Some thoughts on crime fiction.

Some thoughts on crime fiction.

Some thoughts on crime fiction.

Whatever crime you do isn’t actually what we want to see on screen, unless what you do has to do with relationships in conflict.

This is an early lesson imrov actors learn. If you have a scene where two people are fishing, the last thing you talk about is fishing.

The same is true of crime fiction. John Harper, Stras Acimovic, Adam Koebel and I often chastise ourselves that the Bloodletters don’t spend any time actually “hawking”. We’re usually fighting, but sometimes we’re brokering deals or fronting to other factions, or hunting down own foes in their homes.

But why? Because those things are interesting! Sure, we’ll show montages of here and there of someone getting a tattoo with demon blood, or our junkies collapsing in the alley, but how much fun would it be for us to play out a drug dealer with an addict? If the addict had something we wanted besides a few chits, plenty interesting, but otherwise, we care about the other factions and rivals (really one in the same) in the city.

There is a reason why the default crew were Thieves (now Shadows). The default action of thieves is taking something from someone else. It’s crime, but it’s also relationships in conflict, and that’s why it’s exciting.

So, call yourselves hawkers or smugglers or breakers or cultist or astronomers, it’s all the same. The action we want play (and want to see) is which of your neighbors soups you’re pissing in, and what they do to your soup in turn.

[Note: I’m not advocating changing anything in Blades, just not worrying too much (or at all) if you spend all your time doing other things.]

A quick question:

A quick question:

A quick question:

The game talks about ‘turf’ in the abstract sometimes. Ironically, often on the ‘turf map’ where it is talking about it in a very gamey way. When “Lookouts” says “+1d to Survey or Hunt on your turf” what does it mean? Yes, one could reference the fiction, but do Thieves even HAVE “turf” in any sort of traditional fictional sense? If pressed, I would say that a crew of thieves’ “turf” was the area they worked, which would make it more like their Hunting Grounds, which are also A Thing.

This feels a little confusing.

The Porcelain Dolls: Session 31 (August 23 2016)

The Porcelain Dolls: Session 31 (August 23 2016)

The Porcelain Dolls: Session 31 (August 23 2016)

Gloves is still in Ironhook. Everyone else is home.

We open with Constance dangling Fitz by his legs over the edge of the roof of the doll factory, while Shade and Boots stand by. Once Fitz regains consciousness and calms down enough to stop screaming and Constance is certain that she has his full attention, she hauls him back up and sits him down at the assembly table. She lays out her plan to re-open the lower part of the factory, and to put him in charge of the operation as legitimate owner of the building and associated business. She also wants him to hire McDonough as manager. Fitz nervously agrees, and Gears gives him the tour.

Constance confers with Boots to hear his thoughts regarding Mylera’s intentions. They don’t trust her and are certain the invitation is a trap. They also resolve to visit Gloves when they get the chance.

Constance instructs Boots, Kamali, and Gears to guard the factory, and finds Shade in the process of moving into the new workshop. He tells her about Jezelle, and shows her the spirit bottle. She brings him with her to meet with Mylera.

Along the way they notice that the Red Sashes are not visible in their usual haunts, and in fact the Moon’s Daughter is closed. Needless to say, Constance and Shade are on their guard. The Temple also stands unguarded. When they enter through the wide-open front doors, they find the house completely empty, except for Mylera herself in the main room, sitting and lighting incense with a long fireplace match. She congratulates them for taking care of Baszo for her, and explains she had recently received word that her exile had been lifted, and so the Red Sashes are going home. When pressed on the details of the root of the conflict, Mylera relents and finally tells them the entire story by the light of the slowly burning mach.

Mylera’s Tale:

Baszo had a personal vendetta against Mylera Klev because he believed her to be responsible for the death of his wife Celia a number of years ago. Celia and Mylera were sisters.

Celia was an agent of the Iruvian Ministry of Intelligence, and 15 years ago it was her mission to investigate possible links to Severosi agitators working against Iruvia. One of those possible links was Baszo. The Red Sashes were stationed in Duskwall as backup. Before long, Celia had fallen in love with Baszo. At first Mylera was convinced that it was part of the cover story, but when Aleira was born, there was no doubt. Mylera didn’t approve of the match, but couldn’t stand in the way of her sister’s happiness.

10 years ago, a Severosi agent named Antonio Tancredi assassinated Ambassador Khurram, throwing relations between Iruvia and Severos into turmoil. Fortunately, Khurram’s successor, Ambassador Bashir, was able to negotiate peace between Iruvia and Severos. It certainly helped that the events of the Skovlan Uprising were fresh in everyone’s mind, and no one wanted to attract the attention of the Imperial Army. Celia had identified Tancredi as one of Baszo’s contacts, but failed to report him to her superiors. However, another agent named Sayid did report him, as well as Celia’s activities. Celia, Mylera, and the Red Sashes were all sentenced to exile. If they set foot in Iruvia again, they would be immediately executed.

Celia blamed herself for the incident and the Sashes’ subsequent predicament. She begged Mylera to kill her, because there was a chance that Sultan Hassan would pardon Mylera and the Sashes for bringing Celia to justice. Mylera reluctantly complied, and Celia made her promise to never reveal the truth to Baszo. Unfortunately, it was not enough to convince the Sultan to forgive Mylera, and the Sashes remained in exile. Mylera has friends in the Iruvian Consulate who have been lobbying on her behalf, and they have only recently been successful. The Sashes have since divested themselves of all local business concerns, packed everything up and loaded it up on a ship bound for Eldira. Mylera was tying up loose ends when Constance arrived.

Mylera asks after Aleira, and Constance informs her she was being looked after. The question of handing her over to Mylera is raised, a prospect in which Mylera expresses singular interest. Constance voices her concerns for a woman’s prospects in Iruvia (based on what she knows of Kamali’s history), and Mylera assures her that the girl will want for nothing, will have the finest education, and every opportunity will be made available to her. Constance reluctantly agrees. Mylera hands her a set of keys, informing her that something exceedingly valuable was left behind in the Temple. Mylera says she needs to take some time to get her house in order, after which time she will return to visit, and at that time take the girl home with her. She tosses something to Shade on her way out – a primitive grenade, unlit (the implication being that if either of them had been any less conciliatory, she would have used it).

Constance and Shade return home to tell everyone else the news. The Lampblacks are no more, and the Red Sashes have removed themselves from the equation. She hands the keys Mylera gave her to Kamali and Gears, who promptly return to the Temple to investigate. They find that the three keys on the ring go to the outer doors, Mylera’s private study upstairs, and the vault in the basement. When they open the vault, they find it to be empty except for Mylera’s ledger, which contains all the details of the Red Sashes business dealings in Crow’s Foot. There is a handwritten note in the back, stating that they have a head start, but should hurry, as nature abhors a vacuum.

Notes:

Lot of exposition this time around, stuff I’d had planned out since Session 1. I wanted to give a little more weight to the central conflict than a simple territorial dispute, and I wanted it to be a situation where no one was clearly without blame. Everyone involved did their part to make everything that much worse, even though they all did what they misguidedly believed was right. Sometimes there are no winners.

#dontmesswiththedolls

Scum and Villainy Play-test

Scum and Villainy Play-test

Scum and Villainy Play-test

Hey you all. You might know I’ve been working on a hack of Blades in the Dark with Stras Acimovic; it’s meant to recreate the spacefaring adventures found in Firefly, Star Wars, and Guardians of the Galaxy. We play-tested it about a week ago and it was pretty great.

Out of the gate, we have a number of classic playbooks. I played the dashing Scoundrel, ever fortune’s favorite. My table-mate Mike played the clever Mechanic, whose engineering antics were clutch to pull us out of the fire a number of times. Avedan played our mysterious Mystic with unsettling powers.

The initial situation for S&V is fun – we started in the middle of a shoot-out, having just stolen an Ur artifact and having several disputing factions trying to kill us for it. Our GM started a clock to track our getaway. I laid down some suppressing fire while our mechanic overrode the safety settings on a hoverlift. Cue dramatic title sequence as we rode over a nearby cliff.

We hustled through the crowded streets of the bustling city-moon to a gambling den (further advancing our clock), until we found a gambling den to hide in. We were stymied at the door until our Mystic managed to bring in her noble background and masquerade as a high-roller and get us off the street.

One of the new mechanics in S&V is the gambit mechanic. The crew starts with a pool of gambits that represent a little bit of tangible luck. These gambits can be spent in various ways, such as to gain a die, or to activate specific playbook powers. My playbook has the unique ability that it gives the crew an extra gambit. It’s not a flashy power, but it felt really nice to have that extra support and it felt like we had a little more depth when things got out of hand.

We took the opportunity to do downtime actions. We investigated the nature of this artifact and found out that it had the ability to shut down star gates used to connect systems in the empire. After arguing about whether we could sell it, the only thing we could agree on was getting off planet. Our ship was still on lockdown in the local spaceport, so our hacker figured out what we could do about it. Our Mystic brought in a friend to help seal the deal. For my part, I spent some time figuring out how to make money while we’re there.

Our engagement roll was pretty good, and we got all the way to our ship before things became serious. The Mechanic started to work our way around the spaceport’s security systems, but not before a member of the Nightspeakers – a cult of mystics that have nefarious designs – arrived, seeking the box. Our Mystic managed to use the Way to bend our enemy’s mind, giving us time to work.

The mechanic overrode the last of the locks while I started our plan to steal some conveniently located fuel. I managed to con some droids into loading a few crates onto our ship, but around that time (and after a borderline roll) the Nightspeaker broke free of the confusion and unsheathed it’s energy sword. A battle ensued, culminating in our Mystic bending space around the unearthly warrior and tapping enough of her own life force that she could barely stand. Our Mechanic finally popped the locks. Running through a barrage of laser fire we manage to blast off to space.

In all, it was an incredible time. The Blades core really pushes towards the interesting middle ground and the extensions we’ve made – between the new playbooks and the gambit mechanic – really capture the dynamism in the source material. I’m really excited about what we’ve got here.

Rescuing a Wayward Son – Actual Play as our Doksvol Spectral Society start pulling scores for the Hive!

Rescuing a Wayward Son – Actual Play as our Doksvol Spectral Society start pulling scores for the Hive!

Rescuing a Wayward Son – Actual Play as our Doksvol Spectral Society start pulling scores for the Hive!

Note: My first time rolling up a random score (actually, two) and it worked great!

Players: Adrienne Mueller, Karen Twelves, and Eric Fattig.

http://www.seannittner.com/actual-play-rescuing-a-wayward-son-892106/

http://www.seannittner.com/actual-play-rescuing-a-wayward-son-892106/

So let’s talk about Hulls.

So let’s talk about Hulls.

So let’s talk about Hulls.

The Hull PC can get a second frame, and so I feel like any damage taken is specific to the frame in use at the time (and the other is unscathed). I have been running it this way, and the player switches frames often so I am technically having the player keep two Harm tracks. Sounds OP but fiction seems right for it; right?

That seems kind of clear, but what about when the Hull gets another ability like Overcharge or Interface; is it frame-specific, or the character can use it no matter which frame is in use?

Also: who has stories or advice about Hull players selecting a master, or switching them? I have one player who was using another PC in the crew but now that player is gone, and I am wondering what to do with that (and Functions’ reliance on the master’s commands)

EDIT: clarity