An Overview of the Original World of Darkness (Part 3)

(continued from part 2)

Other games in the original World of Darkness

I never played any of the games that came after Changeling. The first, Hunter: The Reckoning, went against everything I loved about the first five games. Mummy: The Resurrection was a reworking of an earlier supplement, and I felt that it ruined everything that was wonderful about the original version. Demon: The Fallen brought into the World of Darkness a religious aspect that had been absent from previous games, and I was very disappointed by that fact, so I never looked into it. And although I owned a copy of Kindred of the East, I never got to play it. In fact, I never got to read it, primarily because I knew I wasn't likely to get to play it.

They did also release historical versions of most of the original five. It began in 1996 with the release of Vampire: The Dark Ages. It was essentially the same as the original Vampire: The Masquerade, but it was set in 1197 CE. The primary vampiric sects (the Camarilla and the Sabbat) had not been created yet, and there were some other differences reflecting the state of the vampires at that time. The following year saw the release of Werewolf: The Wild West. As with Dark Ages, it reflected the state of the Garou in the late 1800s. The next year, they released Mage: The Sorcerer's Crusade. It had more changes than the other historical versions, as the mages had changed far more in their history than the vampires or werewolves. But it still reflected the state of the mages in the year 1466 CE. The year after that, they released Wraith: The Great War. This game reflected the status of the dead in the wake of World War I. It was the first of the historical games that was not a stand-alone game. It did not include all the rules needed to play; new players would have to already know the rules if they didn't want to buy another core rulebook in the World of Darkness line.

An Overview of the Original World of Darkness (part 2)

(continued from part 1)

Mage: The Ascension: 

Players take on the role of a powerful wizard. There are three primal forces that work together to form the universe: Dynamism (creation and unbridled possibility, often seen as pure chaos), Stasis (order and lack of changeability), and Entropy (destruction and cessation of existence). There are four factions of mages: the Technocracy (representing Stasis, champions of safety and dependable mundanity; they see themselves as stewards shepherding the Sleepers — those humans who've not awoken to the true magical nature of the universe — into a paradise of technology and security), the Mauraders (those mages who have given themselves over to — or been overtaken by — the pure chaos and insanity of Dynamism), the Nephandi (mages representing Entropy who have 'sold their souls' to ancient demonic beings from other planes of existence, serving them in exchange for vast power), and the Tradition Mages (those who represent some level of balance between Stasis, Dynamism, and Entropy). Tradition mages run the gamut from traditional Hermetic magi (think Merlin or Gandalf) to shamans to Wiccans to the mentalist Buddhist-monk type, and even mad scientists or those who use computers to try to free the minds of the Sleepers.

The Loner

I am reminded of an article I read once (I don't remember where I read it) that was talking about the tendency of gaming characters to be loners. It's really not surprising that in games which emphasise the free-wheeling high powered adventure, characters are likely to be free-wheeling sort of people with no bonds to hold them down. After all, it's really not likely that a middle-age middle-class middle management corporate drone is able to just pick up at random and fly to Rome to help stop an international espionage plot. Better to have a young, fit, unmarried guy with no restrictions on his ability to plunge headlong into excitement.

But there's something to be said for breaking the mould a little. I once played in a rather non-standard game; it was a crossover of all the World of Darkness games, and though we started out as mortals, we soon ended up with the three main players running a Vampire, a Mage, and a Werewolf. My character, the vampire, was a teenager plagued with family issues resulting from a murder that he witnessed, so has had to move in with the other characters. The mage was a married guy, and after a couple of years of in-game time, he ended up with a daughter. I still remember the daughter, Alexis; she was a a very smart and capable kid.

Magic Systems

I often find myself thinking about magic systems in games. I've seen many. Just a couple:

• D&D: Spells are divided into levels, with certain spells available at each level depending on your class. You can cast a number of spells of each level per day of game time, again based on your character's level.
• GURPS: Spells are divided into colleges, which are really only important as organisational tools. You learn each spell individually in the same way as skills, using weaker spells as prerequisites for more powerful spells. Casting spells costs Fatigue Points, which are based on your character's Strength.
• Shadowrun: There is a spell list. You can learn any spell you like. When you cast a spell, you have to roll (the exact roll depends on which spell you're casting) to determine the effects of "drain."
• Ars Magica: There are five "verbs" and ten "nouns," with varying ratings in each. To cast a spell, you roll a number of dice equal to the verb + noun.
• Mage: There are nine spheres that govern all possible magical effects. The higher your rating in a sphere, the more control you have over that realm. Spheres can be combined for more powerful effects. Roll your Arete (magical awareness) to cast spells.
• Talislanta: there are twelve "modes," which cover different potential actions (such as Attack, Defend, Heal, Move, Illusion, &c.). Roll your rating in the appropriate mode to cast a spell.

There's a lot of variation there. I've even seen a book (Authentic Thaumaturgy) written by a man with a degree in Magic describing how to use "real world" magic systems as a basis for gaming magic.

Music

Have you ever used music in a game? I've seen it done. I've done it myself a few times. Get just the right track going for that good battle scene, or play some regional music to set the mood...

I think the best success I had at this was when I was running a Mage game set in 1945. The players were trying to acquire artifacts that had been distributed around the world as they attempt to prevent a doomsday device from falling into enemy hands... in the course of this game, they travelled to Australia, Uzbekistan, a tiny island nation called Nauru, France, Prague, and New Mexico. For each game session, I put on a CD of the music appropriate to the location. In Australia, I had a CD of aboriginal music in the background. I found the top ten radio tracks from the US in 1945, as well as the top ten radio hits in France the same year. And so forth.

But what I've always wanted to do was to create a "soundtrack." I'd like to have music appropriate to whatever scene is going on: rousing music for a battle scene, upbeat music for a travel scene, suspenseful music for a creepy scene, and so forth. I've tried a few times, but it's often quite difficult to achieve. For one, it's usually hard to switch CDs when you switch scenes (of course, with the advent of mp3 players, this is much easier now; just programme playlists for each type of mood). For another, what music do you choose?

The nature of the hobby?

You may have already read this, but there was an interesting article a few weeks ago describing the way that gamers can be a bunch of pretentious blowhards. The author accomplished this by examining this analogy: RPGs, like cookbooks, are a series of seemingly rigid rules that, in practise, "require a certain amount of adaptation for your own tastes." So if people treated cookbooks like they treat gaming books, it would sound pretty horrible, wouldn't it? You can read it to see for yourself.

If you don't remember, I posted some time ago about the different gamer types. The vast majority of gamers are either butt-kickers or power gamers. By far the minority are the storytellers and method actors. (Granted, for the purposes of this argument, I am ignoring the casual gamer.) Given that the butt-kickers and power-gamers prefer hard core rules systems, which empower their particular emotional desire to game in the first place, while storytellers and method actors dislike hard core rules on account of their desire to play less combat-centred storylines, it is not surprising that this should be the case. For the butt-kickers and power gamers, the rules are everything, because it's the exacting script by which they create havoc and chaos.

But you can see the point, can't you? Sometimes they tend to focus on the rules to the exclusion of their own ability to enjoy the game. They tend to forget that the rules, especially in RPGs, are meant to be modified to suit the needs of your particular group. But with the need for rules that most gamers feel, especially the fanatical devotion to the canon as laid out by the authors of the game in question, adaptation and modification are not seen as options.

Gamer Types

Greetings again to you, my faithful readers! This week, I shall discuss the Lawsian Gamer Types. A prominent creator of gaming resources in the gaming industry, named Robin Laws, wrote an amazingly useful book called Robin's Laws of Good Game Mastering. Although this book is geared towards GMs, it has some very useful information for players as well.

One example of these doubly-applicable tidbits is the idea that gaming is supposed to be fun. You know, that sounds pretty obvious, but the problem is that a lot of people forget that gaming is a collaborative effort, and work hard to have fun at the other players' expense. The book suggests that everyone involved work to have fun together as a team, rather than antagonistically.

But that's not the topic of this week's rant.

Today, I thought I'd talk about Gamer Types. This was particularly useful for me, both as a GM and as a player. I'd struggled for years with the others in my gaming group, getting upset at them for ruining what I thought was an otherwise incredible game by insisting on doing nothing but killing the enemies for personal glory. It never occurred to me that different people play role-playing games for different reasons. And for that, I owe a debt to Robin Law.