HotBlooded: After Action Thoughts, part 1

I’m posting from the distant hinterlands of America, so I’m afraid I can’t post all that often, but I thought I’d at least take a little time to talk about my very first LARP while my impression was relatively fresh.  I don’t have pictures yet (they’re coming), so I’ll hold off on the actual report until I do.  But I can at least discuss my thoughts and theories behind the design of the game, why I think it worked despite the concerns of my editors, and what I learned from the experience.

I seldom LARP (very, very seldom), but I often listen to people discuss their experience.  I personally find that the greatest foe to LARPing (and RPing in general) is boredom.  Players need something to do and wandering about saying “How do you do?” and “My isn’t the weather lovely” makes for a terrible game.  Someone once argued that RPGs are 4 hours of work to get 1 hour of fun, and I don’t want that.  I want the players to hit the ground running, and so I tried to create a game that would explode as soon as it came into contact with the players. 

My editors found my approach overwrought.  “Are you writing a one-shot or a campaign?” they asked.  They pointed out that there was no way all of those story elements would come out, and that my details would overwhelm the players.  In some ways, I felt they completely missed what I was trying to do, and the general success of my LARP proves me right.  First, a campaign needs less work than a one-shot, not more.  In a campaign, we build story, layer by layer, session by session.  We can start with nothing and slowly build context.  In a one-shot, we don’t have the time for that.  Players need to know who they are and what they’re doing NOW.  Second, it’s true that not all my story elements would come out (thought at least one thought that large strokes would fall through, and that didn’t happen: Every major element showed up in the game), but that as the point.  I don’t know what players will like and what players won’t, and I don’t know how their interactions will shift the story.  NOTHING happened like I anticipated, but because of the ruggedness of my design, it remained terribly interesting.  For example, Rianne’s character was supposed to be the target of romance, but instead, all of the boys fixated on Sabrina and Desiree’s character.  And yet, Rianne’s association with the murder of Fyx Steele turned into a huge story element for her.  Some people have asked how I would know these things would happen, but the point is that I didn’t, and I wrote knowing that I had no control.  I gave everything enough material to keep them busy, and if one line of story failed, they had two more they could pick up, and that’s exactly how it worked out.  Finally, I too was concerned I would overwhelm the players (Erik Kamerman’s game certainly did, and I produced as much word-count as he did).  I tried to avoid this by carefully explaining how the system worked several times, and by making much of what they had to read optional.  However, I found that the players dug right into the game and weren’t confounded at all by the complexity.  I expect this was the result of two things, neither of which I had actually anticipated: First, I spoke a great deal with my players, asked them what they wanted and generally stoked interest in the game (entirely by accident).  Second, I put the LARP characters out about a month ahead of time.  This proved critical: Apparantly, the main problem with Erik’s LARP wasn’t necessarily the detail, but the fact that people only had two days(!!) to read it all up.

So, the LARP was a grand success.  I mean, really, a huge success.  I can’t tell how it rates in the grand pantheon of LARPs (I’m tempted to say that Jimmy’s LARPs are generally better, but I really have no idea).  I do feel it’s safe to say that “It was a success.”  I’ve outlined why I felt it worked, but I thought I’d touch on a few elements that were mixed or could be improved.

First, the system.  The more veteran players looked at me like I was crazy for including a system and, in general, it went well, but almost nobody used the “contest” system.  I think that’s John Wick’s intention: He included that not as something players would use all the time, but as something the players would touch on only if needed.  Still, there are elements of the Contest system I don’t like: If I spend 3 style persuading you, or 3 style contesting you, I’m still out 3 style either way.  Second, the contest can force players to do something they don’t want to do, and I’m not sure I like that.  At one point, Loes tried to force Hugo’s character to do something he simply wouldn’t do, knowing what he knew (she wanted him to kill someone he was allied with over something that Hugo knew that the character wasn’t involved with).  What if she had succeeded?  I could have declared Bad Form, or simply told her not to do it (which is what I did), but it would be nice if the system simply prevented things like that from happening.

Related to the system were the characters.  I found that players both loved and hated going over their character sheets and choosing.  Raoul argues that it’s a great mechanic as it encourages players to think about their characters in more detail than they normally would, and I think that’s true.  On the other hand, several players strained against their limitations, wanting to bring everything, and others couldn’t be asked to figure it out, and resented dealing with mechanics at all.  I doubt I could ever please both the mechanic and the fluff side of an RPG, though this system was a great compromise.  Still, most interestingly, I found that players didn’t care much for Aspects except as neat little additions to their character (I think players would have enjoyed them more if they didn’t have a simple list: they liked things like Heartbroken and Madness), but they really enjoyed the Special Powers aspect of their character.  If I had to write a new system, I’d probably make the kewl powerz front and center of the game, as players used those more than they used anything else except spies and soldiers.

The only complaints I really recieved were the servants.  Ironically, I had chosen to follow the advice of my editors and simplify, partially with the assumption that the servants would interface with their lords and work together.  This turned out to be partially untrue: the newer players felt they had no right to speak to their lords, to interrupt them.  Interestingly, the veteran players had no problem shifting their focus based on what was going on around them.  I could have given them even less material and they would have done just fine.  I think this is what my editors were talking about, as they generally run games for veterans.

The trading game was also very, very well recieved.  Having little pieces of paper helped a lot, I think.

The game began very slow.  There’s this sort of feigned stateliness that I just hate in LARPs.  People walk in with lifted chin and speak slowly and quietly, saying things like “Ahhh, how do you do?” and “Oh, it’s so lovely to meet you,” and it’s all a giant tea-party.  That’s lovely, if it’s what you’re looking for, but we want soemthing to happen.  We want drama and shocking revelations and tragedy!  For the first hour, this seemed to be all that was going on (though several disagreed and pointed out that they made big trades early on, and I certainly missed some elements of the game), and I worried that my game was going to devolve into mindless conversation, a sure sign that I had failed.  But once Raoul announced the murder of Fyx Steele, the game quickly accelerated into high gear, and when I closed out the game, I had several players giving me puppy-dog eyes asking for the game to keep going.  I still can’t decide if I made the right decision closing it out, but I certainly left them wanting more.  Still, there has to be some way to kick-start a game more quickly.  Those I ask are of two opinions: Some agree with me and think there must be a way to go faster, but most think that players need about an hour to “get into character” and to feel one another out.  Maybe that’s true

I’ve been bitten by the bug, and within a day, I was inventing an even better system (cough).  I think I need more exposure to LARPs before I try again, but I must say, I was very very pleased to make such ripples in the LARP community with my first effort ^_^

HotBlooded: Release Day

I’ve heard nothing from my editors, meaning that there’s no disaster in my material, and that means: Release day. I have a few things to work out, but I’ll be editing this post with constant updates.  Because I know you guys are totally watching this blog breathlessly.  Look, I’m excited, awright?  Awright.

^_^

Release day!

EDIT: Character sheets separated, and PDFed.  Cover Sheets complete.  Waiting on word about release.

EDIT: They want to have a meeting first.  Ok.  But that means we won’t see release until sometime after 5:00 pm 😦

EDIT: They’ve decided they want to send all the sheets themselves, so I went to bed.  Got to zip them all up now.  It’ll be a bit.  Hopefully today, though.

EDIT: It should be out!  Enjoy!

HotBlooded: Update

I finished the last of my second drafts today.  If I had to, I could send all the characters out right now.  I’m going to leave them for awhile, let my editors look it over (if they have time, it’s looking like they don’t), put together a rules summary, and then send.

I think it’s safe to predict that you guys should have your characters by Monday.  Then it’s just a matter of squaring away the servants, and then I’m done woohoo!

HotBlooded: But it's all wrong!

The LARP rapidly reaches completion.  I’ve sent the first draft of the Elk out to be edited, and I’m finishing up the first draft of the Fox as we speak, so I wanted to take some time out to tell you how the game really works, because I’m doing it all wrong.

This is the first impression many of you will have about Houses of the Blooded, and you might get the idea that this LARP is a normal representation of the game.  Rali Steele, for example, doesn’t have a Spy Network, while No Yvarai lacks Personal Guards or Roadmen.  All of the Fox have a set of resources they can bring and nothing else.  We have the Great Game, special rules for Espionage and so on.  None of this is in Houses of the Blooded.  All of it’s wrong.  John Wick designed HotBlooded for the long haul.  He meant you to play it over many, many sessions, building your land, gathering your strategems, watching your character grow old, put together a family, and die.  Obviously, we don’t have time for that in a one-shot LARP!  And so, I made concessions and design decisions that I thought would give my players a flash of insight into how HotBlooded works, without actually playing out all the excruciating details.

Land

In the LARP, your “land” is represented by what resources you can bring.  All Foxes, for example, can bring a Luxury or an Industry (which represents things like bolts of cloth, pottery, or other manufactured goods), and that’s it.  In the actual game, you have a highly detailed domain, filled with forests and villages and mountains, each producing their own resources, each with their own unique little buildings that benefit your character.  If you wanted to play Houses of the Blooded like a game of Civilization, you could!  And that would kind of be the point.

The problem is, of course, that you don’t have sessions and sessions to build up this land.  I don’t have time to explain and reveal the nuance of your domain to you.  In the real game, we’d expect that certain Houses might focus on certain elements (the Fox might focus on Luxuries and lack for Lumber, for example) and they might use up some of their resources and suffer the need for others (Can’t build that new building without some Lumber!) and thus, trading would come into the picture.  As Desiree’s character worried about how she would put together her new Opera House, she might borrow some of Raoul’s Lumber to do so, in exchange for some spare Luxuries she has floating around that she isn’t using.

In a one-shot LARP, there’s now way to make that work, so I just cut to the chase.  Every House has certain resources that it specializes in, and certain resources it needs.  This facilitates trading, but you can see that you’re missing out on lots of nuance and detail in the process.

Vassals

In the LARP, everyone has a couple of Vassals, usually a few bands, and some NPCs that they can bring, if they can find a player to play that character.  Duke Torr Adrente, for example, has military might, so he might have some Personal Guards and some Roadmen.  In the actual game, you have hosts of Vassals.  You can have one vassal band “per domain,” so Torr Adrente, as a Duke, might have ten domains, and in each domain, he might have a band of Personal Guards.  That’s 30 points worth of Personal Guards!  But you’d expect nothing less from a Duke of the Wolf!  Likewise, you’d expect that even if Spy Networks were not his focus, he’s have at least a few, if only to protect his lands from espionage.  He’d have maids, seneschals, artisans, apothecaries, an entire swarm of servants.

This is impractical in the LARP for several reasons.  As stated above, we’re not detailing out all of Torr’s land, so it’s hard to show you just how much power he has.  Rather than give him everything, we show what his specializations are and limit his options.  Presumably, even if Torr had 30 personal guards spread over 10 domains, he couldn’t bring them all to the party, so he’d just bring one… but having so many soldiers, he could certainly afford to do so!

The game doesn’t actually require that you represent all of your Vassals with physical players.  There’s a maid, as a vassal (a stat on your sheet) and a maid as an NPC (a person, with ideas and a story and stats!).  Only the latter needs to be represented with an actual person, of course.  However, I wanted to show you what it’s like to be Ven, actually have that sense of power, and that  means having someone to order around.  With so many people willing to assist in the LARP, I thought it would be nice to actually represent some of the maids and swordsmen and spy masters with actual people.

The Great Game

In the actual LARP rules, the Great Game is just a cute thing you can play “for points.”  It doesn’t really have the sweeping, political implications that I suggest in my LARP.  In reality, one would expect the sort of machinations represented in Banquet’s Great Game to take place over months.  In between LARP sessions, players would use “season actions” to do things like move soldiers onto a rival’s terrain, spy on an opponent, or build up his lands.  You’d see the evolution of politics session by session, like watching a game of chess in slow motion.  We don’t have seasons, so I’ve tried to summarize what would surely be an entire year worth of political intrigue into a single session.  Doubtless, it’ll be explosive, but you have to understand that it doesn’t normally work like that.

These aren’t the only minor tweaks I’ve made.  Quite a bit of the game relies on long term play.  Obviously, normally, players would make their own characters.  They would pick out their own enemies.  Their relationships would naturally evolve.  You wouldn’t need me to conjure up all of this material, as most of you would be doing it for one another.

But that’s not the nature of a one-shot.  In a one-shot, you have a single day to sort of “take in all the sights” of a particular system.  You can look at the LARP I’ve created as sort of a whirlwind tour of what Houses of the Blooded has to offer.  If you like it, dig in.  The real thing is a little different, a lot richer, and beautifully complex.

LARP Update

I finally have the rough draft on all (Ven) characters done!  I’ll spend some time editing them and rebalancing them, but hopefully, I’ll have a copy of them sent out to my editors before the end of the week, and then get them out to you guys next week.

Having the preview out already really lightens my work load!

Houses of the Blooded: the Beauty of Systems

I literally had a three-hour sit-down with one of my players because she was curious about the system (but didn’t want to look stupid asking alot of questions: Trust me, asking someone about a system doesn’t make you look stupid), and a sticky question came up:

“Say I want to just sneak past someone.  Why can’t I, you know, just sneak past him?  Why do I have to roll it out.”

It’s actually the sort of question that routinely plagues RPGers.  Why use a system at all?  Some people get huffy: You use a system because you’re supposed to.  But that’s a cargo cult, people who do something because, well, that’s just the way it’s done.  I use systems because they are beautiful and, as one RPG.netter elegantly put it: “Rules shape play.”

The player in question will be under the shadow of the Fox and as I’ve designed the game, she’ll be loaded to the gills with Style (especially since she loves costumes) but her house lacks the resources and military power of other Houses. This will shape their ability to play the Great Game, shape who they ally with and why.  Her high cunning and beauty rewards her when she wants to play in an underhanded fashion or engage in romance, both of which are perfect for her, and her low prowess and strength punish her when she attempts to engage in combat and “adventuring.”  Tricks like the Black Kiss, Chambers of the Heart and the Most Subtle Weapon highlight the Fox’s dangerous mastery of romance, and their subtle ability to manipulate, in complete contrast to the Wolf’s All War All The Time tricks of Tooth and Claw or the Invisible Cannot Be Touched, or the Bear’s defensive, motherly tricks like Circle of Protection and No Fool.

Play must inform the rules.  As interesting ideas come up, they should receive representation within the abstract mechanics of the game.  Rules must inform play.  As you run headlong into rules, they should shape how your story flows, preferably in interesting ways.  Where rules do not do this, rules should get out of the way.

This is one of the reasons I selected Houses of the Blooded.  John Wick’s philosophy agrees with mine.  Aspects, Virtues, Blessings, Resources, all shape how the game plays out (Ever notice how Serpents all have a bunch of swamps so they can harvest herbs for their rituals?  Ever notice how those same swamps produce poison?  Food for thought…).  But unlike how our local Changeling group LARPs (using the standard, tabletop rules), roleplaying doesn’t grind to a halt whenever a mechanical challenge comes up.  They just played a session of “war” where everyone had to sit down for hours rolling dice.  Houses of the Blooded would tackle that faster, more interestingly, and in a way that suits the LARP environment (using the Hunting/Mass Combat rules, in fact.  Those with my version of Tooth and Claw would rejoice!)

She’s learned to avoid rules.  I suspect she does this because she believes that “she doesn’t get them.”  I think, rather, that rules have harmed her play, so she’s discarded them, a completely reasonable approach.  I hope and believe that Blood and Tears offers rules that will facilitate, rather than slow, play and I suspect she’ll actually use them (bribing someone with a couple of style tokens is easy and casual and requires memorizing nothing).

The real reason I wanted to post this: Making the characters has been a joy. I’m almost finished, in fact (just have the Falcon left to go), and the process highlights why I love good systems.  Poring over the Blessings and the other concepts in the game has shown me the “shape” and the “feel” of each house and how the game works.  I delight in that exploration, and I hope the color and flavor shows when people actually play.  Houses of the Blooded is very elegant: With just a few simple rules, you can explore so much with such detail.  Yes, it’s “rules-lite,” but it doesn’t lose richness as it shed complexity.

My LARP: The Banquet of Revenge

Out of the blue, about 2 months ago, the Knights of the Kitchen Table approached me and said “We would like to ask you to run the Winter Weekend LARP.”

I paused, perplexed, aware of my reputation as an excellent GM and replied “You understand I have no experience with LARPs, right?”

“We know,” they said “One of the themes of this LARP is trying new things.”

And so, I was roped into running a LARP.  Naturally, my first choice was Houses of the Blooded, John Wick’s masterpiece of revenge, romance and intrigue.  I chose it because it cobbles together what most people seem to want out of a LARP (dressing up, sitting around gossiping with one another, and an excuse for sudden melodramatic scenes of over-the-top hammery) in one simple package that focuses on the players, rather than lots of GM handling, and thus seemed a natural place to start.

To be honest, running a LARP scares the hell out of me.  Most of the skills I’ve perfected at the tabletop do absolutely no good in a LARP.  I cannot describe the scene or help shy players with a host of interesting NPCs.  I cannot run up to a player and hit them in the face with awesome events that drag the story along.  As an outsider looking in, as best as I can tell, all I can do is set the players’ starting position by assigning them characters, and fire the starting pistol.  After the flood gates are open, I can at best guide the action.  I have no control.

Fortunately, I have a few very experienced LARP GMs willing to offer me advice.

I’ve settled on a plan.  First, it turns out that my experience with Slaughter City was certainly not wasted.  Having seen what a vast collection of interconnected personalities look like, it seems the perfect way to establish a LARP one-shot: Create characters, and then connect them to one another with fault lines all set-up for player exploitation.  Second, while I cannot direct events, I can certainly influence them.  A few LARPs I’ve seen had “turning points” where sudden events shifted the rules of the game enough to clearly shift the game from “act 1” to “act 2” and create a sense of rising action.  I hope to do the same here, using simple, obvious transitions (For example, everyone arrives at the party and mills about: Act 1.  Then we move to the banquet itself and characters must give toasts.  The dynamics change, and we move to Act 2, and so on).  Finally, Houses of the Blooded’s LARP supplement, Blood and Tears, suggests a “Grand Game” meta-game, which I’m going to use to create a sort of diplomacy-like encouragement for back-room dealings and shifting alliances all burbling just under the surface of torrid affairs and scandalous gossip.

Controlling events seems relatively easy, as does creating a meta-game.  Matching characters to players, however, looks to be the trickiest part to this, the point most prone to failure.  What happens if a player doesn’t show, or shyly refuses to play up his part, or doesn’t resonate with the character.  I’ll be spending this whole month cobbling together characters, interviewing players (nothing is worse than being handed some generic character because the GM couldn’t be arsed to understand what makes you, as a player, tick) and trying to figure out how best to give every player the game they want while interacting with everyone else’s game.  What a nightmare.

Anyway, for those of you who are curious, here’s what I submitted to the Weekend Comission as the summary of my game:


Amongst the Ven, few names spark as much fascination, curiosity, vitriol and scandal as the name of Fyx Steele, High Duke of the House of Elk.  This highly private man with strange moods and a legendary drunken temper carved out the largest lands any Elk has ruled since the time of the High King.  He commanded respect, thundered his rhetoric in the senate, and brought glory to the Steele family.

But that glory was long ago, the legacy of a younger man.  The High Duke approaches Solace now, his spine bent by the weight of years, his hair stripped of its color.  Surrounded by enemies and those jealous of his power, the High Duke began preparations for his inevitable decline into the dreams of Solace when suddenly the already profoundly secretive Fyx Steele vanished entirely from the social scene.  No longer did he grace his favorite Operas or attend the most fashionable galas. Days turned to weeks, and whispers grew as jealous Ven plotted who should seize what portion of his lands while his heirs milled about in uncertainty.

At last, the engraved invitations came.  After a month of silence, all Ven worth inviting received the summons to the High Dukes retirement banquet.  There, at last, the enormous political pressure would vent, the intrigues carefully set into motion by the master of the Senate would come to fruition.  It would certainly prove to be a terribly exciting party!

There is, of course, more to the story, but that would be telling!  Stay tuned as I lay out more of my plans.