for Death'? It plays into the idea of folks recognizing you based on your handiwork, which seems to be the idea of your bargain!
In turn, renaming your Trouble to 'Skeletons in the Closet' still fits your running theme for aspect names, and focuses on the implied importance of secrets to your character, and your connection to the people around you!
In turn, you probably need to remodel both, and give them a bit of new narrative to match!
What do you have in mind for ways to use your high concept?
For it to be used against you?
'A life' is a rather odd way to phrase your bargain. I think of all the bargains, yours is the most shortsighted and ironic, but it doesn't leave much that I can see for you to have actually gained in the exchange. It's cool and all, but you do need to think of what you gained in the bargain.
His end goal seems to be chasing down all those men who either did horrible things, or watched them do it... pretty clearly, so. Do you think that all of your people are going to be 'here', or do you think we'll be following you around and helping you in your quest, or do you think you'll be taking a hiaitus to do something for an old friend who helped you get your revenge?
Your stuff all works well for complications and compels, but I worry that they might all be 'I kill things' or 'I don't die'. You'll be able to pull them out to do a couple of other things (like using provoke with your devil eyes!), but I'm worried that unless you expand with aspects touching on other characters, you may be left without ways to succeed at the things you're not inherently good at! Unless you're not inherently good at ripping men limb from limb, and it's just who you are that lets fate decide folks need to be strung up and burned. :)
You already know how I feel about the majority of all this stuff. :P
Like Orland, your bargain doesn't fully spell out 'what you got'. Do you have something in mind in particular that you'd like to bring up?
Like me, your character is going to be a bit low on the totem pole when it comes to 'fighty skills'. Just keep that in mind when you're in a fighty situation. It's really easy to set up other people by creating advantages and handing them the bonuses. Just keep that in mind, given that this is probably gonna have a lot of fighty situations!
In what ways do you expect to be using your aspects, and having them used against you?
I have no idea what your high concept means, except that you said he's trying to run a legitimate (enough) business.
How do you expect your aspects to be used, by and against you? That can help you to have an idea of what you want ot do!
Like you already probably noticed, scale matters a lot for what you're trying to do! If we're going all over, owning a small town makes more sense, while if we're just a town, it'd be a bit awkward. :)
What's your trouble?
I'm not sure I agree, Me! But, in keeping with your idea, I do like the idea of changing my trouble a bit.
The Trouble: A Few Skeletons in the Closet - Things best left buried have a tendency to turn up wherever Serra goes. Whether it's a skeleton in the closet, or a skeleton in the dry earth, Serra has a tendency to know more than folks want her to, especially folks that want to let sleeping dogs lie.
Serra has a tendency to stir the pot, and look into things best left alone, not to mention stumble into secrets long-forgotten.
Not even a big change! And it leaves the other aspect name open for a bit of story.
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As for how to be useful in combat, I'd planned to make my primary skill 'Notice'. It fits with the concept I've been working on as being a busybody but not exactly on purpose. That can come in handy a lot in combat.
Then, Empathy and Lore coming in close behind, both of which may have some real value! I haven't really thought much more into the placement of my other skills, though. Speaking of Lore... two things!
Since we do have a doctor coming up, it might be wise to require the healing use of lore to require a permission. I'm not saying that other people shouldn't be able to treat wounds, but my lore and his lore are very different! The soldiers might have an idea of the proper treatment of wounds (though that would be a bit anachronistic!), so it wouldn't hurt for their aspects to give the permission as well, but I intend for my lore to be a little different in function.
On that note: Does anyone have anything against having a bit more experience with monsters, even if they're new to the idea of them? Say... if someone's father is a monster hunter and had stories with real Lore spread around the house?
Finally, there are some pretty clear downsides to adding another stress track and skill to go with it: It'll bog the game down a bit. While I personally like scenes where a man talks about the bad things he's done and feels a bit better afterwords, this is supposed to be rough-tumble and quick! A focus on 'social' troubles like I have is already drawing away from that a bit much.
What do your aspects mean to you?
What ways do you expect to use them or have them compelled?
I appreciate the critique. Here's what I was intending with it.
The first two aspects, in combination, were intended to make the character somewhat quixotic: He believes himself to be the greatest hero, but what actually happens to him. The fearlessness compels him to be heroic. Since the high concept works with the trouble, I could put both into the trouble, but I don't think there's a better high concept that describes the character.
How set on 'resembling your own face' are you for the mark it leaves? I'm imagining the sort of 'wanted poster' silhouette.
Would it be just as good to you if it were a particular mark or brand?
Perhaps a brand that either you or the gun also share, that you can't seem to hide from view?How set are you on 'never miss'? A lot of the fiction of the game is going to be in reflavoring shots as 'misses' on occasion, that cause secondary damage (maybe they sprain their leg diving away). There's a stunt in the core book that models the 'my shot will at least wing them' sort of thing. Your gun may wind up being a little less deadly than you'd like if you opt for 'it never misses'!
How do you like the idea of your Bargain aspect being named 'Marked for Death'? It plays into the idea of folks recognizing you based on your handiwork, which seems to be the idea of your bargain!
"Never misses" is different than "always kills." Though if I were to make a gun "special" other than by never missing, I could, for example, have it start a deadly fire whenever it shoots, which could obviate the need for my own face to appear, since a fire will obviously be connected to me.
I think this is actually a better concept, since it makes the same problems with more natural circumstances, but I would like to know if anyone thinks this is problematic, before I change it. Tentatively, I think a change to the trouble like the one you suggested would be better.
I also appreciate the feedback on character concept. I have never played Fate before so I am going to need a lot of coaching for my character (if I am selected).
I have played some Dresden at GenCon but don't remember any of these mechanics, so maybe I played a different Dresden system?
As far as specifics on
So this reinforces his bitterness toward the nobility and bullies, and lumps the Devil into that very category as well (which, in hindsight, is blindingly obvious to him and he should have NEVER fell for it).
I appreciate any and all thoughts on this, as it seems to me that 'table' discussion of aspects is key to Fate. I also thought the concepts and aspects and bargains and troubles would be something a bit separate from the aspects but could easily be mistaken. As far as being a Sergeant Major, see the next spoiler.
First and foremost their is loyalty to the Regiment. Not necessarily to the people in the Regiment, but more to the perpetuation of the Regiment.
Second, though, is a strong loyalty to people in the Regiment. You will go out of your way, to the pain of death, to support the other members of the Regiment (current or mustered out). Although you will modify your response based on who that person is and what you know of his actions and how that fits into your concept of his actions.
Third, the Regiment exists to enforce the Government's will by killing people, so there is a level of controlled violence inherent in the position. The Sergeant Major is a leader of that violence.
Last, the Sergeant Major will supply what the Regiment needs. It could be supplies procured through the supply organization, or via the black market. Or it could be discipline of rowdy troops (or protecting the rowdy troops from discipline because you need rowdy troops to storm that enemy redoubt tomorrow).
That is a lot, but again - I appreciate the feedback in working through this. As I have less experience than most of you, I am not sure I can provide insight to you.
My timing is also off as Sevastopol occured about 15 years before the game setting. So we can move this up to a period when the Regiment was campaigning in India if we need to.
Doctor! It's pretty required for us to be good friends, if I'm gonna be the Undertaker. Live or die, one of us is gonna be doing business... :)
Like me, your character is going to be a bit low on the totem pole when it comes to 'fighty skills'. Just keep that in mind when you're in a fighty situation. It's really easy to set up other people by creating advantages and handing them the bonuses. Just keep that in mind, given that this is probably gonna have a lot of fighty situations!In what ways do you expect to be using your aspects, and having them used against you?
Looking forward to working with you! :)
So for aspects: Medical skills will come in handy (have to look more into Fate rules for healing). Being afraid of blood; This means Clive will have some qualm or difficulty treating bloody wounds and otherwise interacting with it (although he still has a keen eye for diagnosis). Being on the run; Running into people who may or may not be after him, wanting him to hang (because of botched surgeries, whether they were the operated on or a family member, or even just an agent).
Same here. I do appreciate the critique, and hopefully I can come up something better with some help from ya'll.
This guy seems pretty dark.
Probably because he is. ^_^
That was my intention, so nice to hear I did well on that front. He isn't all doom and gloom with a grimdark varnish in my head, though there's not a lot of shiny to him either.
His end goal seems to be chasing down all those men who either did horrible things, or watched them do it... pretty clearly, so. Do you think that all of your people are going to be 'here', or do you think we'll be following you around and helping you in your quest, or do you think you'll be taking a hiatus to do something for an old friend who helped you get your revenge?
Not really sure. He would help someone out if asked. He's not a complete devil, though he's no knight in shining armor. But as far as the rest of it, that depends on the characters and what the GM decides, though I did kinda picture the last dozen of his targets being in the area, possibly having formed gangs of their own or joining up with one of the outlaw outfits in the area.
Your stuff all works well for complications and compels, but I worry that they might all be 'I kill things' or 'I don't die'. You'll be able to pull them out to do a couple of other things (like using provoke with your devil eyes!), but I'm worried that unless you expand with aspects touching on other characters, you may be left without ways to succeed at the things you're not inherently good at! Unless you're not inherently good at ripping men limb from limb, and it's just who you are that lets fate decide folks need to be strung up and burned. :)
Yeah, and this is where I need help. John as I picture him is hanging on to his humanity by his fingernails. He knows he's getting more violent and less discriminatory in his violence. His temper's on a hair-trigger and it takes all he has to not go on a rampage. He is good at murder and mayhem, but he also has a good deal of empathy for people in bad situations. I pictured him taking on bounty-hunting as a way of letting off steam and curbing his growing bloodlust while helping some of those people.
I'm fine with the "I kill things" but not so much the "I don't die." He can die, he's just hard to kill, and if the GM's cool with it, very hard to keep down. It's just boring if it's a foregone conclusion that he'll live. I do want to round him out more, but I think I'll have to wait until we do the other aspects to put those into use.
That said, if you have any suggestions for rounding him out now, I'm all ears.
Wonderful! Thank you, Hotaru, for being willing to jump in with suggestions. Aspects are one of the hardest character components to do well, but also the most crucial component of the game. I think you waded in admirably, which should help a lot!
I have some thoughts and questions I've been jotting down for everyone as well, but first I feel like I should answer some other questions/give some further information:
Use the discover action to learn new information about environments, obstacles, and characters in a scene.
The discover action allows your character to get new information about what's going on in the current scene without creating a new aspect. Sometimes you'll need to dig deeper into a situation to discover answers, but other times a quick glance is all you need to start learning more about the situation.
When you undertake a discover action, you get the chance to ask the GM a question about the situation through the lens of the skill you've chosen. If you want to know more about a threatening gunman, you can try to determine more about the gun itself (Shoot), the emotional state of the gunman (Charm), or the position the gunman is occupying (Survival). The GM answers honestly, but failure results in your question pushing you into danger, revealing unpleasant information, or costing you precious time or resources.
After you finish your discover action, you may want to create an aspect on the scene by creating an advantage with your new knowledge or taking advantage of the boost you created if you succeeded with style.
If you include discover as an action, players can't use create advantage to learn new information. All of those actions now fall under discover. Players can use create advantage to capitalize on the information they've gained, such as using Menace to place the aspect Hot Tempered on an NPC after discovering the NPC's weakness using Charm.
When you fail using discover, you either ask a question of the GM related to the skill you used at a major cost or the opposition asks questions about your character, delving into your secrets and weaknesses.
When you tie with discover, you ask one question of the GM related to the skill you used at a minor cost.
When you succeed with discover, you ask one question of the GM related to the skill you used.
When you succeed with style, you ask one question of the GM related to the skill you used, followed by either another question or the creation of a boost.
• Brains (Lore)
• Brawn (Physique)
• Charm (Empathy+Rapport)
• Contacts
• Fight
• Gamble (Burglary+Deceive)
• Grit (Will)
• Investigate
• Menace (Provoke)
• Occult (New / Parts of Lore)
• Resources
• Ride
• Shoot
• Speed (Athletics)
• Stealth
• Survival (New + parts of Notice)
• Tools (Craft)
Reasoning: Beyond simple name changes for flavor the big changes are:
(1) Lore was split up into academic knowledge and occult knowledge - it's a page out of Spirit of the Century. This helps differentiate between the wealth of knowledge Serra likely has vs. the wealth of knowledge Clive likely has. *Also, I was thinking that healing would use either Brains or Survival if an Aspect justified it. Thoughts?
(2) Notice is, in some ways, removed. Instead it is divided between Survival (overcoming or opposing stealth) or Investigate (Actively looking). Much of what would have come from notice is rolled into the Discovery action above, tied to the relevant skill.
(3) Survival is a new skill. Overcome is used to overcome obstacles relating to your environment (travelling rugged terrain, gathering edible food, etc. It also related to reaction: noticing a danger, hearing someone following you, noticing hidden objects, etc. Additionally, it can treat minor consequences with proper supplies, time, and aspect justification. Create Advantage creates aspects based on interaction with your surroundings, such as standing on lookout, scrounging for supplies, building a shelter, or even traps/hazards. Discover comes from observation of surroundings--finding an escape route in a debris-filled building, noticing someone sticking out in a crowd, tracking an animal or person, spotting hazards, etc. Attack isn't typically possible without stunts. Defend can be used to oppose stealth or even against gunfire by huddling down into a defensible position (This is the opposite of using Speed, which involves avoiding these situations via movement). Special: Survival is used to establish turn order in a physical conflict, replacing Notice.
(4)Charm/Gamble/Menace are a trio of more social skills, with different branching applications. Charm fills the Empathy rolls with the new Discover action, but also covers all the functions of Rapport. Gamble covers much of the Deceive actions, while also encompassing parts of burglary (since I feel Burglary should be cannibalized into Gamble or Stealth, including Discovery actions with both). Menace is the third social option, which also has Attacking as a potential option. It seems a nice balance with good incentives either way.
(5)Any others catch you off guard? I'm so used to these now after working through them that I don't see what assumptions I'm bringing with me.
Is there another way you could phrase your question?
Phew, that took longer than I thought. Character aspect thoughts on the horizon (maybe distant horizon...)
Again, it's worth noting my spoilers aren't to prevent others from reading, just to condense really long posts, overall! If you have the time, I encourage you to read into the spoilers (especially ones I'm writing to mog at the moment), as it helps to set up my perspective as well as offers areas to converse, or highlights spaces I may not understand as well as I think I do! Plus... I'm also still learning. *goes to look up boost* (Boosts are a single use (Freely invoked) aspect!)
I worry about 'starting fires' as one of the other character's things is 'started a really big fire'. :P
To clarify a bit on the 'never misses' being a little problematic: There are two damage systems, one that acts sort of like nonlethal hitpoints or 'windedness' called 'stress', and one that lasts a bit longer called 'consequences' that act as wounds and the like. A normal scene might play out like this:
You shoot, and win by two, so the DM rules that the bad guy takes 2 stress damage and marks off that box. You fire your weapon and he dives for cover behind the bar, straining the arm he lands on, if he keeps up the fight he's going to be in trouble.
But adding in that your gun can't miss, that means you have to hit him with the bullet. So... does your shot graze him? Does that follow the letter of what you wanted? Mechanically it works, but limits the fiction a bit. In the game book, one of the characters has a magic sword that 'strikes true', and the way that works is that once per fight, he can use a stunt that doesn't let them use their 2 point stress box and forces them to take a consequence. I think this better follows the letter of what you want, in a way. I'll have to go back and find it to doublecheck all the criteria. I'll try to do that in a bit and get back to you.
The explanation on your bargain definitely works, but I do worry about 'doubledipping' with your aspects. If they're overly similar, it creates a cohesive story, but they then also compete with one another. If you gained something, other than the man dying, in your bargain, what do you think it would be?
Your explanation of Sergeant Major definitely adds a lot to my understanding. Do you expect or hope to see many 'old war buddies' in the game, or simply people who respect a man of the military in general? A military aspect is very easily invoked, as it means you have the 'eyes of a soldier', and the way you described it, a lot of your responsibilities could come in handy in more social aspects! Awesome. :)
The group may opt out of permissions, though, so it may not be an issue at all!
The way 'healing' works with a physical track is typically with Lore or Craft, and success means that a 'consequence' begins healing. Then it just takes time. So bruises are probably stress and negligible, a cut that needs bandaging may be a minor consequence, a broken arm a moderate one... and then I'm not really sure of a good major consequence. But without medical attention, I'm not sure how consequences heal. Probably poorly. Consequences are aspects that can be invoked or compelled to your enemies (and sometimes your) benefit. So they're not all bad... but you are closer to being taken out while you have them.
Likewise, being afraid of blood, and looking for redemption, you may try to push your way through your fear, only to be met with a compel to give up and get a fate point. That your trouble is a fear of blood doesn't prevent you from trying! Just... maybe finishing... if it's not really important to you in that scene. Just remember that if the GM does push your fear of blood, and you resist it it costs a Fate Point to resist the compel. Mog may need to correct me here, but as long as no one pushes your fear of blood, I don't think you need to worry about a compel. You can up-play it, but in order for it to be a valid compel, it has to have some sort of consequence. If it's just RP but doesn't complicate the scene for you (usually adding drama) it doesn't score you a Fate Point. But if no one compels you,
you do it anyway, and it does complicate things, players may try to get you a fate point!
Right now, I'm getting a lot of 'Punisher' vibes, overall. It works, but there is the possibility of him being a bit alienated (though other characters may just follow his lead, too!). I'm not worried about it personally, especially since the game is supposed to be about drama and tension. I don't really see any inherent problems!
Re: Discover: I do worry this will bog things down a bit, but at the same time it solves the issue of people mucking with scenes you worked hard to craft, and removes a little bit of 'players creating thigns that you don't think should exist' that will be inherent to forum play compared to face to face play. I think it solves more issues than it creates. :)
Is it intended that 'Create Advantage' can't be used without 'Discover' first being used? Or does it simply limit the attempts of something like 'Charm' being used to create to create advantages? If not, I worry that this may limit those other skills being applied (which may be fine), but Create Advantage adds two Aspects on a really good success, while Discover only adds one boost. I worry that Create Advantage will still see a lot more play, overall.
Re: Skills: That shifts my character quite a lot. Just the name changes make some things better fits than they had been before (odd, huh?) I've got no issues with the changes, overall. Bear in mind you removed a skill, leaving us with only 17 skills, so we'll all be good at something a bit more. I do worry that my character isn't meant to be good at deceive, but I'd imagined her being good at burglary. I think I can fix this with a stunt to use a different skill, maybe (Curiosity killed the cat, using Investigate for 'getting places I'm not supposed to be', maybe?). It hadn't been intended my character was good at investigation, but I think that fills the parts of notice I cared about overall. Survival doesn't really fit for her. :)
I'm perfectly happy with the lore changes! Likewise, Brains/Survival with a permission both works great!
I'm not super familiar with Sponsor, but I think I understand it purely from a Dresden-Files-Reader perspective. :P I do worry that even with my suggestion of having a humanity track, it doesn't fulfill much, given that the will track is still a thing. It just seems to fit thematically to have a body/mind/soul setup in the story, but as Hanz has said, 'why add a mechanic when you don't need it?'. Maybe the Mental track covers it. But if we're dealing with supernatural dangers, I definitely advocate for our souls being at risk. Plus, there's the added bonus of some purely supernatural consequences and compels going on. Like one of us just not being able to cross a line of salt, or enter unbidden, etc. Do you have a way you'd like to offer 'healing', if we include such supernatural consequences?
How are you defining 'session' in this game?
Hotaru: Ok, I'm getting your question now. Unless people really are into having some set date when he comes to collect, I prefer having it be continuous. But I also want to latch onto something you all really enjoy, so let me know if you guys prefer otherwise and it's an easy switch. Along with that, brand new bargains are fantastic. Hell, we could start the day after one of you committed if that's interesting--so don't feel tied to that 10 year thing. It just made a good window in my mind for introducing it.
As for Discover, I like your questions. I'll explain more tonight (my break is just about over). For the moment, here's a link to a more thorough explanation, as well as a link to Ryan Macklin's proposal (one of the authors of Fate Core). I'll share my own thoughts too when I can (under a spoiler, in case you couldn't care less.)
@ Hotaru. I would not expect to run into any Regimental buddies here (although it is a ready made plot hook if GM wants to use it). He is very far from home, after all. In fact, I expect him to be ridiculed a bit for his funny accent. He doesn't wear a uniform, but we beat the Britisn in the Revolutionary war about 90 years ago! And again in 1812! Funny little Brits!
But he would have a keen eye on how to defend a town, or how to assault a building or fight a battle or even deal with an guerrilla type war. And know a fair amount about weapons. He would know about the leadership side of troops, although be a bit off with regards to civilians in general, and Americans in particular.
And he is pretty much done with watching the little guy get taken advantage of.
I think I will need to tweak him once we see how play goes; the Core book talks about doing that.
Alright, here's the intention behind Discovery in a nutshell:
1. It fills a void. In general, my philosophy is that you shouldn't be rolling for anything unless there's a risk or a cost involved (and it's interesting). There are times in Fate, however, where a roll seems fitting and interesting, but none of the four actions really fit.
Fate is explicit in the fact that the narrative is king, and that the rules are there to facilitate the narrative rather than direct it--hence a story game. However, many of these discovery actions place the players (and GM) in a position where the narrative is awkwardly forced by the rules, since the best action it fits within is Create Advantage.
Examples: When searching for a clue in investigative games, is that an Overcome action? Are you trying to overcome whatever is hiding the clue? Or are you creating an advantage (at which point you then have to create an aspect that may or may not actually be beneficial... it's just information).
Discovery, instead, sits in that niche where the characters are looking for information that may not be immediately useful such as a created aspect may be.
*Besides, discovering an aspect still informs the fiction even without a free invoke. If you use charm to discover that someone is a Sucker for a Pretty Face, even if you don't take further action to really capitalize on that (Create Advantage for the invokes), it still informs the difficulty to overcome.
2. It fits the genre tropes. I really like how characters are able to discover/notice things in their area of expertise, even if they aren't particularly educated personas. In Firefly, Jayne Cobb is not a particularly academic character, but there's a scene when he introduces "Vera" that you realize this man really knows his guns. Previously, this distinction would be relegated to invocations of aspects, which works too; but I like that this is a bit more constant.
It also further represents that discovering something is not the same as taking advantage of it. Someone with a high fight skill could watch another combatant to discover that he Telegraphs His Big Hits, but then still needs to spend a few seconds within the actual fight feinting an opening for the Big Hit, Creating an Advantage on that knowledge.
3. It highlights encouraged behavior. I remember first reading about this kind of potential in the 1st edition of 7th Sea, where players were encouraged to "suggest" cool things to the GM. For instance, when a new NPC is introduced, it could be a fantastic suggestion to say, "This guy looks familiar. Wasn't he the old Master of my Swordsman's Guild?" That blew my mind, realizing that players had the opportunity to suggest cool things into the story without having the characters actually create them--as if they discovered it.
Sure, you could do this under the Create Advantage action before, but it often was overlooked because your character isn't actually "creating" anything in the fiction. I love this behavior though, so I like something that highlights it as an option: "That machine looks like there may be a weak spot on the back, I think I'll take a closer look." -"Great! Sounds like you're trying to make a Discovery using tools."
4. Finally, it brings another layer of collaboration. While to some degree, this is a layer of GM control, that also means another level of surprise and creativity for the players.
While this is certainly an example of poor playing in general, let's use it anyway. Someone with a high skill in notice makes sure in every firefight to "notice" that the opponents have Poorly Maintained Weapons, or maybe an Exposed Flank. That may be cool every once and a while, but it gets old. It also only incorporates one layer of player creativity as they're setting up their own solution.
With the Discover action, the player still gets to suggest a discovery, but ultimately it's a question to the GM. A success gets useful knowledge (or even a failure, but at a cost), but the GM gets to define that. Using the examples above: "To the contrary, these guys have meticulously, almost obsessively well maintained equipment! You could even say that these guys Love Their Guns More Than Anything Else." Or the second: "You were hoping for an open flank, but find that they're actively watching that angle like hawks. Luckily, this means their Attentions are Divided.
The player succeeds and gets helpful info. They have an opportunity to suggest something they think is cool, but the GM has the option to shape that differently to better fit the situation or spice up predictable suggestions. They players are also offered another opportunity for creativity: "Awesome, now what can I do with that?"
It seems like a big change to make, but that's at least the thought process that has gone into why. In practice it doesn't see nearly as much screen-time as the other four, but any game I've forgone that change I have at least a moment or two where I think "Damn, this is perfect for the Discovery move... but we need to manufacture some sort of advantage out of it now instead."
I have read most of the core book and I must say - I think I am missing how this all flows! I suspect I need to see it in action before it resolves itself in my brain.
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The High Concept: The Mountain Man
The Trouble: Fights When He Should Run, Runs When He Should Fight
The Bargain: No One Outruns the Devil
It's hard to know what's true about a man like Eli J. Ashley. Most agree that he was born in what is now West Virginia (but what, at the time, of course, was just Virginia). Some say his first wife died when he was a young man, well before he served in the Union army. There are those that claim he's told a story about serving with the 7th at Petersburg, but yet others claim that he was one of Blazer's Scouts. For a man of few words, there are certainly a lot of stories about where he came from.
After the war he headed west looking for adventure. He's made a name for himself as an excellent hunter, tracking anything...even other men. He tends to disappear for months at a time, coming to town to drop off fur or other things for trade and occasionally getting some work.
Eli J. Ashley has done a lot of bad things and always knew when he died he'd be heading down. But, despite having nothing to lose, it wasn't he who actually made the initial bargain. Shortly after heading west, Eli married a native woman and had two children. Several years ago, during a harsh winter, both children fell deathly ill. It was his wife that sold her soul for their lives. Upon learning this Eli offered his own for hers, but the spirit was uninterested in a soul that would eventually be his anyway. Instead, Eli would have to serve, and serve well.
@Horatu: So long as it's John being alienated and not me, I can live with that. ;)
On another note, as bad as he can be, he's actually a fairly decent fellow. He's just not one that you would want to cross, ever.
I was really just writing a bunch of stuff to see where it went. I think I will try to realign things to poker terms, keeping the history intact.
High Concept: High Yellow Gambler, Protective Mayor of a Town (Or just a saloon, whatever is appropriate in our scale).
Trouble: All-in. Amaziah gathers misfits and protects them. Dwarf whores, Blind piano players, One-armed barbers. Amaziah protects the disadvantaged
The Bargain: Stacking the Deck. Amaziah is the master of the situation. He is always playing with a deck stacked in his favor. He is always prepared. When you think you have him with your 4 aces, he has the Wild Card that completes a Royal Flush.
Alright, time for some character notes/questions. I echo everything Hotaru prefaced with as I couldn't possibly put it better than she did. By no means am I suggesting how you should play your character. Instead, I just want to offer some suggestions that may grab you and point out some areas you maybe haven't considered.
Likewise, the spoilers are to minimize the wall of text; but feel free to read them all as you may glean some ideas from the others as well or come up with further suggestions for them.
Aspects in General: The core advice is fantastic -- Aspects should be Double-Edged (Can be invoked for benefits as well as compelled for complications), Say More Than One Thing (it's a limited commodity, so use it to say a lot), and Keep The Phrasing Simple (Pithy is fun, but understandable is better).
I can't help but wonder if America's Greatest Hero might work better as the trouble. Of course the greatest hero would be fearless, so I can see that wrapped within it... but that way your constant struggle comes from needing to prove yourself a hero, or constantly pursue it. That would leave your High Concept open though--so who would this Would-Be-Hero be?
The Cursed Gun is fantastic. There's lots of directions we can take that with a stunt, whether it's flames or incredible accuracy. Hotaru's points about being unable to miss and it's complications are true though, as with the options of forcing stress damage into consequences once per scene or with fate points, etc.
I loved Family Business Isn't Dead to be honest, but Skeletons in the Closet is equally ripe. Both obviously imply undead, but the first also indicates personal stuff (unfinished business with your father or family background) while the second seems to indicate external complications (other people's problems tend to come out around you). So I'm really intrigued by the second as well. I hope I'm understanding those right.
The bargain is what I need help getting my head around. So you (and your father, right?) were both saved, but to be ongoing are you still under protection? There's ways we can model that if it's the case. Or is it something else? (The setting stuff with the well though is fantastic!)
So the reason he despises nobles and bullies is because of the way they use their power to push people around, and Orland is trying to distance himself from a past of doing the same? Or better question: How do you envision this being a constant source of problems... not just conflict, but problems?
Maybe this comes out in a need to rebel against any sort of power structure, or a compulsive desire to disobey? Maybe it's a pursuit of toppling power structures, or always siding with the underdog? I really like this aspect of him, I just want to make sure that it's really ripe for causing big problems for you (stuff that if you were watching the game as a show, you'd be thinking "No! Don't do it! Gah, why do you always ________?")
Your bargain: I think I have an idea to make it an ongoing thing, but it clashes a bit with the Trouble proposals above. What if it's something like No One Lords Over Me. Your commanding officer was killed as part of your bargain, but it should be something that has empowered you now in some way. Maybe people over you still die, until you yourself are at the top? Or maybe there's a way that death follows you still. This could be used to your favor if you can direct it, but also compelled against you (we could certainly figure out a significant degree of control, since this is intended to be a double edged boon--rather than a curse with occasional perks).
And out of curiosity, why did he choose America? I suspect there could be something in that.
*Also, I'm totally with you on not grasping how this all flows. My first Fate game was actually on these boards quite a ways back. I read everything but was really lost--VERY confused and disoriented. But it wasn't because Fate was complicated, it was because I had a lot of assumptions I was bringing, and this game is so open that you feel lost at first without the familiar constraints. I should probably link that game so you can see my struggles. Ha! It's uncomfortable, but worth it :).
More to come when I have another big chunk of time to try and put my thoughts to words.
The Undertaker's Daughter is sort of her 'transitory position'. I can try to come up with an adjective that works for her, but I'm not readily sure.
Skeletons in the Closet is definitely all about secrets, and not always about her own. People just wind up with their cards on the table when she shows up, not all of them, but enough to cause problems.
The Family Business isn't Dead is actually an homage in some ways, and works great for her intro story that I have running in my head. So it's definitely sticking around.
But then there's her bargain, and that's where it gets complicated. First, I've always envisioned her as adopted, but I'm not certain from whom. Initially I'd thought 'easy, stolen from natives', but as my story progressed in my head I came to two better opportunities, both near the same place: She was saved. Sort of. But from who or what, and that's the interesting idea that I have running: Did the Undertaker take in the child of someone who was killed by a monster, or did he take in the child of a monster that he killed? I really like the possibilities tied into that latter one, and it gives me an idea for how to adjust that last Aspect to something like 'A bargain for blood'.
Like, perhaps the devil removed whatever protections her adoptive family had put on her, and thus saved that particular family. The type of monster isn't inherently important to me except that it would create a sort of drama, just figuring out what she is. That's assuming folks were fine with her being a legitimate monster, of course. Otherwise, the original idea was for her to be protected in some way... at least until she had more family.
I may have gone a bit long, there. :)
As for Discover, I can see that fitting in, but I also feel it will be a little undervaluable compared to the others though I don't mind at all.
I definitely dig the idea of him being a sort of debt collector,
which leaves things nontraditional, but are you hoping to be a sort of Ghostrider, or something else? Getting a nice, reliable horse definitely fits with the choice of words you used...
Huey:I love the idea of the Would-Be-Hero. There's a lot in his background though that offers some opportunities I think for creating setting. He's been in several groups in pursuit of becoming a hero, and I'm curious more about him beyond this desire to be a hero. I assume that he's young, which may be worth stating. How does he hope to become a hero, or why? I'm not sure necessarily how to incorporate that stuff but I think you have a big opportunity to say several things here, especially because... I can't help but wonder if America's Greatest Hero might work better as the trouble. Of course the greatest hero would be fearless, so I can see that wrapped within it... but that way your constant struggle comes from needing to prove yourself a hero, or constantly pursue it. That would leave your High Concept open though--so who would this Would-Be-Hero be?
The Cursed Gun is fantastic. There's lots of directions we can take that with a stunt, whether it's flames or incredible accuracy. Hotaru's points about being unable to miss and it's complications are true though, as with the options of forcing stress damage into consequences once per scene or with fate points, etc.
If the Civil War ended in 1865 and the year is currently 1871, he would be 24 years old, having escaped the army in 1869 (22).
"Most Fearless Hero" seems better as the trouble, which leaves the high concept open. The problem, in my opinion, is that he conceives of himself as a hero. If I make a new high concept, I think it would depend on the premise of the campaign. The character could be set on getting rid of whatever supernatural threats might threaten ordinary people, as long as that will be an important part of the game.
As for the problems with the gun not being able to miss, I thought of a different idea: Whenever he kills someone using the gun, he leaves footprints that can't be erased. I'll find a stunt (when we get to that) that makes the gun better somehow, but I'll wait until we reach that stage before deciding on something that won't fit. I think that's less awkward than what I had previously written.
@ GM (and evryone - feedback is good as character gen is supposed to be a bit of a team effort, eh?))
I like the idea of a personality trait in the High Concept. You are right that he is disillusioned. So I added that.
The trouble is that he will do almost anything to stop a bully, or someone in charge from abusing their power. He has absolutely no problem with the legitimate use of authority. He has a BIG problem with using power as a means to push other people around. Whether its pushing the Chinese guy down in the street, or lying about a deal with a Lakota Sioux, or beating a girl at the dance hall - he won't have it.
And you are right - he absolutely won't be bullied himself by ANYONE.
How about No one pushes me or mine around.
So - problems (not just conflict) as a result. He could (just as an example) end up in charge of a town's defense against bandits. He is good at it, but he will end up pushing (bullying) to get the job done. Because sometimes you need some brutal discipline to get everyone on the same page?
Or he could end up with a weird extended family - a Chinese man, a dance hall girl who is young enough to be his daughter, the son of a big rancher (who terrorizes sheep farmers) that is drying out from a binge drunk? How the heck did he end up in charge of these people and how will he deal with that?
Or this weird group he is about to play Fate with? I am brainstorming here.
He came to the West (by going east) because he mustered out in India, getting there via Arabia, the Ottoman Empire, Crimea, Balkans, Greece, and ultimately Scotland. He knows the places behind are filled with prejudice, hate, power brokers, and tin hat losers in general. So he needs to flee East to the American West. Maybe it will be better there? It is at least unknown, whereas he KNOWS the rest of the world he has gone through is bad.
I am keeping most of the character gen stuff under the avatar now, as it keeps me from losing stuff. Just click on that to see what has changed.
Likewise, being afraid of blood, and looking for redemption, you may try to push your way through your fear, only to be met with a compel to give up and get a fate point. That your trouble is a fear of blood doesn't prevent you from trying! Just... maybe finishing... if it's not really important to you in that scene. Just remember that if the GM does push your fear of blood, and you resist it it costs a Fate Point to resist the compel. Mog may need to correct me here, but as long as no one pushes your fear of blood, I don't think you need to worry about a compel. You can up-play it, but in order for it to be a valid compel, it has to have some sort of consequence. If it's just RP but doesn't complicate the scene for you (usually adding drama) it doesn't score you a Fate Point. But if no one compels you,
you do it anyway, and it does complicate things, players may try to get you a fate point!
I might tweak my trouble, then? Something that'll come up more often than a fear of blood?
I wonder then if the trouble could be expanded (though again, it overlaps with the high concept a bit) to something like: Something to Prove or Greatest Challenge Brings the Greatest Glory. I suggest those because it seems that fearlessness would factor into both, but they also give further opportunities for complications through trying to draw attention/approval, or overcomplicating something in order to make it more "heroic". And maybe neither of those fit your concept, in which case you can toss them out.
As for your trouble, the examples you give all center around Orland being the bully or being in charge it seems. So I wonder if that should be central to the aspect. Something like Nobody Bullies But Me, or "Ingrained with the Tactics I Despise" (which makes it more reactive than intentional)? I'm thinking that in this way we still have the hatred for those tactics, but it highlights the struggle that those are the methods you've made habit. It's a great struggle and area for character growth!
High Concept: Don't mess with Devil-Eyed, as that's really evocative. But what do you mean by "Fighter"? How does he fight? Where did he learn to fight? If I may, what about something like Vengeful Devil-Eyed Confederate? The fact that you chose to have him be a part of the late Confederate army is too good to not include somewhere, and the Vengeful aspect seems so central to who he is that it ought to be up front. Thoughts?
Trouble: You said it yourself, that he's Hanging on to Humanity by His Fingernails. Man, maybe there's a more succinct way to say that, but I love how evocative that is as a trouble aspect. This would not only speak to his viciousness, but also that feral temper or potential slide toward alienation. That sounds interesting to me as a struggle, but the bigger question is whether that's the struggle you want to be wrestling with?
Devil Inside is Winning? I don't know, I'm spitballin'.
Bargain: Personally I think that Vengeful is a better fit in your High Concept, as it sounds really central to your concept. There's definitely some stunts that we could come up with to make sure that he operates like an unstoppable juggernaut. I'm really not sure what kind of suggestions to offer here though... I'll keep thinking. Help me out, anyone, if you've got some ideas!
The trouble is really interesting too. Help me understand what that means: are you always siding with misfits? Do you view yourself as alienated? Are you simply wildly ecclectic beyond reason? Or is it that you're surrounded by misfits, so your troubles are always coming through them? My mind is jumping around with all these things that really intrigue me, and I'm fascinated to know what you intend.
I don't have any suggestions with the bargain, as it seems really interesting as it is. I'll also be trying to think of suggestions for how that eventually could relate to a stunt. How do you see that being compelled or invoked against you though? In other words, what do you envision as the down-side to that?
*Edit* Also, I'm curious if you plan on this character being involved with Voodoo at all? I notice you mentioned gris-gris,
and that's a thing we can have happen. You just decide whether it's something central to your character (may want to be a part of High Concept?) or more of a footnote--something you dabble in.
High Concept: I'd recommend working something about being a Farm-Girl in here somehow. When I read Penitent Bounty Hunter, I got a different vision than what you described, and I fear you're missing some cool stuff by not calling that out!
Trouble: Ha, this seems like a compel gold mine, which means that it should be easy to replenish Fate Points should you desire. It also means that as you get low on Fate Points things are guaranteed to be rough (which is good! That means drama!). How comfortable are you with this potentially being a supernatural thing? As in: it's not just a perception that you seem to have bad luck, but something all too real metaphysically?
Bargain: How does this continue to benefit you? I was thinking about this yesterday and wondered, "Man, what if the bargain means that she is free of consequence? Like things just don't stick to her, or people don't remember (or have any proof) that she was involved in anything." What do you envision the bargain doing to continue to benefit you?
Trouble: Not sure what you're thinking here now. I just wanted to caution that this would make most medical situations (which seem to be your forte) incredibly difficult! When something is compelled, it doesn't just get harder, you lose control of your character or the situation. So a doctor who's afraid of blood is really interesting, and a blast if you like constantly wrestling with being compelled away from exactly what your character is designed to excel at. Or maybe you have interesting ways around it (blindfolds, etc., who knows).
Maybe the fact that you're on the run is really the trouble you're looking for? I know that's wrapped up in your High Concept now, but if you want you big struggles to come from being hunted or laying low, you should make it your trouble--since that's my go to when I want to complicate your life.
Bargain: So what did you gain out of this bargain that will aid you in achieving Redemption? Here's some crazy thoughts that crossed my mind: Maybe you have an otherworldly assistant (seems mostly human/natural), or maybe it's even Gus Higgs? Maybe you received supernatural knowledge to help make you a "better doctor (anachronisms are awesome. So maybe that could even slip into some steam-punk modifications, or a more gothic Frankenstein's monster sort of feel)? Or the low hanging fruit of simply having a supernatural ability to heal, perhaps in impossible ways like regrowing limbs or forgetting that summer when everyone you knew and loved died horribly of consumption?
Apologies to Amaziah and Eli. Yours are still coming, but I'm apparently quite slow at this.
I'm... kind of tempted to roll up a character. I haven't settled on whether or not to do so yet. Is posting 1/day fine?
The concept I'm considering is focused around the Bargain aspect I have in mind, actually: Dead and Alive. This would be someone that literally was on the cusp of dying and sold their soul at vengeance, or just a stay of execution, etc. But whatever the case, they're not alive or dead, but undead in a pretty clear fashion.
The good side of this would mean this character could get shot by a bullet and not care. The bad side of this? They're a freaking zombie. Also, their limbs have a bad habit of falling off and such, so they need to be sewn back on occasionally.
As for the high concept, I'm still chewing on this. I kind of want to make a Desperado from Mexico, or perhaps someone that was hung for a crime they didn't commit. And finally, I'm considering a Native American character of some kind - perhaps someone from what was once the mighty Comancheria, or a Pueblo farmer.
EDIT: I originally REALLY wanted to mix this in with Wounded Knee, but that doesn't happen until 1890. That's why it's taken me so long to post - I have the Bargain, but not the rest of the character, and I'm trying to find something historical and dramatic to work with.
Good thought on the British and Regimental name. Added that.
I am not necessarily wanting to focus on the bulling aspect to the degree we seem to be. How about Stands up for the Disadvantaged or Protects the Disadvantaged?
Substitute Downtrodden for Disadvantaged?
Actually, I think that works a lot better as his trouble. I put fighter because, well, he is supposed to be good in a scrap. Mayhem is his M.O. and that just gave me an idea.
So, to refine things some, we have.
Core Concept: Devil-eyed Confederate Master of Mayhem Out for Blood - John is a former Confederate conscript with a penchant for causing mayhem wherever he goes. The mark of his otherworldly bargain is plain to see in his eyes if one wants to look closely enough, or anger him enough. He may look unassuming, but there's no denying his skill in the arts of dismembering his fellow man when things go pear-shaped. Skills he acquired mostly in the four-year long Civil War, though he'd grown up getting into scraps. It's clear he's hunting someone and he isn't giving any quarters.
Big Trouble: Hanging onto Humanity by His Fingernails - John has always had a temper, but ever since the events that lead up to his deal with the devil, he's gotten worse. Each murder not related to his quest for vengeance is easier to justify and it is becoming harder and harder for him to not kill just for the sake of it.
Bargain Aspect: Vengeance is Mine - John's determined to make those who murdered his mother and sister pay. He'll shrug off mortal wounds, he'll pursue his quarry tirelessly, and he'll find a way to crawl back from the dead if he has to.
So, thoughts? All are welcome to critique.
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As I asked others before: What do you hope to see out of your Aspects? How do you hope to use them and see them used against you? What sort of things are you hoping to see, overall?
I definitely dig the idea of him being a sort of debt collector,
which leaves things nontraditional, but are you hoping to be a sort of Ghostrider, or something else? Getting a nice, reliable horse definitely fits with the choice of words you used...
The High Concept and Trouble have relatively easy applications. The Mountain Man is a straight steal of a western trope and comes with all the trappings. It comes into play as knowledge of the land and the people/things that live outside the town and how to deal with them (good or bad), but it also comes with a problem fitting in when in "civilized" settings. His trouble is his constant struggle. For a guy that seems so together and so self-aware, he never seems to get it right. At least from a normal person's perspective. He's proud, which gets him into trouble when other people would shrug and turn away. And there are things he doesn't care about, where other people would get offended.
As for his Bargain, I have a vague idea in my head, but it's still bouncing around and I think I'll wait to see more characters to make it more solid.
He's not much of a Ghostrider type as there's not a lot of "vengeance" going on. I'll leave that to other characters. ;) But there are certainly aspects there like the somewhat continuous service to the Devil rather than a one-time thing.
As for a horse, I'm going back and forth about that too. I like the idea of being a rider. On the other hand, when I picture him, he's tracking on foot.
The trouble is really interesting too. Help me understand what that means: are you always siding with misfits? Do you view yourself as alienated? Are you simply wildly ecclectic beyond reason? Or is it that you're surrounded by misfits, so your troubles are always coming through them? My mind is jumping around with all these things that really intrigue me, and I'm fascinated to know what you intend.I don't have any suggestions with the bargain, as it seems really interesting as it is. I'll also be trying to think of suggestions for how that eventually could relate to a stunt. How do you see that being compelled or invoked against you though? In other words, what do you envision as the down-side to that?
*Edit* Also, I'm curious if you plan on this character being involved with Voodoo at all? I notice you mentioned gris-gris,
and that's a thing we can have happen. You just decide whether it's something central to your character (may want to be a part of High Concept?) or more of a footnote--something you dabble in.
High Concept: High Yellow Gambler, Overprotective Saloon Owner
Trouble: All-in. Amaziah gathers misfits and protects them. Dwarf whores, Blind piano players, One-armed barbers. Amaziah protects people on the margins.
The Bargain: Stacking the Deck. Amaziah is the master of the situation. He is always playing with a deck stacked in his favor. He is always prepared. When you think you have him with your 4 aces, he has the Wild Card that completes a Royal Flush.
The time line fit (barely) but it made it easy to use real events to flesh out the character
Concept: expanding on the concept shouldn't be too hard adding in something like 'relates to animals, dislikes humans' any specifics you had in mind?
Trouble: Fine by me, what did you have in mind? Haunt/curse ect?
Bargain: I was having troulbe finding something I got for the deal but not getting credit/blamed for things fits. I was considering changing the deal to have her being able to protect her family since it wouldn't be a stretch that Irish immigrants would need it and have the fire being her screwing up her power due to her trouble and then running away to protect them from her new power.
Either works for me so I guess it would be up to others preference
I actually think that an aspect such as "Something to Prove" would be better as a sort of subtext of the high concept of "America's Greatest Hero," rather than as the trouble. For example, if "America's Greatest Hero" were compelled, I might have to prove my worth. That is a bit different than "I Fear Nothing," which can be compelled in different ways. It doesn't totally remove overlap, but I think it works better than changing the trouble. Does that make sense?
Inlaa: Yes, 1/day is where I'm setting the expectation (not including weekends, and with understanding that everyone is likely to still miss occasionally). Playing an 'undead' character sounds like a great idea as well if you're still thinking that way, as well as the desperado (or any other of the cultures outside of anglo).
Oh yeah, and if you want to draw inspiration from Wounded Knee (inspiration sounds very much like the wrong word here), you're welcome to reference a fictitious event that panned out the same way, or even shift timelines around a bit. It really doesn't bug me in the least.
That means it is also my obligation to engineer situations where I compel you to follow that, even though as a player you would likely prefer not to. For example:
- The simplest example would be witnessing someone facing impossible odds, and regardless of your own odds in that situation you would be compelled to step in and defend. Easy, probably not too tough.
- What if a werewolf has been caught terrorizing a town, but instead of putting him down they capture him and torture him for information on the presence of other werewolves? I would compel you, as a protector of the disadvantaged or downtrodden to come to the werewolf's aid (who is tied and helpless), sneaking into his pit late at night and releasing him. Now we're causing trouble!
- Or what if a new marshal is appointed, who takes a rather strong armed method in dealing with a rampant criminal element in town. Now that the criminals are being bullied around, knowing that you are one who stands up for the downtrodden, they come to you for assistance--which you would be compelled to provide.
I like this kind of aspect, because it stretches my creativity in finding situations where it really works against you. Tagging it as your Trouble aspect is a big flag to the GM that says "This is my flaw, it should be what causes the most problems for this character."
Also, I had a pretty good idea for a stunt for that bargain. I intend the bargain stunts to be pretty powerful, so this is a step up from the usual potency level of traditional stunts.
Once per scene, you may declare a story detail referencing your luck, just as if you were paying a Fate Point (subject to the same parameters), for free. You lucky b*****d.
I'm really writing that here so I don't forget it. But you're not locked in by any means.
I just think it's a really cool twist on the typical 'bounty hunter' trope.
Trouble: I'm not sure if I had anything specific in mind. Maybe that's something we could figure out in play (if that pursuit interests you), or we could define it before hand if you want to have it as a cool part of your background. I don't think you need to change anything here, I was just trying to find out for my own understanding.
Bargain: Yeah, we could make a bargain that entails protection (which I would likely extend beyond just your family. I intend to make these bargains really beneficial). As I was thinking about your character more this morning, right now I can see potential for either someone that's really incognito or someone who's really protective, and I think this bargain could push you either of those directions depending on what you want. Or maybe you like a third option.
I'm thinking of ways that your fearlessness would be compelled to get you into trouble, and I want to make sure we're on the same page: I see a sort of recklessness when a bit of healthy fear would advise caution; I see brazen attitudes with authorities; whose presence would typically evoke a healthy fear; and I see even a foolish disregard for curses or ancient evils, since they obviously wouldn't frighten you.
Also, have you decided anything on that gun? There's all manner of things a cursed gun could do, and never missing or igniting the flames of perdition are both awesome examples so far.
The Mountain Man: Like you said, there's a lot of rich stuff wrapped up in this already. There's certainly room to add in some adjectives to help define personality, or background, or connections. Maybe Infamous or Mysterious, since there seem to be lots of stories about you, though nothing confirmed. Or maybe you could define some setting with The Mountain Man of Hollow Hills, or some name you prefer. Are you Grizzly, or Unkempt, or Sagacious, etc.?
Trouble: your second explanation really helped me get my head around this. There's a 'pride', as you say, that pushes him to make big things out what others would shrug off. There's also an almost alien apathy concerning things that others would really prioritize. I don't see any need to phrase anything differently, but that explanation was extremely helpful. I hope I have that right.
Bargain: I like the twist that you didn't offer the bargain, but you're the one subject to it. I wonder what that offers you now on a more or less continuous basis? I see that you're thinking on this as well.
I had some thoughts just to throw out there: What if your wife was still around as a spectre that only you could see. That could prove quite helpful (while also adding to the "crazy" aspect of the mountain man trope). Or what if, because you 'belong' now to this entity your wife bargained with, no one or nothing else could 'possess you'? As in, you slip out of prison cells, or binds, or cave ins, or bear's grasp, etc. That should probably include metaphysical stuff, like no relational attachments, or even free of other promises/obligations?
Again, I'm just tossing ideas around. Drop all of these if none of them spark something.
*All*: I intend to decide on our cast Monday the 24th. You don't have to have everything figured out by then, but I need to narrow it down so that we can do the phase trio, pick skills, stunts, etc.
I feel like I need to apologize in advance for those that aren't in the five that I pick, since all of these characters are really interesting and you've all put a lot of work in.
I think I could definitely use the adjective 'clever', but it takes away from the 'pithy' and clever wordplay. :) Diffident or Unassuming also work. Clever is important, because she does things differently than he would, though I think her not being him plays that well enough. The way I'm picturing the Undertaker is as a sort of folk figure, sort of like an 'Old Puritan'. Though he's not really terribly religious except where it has its uses. Diffident and Unassuming are both good for highlighting that she has something to prove. I worry that that will too often result to a compel to inaction, however, making them poor adjective choices. Curious exists as a solid choice, but is covered by Skeletons in the Closet.
Ultimately, the Undertaker's Daughter is clever and curious and quick, but she isn't headstrong, or strong at all in the traditional sense. And the Undertaker is a sort of title that's larger than her, but that doesn't make her less of a legacy hero, I think, for it. I think that, ultimately, a lot of it is 'subtext' as Huey put it, above.
To better give an idea of what I see happening with the Undertaker's Daughter as an aspect: I want to play up that she's underestimated in what she does. She doesn't have the experience to be him, either in his official or his unofficial capacities. But that doesn't stop there being a void as a result of whatever it was that happened, and she has to fill it. Because while she's not qualified, everyone else is less qualified. If that makes sense.
To better give an idea of what I see happening with her upcoming story 'The Family Business isn't Dead', that one actually focuses on who her father was 'behind the mask' as it were. One of the aspects he has (or had!) is Ink in the Ledger. One of the things Serra will stumble upon is a book full of names written in red and black ink, just like an accountant would have. Some names show up more than once. This is excellent compel fodder, as folks who were hurt by him (even by extension) may have red ink, but so would people who were friends who he owed a favor. A lot of what the Undertaker did is lacking in context as the notes he kept were very succinct - and often don't even answer his own questions, because he knows the answer. There'll be a few other uses as well, like 'calling in black ink' which won't always work, and also has the negative impact of her father seeing things from his own perspective. It's complicated, but I hope the literature will help support all of what I have in mind for that aspect. It should be bountiful, though!
Then the 'Bargain for Blood' which really needs a better name,
is rife for compels, but also rife for moments of unnatural strength/grit... or something else, depending on what she actually is. But like you said, what she is matters less than that she is.
Hotaru: I think that all sounds really good (I love that ledger idea!). And you're right, now that I really get everything entailed in being The Undertaker's Daughter, it covers quite a bit with subtext. It's perfect.
@ GM - I am good with all of your examples; it fits in well with how Orland would react.
He may be somewhat understated (verbally) as he is British, after all.
It sounds like Orland is done(?). Although the bargain aspect may need some work. Or not.
<Orland sits back, knocks the dottle out of his pipe and reloads it with good Virginia tobacco. He lights it and puffs contentedly, wishing for a good dark beer, not this pale stuff the Americans drink. And lets not mention their whiskey!>
Fernando is part of a dying breed of romantic Wild West heroes, men larger than life that seem to live out fairy tales out in the desert. Also known as "El Caballero Rojo" (The Red Knight), Fernando has traveled the lawless parts of Mexico and the West, and he has always turned heads with his strange, outdated idea of honor. Even so, he is still an outlaw.
Trouble: For Love and Honor
'Honor,' he calls it. Some would call it foolish, but Fernando seems to have the unfortunate combination of being willing to fight for what he deems worthy causes and being a sucker for a pretty face. He is known for his passion in all other things, for the bite of his tongue, and most of all for his pursuit of love, fame, and that vaunted 'honor' he tries so hard to keep from falling apart. They say Fernando has only ever killed a man in self-defense, and the Red Knight tries very hard to keep it that way.
Bargain Aspect: Dead and Alive
They say that legends never die. That's hogwash. While trying to protect a village from a group of bandits, lawmen that had been pursuing the desperado caught up with him. He was caught in the middle of these two groups, with bullets flying and smoke rising high into the air, trapped.
The bandits won that fight. Fernando had them on the ropes, but when the authorities arrived they shot the man with the biggest bounty on his head - Fernando - square in the back. He tried to keep fighting, but he was shot again, and then a third time, and a fourth. The bandits then fired at the lawmen, and when they took a few losses, the authorities fled the scene, leaving Fernando bleeding out and the bandits loose on the village.
As he lay there at death's door, Fernando could hear screaming from the town. The bandits were doing horrific things, he knew, and there was nothing he could do. But then someone appeared before him, a stranger wearing a black coat with fire in his eyes: el Diablo.
The Devil had an offer to make Fernando. He knew that the desperado couldn't just watch as the bandits had their way with innocent folk. He knew Fernando would do anything, give anything to save them. So he offered him a choice: he could die peacefully and rest in Heaven, or he could make the ultimate sacrifice and sell his soul so he could spit in death's face and save those people.
Fernando made his choice. He sold his soul.
What happened next would go down as a horror story for the ages. El Cabellero Rojo stood, picking up his famous red hat and setting it on his bloody, broken face. He stepped out into the open, shouting for the bandits to come out and fight him. The bandits answered Fernando's call, putting at least a dozen bullets into him, but he just stood there with an expression of hatred. Then he shot them, killing some and sending the rest scampering for the hills.
But he wasn't lauded as a hero. Those who saw his face knew what he was: a monster, a man that had cheated death. They screamed for God to help them, and Fernando fled into the night.
To this day, Fernando is still wandering the Wild West, waiting for his final judgment to come. As he wanders, he looks for noble causes to fight for, always willing to set down his life - again - for love and honor.
Skill-wise, I actually don't imagine that Shoot is my character's best skill. I imagine it's Empathy or Provoke, and that he's really good at social skills, athletics, and then some fighting skills.
Also, I imagine he has a signature red vest, duster, or poncho to go with his red hat.
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Phew, I finally got to your character. Again, I apologize that this took so long. I have no intention of short-changing you despite addressing your character so much later than the others.
The Mountain Man: Like you said, there's a lot of rich stuff wrapped up in this already. There's certainly room to add in some adjectives to help define personality, or background, or connections. Maybe Infamous or Mysterious, since there seem to be lots of stories about you, though nothing confirmed. Or maybe you could define some setting with The Mountain Man of Hollow Hills, or some name you prefer. Are you Grizzly, or Unkempt, or Sagacious, etc.?
No worries, you had a lot of stuff to work through!
I think Mysterious is close but I'm not sure it's enough since most Mountain Men are. Maybe The Curious Mountain Man, sort of playing on him being curious but also being odd. Though I think that overlaps somewhat with his Trouble in the way I expect them both to work out. Maybe, The Hard Man of the Mountain. That seems like it branches out the character in a direction that defines him better.
Trouble: your second explanation really helped me get my head around this. There's a 'pride', as you say, that pushes him to make big things out what others would shrug off. There's also an almost alien apathy concerning things that others would really prioritize. I don't see any need to phrase anything differently, but that explanation was extremely helpful. I hope I have that right.
That's exactly right!
Bargain: I like the twist that you didn't offer the bargain, but you're the one subject to it. I wonder what that offers you now on a more or less continuous basis? I see that you're thinking on this as well.
I had some thoughts just to throw out there: What if your wife was still around as a spectre that only you could see. That could prove quite helpful (while also adding to the "crazy" aspect of the mountain man trope). Or what if, because you 'belong' now to this entity your wife bargained with, no one or nothing else could 'possess you'? As in, you slip out of prison cells, or binds, or cave ins, or bear's grasp, etc. That should probably include metaphysical stuff, like no relational attachments, or even free of other promises/obligations?
Again, I'm just tossing ideas around. Drop all of these if none of them spark something.
I really like the idea of not being held by things. It works especially well because the character would consider a promise or obligation to be an almost sacred thing. And, without being able to be held by them, he'd also refuse to give his word, knowing that he can't promise things. I like how that works out as a bonus, but grates on one of the things he considers a moral imperative.
As for his wife, I expect that she's still living with his two children and taking care of them. Mainly because I like the idea that he's still got a family and feels tied to them. He feels obliged to visit them and provide for them, but also wants to stay away for fear of growing to hate his wife.
I like the word refuge. Refuge for misfits and vagabonds. I'll do some reading on Voodoo. That stunt for the Bargain is great. Just what I was looking for.