Solo RPG Gamer

Player Character death in a solo game

2012-05-22T11:02:00.001-04:00

How do you feel about it? How do you handle it?

I've seen it work great in some actual plays of dungeon crawls that have been posted on the Yahoo group for Mythic. After a while, I got the impression that all of those dead characters added a backdrop, and a sense of emerging history to the dungeon.

Still, I try to avoid player character death in my own solo games. Often, I find myself fudging results so that the story can go on, rather than come to an abrupt stop. I'm not worthy enough to kiss Hitchcock’s shoe soles, so I won't even try to pull a trick like he did in Psycho by killing the Heroine early on.

With that pre-amble, I wanted to share an idea that I've been playing around with. I have been calling it Consequence and Repercussion tokens interchangeably as the mood strikes me, but I think "Pick Your Poison" captures the feel better. Here’s how it works:

Whenever a result of an action your PC/Hero took leads to a result that spoils the story or fun in some way, you can opt to change that result in exchange for taking a Consequence/Repercussion token. However, what this token means is that at some point you must deal with a negative Consequence/Repercussion that is a direct or indirect result of your change. You can defer it, but you can’t get rid of it. At some point, you have to deal with the Consequences of what you did, and Pick Your Poison.

Here is an example in a noir game:

Your Hero needs to convince the Gangster’s abused girlfriend to divulge damning evidence, but your random result says she refuses. You think that result sucks so you change it:

"she reluctantly yields some evidence", in exchange for taking a Consequence token.

Now you have to deal with a Consequence/Repercussion of that action at some point of your choosing in the game. It will affect something or someone you care about, but you choose when and how.

Maybe you decide to deal with that Consequence/Repercussion after your Hero has apprehended the Gangster and sent him to jail. If you like tragic endings, You declare that a now badly disfigured Moll kills your hero in revenge (or attempts to kill your hero in revenge if you want to roll for it), because the Gangster found out she ratted him out and beat her badly.

Alternatively, perhaps you decide to deal with the Consequence/Repercussion immediately, and decide that the evidence implicates an NPC you deeply care about (maybe it’s your partner, or your love interest).

One possible problem: you have to be careful to not accumulate too many Consequence/Repercussion tokens: if you defer dealing with them for too long, you may end up having to deal with many Consequences/Repercussions at once! This may be OK in some places, but at other moments it could threaten the feel of your story if you care about that sort of thing.

Thoughts? Opinions? Other ideas?

(I've posted this on the Going Solo group in RPGNet, and will post to Mythic Yahoo. I truly want to know how others feel about PC death in solo games, and how they deal with it.)

[Shock] Please help me with premise for a session of Shock rpg

2012-05-20T14:15:00.000-04:00

I'm a big fan of Bladerunner and Neuromancer, so this premise is nothing new.

My premise for a session is that in this cyberpunk world there is an agency called Turing Police (mentioned in the Sprawl Saga), which is for detecting and containing (possibly destroying) any emergent self-aware AIs.

I want to play a veteran Turing Police operative whose own mind is trapped inside cyberspace when a renegade AI he was tracking takes over his e-brain. Now he must find a way to stop the AI who took over his body, while evading the same Turing Police agency of which he used to be a part, since he is now a disembodied entity.

If you've ever played Shock, you know that Protagonists have a set of stats called Praxis, which are usually sort of opposed, such as: love vs hate, buying vs selling, etc. I look at them as being like the theme of a story that you want to explore.

Like I mentioned, I love Bladerunner and wanted to do something similar, without obviously ripping it off. I settled on the following Praxis(I have to think of another pair):

feeling vs supercomputing: I envision feeling to encompass things such as empathy, hunches, etc. While, supercomputing, is the cold hard logic and flawless thinking (as flawless as you could get).

My problem is that I feel like the theme doesn't quite fit with a consciousness trapped inside sillicon, since human feeling depends on hormones, and the nervous system, etc (in my not so informed view). It feels kind of silly that my Turing Police agent would have any sort of feeling inside cyberspace, given his body is not connected to him anymore.

I've thought that maybe I could decree that emotions could be emulated inside a program, but I don't know...seems kind of weak.

Just looking for feedback, even if it means changing the premise or the theme. Though it would be great if I could find some justification for keeping them both. :)

The New Storyboard:

2012-05-16T09:19:00.005-04:00

I just wanted to give a heads up to everyone who might read this blog about Steve Turner's The New Storyboard. Steve has been around the solo community for a while, and has contributed to the Yahoo group with stories generated by his imagination and the Mythic rules. His new blog focuses on just that endeavor.

At the moment, he is working through a story based on characters and settings inspired by Robert E. Howard's Conan, among others. If that kind of story is your thing, please make sure to visit and subscribe to The New Storyboard!

Monomyth Structure: Session 13

2012-04-27T14:22:00.000-04:00

A Surprise At The Second Flying Citadel

[In the last session, Eli was under the FT's control, until he found a chance to make an escape with the fleeing convicts, due to the distraction caused by the approaching soldiers. He seems to have gotten around him momentarily, but it seems obvious he's not out of the picture. I am not sure when and how Eli will overcome the FT as a threshold guardian, but I have a few ideas of how it may play out.

In this session, the overarching monomyth thread will be to finally find the mentor, Camus.

I will also keep tyring to flesh out answers for the other questions about the threshold's qualities.

Since Eli was not in control at all, in the last session, the Chaos factor will be 7]

{Scene: Eli is running with the convicts who are too busy running away to notice him anyway.
Scene Unaltered}

[Question: It's Very Likely that it's dark by now. Is it?
roll: 68
answer: Yes
event: None]

[Question: This means it's a near sure thing that some of the convicts will be picked off before they make it to the citadel. Are they?
roll: 98
answer: No
event: None]

Already encroached by darkness, the convicts are attacked by the Scandonian vamps, but since the attackers are few, and the convicts are numerous, they are able to repel the attackers. Everyone makes it to the next wrecked citadel.

[Question: I think it's A Sure Thing that the other citadels are occupied already.
roll: 55
answer: Yes
event: Move toward a thread : Take Success]

[Question: This must mean that Camus is actually in the citadel. Near Sure Thing odds.
roll: 24
answer: Yes
event: None]

[Question: Does he let in the other convicts? I am not sure, so 50/50.
roll: 87
answer: No
event: None]

[Question: It's more Likely that the convicts recognize Camus. Is that what happened?
roll: 34
answer: Yes
event: None]

Eli hears some of the convicts say, "It's Camus!", and then he knows he's finally found him.

[Question: Do the convicts seem surprised to see him there? I'd figure he'd be inside the fortress-city, but maybe he's got a reason for not going in. Odds: 50/50
roll: 59
answer: Yes
event: None]

The convicts seem surprised to see him there. Maybe he does live in the fortress-city after all.

[Question: Do they appear to fear him? Do they hesitate going in? Again, I don't know, specially in a place like this. 50/50.
roll: 57
answer: Yes
event: None]

The convicts stop in their tracks.

[Question: do the convicts try to stop him? they're allegedly the worst of the worst, but there's always a somewhate decent person mixed in. It's very likely someone tries to at least advise him not to go.
roll: 21
answer: Yes
event: None]

[Question: What does this person look like?
description: abnormally dull]

A slow-witted looking fellow, altruistically holds Eli back by the arm saying. "Don't go. He will turn you into a turtle." [Rory Story cubes: tortoise. Maybe he's really as mad as Ainus said, and conducts mad scientist like atrocities.]

Eli wonders for a moment whether he should heed the advice. Ainus said Camus would help, but can he really trust Ainus? Still, what choice does he have. He continues on. [*My decision also comes from the fact that I'll frame the questions in a way that favors Camus helping Eli, since I know he is the Mentor, and Eli is the (whiny) hero]

[Question: What does Camus look like?
description: adventurously less]

[Question: Does this mean he's extremely short but daring? Likely
roll: 47
answer: Yes
event: None

He also seems to carry some sort of gadget in his hand. (rory story cube: game controller)]

[Question: I don't know how Ainus would know that Camus was in this place unless he contacted him recently. It's Very Likely that Camus welcomes Eli.
roll: 68
answer: Yes
event: None]

[Question: What is his demeanor towards Eli?
description: offensively masculine]

The short man with the hairy chest and booming voice welcomes Eli by name. Then , like an Imperial commander taking in a novice, he informs Eli he has come to the right place if he wants to become a man.

[Question: Since the convicts were surprised to see him there, perhaps it means that he does live in the fortress-city. Eli asks him. Does he live there? Likely.
roll: 15
answer: Exceptional Yes
event: None]

He rarely comes out.

[Question: Before agreeing to go, Eli asks him about turning men into turtles. Does he? Somewhat Likely, since even though the convict that said this looked slow-witted, the rest of the men did hesitate around him.
roll: 47
answer: Yes
event: None]

[Question: Does he look annoyed about Eli's questions? I would be, so Likely.
roll: 20
answer: Yes
event: None]

"Yes, I have," he says curtly. "You got this far, and it's your choice. Stay or come."

"I'll go with you," says Eli.

[Question: Do they head to the fotress-city in the mountain? Odds: has to be
roll: 61
answer: Yes
event: None]

[Question: How does he do it?
description: ceaselessly modern]

He summons a flying apparatus with the gadget he was holding.

[Question: What does this look like?
description: fiercely poor
Rory Story Cubes: A Foot]

The machine looks vaguely like a starved ostrich with sharp teeth and dangerous looking spurs. Camus and Eli both sit on top, and it takes off running with a verbal command to the gadget. After running a distance, it extends its wings, and begins to gain altitude until they're flying towards the fortress-city.

Eli looks back at the convicts left below.

[Question: I am not sure if Camus did anything the convicts that were already inside the second flying citadel. I'd say chances are 50/50 that they are alive so. Are the convicts Eli came with by anyone in the citadel?
roll: 31
answer: Yes
event: None]

The last thing Eli sees from the air before disappearing out of sight inside the Scandonian city-fortress is the two groups of convicts fighting each other for the right to be in the second citadel.

[note: I thought that finding Camus would take longer, and be more dangerous, but Mythic threw me a surprise early. The session was a lot shorter than expected as a result. ]

Monomyth Structure: Session 12

2012-04-24T09:38:00.000-04:00

The Fortune Teller (also referred to as the "FT" in shorthand) arrives at the former city-nation of Scandonia, a.k.a The Cursed Battlefield.
[*Note: At some latter point in this session I began using my cheapo 7" Cruz tablet, which has the GM HTML app with the log window that I posted here. Since it's not as easy to type using the tablet, I limited myself to writing the questions, and some terse interpretations where needed. As such, much of the plot information is already contained in the questions and Mythic's answers, so writing a lot of prose would be redundant. The fact that I didn't need to think so much about writing dialogue or anything like that made the session flow smoother and more interesting, in my estimation.

The general direction of the session was to answer some of the questions in the "Crossing of the Threshold" stage, particularly those relating to the Threshold Guardian, and what does this intermediate world look like. These are being answered but I'm letting the session progress "organically", and sometimes this takes you on apparent tangents, so the answers to the monomyth questions emerge in a roundabout way.

As far as the stat system I've been using, in the course of playing I decided to follow the Shock conflict system more closely by only using it when I find myself not liking a Mythic roll-- by definition a conflict.

Finally, I lost starting log entries for this session but I still remembered what I had already established for the scene via Mythic:
-Eli is re-animated by the Fortune Teller on the desert of The Cursed Battlefield
-the fortune teller is no longer alone
-old and deteriorated artifacts of the conflict can still be seen around the desert: Particularly striking are the old flying fortresses that are now crashed on the ground
-father still is the city-fortress of the Scandonians who fought against the Empire takeover. This city is carved on a jagged ("violently-rough") cliff of the highest mountain in that former nation
-The Fortune Teller does not know where to find Camus in this place, so he re-animated Eli.]

Eli regains consciousness and screams "NO!", as when he last was conscious, the Fortune Teller was raising a hand to strike him dead-- or so he thought.

"Silence him!"

The wind is knocked out of him with a punch thrown by someone. "You yell again, and I'll cut your tongue out," says a man's voice.

When Eli recovers, he notices that the Fortune Teller is no longer alone, and that they're no longer in the tent. In the distance, he sees gigantic structures at odd angles. Farther still, he sees a fortress-city carved into a mountain's jagged cliff near the top.

The Fortune Teller then addresses him: "As you can see, we are in Scandonia. You will now take me to this 'someone' who will answer what I want to know."

Scandonia-- The Cursed Battlefield, thinks Eli. Only then, do the structures reveal themselves to him for what they are: the ancient flying fortresses of the Empire that were lost in this place. It is said that exiled criminals lucky enough to survive the desert and its inhabitants take refuge in these.

Eli also recognizes the fortress-city in the mountain as what was the center of life for the Scandonians at the time. No one would be insane enough to venture there now, or so goes common wisdom. Yet, Ainus described Camus as his insane disciple.

"There," He points at the Scandonian fortress-city.

[*Note: From this point on, I began using my cheapo 7" Cruz tablet, so the bad prose is vastly reduced.]

[Question: The Fortune Teller, driven at least by greed, has stuck his nose into the gods' business, and shown no concern about ancient sorcerers, or cursed lands. The odds are Likely that he will continue on to the fortress-city in the mountain without hesitation. Does he?
roll: 46
answer: Yes
event: None]

[Question: His henchmen may be another matter. Do they trust his power enough to venture there without protest? I don't know, so 50/50.
roll: 26
answer: Yes
event: None]

The Fortune Teller trusts his own power to overcome whatever is inside the fortress-city. His henchmen trust him as well.

[Question: I am assuming that the Fortune Teller needs the henchmen, not so much for protection, but to lug his stuff around. Is this true? Very Likely odds
roll: 63
answer: Yes
event: None]

[Question: What is he carrying?
description: carelessly smooth]

Whatever the men are carrying is not clear to Eli, because it's covered by expensive silk cloths. He can tell, however, that the there are asymmetrical, almost random, curves underneath.

[Question: I figure that the fortress-city had to be accessible, if easily defensible, to its people somehow. Is there an easy way to climb the cliff to the city? Very Likely
roll: 57
answer: Yes
event: None]

There are stairs cut into the inside of the mountain base that go up.

[Question: I figure there had to be defenses. What kind?
event: Ambiguous event : Praise Dispute]

The more warlike or fearsome looking warriors were usually posted at the checkpoints in order to discourage visitors from other lands.

[Question: It's very unlikely that any sentinels are there now whether alive or not as no one in their right mind would come here now. Are there?
roll: 24
answer: Yes
event: None]

[Note: Time to stat Mr. Fortune Teller & co as I've been winging it (because not really feeling the stat setup I chose, as far as corruption/integrity goes because it hasn't really fit thematically with anything critical about Eli.) ]

[Question: I think that the F.T.'s confidence belies a measure if true power. I think it Very Likely that he can handle these sentinels with relative competence. Does he?
roll: 20
answer: Yes
event: None]

[Question: How does Mythic describe the battle?
description: partially colorful]

The group was momentarily surprised by two sentinels hiding in the shadowy high ceiling, almost losing the man in the front of the group, were it not for FT (Fortune Teller) dematerializing them with a burst of dull orange fire from his hand. The men are a bit shaken, but determined. Eli somehow feels relief mixed with dread as he does not know what will happen to him at the hand of his captors, even if they survive these horrors.

[Question: The vamps strike me as not too brainy, if cunning to a degree. They also seem to rely on stealth and brawn. It's very unlikely they would gather a larger force at the moment to handle the intruders on their next attack. Do they?
roll: 88
answer: No
event: None]

The intermittent attacks continue, much as the first one. Each one handled by the FT, who is completely dedicated to his goal.

[Question: Is he being drained by all the effort, though? I don't know, so 50/50.
roll: 48
answer: Yes
event: None]

[Question: I figure that the effort has not been enough to be of concern yet, so it's Likely he is fine thus far. Is he?
roll: 41
answer: Yes
event: None]

Though they have climbed far and arduously, the FT does not show any signs of fatigue.
They eventually reach the city gates at the top.

[Question: Does he allow the men a rest? He is smart so far, but kind of obsessed so 50/50.
roll: 60
answer: Yes
event: None]

Proving himself to be wise, he allows his exhausted haulers to catch heir breath and quench their thirst.

[Question: How about Eli, does he see any escape route, besides the city gates? Unlikely.
roll: 96
answer: Exceptional No
event: None]

No. The only way out down the stairs, as the massive gates in front of them are locked. He hopes that is a sign that Camus is here.

[Question: What do the fortress-city walls look like?
description: hopelessly dry]

There are no adornments on the heavily fortified and rough looking iron doors. Sand from outside also litters the floor as it is lifted up by the winds.

[Question: Any signs of the ancient war here? Likely odds, given the old wreckage outside.
roll: 73
answer: Yes
event: None]

[Question: What kind?
event: Close a thread : Delay Suffering]

Along with the expected warriors, there are dessicated bodies of ordinary dwellers (including women and children) that may have died from either thirst or hunger, given the lack of violence on their bodies.

[Question: I find No Way of imagining the FT or his underlings being disturbed much by the scene given their propensities. Are they?
roll: 20
answer: Yes
event: None]

Eli is very unsettled by the sight, and surprised to see the men around him muttering their god's names, or unconsciously reaching for their amulets and charms. Even the FT's eyes betray discomfort, even though the rest of his demeanor appears as before.

[Question: This no doubt means that there is more to the situation than Eli understands. Is there? Odds A Sure Thing
roll: 51
answer: Yes
event: None

Note: this was the first of two questions where I unintentionally broke with my tendency to try to know only know what Eli would know, and keep any information only a GM would know a mystery.]

[Question: Can Eli notice anything? Since the henchmen seemed to have seen it, it's likely Eli will see it too.
roll: 88
answer: No
event: None

I'm fine with keeping it a mystery for now.]

Eli tries to see what about the scene bothers them so, but does not figure it out.

[Question: I figure it's Likely that greed will spur the FT on even if there might be something that gave him pause. Does he soldier on?
roll: 51
answer: Yes
event: None]

He curtly orders the spooked men to open the gates.

[Question: I figure these are impossible to be forced open from the outside via normal means. Do the men do it?
roll: 51
answer: No
event: None]
The men nearly exhaust themselves trying to no avail.

[Question: It's a near sure thing that the FT is able to force them open with sorcery. Does he?
roll: 97
answer: No
event: None]

The FT raises his hands towards the door, but the doors don't move an inch.

[Question: It's very unlikely that the FT would try again, as the door would have probably opened if it had been within his power. Does he make more attempts?
roll: 47
answer: No
event: None]

[Question: The most reasonable course would be for them to turn back towards one of the wrecked flying citadels to regroup or continue looking there. Is that what the FT decides? Near sure thing
roll: 64
answer: Yes
event: None]

He dryly tells everyone, "We will head that way," pointing his slender finger a the wreckage closest to the base if the mountain.

[Question: Do they make it without incident there? Unlikely as the sun is settling down.
roll: 87
answer: No
event: None]

[Question: Does he handle everything as competently as before? Near sure thing
roll: 42
answer: Yes
event: None]

A few fiends attack as before but his power has not abated, and hale dispatches them with ease.

[Question: Are they challenged by anyone when trying to enter the wreck? There's probably a community of convicts in each of them, so it's very likely.
roll: 79
answer: Yes
event: None]

[Question: I think it very unlikely that a sorcerer of equal power would be satisfied with a wrecked citadel (rather than taking the Scandonian fortress itself). Is the challenger or are the challengers of concern to him?
roll: 73
answer: No
event: None]

Though the dwellers inside the citadel try to keep the strangers outside of their improvised gates, they are no match for his power.

[Question: How does he overcome hem?
description: combatively mundane]

He easily relieves them of their rudimentary weapons by seizing them with an invisible force, and inflicting unbearable pain on those not wise enough to recognize the futility of any resistance. The rest are easily defeated by his men.

[Question: He almost certainly wants to extract as much info as possible as well as pressing the men into his service via fear.
roll: 98
answer: No
event: None]

[Question: Then he certainly intends to cast them out and take over their citadel. Odds Has To Be
roll: 11
answer: Exceptional Yes
event: PC positive : Break Legal matters]

As the convicts flee out of the citadel, a phalanx of what looks Imperial soldiers suddenly appears over the horizon, surprising the FT who now has to deal with them. This creates enough of a distraction that Eli now may have a good chance at escaping by mixing himself with the crowd of spooked convicts fleeing from the FT.

[Question: Given the random event directive from Mythic, the chaos caused by the phalanx and the fleeing convicts, it's very likely that Eli will escape.
roll: 62
answer: Yes
event: None]

Eli takes his chances and disguises his escape among the fearful convicts, making his way out of the citadel with them.

[Question: The most logical thing for them to do would be to head for the nearest citadel do they? A sure thing
roll: 17
answer:
Exceptional Yes
event: None]

They don't even seem to think about it as they hurry there as if their lives depended on it.

[Question: Need to find out what happens between the FT and Imperial soldiers. Are the Imperial guards supplemented by a magic user? Has To Be, given the location; they wouldn't come to deposit convicts without some form of magic backup.
roll: 9
answer: Exceptional Yes
event: None]

Their magical backup is in the form of a powerful battle mage.

[Question: That might Likely be more than the FT wants or can handle at the moment. Is it?
roll: 81
answer: Yes
event: None]

[Question: He will Very Likely lay low by pretending he is just another prisoner, should the soldiers come to investigate what's going on. will he?
roll: 62
answer: Yes
event: None]

Upon noticing the soldiers, the men get ready to fight, but the FT tells them to put away their weapons and things as he has a better plan.

[Question: They almost surely have noticed that Eli is gone. Have they?
roll: 37
answer: Yes
event: None]

Fearfully, one of the men makes the FT aware of Eli's absence

[Question: How does he react? description: mysteriously abandoned

*Note:I was trying to play mostly from Eli's perspective, and try to keep anything that Eli wouldn't know as a mystery to myself as well. This question was not in tune with that. It was unintentional as I got caught in the moment, but in the grand scheme of things it doesn't matter since I'm my own GM anyway.]

He cryptically tells them to let him go; his expression is unreadable.

[Question: It's very likely that the soldiers only came in to deposit more convicts. Is that the case?
roll: 5
answer: Exceptional Yes
event: None]

In fact, they don't really care about any conflict that may be going on among the convicts. As soon as they leave the new group near the citadel, they leave. Perhaps they only venture this far in order to make sure they don't become a threat.

Monomyth Structure: Session 11

2012-04-18T09:50:00.001-04:00

Eli runs into bad fortune before the adventure really begins.

Eli arrives that night at the port of Bedford Bay to find that a festival of some sort is going on. Then he remembers that it’s the festival of Aphiel, the god of warfare, which celebrates the young men about to enter into the service of the Imperial Army [BIC: Learning - Preparation]. It’s also an excuse to let loose before entering the regimented life of the soldier. The festivities happen all over the Empire, except for Hart’s Island of course [Mythic].

Moving through the crowd gathering at the food and game stands, he finds a tavern named The Emerald Tankard. After making his way in, he sees a huge burly man threatening a middle aged drunk regular:

“Walter, you have two choices. You can leave the easy way, or the hard way. Your choice.”

Eli watches in amusement how Walter chooses the hard way and gets thrown out forcibly. Suddenly, the bouncer sees Eli, and points. “You! No minors allowed! Out!” he bellows, jerking his thumb in the direction of the door. Eli chooses to leave the nice way, as he’s about a year or two away from the legal drinking age (and looks young).

Eli wants to find out where the horse carriage service is, but before he can say anything the bouncer is busy breaking up a fight.

[BIC: instinct-feeling] Perhaps feeling he has someone to commiserate with, the old drunk that was just thrown out approaches Eli. “No good establishment with no good staff,” he says dusting himself off. “They’ll run out of business soon.”

Eli smiles politely and nods. “Sir, do you know where I can find transportation by horse carriage?”

[Mythic says yes, he knows. Ambiguous Event: Ruin-Military] As the drunk is about to answer, a group of drunk rowdy soldiers walk by, their uniforms in a mess. Perhaps thinking that he might be able to get a free drink or two from them, he leaves Eli, merrily calling after the young soldiers, “Hey fellas! Wait!”

Eventually, Eli finds someone to point him in the right direction.

[BIC:insight] On the way there, a fortune teller calls him: “Young man,” he calls.

[Mythic says he is uncannily accurate. RSC: scale, skyscraper] “Do verdicts from heaven trouble you?” he asks ambiguously.

Suspicious, and trying to decide whether to run away, or run towards him for help, Eli probes with a question. “What makes you say that?”

“Please join me in my tent. I will answer all your questions, ” the fortune teller says and disappears inside his tent.

[What does the tent look like? Mythic: Boldly-Modern] Eli follows him inside and is surprised by the interior appearance of the tent. Instead of finding all the trinkets, and occult signs one would expect in such a place, the tent decorated with elegant candle holders, beautiful paintings of ships from the port, and plush chairs and love seats [descriptions came from a few Bright Idea Deck cards (using the pictures)]. Evidently, the man possesses avant garde taste.

“Please make yourself comfortable,” the man tells Eli as he pleasantly gestures towards a chair. Eli sits, but the man remains standing. Eli watches the fortune teller in silence as he walks towards a nearby mirror, and touches its edge as if caressing it.

“Can you really provide me with answers?”

“This mirror is a window to past, present, and future,” he says as he looks back at Eli almost cockily. “You have left home. Why, young man?” He says this as he turns back to look intently at the polished surface.

[I figure that since the fortune teller is the Threshold Guardian, it's very likely he's in service of one or more of the gods that seek to punish Eli. As such, it's "a sure thing" that he either knows or can divine why Eli left home. Mythic answers, "no". Hmm, maybe he's not explicitly in league with any of the gods, even though he's an obstacle.

Does he keep his composure? Somewhat Likely: 77, no. How does he react? Quarrelsomely-Powerful. Also, Inform-Business (very fitting)]

Eli is lifted off his chair by an invisible force, and a sudden burst of incredible pain courses through is being, as if greedy roots made of iron were probing his thoughts and his feelings for sustenance.

[I still figure whatever sorcery the fortune teller is using will have Now Way to succeed as someone, very likely Ainus, does not want anyone to know Eli's and his business. I'll use the Mythic Fate Chart for this as I'm on my lunch hour, and don't have the time to stat Ainus and Fortune Teller dude.

As expected, Mythic says "No." The probe does not work. Does he give up? Very Unlikely as he's already gone this far. 88 says it's an Exceptional No.]

"It will be better for you to give me what I want, young man. Do not think I am beyond taking your life. Why should the gods should bother with hunting you? Maybe you possess something that might be of value to me. [Mythic]"

[Mythic says that now the fortune teller is not able to read any of Eli's thoughts at all, even though he was able to sense something when he first saw him. Ainus must have closed off any means for him to read his mind again.]

Fighting for his life, Eli manages to spurt out "I don't know!"

"Then you shall die here."

"No! Please! I know who can tell me!" It's not completely true; he doesn't know who can tell him, but he knows he will find out.

"Out with it! Tell me!" He probes Eli harder, though only to increase the pain.

"A-A-Ainus!"

[Is the fortune teller surprised? I figure it's a Near Sure Thing for a couple of reasons. One reason is that being a fortune teller, and a sorcerer, he probably knows much about the occult and might have heard the name. The other reason is that knowing so much, he would probably expect Ainus to be long dead.

Mythic says: 04-Exceptional Yes]

Ainus unexpectedly lets Eli go, who drops on the chair so hard that it flips over.

[If the fortune teller was unafraid of sticking his nose in the gods' alleged business, he is Very Unlikely to fear Ainus. Does he fear Ainus? Exceptional No. Therefore it seems logical that he will want to find Ainus. His only link is Eli, though]

Walking slowly over to where Eli lies, he stands over him ominously, prompting Eli to say, "He sent me to look for someone inside the cursed battlefield."

Silence.

"His disciple. Camus the Traveller."

[Question: As he needs Eli, at least until he is certain he is no longer useful, the fortune teller will certainly look for Camus with Eli in tow. It's A Sure Thing that he will forcibly make Eli travel with him. Does he?
roll: 4
answer: Exceptional Yes
event: None]

[Question: How does he do this?
event: Move toward a thread : Delay A plot]

Eli sees him raise a hand towards him. He tries to crawl away, but he feels as if moving through molasses; his limbs turning white as his flesh slowly becomes marble.

[Question: Does he retain consciousness? 50/50
roll: 76
answer: No
event: None]

Before his scream of horror has a chance to escape, the world fades away for Eli. The fortune teller smiles as he looks at his grotesque sculpture.

Mythic GM Emulator - with log window

2012-04-13T15:46:00.004-04:00

A member of the Mythic Yahoo Group, who goes by "grant_erswell", created this excellent little html page that allows you to perform Mythic Fate rolls and create Mythic random events. I was playing around with it to add Tom Pigeon's description table, which is very very handy.

Anyway, I got a little carried away and added a text area to act as a log window to capture Fate Chart roll, and event results so that I don't have to type them by hand. I can also use it to write my narration so that I just need to copy/paste the whole thing and save it to a file.

Since not everybody has access to the Yahoo Group-- though you really should! :)-- I'm putting it here so that anyone who wants can use it on the blog, or get the source to put it on their own device.

Enjoy!

Mythic GM Emulator

Mythic Gm Emulator

Chaos Factor:

Scene Setup

Odds
Impossible
No way
Very unlikely
Unlikely
50/50
Somewhat likely
Likely
Very likely
Near sure thing
A sure thing
Has to be

Dice Result

Answer

Event (Generate)

Description (Generate)

Fate Question:

Session Log:

Youtube Vid: "Making the most of the Monomyth Structure"

2012-04-10T11:28:00.001-04:00

Just passing this along as it's directly related to RPGs.

Monomyth Stages as Mythic Meta-Threads - Template

2012-04-09T08:12:00.003-04:00

This is an unfinished "template" for the Monomyth Stages. The basic purpose is to treat the various Stages as "meta-threads" under which the normal Mythic Threads are organized. The questions pertaining to the Monomyth stage are treated as Mythic Threads to follow as you see fit. Those questions can either be resolved, or used to generate more specific Threads as the story evolves.

As mentioned, the template is unfinished, as not all of the Stages have been fleshed out with questions. Most of the questions were directly lifted from The Writer's Journey, and this Hero's Journey document.

The reason I decided to go with this is that I've already been using the questions in the Writer's Journey to guide me in much of the session, but I wasn't taking advantage of the Mythic list organization, nor was I explicitly or concsiously thinking of the questions as Threads to follow. I find that organizing these as Threads provides me with direction when I'm stuck.

An example how this template is being used can be found here. Note: some of the Threads there have been retrofitted to this structure.

Purpose: Use this template as a skeleton for an RPG story. The questions here can be treated as Mythic threads to be explored, and/or fleshed out into more specific threads. Use this in combination with the Archetype cheat sheet, from which you can add more Threads here or color the questions as you see fit.

The questions and threads can be picked in any order that makes sense. Not all threads or questions need to be answered.

· Before The Beginning

1. (Optional) Prologue: visual metaphor, or scene that conjures up Special World of Act 2 . Suggest theme, or alert audience to issues characters will face.

2. What is the background of hero?

a. Give a complete biographical account for yourself: Physical description, education, family background, job experiences, romances, dislikes, prejudices, food preferences, clothes preferences, etc

b. Do a timeline of specifying what the hero was doing and where he was at every stage of life. Find out what was going on in the world at these times. What ideas, events, and people have been the greatest influences on your hero?

c. Make a list of all the points of backstory and exposition that an audience needs to know to get the story started. How can these be revealed indirectly through visuals, action or conflict?

d. (All of this may be revealed during the course of the story)

· Act One

· Ordinary World

1. What is the hero doing when we first see him?

2. How is the hero “relatable” (like us, the audience)?

3. What are the hero’s universal goals, drives, desires and needs?

4. What is the hero lacking, or what has been taken away? (E.g. does the hero lack romance? Has a family member been kidnapped? Is she an orphan? Is something missing from his personality like compassion?)

5. What are the hero’s tragic flaws? (These humanize the hero) Is the hero wounded in some fashion (psychological or physical)?

6. What is the hero’s outer problem? / What is the hero’s inner problem?

7. How is the ordinary world different from Special World?

8. What seeds of challenge, problems and/or conflicts already exist in Ordinary World for the hero?

9. How is the Special World foreshadowed?

10. How does this Ordinary World raise the dramatic question of the story? What are the hero’s goals? What are the hero’s flaws? What lessons does the hero need to learn? (add your own as threads)

11. What is at stake in this adventure? What does the hero stand to gain or lose? What are the consequences of success or failure? What is the threatening condition?

12. What is this story about? What is its theme?

· Call To Adventure

1. What his the hero doing when the Call comes?

2. How is the hero just ‘getting by’? How is his situation static but unstable? What are the hero’s crutches, addictions or support mechanisms?

3. Who or what delivers the Call for change? Is it internal? External?

4. Is the call an accident? A blunder? Something planned? Something hoped for? Is the Call anticipated or dreaded?

5. Who is behind the Herald’s mask? Is he an ally? Enemy? Neutral?

6. How does the call manifest? (E.g. temptation, synchronicity, unsettling, disorienting, a lack or need, running out of options, a warning?) How are the hero’s crutches kicked away? How is the hero prompted to action?

· Refusal Of The Call

1. Is the hero afraid of anything? What?

2. Which of these fears are real? Which are paranoia? Who or what makes the dangers clear for the audience (you)? (Sometimes a Threshold Guardian appears here to do that: Is the hero truly heroic enough to face and survive the quest?)

3. Does the hero refuse the call? Why? In what ways the hero refuse the call? What are the excuses? (E.g. Let the FBI handle it)

4. What are the consequences of refusal (positive or negative)?

5. What would cause the hero to leave home?

· Meeting With The Mentor

1. Does your hero need one?

2. Who or what is the mentor? Is it an internal code of ethics or an external entity or force?

3. How does he change the Hero’s mind? How does he motivate/prepare the hero? How does he impart wisdom? Does he/she bestow any gifts/advice? How does the hero earn these?

4. Is the mentor what he seems to be (good or dark mentor?)? Is he/she to be trusted? Is there any conflict between hero and mentor?

5. Is there more than one?

6. How is the final commitment brought about to push into Crossing The Threshold? Is it an internal event? External?

· Crossing the First Threshold

1. What world is being left; what world is being entered?

2. How do you know that you’ve crossed from one world to the other? How does the energy change? What does the border between the two worlds look like?

3. What is the threshold? How does the hero cross it?

4. Is it a smooth transition, or rough (like a rough landing)?

5. What or who is guarding the threshold? Are there any Threshold Guardians? How do they make the leap for the Hero more difficult? How do they block the way? How does the hero get around, absorb, or push through the guardian?

6. How does the hero deal with the Threshold Guardian? What does the hero learn by crossing the Threshold?

7. What options is the hero giving up by crossing the Threshold? How do these unexplored options come back to haunt him?

· Act Two

· Test Allies Enemies

1. How does the Special World contrast to the Ordinary world? How is this contrast increased? Are the differences physical or otherwise?

2. In what ways is your hero tested? How do these tests prepare him for greater challenges ahead? Are these tests built into the landscape by the Shadow, or in service of the Shadow, or dominated by the Shadow?

3. What are the new rules of this world?

4. What are the “watering holes”, or the places where people in this world congregate? Can the hero obtain information/gossip there?

5. When and how does he make Allies/Enemies/Rivals? Is the mentor still with the Hero at this stage?

6. If you have a group of heroes, when does the group become a coherent team?

7. How does your hero react to the Special World?

8. What obstacles must the hero overcome to truly begin the journey? Limits of home or society? Limits of personality? Limits of perception? Physical limits?

· Approach to the Innmost Cave

1. Having adjusted to the special world, the hero now seeks its heart, by passing through an intermediate region. This is often shamanic territory; the edge between life and death. What Guardians, agendas and tests they find here?

2. What symbolizes/demonstrates the separation between the old/known world and the new in the story?

3. What happens between entering the Special World, and reaching a central crisis in this world? What special preparations lead up to that crisis?

4. Does your hero take time to plan, perform reconnaissance, reorganize, relax before the ordeal, or arm himself/herself? Does he just barge in boldly?

5. Is there any courtship/love moment before the ordeal?

6. Is this phase of the Approach a good time to get to know companions? Comic relief?

7. Does the hero enter yet another special world within the Special World?

8. Does conflict build, and do obstacles get more difficult/interesting? Does he/she encounter more Threshold Guardians? Can past experience in the Journey be used to get past? Can an emotional appeal do it?

9. Are any warnings signs sent?

10. In what ways is the hero, in facing external challenges, also facing internal demons and defenses? Is there a physical/psychological/emotional Innmost Cave? A physical headquarters of the villain which the hero Approaches? Or an emotional/psychological equivalent?

11. Do any disheartening setbacks or dramatic complications occur? How do these tear the hero apart? How do these further test the hero’s willingness to proceed? How do these allow the hero to put himself/herself back together in a more effective form to travel this unfamiliar terrain?

12. Is the hero challenging any powerful status quo in the Special World, which provides resistance? Is it tied to any of the hero’s neuroses?

13. Is the hero somehow isolated? (this is common)

14. Does your hero want to turn back now, or is he/she fully commited?

15. How are the stakes raised? How is the hero/team rededicated to the mission? How is the urgency and life-and-death quality of the situation underscored?

16. The villain’s headquarters are usually defended ferociously. How so?

17. How are the archetype masks reorganized among characters, if at all? Any misgivings expressed?

18. How does the hero get past obstacles? Does he get into the obstacle’s mind? Does he use force?

19. How is any escape attempt cut off for the hero? How is he forced to face the life-and-death ordeal?

20. Is the hero ready to transform? Does the hero descend willingly, or is the hero thrust/captured?

21. The hero is leaving his old known world and his old self. What self is being left? What self is the hero moving toward?

· Ordeal

1. What is the Ordeal in your story? Does your story truly have a villain, or is it simply an antagonist?

2. How is this the central event of the Journey (e.g. the inmost center of the forest? How does it separate the two halves of your story? How are things changed forever?

3. How are the hostile forces/enemies at the tensest state of opposition? How do things get worse before they get better?

4. In what way is the villain or antagonist the Hero’s Shadow? How is the shadow demonized? What negative/rejected qualities of the hero are projected on the Shadow? How does this help make the issue clearer?

5. Can the villain also be a Shapeshifter or Trickster? What other archetypes might the villain/antagonist manifest? Is the hero betrayed by a Shapeshifter?

6. What kind of Shadow does the hero confront? Deadly enemy? Force of nature? Opponent? Greatest fear? Standing up to a parent/authority? How is he Shadow he hero of its own story? How does it think it’s right?

7. Is the villain’s power channeled through partners or underlings?What special functions do these parts perform?

8. In what way does your hero face death in the Ordeal? What does the hero dread the most? How does the hero experience death /greatest fears? What ‘dragon’ must the hero slay?

9. Does the hero die or appear to die? Who is witness to this (which characters) as a stand in for the audience (you)? How does the hero’s ego die?

10. Does the hero witness death? Does the hero cause death?

11. Does the Shadow die? Does another one take its place? Does it escape only to be confronted later?

12. How does the hero cheat death? Magical gift from Mentor? Allies? Love? What must the hero sacrifice t achieve his greatest challenge? Or does the hero really die (a la Psycho—hard to pull off)?

13. How does the hero experience rebirth/change? Are any opposing forces within the hero brought together into balance(anima/animus)? How does the hero resolve him/herself with his/her greatest fear?

· Reward

1. What do the heroes of your story learn by observing/causing/experiencing death?

2. What is the aftermath/consequence of the Ordeal? What do the heroes of your story take possession of after facing death/greatest fears? Is it freely given or does he steal it? Is there a heavy price later for stealing it?

3. Is the reward something like new knowledge? New perceptions? Seeing through deception? Clarity? Clairvoyance? Self realization? Epiphany? Or is the reward negative? Does death bring distortion of perception like hubris, or being tainted by the horror faced/by the experience?Have your heroes absorbed any negative qualities from the Shadow/villain?

4. Does the story change direction? Is a new goal or agenda revealed in the Reward phase?

5. Is the aftermath of the Ordeal in your story an opportunity for a love scene?

6. How does celebration take place? How does the hero savor the pleasure of surviving death?

7. Do your heroes realize they have changed? Is there self-examination or a realization of wider consciousness? Have they learned to deal with their inner flaws?

8. What transformation has the hero achieved? How does it take form? Revelation? Discovery? Insight? How does it change the hero’s consciousness/how they view life?

9. Is there any conflict for the spoils/rewards?

10. How is the hero recognized a special and different for having survived the ordeal? E.g. knighthood, initiation into elite group, elevation in rank, being made a god, etc.

· Act Three

· The Road Back

1. Does the aim of the quest/journey change? A new goal? How do your heroes rededicate themselves to the quest?

2. Are the heroes ejected or chased out of the Special world? Or do they leave voluntarily? What motivates the decision (external/internal)?

3. Is there fear/threat of retaliation? Is it the same villain? Its minions? An even bigger villain/threat? Do any of the heroes companions die?

4. Are the heroes in pursuit of an escaped villain?

5. Is it another moment of crisis that sets the hero on a new and final road of trials? Are there any catastrophic reversals (a delayed Ordeal)?

6. Are they returning to their starting place?

7. Are they setting forth to a new destination?

8. Are they adjusting to a new life in the Special World?

· Resurrection (Climax)

1. What negative characteristics has your hero picked up along the way?

3. What flaws were there from the beginning that still need to be corrected? What flaws are preserved, uncorrected? How are they necessary parts of your hero’s nature?

4. What final ordeal of death and rebirth does your hero go through? What aspect of your hero is Resurrected?

5. Is there a need for a physical showdown? Is your hero active at the critical moment?

6. Is the final change in your character visible in their actions or appearance? How does your hero’s behavior/appearance show change?

7. Who learns anything in a tragedy where the hero dies, where the hero didn’t learn his lessons?

· Return With The Elixir

1. What marks the hero’s return to normal life?

2. What challenges do they face in integrating the lessons of the quest into their normal life?

3. Can/does the hero share their experience and wisdom gained in the quest with others?

4. How is the hero received upon return?

Monomyth Archetypes Cheatsheet

2012-04-09T08:10:00.000-04:00

Purpose: Look at this cheat sheet of sorts for ideas and direction whenever you are stuck as to where to go with a character. The ideas from here can be fit into one of the Hero’s Journey stages as Mythic threads or Fate questions.

I guess you could also treat this as a Mythic Character List by putting your story's characters under the Archetypes that make sense.

· Hero:

o Ego’s search for identity and wholeness.

o Audience Identification: Should have universal qualities, motivations and emotions.

o Growth: Gain new knowledge and wisdom.

o Action: Hero should perform the most decisive action of the story; the one that requires the taking most risk and responsibility

o Sacrifice: Willingness to give something of value on behalf of ideal or group

o Confrontation with Death: actual or symbolic

o Character flaws: humanize character, provide character arc

o Willing/Unwilling: for unwilling hero, it’s best that he change and become committed at some point, after motivation provided.

o Anti-Hero: Outlaw to society, but sympathetic to audience, because we have felt like outsiders sometimes. Cynical hero (wounded anti-hero, like Robin Hood or Man With No Name), or tragic hero (someone not likeable). Tragic heroes are brought down by their own inner demons/flaws, which they fail to overcome (e.g. Scarface).

o Group Oriented Heroes: Separation from clan (act 1), lone adventure in wilderness (act 2), reintegration with group (act 3). Face final choice to remain in Special World or return to Ordinary World.

o Lone Hero: Man With No Name. Estranged from society; natural state is solitude; natural habitat wilderness. Re-entry into the group (act 1), adventure within group and its turf (act 2), return to isolation wilderness (act 3).

o Catalyst Hero: Exception to rule that hero is character who changes most. Catalyst heroes don’t change much, but bring about transformation in others. Good in episodic stories.

· Mentor:

o Represent the self; the god within us; higher self; our highest aspirations. Eg. Jimmy Cricket in Pinnochio

o They are often former heroes passing on the wisdom. Surrogate parents.

o Teaching: Key function of mentor. E.g. drill seargent, professor, coaches, etc. Sometimes they learn from student too.

o Giving Gift: Aids hero by providing gift. E.g. magical swords, light saber, life saving advice. Gift should be earned by learning, sacrifice or commitment.

o Inventor: gifts are his own devices, or inventions. James Bond’s mentor.

o Conscience: e.g. Jiminy Cricket in Pinnochio

o Motivation: reassure, help overcome fear, or push hero into adventure.

o Planting Info: info meant to be noted, but forgotten about until climatic moment where it saves hero.

o Sexual Initiation:

o Dark Mentors: sometimes a decoy to lure hero into danger. Sometimes an anti-mentor leading hero into road of crime & destruction (Goodfellas). Sometimes becomes threshold Guardian, blocking path to adventure.

o Fallen Mentors: mentor still on a Hero’s Journey of his/her own, or facing crisis of faith in their calling. Hero needs mentor to pull himself/herself together, but there is doubt that the mentor can.

o Continuing Mentors: Useful for giving assignments and setting stories in motion.

o Multiple Mentors: series of mentor who teach specific skills. Sometimes multiple mentors needed to express different functions of the archetype.

o Comic Mentors: romantic comedies.

o Shaman: healer, medicine man/woman. Shamans guide their people through life. Help the hero seek a guiding vision to the quest to another world.

o Inner Mentors: inner code of behavior (Ghostdog and Bushido). Memories of a mentor.

o Other characters may temporarily wear Mentor mask.

· Threshold Guardian

o Understanding their nature can help with knowing how to handle them.

o Not main antagonists. Often lieutenants, minions, mercenaries. Sometimes secret helpers put there to test hero.

o Sometimes symbiotic relationship between antagonist and threshold guardian

o Sometimes ordinary obstacles such as weather, oppression, prejudice, but also stand for inner demons: neuroses, emotional scars, self limitations, dependencies that hold back self-growth. Neuroses that hamper growth.

o Testing: solve puzzle or pass test. Heroes can run away, attack head on, use craft or guile/deceit,bribe/appease, make it an Ally. Get into the skin of guardian. Acknowledge and recognize figures as threshold guardians. Loved ones and people familiar with you often are used to your neuroses, and sometimes benefit from them, so they resist change; they test you to see if you’re resolved to change.

o New Power: heroes learn to recognize that threshold guardians not as threats but as signals of new power or success that is coming; resistance as source of strength. Ideally guardian should be incorporated, not defeated.

o Sentinels, guards, bouncers, entrance examiners, bandidos, editors, doormen, physical barriers, forces of nature. Temporarily block the way and test hero’s powers.

· Herald

o In opening phase of story, generally hero is just “getting by”, with defenses and coping mechanisms. A new energy enters that makes it impossible for hero just to get by; a force, condition or person enters that changes balance, so action must be taken.

o Call For Change: herald announces need for change; something inside us often knows that change is necessary.

o Motivation: offer hero a challenge, and get the story rolling. Alert hero that change is coming. Person or force or a means of alerting (telegram, mail, etc).

o Positive/Neutral/Negative: villain or emissary of villain; sometimes challenge not announced to hero, but to audience (Darth Vader). Agent of forces of good, calling hero to positive adventuren (a Mentor, and ally, a loved one). It could be neutral such as a Trickster or Threshold Guardian.

o Inner or Outer Call

o Usually Act 1, but could happen in any act.

· Shapeshifter

o From hero’s point of view appear to change constantly.

o Often of opposite sex. Romantic partner.

o Sincerity in question.

o Express the energy of femininity or masculinity of heroine/hero (respectively).

o Positive or negative: helpful or destructive. Catalyst for change of attitude towards opposite sex.

o Projection: internal image of opposite sex is projected unto others.

o Doubt: brings suspense to story (femme fatale in noir). Loyalty and motives are in doubt. Dazzle and confuse.

o Can be used by any character

· Shadow

o Anything that has been suppressed, neglected or forgotten.

o Energy of the dark side. Unexpressed, unrealized or rejected aspects of something. Suppressed monsters of inner world: things we don’t like about ourselves, dark secrets we can’t admit to ourselves. Negative aspect of shadow is projected onto antagonists, villains and enemies in stories.

o Sometimes can shelter things that are positive about self, but we have rejected. Feelings we are not supposed to feel, unexplored potential, “the road not taken”

o Power of repressed feelings. Deep trauma or guilt. Hidden or denied emotions. Psychoses that threaten to destroy hero. Needs to be confronted, and brought to light.

o Challenge hero and give worthy opponent. Brings out best in hero

o When hero acts in bad ways it can mean Shadow has overtaken him.

o Humanizing shadow: add a touch of goodness, or some quality to admire, or making them vulnerable.Real human being with weaknesses and emotions. Most shadows do not think of themselves as villains.

· Ally

o Represents unused parts of personality that must be brought into action to solve issue.

o Introduction To Special World (Audience Character): ask questions that audience would ask, explain things that are unknown to audience, but familiar to hero.

o Allow expression of humor, fear, ignorance that would not be appropriate for hero

o Companion, sparring partner, conscience, comic relief

o Do mundane tasks, but also humanize hero

o Multiple allies

o Sidekicks:

o Nonhuman allies: animal, spiritual, imaginary, ghostly, serants

· Trickster

o Energies of mischief and desire to change.

o Clowns and comical sidekicks.

o Cut egos down to size:

§ bring hero’s and audiences down to earth; bring back needed perspective.

§ expose folly and hypocrisy of hero

§ bring laughter to make people realize common bonds

§ bring change and transformation by drawing attention to imbalance and absurdity of a stagnant psychological situation

o Comic Relief: relieve tension, suspense or conflict with some laughter

o Trickster Hero: Bugs Bunny, etc. Survive by their wits against stronger enemies. They are often catalyst characters.

Monomyth: Eli's Story- Mythic Threads

2012-04-09T08:07:00.010-04:00

Some of the Threads here have been retrofitted to the structure.

The questions and threads can be picked in any order that makes sense. Not all threads or questions need to be answered.

· Act One

· Before The Beginning

1. (Optional) Prologue: visual metaphor, or scene that conjures up Special World of Act 2 . Suggest theme, or alert audience to issues characters will face.

2. What is the background of hero?

a. Give a complete biographical account for yourself: Physical description, education, family background, job experiences, romances, dislikes, prejudices, food preferences, clothes preferences, etc

i. Eli can draw and is artistic: takes notice of a portrait Eli has created, based on what he's read so far about Willow Morganthe.

ii. Eli is offensively weak. Unassertive.

iii. Targetted by Bullies.

iv. Eli is needy for maternal love.

v. Ichard, Eli's father, is a successful exporter of what is colloquially known as "Wisdom Cider." Integrity is one of his strongest qualities.

vi. When not drawing, or having his nose buried in a book, Eli likes to sit near his father's desk, and watch Ichard manage the business.

c. Make a list of all the points of backstory and exposition that an audience needs to know to get the story started. How can these be revealed indirectly through visuals, action or conflict?

d. (All of this may be revealed during the course of the story)

· Ordinary World

1. What does the ordinary world look like?

a. Inform-Messages: The setting is a medieval town where a great library is located. The great library still exists, but it is in bad condition. Cobbled stone streets, etc.

b. The center for the regional messenger post service does not exist anymore, though the deteriorated and abandoned building still stands in town.

c. The townies have a strong anti-intellectual streak in them, and are a rather insular lot (thus why they have no use for the messenger post).

d. This town is located on a relatively remote island (think Nantucket if you’re familiar with Massachusetts).

e. Part of an Empire that is relatively distant.

f. The schools in the hometown are not good enough, compared to the Capital of the Empire.

g. One local warrior from the past, who fought against the Empire, was the woman Willow Morganthe.

h. The more affluent locals tend to think of other locals as backwards, closed minded, and parochial [Mythic: Abandon-new ideas].

i. Produces finest “Wisdom Cider” characteristic of its soil.

j. Young men all over the empire voluntarily join the Imperial Army each year; they are celebrated with tEmpire-wide festivals dedicated to Aphiel, the god of war (except in Hart’s Island).

2. What is the hero doing when we first see him?

a. Our hero, Eli, is sitting inside the library; reading up on local history.

3. How is the hero “relatable” (like us, the audience)?

4. What are the hero’s universal goals, drives, desires and needs?

5. What is the hero lacking, or what has been taken away? (E.g. does the hero lack romance? Has a family member been kidnapped? Is she an orphan? Is something missing from his personality like compassion?)

a. Mother generally encourages him towards pursuits of the mind. However, compared to the hero’s affectionate father, she was cold and distant in a way.

6. What are the hero’s tragic flaws? (These humanize the hero) Is the hero wounded in some fashion (psychological or physical)?

a. Eli is needy for maternal love.

7. What is the hero’s outer problem? / What is the hero’s inner problem?

a. Most people in town have assumed that our hero is as much of a snob as his mother, solely because he spends a lot of time in the library, and takes after his mother in terms of his interests.

b. he has been bullied throughout his young life—though never when he is in the company of his good friend Thor, who is a big boy

c. Eli is "Offensively Weak".

d. Teenager Eli is moody, and does not have as much integrity as his dad.

8. How is the ordinary world different from Special World?

9. What seeds of challenge, problems and/or conflicts already exist in Ordinary World for the hero?

a. The hero’s mom has been pushing Dad to send our hero to a school located in the Empire’s capital, far far way. The schools in the hometown are not good enough.

b. Mythic: Violate-Victory. Brelward and The other bullies

c. Ageless Creature that stalked and got Eli in trouble with mischief when he was younger. [The first Herald, tinged with Shadow, really.]

d. Tensions between Eli’s and Brelward’s families due to the bullying, and also business rivalry.

10. How is the Special World foreshadowed?

11. How does this Ordinary World raise the dramatic question of the story? What are the hero’s goals? What are the hero’s flaws? What lessons does the hero need to learn? (add your own as threads)

12. What is at stake in this adventure? What does the hero stand to gain or lose? What are the consequences of success or failure? What is the threatening condition?

13. What is this story about? What is its theme?

· Call To Adventure

1. What is the hero doing when the Call comes?

a. Loafing around town. Still pursuing knowledge, and drawing. Sunk in self pity.

2. How is the hero just ‘getting by’? How is his situation static but unstable? What are the hero’s crutches, addictions or support mechanisms?

a. Still unable to stand up for himself. Hiding behind Thor.

b. Still unable to confront his mother, or come to terms with her mothering relationship.

3. Who or what delivers the Call for change? Is it internal? External?

a. Ainus of Apos in the form of a painting: The subject is a quite unusual looking man, who somehow manages to also be elegant and graceful; eccentric would be the word. [kookily graceful]. An ancient artist, Magus, world historian and traveller. He is obscure even among those of us interested in history, and those who waste their time in occult circles

4. Is the call an accident? A blunder? Something planned? Something hoped for? Is the Call anticipated or dreaded?

a. Painting of him appears almost by accident, but seems planned by Ainus.

5. Who is behind the Herald’s mask? Is he an ally? Enemy? Neutral?

a. Ainus of Apos. Seems like a Neutral force; perhaps an enemy.

a. He possesses both of Eli’s parents after appearing by supposed accident inside a painting.

7. What is the Call?

a. Demands that Eli take what the Gods love the most, as both Eli and Ainus stand under eternal judgement of the gods. Judgement is coming from the bowels of the earth.

· Refusal Of The Call

1. Is the hero afraid of anything? What?

a. Hero is afraid of putting himself in danger (physical or spiritual)

a. Brelward and The Witch: Judgement is coming from the bowels of the earth. What did they see?

b. Eli’s mind probably fed by years of folklore, and countless library books, flashes images of half beast/half men horned demons, probably and of being chained to burning hot grills, and tortured eternally.

c. The Cursed Battlefield: This criminal exile community is located in a place where the native denizens sleep by night: vampire land

3. Does the hero refuse the call? Why? In what ways the hero refuse the call? What are the excuses? (E.g. Let the FBI handle it)

a. Eli attempts to get rid of the possessing entity by throwing away the painting, because he does not believe Ainus.

4. What are the consequences of refusal (positive or negative)?

a. His parents might not be released from Ainus’ power.

b. He might actually be found by the judgement that the gods supposedly sent.

5. What would cause the hero to leave home?

a. Eli realizes that nothing at home can release his parents. Running out of options.

· Meeting With The Mentor

1. Does your hero need one?

2. Who or what is the mentor? Is it an internal code of ethics or an external entity or force?

a. Ainus has acted as a sort of Herald/Trickster, but also Mentor when he pointed the way to the next Mentor

b. Camus the Traveller [ROR: a foot]. Ainus’ insane disciple, who is imprisoned in The Cursed Battlefield.

3. How does he change the Hero’s mind? How does he motivate/prepare the hero? How does he impart wisdom? Does he/she bestow any gifts/advice? How does the hero earn these?

4. Is the mentor what he seems to be (good or dark mentor?)? Is he/she to be trusted? Is there any conflict between hero and mentor?

5. Is there more than one?

6. How is the final commitment brought about to push into Crossing The Threshold? Is it an internal event? External?

· Crossing the First Threshold

1. What is the threshold?

1.1. Bedford Bay

2. What world is being left; what world is being entered?

2.1. For this first part of the story, Eli is leaving the relative isolation of Hart’s Island for the mainland Empire.

3. What does the border between the two worlds look like?

3.1. Bedford Bay is much more colored by the Empire’s customs than Hart’s Island.

4. How do you know that you’ve crossed from one world to the other?

4.1. The festival of Aphiel, god of war. Celebration of young men joining the Imperial Army. In Hart’s Island, there would be no such celebration.

5. How does the energy change?

5.1. It’s a more disorienting place for Eli. He doesn’t know anyone or the area, and the festival, though read about, was never experienced.

6. Is it a smooth transition, or rough (like a rough landing)?

6.1. Not so smooth. He got kicked out of a tavern, accosted by a drunk, and has been attacked by with sorcery by a fortune teller.

7. Is your hero willing to enter the adventure or not? How does this affect the Threshold Crossing?

7.1. No. It makes Eli approach this juncture like a sheep to the slaughterhouse.

8. Are there any Threshold Guardians?

8.1. Yes. The fortune teller.

9. What or who is guarding the threshold?

9.1. The fortune teller/sorcerer.

10. How do they block the way? How do they make the leap of faith for the Hero more difficult? What obstacles must the hero overcome to truly begin the journey? Limits of home or society? Limits of personality? Limits of perception? Physical limits?

10.1.Won’t let Eli move on unless he gives him the secret of why the gods seek him (or judge him). Thinks this might be of use to him.

11. How does the hero deal with the Threshold Guardian? How does the hero get around, absorb, or push through the guardian? How does the hero cross the threshold?

12. What does the hero learn by crossing the Threshold?

13. What options is the hero giving up by crossing the Threshold? How do these unexplored options come back to haunt him?

· Act Two

· Test Allies Enemies

1. How does the Special World contrast to the Ordinary world? How is this contrast increased? Are the differences physical or otherwise?

3. What are the new rules of this world?

4. What are the “watering holes”, or the places where people in this world congregate? Can the hero obtain information/gossip there?

5. When and how does he make Allies/Enemies/Rivals? Is the mentor still with the Hero at this stage?

6. If you have a group of heroes, when does the group become a coherent team?

7. How does your hero react to the Special World?

· Approach to the Innmost Cave

· Ordeal

· Reward

· Act Three

· The Road Back

· Resurrection

· Return With The Elixir

Monomyth structure - Session 10

2012-04-08T19:33:00.001-04:00

Eli runs out of options.

(Previous session can be found here.)

As part of the Refusal stage some things need to be established for the benefit of the audience:

the heroes fears and doubts
the consequences of the refusal
the dangers inherent in the journey

The last two have been shown during the course of play. Eli's fears and doubts were sort of mentioned during Session 5's chargen as part of his "features:

Unassertive & scared of confrontation
Wants peace and affection

These have not been linked yet as things that make him hesitate to embark on the journey itself (though the interruption of his relatively peaceful and affectionate life are pushing him towards the journey). As I played through this session, some of those fears started to materialize.
I also need to find out more about this mentor figure.

*****************************(Session begins)*********************************
Getting rid of Ainus has proved impossible, and even the local witch is powerless against him. Ainus has proven more than capable of turning the authorities against Eli, as well. Will he ever release his parents?

Time seems to be running out as well. According to the witch, and Ainus, "judgement is coming from the bowels of the earth". Has some unspeakable force been unleashed to hunt him already? [Using an image from the Bright Idea Deck: a painting with a goat]. His mind, probably fed by years of folklore, and countless library books, flashes images of half beast/half men horned demons, probably and of being chained to burning hot grills, and tortured eternally.

Eli gulps and asks Ainus where he can find his deranged disciple; his mentor to-be.

Ainus tells Eli that his disciple's name is Camus the Traveller [ROR: a foot]. Interesting enough, but the situation is more dire than Eli had first thought: Camus' prison is not a normal prison. Rather, it's a place to which the worst sort of criminals in the empire are banished.

[What is it? [ROR: flashlight, sleeping. Had a bit of Mythic Fate Chart help in fleshing this out]. This criminal exile community is located in a place where the native denizens sleep by night: vampire land.

[Why can't Ainus help Eli get there?] Ainus is evasive.

[What is this place's name? RSC (Rory's Story Cubes): arrow and magic wand for the name ] The Cursed Battlefield.

[A roll of Eli's Brains stat on Chaos Factor 5 indicates that Eli knows a lot about the history of this place from the history books he has read. What was this battle, and how did the place end up infested with vampires? Using RSC: an airplane, a shadow/demon, and a bee.]

Eli has read about the place, and the battle. The magic flying citadels that the Empire attempted to use against the resisting nation, and the Faustian deal that nation's shaman's made to keep the Empire at bay: allowing shadowy beings to "pollinate" their warriors in exchange for powers with which to fight off the Empire. The final result was a Phyrric "victory" for that nation as it became what it is now.

That evening, as Eli parts on a boat to the mainland, he wishes there was another way, but it seems his only hope to get back his normal life is to find this Camus. He doesn't even have Thor to help him anymore. He is unsure he'll even survive outside Hart's island.

-----------------------

Solo Tabletop Gaming Appreciation Month: Monomyth structure - Session 9

2011-11-19T14:04:00.001-05:00

(Previous session can be found here.)

In this session I played out the "Refusal Of The Call," stage. I decided that since the refusal is supposed to make things harder or more tragic for the hero, I'd assign a chaos factor of 3 to the whole stage (the previous stages have been played with chaos factor 5).

My plan originally was to roll randomly for which archetype 'mask' a character would wear (or ask a Mythic fate question). I'm having somewhat mixed feelings about the results, though. One reason is that the archetypes seem to manifest on their own at times, from my subconscious. Another reason, which perhaps I should feel more positive about, is that I get unexpected answers that make things more challenging, or more odd, story wise.

For example, Ainus of Apos is wearing the mask of the Herald archetype (the one who's issuing the Call To Adventure) as an indirect result of various Mythic questions in the context that I was playing in, which was the Call To Adventure. Since Ainus first made his appearance in that context, it was just natural that he'd manifest the Call.

On the other hand, in the back of my mind, I had also started to think of him as the Mentor, as he stereotypically fit that concept as well, but when rolling randomly, I got the Trickster-- hence his ironic (and what I hope are comical) quips, etc.

In the end, I think it has worked out for the better. I hope you think so too!

On the subject of the Shock mechanics I chose, I am now feeling somewhat ambivalent about the Integrity vs Corruption praxis (Brawn vs Brains seems useful). I need to find a way to inject more of that theme throughout the story. If I interpret those stats' meanings more broadly, then I think I can work with it as in Madness vs Sanity. Or, perhaps a more literal meaning as in Eli's Integrity when it comes to his commitment to his parents.

Any suggestions or thoughts are welcome for those who are taking the time to read. :)
--------------------0-----------------
Session 9 - Refusal of the Call (Chaos Factor 3)

[The overall purpose of the stage is to show that the Hero's adventure is not to be taken lightly by:

Signaling or showing the risks, the danger and the high stakes of the adventure. Making the danger clear.
Displaying what the hero is afraid of, and find a way to express it (why is he refusing). ]

Walking back from the docks, Eli is half regretting his action, in fear of finding that some sort of disaster has befallen his home and family. Perhaps he acted too rashly. He doesn't know anything about sorcery or magic-- is this even real? He sure hopes he's just having a nightmare.

As he approaches his family home from a distance, he begins to feel some relief seeing that it's still standing. No fire, no screaming, and no commotion of any kind can be seen or heard; everything is as peaceful as one could hope.

Still, just the same, upon arriving at the door, he holds his breath before opening it.

"Thank goodness. Everything is in order," he says to himself noticing that everything is in it's place in the living room.

"Wait...the portrait," he says half expecting it to be back on the living room wall, like the spooky stories he's read in the past. He lets out a sigh of both alleviation and exhaustion, as he plops himself down on a cushy chair.

[Is the rest of the night uneventful? No.
What happens? PC Negative: Punish-Bureaucracy.]

"I want him sent to prison," Eli hears Ichard's voice come from the dining room, as he's about to fall asleep on the living room chair. Before he has a chance to protest, he is seized by two eager guards, and made to walk all the way to the town's prison.

[Random Event: Ambiguous Event: Malice-Allies]

When they arrive at the prison, he is led to his lonely cell. On the way, dangerous looking men eye him with an air of threatening malice*.

[Does anything else happen that night? No.]

Night turns into late morning and Eli is surprised that he was able to fall sleep at all-- tiredness won in the end.

[Does anyone from the family come to visit Eli? yes.
is it Ichard? No. It's Bryne.
Is Bryne angry? No. Worried? No.
Has she come to bail him out? yes.]

Bryne comes to get Eli out of jail. Eli is silent for most of the walk home as Bryne talks about what he did with the portrait. She mostly expresses confusion as to why Eli would do such a thing but does not seem concerned or angry, which is completely strange for her.

[Random Event: PC Positive: Beautifully/Inspect-Abnormal/Food]

Eli notices that Bryne has been carrying a beautifully embroidered bag, out of which she takes out a container with some fermented vegetables.

[Mythic says she considers that kind of food below her, but doesn't skip a beat or stop to think about it when Eli brings that up.]

"Mom, I thought you hated those. Don't you always say they are low-brow food?"

"A person can change their mind once in a while, can't they Eli?" she says somewhat defensively, yet with humor."Here," she says handing him the container and a wooden spoon,"You must be starving."

"Thanks," he says as he starts to eat. "Where is father? Is he at work?"

"No." [Where is he then? Trust-Wishes] "He went down to draw water from the town's wishing well."

Eli knows that his father would never miss a day of work. "Fine, Ainus, enough of this charade," Eli says exasperatedly.

[Is Ainus in conscious control during the day? No.]

"Ainus? Dear, are you sure you are quite alright?"

"I don't know," he mutters to himself, and takes a few more bites in silence as they walk. "Mother, why did dad have me put in prison over an old painting?"

[Pursue-Bureaucracy] As if the answer was the most obvious thing in the world, Bryne declares: "Eli, son, you know your father is a stickler for the rules."

Eli realizes that questioning his parents in this state is useless. He will have to wait until Ainus is back in conscious control. He is, however, still concerned about his parents' increasingly bizarre behavior.

[Random Event: NPC Action (Thor): Malice-Misfortune]

Thor calls out Eli's name, as he runs towards him. After respectfully greeting Bryne, he asks if Eli can join him. Eli looks at Bryne, who seems to have no objections, other than exhorting him to be careful, so the two friends walk off.

"I went to see you in prison, but you were already gone. What happened?!"

"How did you know?"

"The news is already all over town that you stole from your parents!"

Thor doesn't mention anything about Bryne's or Ichard's strange behaviour, so apparently no one has noticed yet. It's been but a night anyway.

"I didn't steal anything, Thor. I threw away a cursed portrait."

"What?" Thor asks incredulously.

"My family has been hexed, Thor. You must help me," Eli says while grabbing Thor's shoulders.

[Does Thor help Eli? Very Likely: Extreme No! (99)

I didn't like Mythic's answer, so I declared this to be a conflict, a la Shock.

Mythic's "intent" is that if Thor wins using Corruption, he uncharacteristically abandons Eli. My "intent" is that if Eli wins using Brains, he is able to convince Thor to help.

My four rolls for Eli's four features were all horrible, so Thor won with a single success.

Eli gains a new feature: "I am truly on my own"]

"Hexed you say?" A wide eyed and suddenly pale Thor says, and before Eli can continue, the usually brave Thor is running down the street away from Eli.

"Thor!" Eli calls out after him, even trying to run after him, but Thor soon disappears down the corner of the busy cobbled street. A crestfallen Eli gives up his pursuit, and decides to head back to his house which feels less like home with each passing hour.

[When he gets home, is Ichard there? yes
What is he doing? Negligence-Friendship]

When Eli arrives at the house, he finds that an excited Ichard is planning a last minute feast for old friends that he has not kept much in touch with.

[Does anything else happen this day? No.]

--------------------0-----------------

The guests begin to arrive lat in the evening, despite the short notice. As the evening progresses, they find themselves pleasantly surprised with Bryne's new found friendliness and more down-to-earth character. However, the guests seem to chalk up their new eccentricities to the fact that they hadn't really seen the Brann's socially since Ichard married Bryne.

Even though he hears his father's voice this time, Eli has noticed that it is now Ainus who is in conscious control of him. Some of the mannerisms are Ichard's, and some he can recognize as Ainus'-- such as his use of humorous irony, and his erudite knowledge of things his father would never be interested in.

[Does he ever take conscious control of Bryne? Yes.] To a lesser degree, he starts to recognize some subtle mannerisms in Bryne, that tell him his hold on her is unconscious at the moment.

Eli watches in uncomfortable silence as the guests enjoy themselves, eating a variety of small plates containing colorful morsels of delicacies they'd never had before. He is afraid to make a scene as he knows his father's livelihood depends on his reputation-- and he is afraid they, or he, might be sent away if the community thought they had become mad. Who knows what they would do if they thought they were cursed.

[Random Event: Remote Event: Open-Magic

I came up with two interpretations, and rolled to see if the the first one was true. Since it wasn't, then the second one was true by default.

1) The gods have released something from the underworld to hunt Eli. (I'm trying to find a motivation for Eli to get off his ass) (51-No)
2) Thor has visited a reputed witch to find out what is happening to Eli and his family. (yes by default)

Does Ainus manage to block her when he becomes aware? yes.]

After the last guests leave the house, Eli is ready to confront Ainus, when the Magus says in annoyance to no one in particular: "Oh, how rude!"

-----0------
[Cut to Thor and the witch.]

Prior to Ainus becoming aware of their snooping, Thor was sitting down in front of a splintered table, at the smelly old tenement apartment where the withered old witch lives (mythic). She asked Thor to write down his friends name, and after looking at it for a few seconds, the witch slammed down a knife in the center of the paper as if defending herself from danger.

"Agh!"
"What?" A concerned Thor asked.
"This young man's soul is in grave jeopardy," she recoils from the paper.

Thor gulps, and manages to ask: "From who?"

[Mythic: Attainment-Inside. I can think of only two interpretations:

-From inside his house, meaning, Ainus. (Mythic says No)
-From himself. (Mythic says No)
-From inside the bowels of the earth; something threat released by the gods. (yes by default)]

"From the bowels of the earth, judgement is coming," she says. "I can't see any more."

[What does Thor do? Three options I can think of:

- His fear is overcome by his integrity/loyalty towards friendship (Mythic said Extreme No with a roll of 100)
- He decides to remain uninvolved out of fear. (Yes, by default)

Does he at least try to warn Eli? Yes.]

With hands shaking, Thor handed over the silver coins that the witch had demanded as payment. Then he scrambled out the door as fast as he could. Scraping with bullies to protect his friend was one thing, but challenging dark powers was beyond what he could do. He knew he was being a horrible friend, but Thor decided to stay as far away from Eli as he could.

Yet a persistent part of him persisted in nagging: "I should at least warn him. I owe a friend at least that much."

A letter detailing all that the witch said would later be found by Eli at his door. It also would say, "I am sorry, Eli. I can't face this with you."

--------------------0-----------------

Back at the Brann's house, Ainus tells Eli, "I hate it when people snoop," after blocking the witch's sight.

"What do you mean?" asks Eli, looking out the window.

[Is Ainus aware of what the witch saw? Yes. ]

"No, not that kind of snooping. You might want to pick up that letter your friend just slipped under the door."

Eli hadn't heard anything, but it was true. There was a piece of folded paper under the door. After reading it, Eli goes pale.

"Why don't you sit down, I don't want you passing out and breaking any of your mother's china."

Eli sits down and tries to gather his wits, "Is any of this true?"

"I'm afraid so," says Ichard/Ainus as he leans against the doorway to the dining room. "You better get started."

"Where do I even start!" Eli shouts in anger. "You say you helped me in the past, but all you are doing is wrecking my life! Why aren't you helping me if we both truly share the same fate!"

[Why isn't he helping Eli? Create-Friendship

Ainus' friend will.

How will Ainus himself help? Assist-Food]

"Who said I won't? Who do you think will prepare your sandwich for the road?"

Eli buries his head in his hands not finding the humor in the quip.

[Who are Ainus' friends? [Persecute-Investment]
Disciples of his, invested in his teachings.]

"You will seek the help of my remaining disciple."

"Where can I find this person?"

[Failure-Balance

-Is in prison, insane. [Mythic said Yes]
-Is now a hermit trying to regain mental balance after losing it. [No, by default.]]

Ainus' remaining disciple is actually in prison after becoming insane. Ainus clears his throat and says "Erm...it's a long story."

--------------------0-----------------

I think that in this session the dangers have been signaled through play. I don't that what Eli is afraid of has been articulated yet, so this Refusal stage is not done yet (it will soon be over). Then I'm supposed to move to the "Meeting With The Mentor" stage.

Right now more or less rigidly following each stage. It could be interesting to roll for these at random.

*[as Richard Pryor would say,"Thank God we got jails" ]
-----

Solo Tabletop Gaming Appreciation Month: Monomyth structure - Session 8

2011-11-17T19:13:00.002-05:00

(Click here for the previous session.)

[In this session I was both able to find out what are the stakes for Eli, and move on to the "Call To Adventure Phase", and even sneak in the beginning of the "Refusal of the Call" ]

An improbable reversal of luck changes the fishing fortunes of the two young men. As they walk back to their homes, they each carry no less than five fish. So excited is Eli that he almost forgot his travelogue book, were it not that Thor remembered to carry it for him.

[Mythic: Desert Balance/kookily graceful.]
Eli makes it home in time for dinner and is confronted by a new prominent painting inside the living room. The subject is a quite unusual looking man, who somehow manages to also be elegant and graceful; eccentric would be the word. [kookily graceful]

Bryne greets Eli and asks him if he likes the painting.

"It's interesting, mother."
[Who is he, and how did he go mad (desert-balance)? For the man's bio, I used the Rory Story Cubes]

"This was Anius of Apos, Eli. An ancient artist, Magus, world historian and traveller. He is obscure even among those of us interested in history, and those who waste their time in occult circles," Bryne rolls her eyes as she mentions of the last group.
"A Magus, eh," says Eli, looking closer in wonder.

"The superstitions surrounding him are quite colorful. It is rumored that he went mad in his search for the mythical Keys Of Fortune, said to grant their owner success in all of his endeavors. Those given to flights of fancy speculate that he found darkness instead."

"Old wives' tales," Eli says, trying to impress his mom.
"Not quite." She sees Eli's confused expression and adds, "Not literally true, of course. Those tales are usually metaphors, dear."
"Of course," Eli says trying to hide his embarrassment.
"I would have never dreamt of finding anything like this in Hart's Island, and at The Emerald Harlequin of all places. It's usually full of mundane trash. It must have come from a visiting stranger."
"That is quite a stroke of luck, Mother."
"Yes," she smiles. "My interest is purely historical, of course. Shall we sit down to dinner? Your father is waiting."
[NPC Positive: Struggle-Rumor]
Dinner goes by uneventfully, but before they retire to bed, Bryne surprises Ichard with a present: A gold insignia purportedly belonging to a soldier of the "Hidden Army", that is rumored to sere the Emperor. Ichard is very appreciative, as he collects martial trinkets.
[Time to find out what's at stake for Eli. Mythic says the mysterious painting is involved, and that it affects Eli's parents: Oppose-The Mundane]
Eli wakes up and as he sleepily makes his way downstairs for breakfast, he does a double take when he sees Ichard at the table, reading a book on the art of abstract mosaics. His father reading a book? He's never had any interest in books!
Eli almost jumps out of his skin when Bryne hugs him from behind, and kisses him good morning, and lovingly puts a steaming bowl of oatmeal down for Eli, before sitting down next to Ichard. It's not like her at all to show her affection in this manner. And serving him? She usually won't lift a hand to help the maid.
A bemused Eli sits down to chow on his oatmeal, thinking that maybe they should bring more wonderful antiques to The Emerald Harlequin, when the strangeness of the situation hits him in full force. The portrait!

Eli eats a few bites, while watching the strangeness of their behavior unfold, and he can't help but think of some of the spooky stories he's read. Are they playing a practical joke on him? No, his father doesn't have the time to waste on silliness like this. And his mother? She doesn't have that much of a sense of humor.

He eyes the portrait with suspicion: "I'll get rid of it tonight." He is surprised at his own decisiveness, and the irony of that is not lost on him.

----0-----
That night Eli sneaks downstairs to get rid of the portrait that he believes is the source of all the strangeness. He finds it's light enough that he can carry it by himself.
[Random Event: Move Away from Thread: Break-Enemies]
As he un-mounts the painting from the wall, he clumsily breaks a small vase. It is then that he hears someone clear their throat.
"What do you think you are doing?" says a voice he can't recognize. When he looks over, it's Ichard.
"I thought I would just get to the point, rather than try to trick you into thinking I'm your father," Ichard continues in that same unknown voice.
Eli assumes the voice belongs to the person in the portrait: Ainus of Apos. Despite his trembling knees, and failing voice, he says in false bravado, "It's just as well you don't waste your time. I'm aware of what you are doing, and I'm getting rid of you." He tries not to be scared as he walks past Ichard/Ainus towards the door.
"Oh, I see. That's the kind of gratitude I get for helping you all of these years."
"You forgot that I already know you're not really my father," Eli opens the door.
"That's not what I meant. Remember the scary fellow following you around and making your life miserable?"
"Pardon me?" says a non-plussed Eli, knowing that Ichard/Ainus is not talking about Brelward.
"Ah, yes, how quickly sullen youth forgets, tsk tsk."

Eli almost drops the painting. "Did you get rid of the creature?" He hadn't thought about it in years, trying to rationalize it away as childish fancy.
"Who else?" The old Magus says cockily.
Eli studies Ichard's eyes, and finally asks, "What do you want? We don't have your Keys of Fortune, or whatever it is that you're questing after. Please leave my family alone."
"You don't have them? Oh my, I must have made a mistake! Please accept my apologies. I will be out of your life as soon as I collect my luggage."
"Irony won't stop me," Eli smiles insincerely gesturing at the portrait in his hands.
"Go ahead, it won't do any good," Ichard/Ainus yawns. "I'll see you tomorrow."
"We'll see about that."
"It might even make things worse, who knows," he shrugs as he gets up to walk up the stairs.
"You're bluffing."
"Maybe I am. Good night."

Eli makes it only a few steps out the door, and turns back. Catching Ichard/Ainus midway through the stairs, he asks, "Alright, what do you want?"

"I was trying to answer that before you so rudely walked out on me." He gestures for the young man to hand over the portrait, and Eli does so reluctantly.

[What does Ainus want? Judge-Attention]
After Eli sits, Ichard/Ainus continues, "You see, young man, you and I are both in a peculiar predicament."
"Oh really? What would that be?"
"We have both drawn the attention, and eternal judgement of the gods."
"I've never done anything so terrible as to offend the 'gods'"
"Not in this life," Ichard/Ainus smiles and winks.

"Then why haven't they struck me dead already?"

[Mythic: Spy A Path] "They sent a creature to report on your current life...and dispense a bit of divine punishment, perhaps."

"Well, the creature is long gone, so thank you. However, I don't think your divine problem is any of my concern," Eli says getting up.

"For someone who reads so much you don't seem all that bright, son."

"Oh, I'm the dull one, am I? If there are such things as 'gods', how can anyone escape their divine judgement? "

"Why, I'm glad you asked: You force them to bargain by taking away what they love," Ichard/Ainus says with a mischievous smile.

"You are as mad as the rumours say," Eli grabs the painting from Ichard/Ainus, who doesn't struggle.
"I already told you it won't help."

"I'll take my chances," says Eli, now angrily heading out the door for good. In the back of his mind, he is still concerned with how unconcerned Ainus was about the portrait, but he marches on all the way to the docks.

"Maybe he's bluffing and can't do anything to defend himself,"  he rationalizes, as he stands on the edge of the sea wall. Taking a deep breath he hurls the painting into the ocean, and watches it float out of sight with the tidal current.

All he cares about is for his parents to be safe, and everything to return to normal.

Edit: Click here for Session 9.

Solo Tabletop Gaming Appreciation Month: Monomyth structure - Session 7

2011-11-16T15:28:00.004-05:00

(Click here for the previous session.)

[What follows is all based on Mythic rolls in one way or another. I know my writing is attrocious, so I've made an effort to make it more readable. Ironically, imagining the dialogue based on Mythic rolls has felt closer to solo-roleplaying than ever. :)]

Years have passed since the garden incident, all but forgotten by Eli, who is now on the brink of becoming a young adult. On this day, the morning light outside is so bright that one would think the Sun is in a particularly jolly mood.

Eli, on the other hand, wakes up once more with an emotional malaise that has no specific reason. He mopes around bed, not even bothering to change out of his sleeping clothes. Neither the bright Sun, nor the happily bustling crowd enjoying the day out in seem to care, however.

"Eeeli!"

"Except for Thor, of course," Eli mutters to himself upon hearing his good friend's booming voice coming from the street in front. He pretends he doesn't hear, but the voice becomes louder and more insistent, so he shuffles out of bed towards the window.

"There you are," bellows Thor, smiling.
Eli can't seem to summon much enthusiasm. "Good morning, Thor."

Upon taking a look at Eli in his night clothes, Thor cracks, "I could hear you snoring all the way from my home, so I knew I'd find you here."

"Oh, knock it off, Winterlocke," Eli says, referring to Thor by his last name, as he usually does when annoyed.

"Oh, lighten up Brann," Thor says in mock imitation of his friend's mannerisms. "Take off your night dress, and bring your fishing gear. We're going to Dubhearth Pier."

"I'm not really in the mood for fishing. I was thinking of visiting the library."

"Always the library with you-- just bring a book!" Eli hesitates, and then Thor threatens: "You better drag your rump down, or I'll stay here chanting your name until you do!"
Eli's had enough of the silliness, so he just goes back to bed.

"Eeeli, Eeeli!" Thor wasn't bluffing. The chanting gets louder and louder and it doesn't take long until Eli hears Bryne, his mother, chastising Thor for making a ruckus.

Eli doesn't want yet another lecture on how she'll never finish her history tome unless Thor and him stop disturbing her much needed peace and quiet, so he pre-emptively grabs his fishing gear, and a set of fresh clothes. He grabs the first book on top of a pile, "The Ice Forest: A Travelogue"[Mythic: "cooly-beautiful"], and thinks to himself, "That'll do."

As he's rushing out the door to join his good friend, his mom hollers behind him: "Eli! You haven't even had your breakfast!"
"Don't worry Ms. Brann," calls out Thor as they begin walking down the street. "We'll be catching our own breakfast today!"

------------------0-------------------

The two friends have been sitting at Dubhearth pier for a while, with their feet as well as their fishing lines inside the water. The only thing they've managed to catch so far is a starfish, and that only happened because Eli threw his line the wrong way. To say that their breakfast has been delayed would be an understatement.

On the one hand, Lady Fortune smiles at them as Thor came prepared: bread and meat for some sandwiches. On the other hand, she frowns at them since Thor neglected to look closely enough at the freshness of the food: the bread is mouldy, and the meat doesn't smell quite right up close to their noses [threateningly-ruined].

"We're just doing wonderfully today," Eli says with irony, putting his sandwich down in disgust.

Thor, finally succumbing to Eli's mood as if it was a contagious disease, wistfullly puts his own ruined lunch down. "I'm sorry, Eli. I just wanted us to have fun."

Knowing he's just ruined Thor's day as well, a guilty feeling Eli now tries to make it up to his friend by trying to cheer things up. "Well, it's not that bad, I guess. Perhaps, we can use this as bait for the fish."

"I guess," Thor shrugs, as if Eli's attempt is too little and too late.

"Besides, we don't have to go hungry. We can pick some Wisdom Fruit at Old Spirebog's," he says pointing at the nearby orchard.

"Those trees don't belong to us, Eli."

"Come on, he won't mind one or two missing fruit." [Here Eli had a conflict with Thor. He rolled using Brains, and Thor rolled using Integrity. The intent was to convince Thor it would be OK. Eli lost.]

"I'm warning you, Brann," Thor threatens. "You touch one fruit, and you'll be taking a swim."

"You can't be serious," says Eli as he starts to get up, but then freezes midway through when Thor says:

"Oh my, you look mighty hot, Eli. I bet the water feels very good."

"Fine, fine. You win," he says sitting back down. "I hope we catch something soon."

[This was more of an additional color scene in the "Ordinary World". The last thing I need to do before I move on to the next phase is to establish more concretely what will be at stake. I've already found the answer through Mythic, but I need to roleplay it out. :)

Sadly, I'd like to spend more one on one time with Bryne, Eli's mother, to give her more depth but I think this phase has dragged out enough. Perhaps in the next phase.]

Edit: Click here for Session #8.

Solo Tabletop Gaming Appreciation Month: Monomyth structure - Session 6

2011-11-15T17:59:00.002-05:00

(Click here for the previous session)

Situation: It's been a few weeks, and Eli is almost finished with restoring his late Grandpa's garden. He takes a breather and looks down the cobble stone street, outside the garden, and notices that almost all of the buildings are proudly displaying the flag of Hart Island. It's not so much a separatist feeling, as it is that Hart Island locals see themselves as different, in a special way, from the rest of the Empire [Mythic: Loyally-Lavish].

[What is the conflict? NPC Action: Agree-Friendship]: Brelward and his gang were trying to unsuccessfully recruit Thor, a new kid in town. Thor is a very big boy for his age, so it's a no brainer Brelward would want him in his gang. They very wisely move on after being rebuffed.

However, they see an irresistible target for their attention now: Eli. They happen to have a bunch of rotten eggs with them, which they were going to use to pelt Eli's dad, but what better target than Eli!

[I don't bother to roll against Brawn to see if they hit, because I happen to agree with where Mythic is taking this.]

Splat, crack, splat! Eli covers himself, so he at least avoids a hit on the face, but being covered with foul smelling yolk and egg whites all over.

[How does Thor intervene? "dangerously ugly"] Apparently, Thor doesn't quite know his own strength. With one swift punch to the top of the head, he knocks out cold one of Brelward's sidekicks.

Brelward is not quite scared yet, however, as four of his companions are still backing him up. They all try to gang up on Thor. Eli decides to try and help by tricking Brelward and his gang into thinking the guards are coming to break the fight up.

[This is clearly a conflict for the Brawn scale between Brelward, his gang, and Thor. Mythic decrees that Brelward's gang members are one Action Rank below him on Brawn. Their collective intent is to take Thor down, while Thor's intent is to take them down.

Eli's intent is to use his Brains to trick Brelward and his gang into running away from the supposed guards.

Sidekicks: Brain vs Brawn: Low
Brelward: Brain vs Brawn: Weak
Thor: Brain vs Brawn: Minuscule
Eli: Brain vs Brawn: Exceptional

The sidekicks roll: 2 sucesses
Brelward: 1 success
Thor: 3 successes
Eli: 2 successes

Mythic dictates that Thor will focus his anger on the sidekicks first. The sidekicks will successes are cancelled out by two of Thor's. Brelward's success is cancelled out by one of mine. That means both Thor and Eli succeed in their intents.]

Thor easily knocks two of the youths heads together and they're out cold. The two remaining ones each receive a blow that kocks them on their seats.

Eli, on his part, runs down to the nearby corner of the street, and yells to a non existent guard: "Right here officer! Brelward and his friends are ganging up on him!" This, along with the handful they just got in the form of Thor is enough to make those that remain conscious want run away with their tails between their legs, leaving their unconscious compadres behind.

Eli goes up to Thor: "Are you alright?"
Thor, opening and closing his hand: "I may have hurt my hand." Motioning with his head at one of the three kids just now starting to wake up, "That one with the big head probably did it."
Eli: "I think my mom keeps some ointment in her cabinet. Don't go anywhere!"
Thor nods, and Eli bolts towards the house.

Meanwhile, the remaining bullies apologize to Thor, and ask him if they can join his gang. "I don't want a gang," he says dismissively.

[NPC Action: Propose Failure]

They leave Thor alone to lick their wounds, but not before taunting him with: "That's right you're a loner and a fool! We'll get you!"

Eli comes back with the ointment, and a bandage. "That's it. Rub your hand with it, then wrap this around."

As Thor tends to his hand, Eli studies him closely. At first he thought he was an older kid, but his face looks about Eli's age-- maybe younger. "You know, that was just like Willow Morganthe"
Thor: "Willow who?"
Eli: "She was a warrior."
Thor, raising an eyebrow: "She?"
Eli stammers: "I-I-I didn't mean you look like a girl. You're just very fierce like a warrior."
Thor smiles, obviously liking the comparison. "My older brother was a warrior." Then the smiles fades into sadness for a brief moment and he says: "I have to go."
Eli: "Wait! Erm...Thanks for helping me."
Thor, a slight smile returning: "Well, thanks for scaring them with that ruse. I think I was outnumbered."
Eli, stretching his hand awkwardly: "My name's Eli."
"Thor," he says, shaking Eli's hand heartily.
Eli: "Say, if you're new to town, I can show you around tomorrow. I like to read a lot about the history here."
Not knowing many people, and already having made enemies, Thor doesn't see why not. "Sure. I'll meet you here. See ya!" Then he walks home.

Years later, when looking back at this moment, they would both wonder at how circumstance brought together two very different personalities and made them such good friends.

---------------------------
* Since Brelward and the gang of kids lost their intent, in theory, I should grant them one more feature (thus increasing their dice). One thing that might not be so good, though, is to have the features grow out of control.

Anyway, their new feature will be "Will abandon companions at the first sign of trouble"

Edit: Click here for Session #7.

Solo Tabletop Gaming Appreciation Month: Monomyth structure - Session 5 (some chargen)

2011-11-15T15:17:00.003-05:00

After finishing the last session, I've decided that it's time to put some stats down on paper, as I've been relying on the Mythic fate chart for everything. Well, I will still be relying on it, but the character's stats will be my point of reference.

I had mentioned earlier that I liked the way that the Shock rpg handled stats, so I've tried to incorporate that. However, I also think that each phase of the world should have a Mythic Chaos rank associated with it, as it seems that the hero's fortunes rise and fall depending on each stage. I also think that some stages will need to be broken down into sub-stages with their own chaos rank.
Like, for example, in the "Crossing The First Threshold" phase, we don't want the hero to fail miserably, or the story gets stuck. So, I think that Phase should have a high chaos rank, and a high chance of success for the hero, with lucky breaks, etc.

In the "Ordeal" phase, the chaos rank should probably be lower near its beginning (sub-stage), when the hero should be at his/her lowest of lows,. Then it should rise near its end.

Now, of course, if chance surprises me and say, the hero fails at "Crossing The First Threshold", I'll have to find an in-story reason to deal with that, and try again. I think it's hard trying to maintain a balance between a coherent story and an interactive game. :)

Going back to the vaguely Shock style stats, I've decided that the overarching four stats for everyone will be Brains vs Brawn, and Integrity vs Corruption. I think those themes seem to have manifested themselves through play so far, and it makes sense that the story should be about those.

The way that Shock stats work is that you pick a number between 3 and 8 for each "praxis". In order to succeed you have to roll a d10 and come up under or over that "fulcrum" depending on which side of the "praxis" you're choosing. For example, if I chose Eli to have a 8 for his "Brains vs Brawn" praxis, it would mean that I have to roll under 8 using a d10, if Eli is using his Brains. If trying to use Brawn, I'd need to roll over 8.
Also, each protagonist in Shock has Features, which are characteristics that make your Protagonist unique. For each Feature a character has, a d10 is available when rolling against a stat/praxis. When a protagonist fails a roll (and only when they fail), that character gets to add a new feature, and an additional d10 to his arsenal.  This is supposed to emulate a changing tide of fortune.

How am I trying to adapt this to Mythic and the Chaos rank? Well, I decided pick an "Acting Rank" for each Praxis, and the rest is pretty much like Shock: roll over or under Exceptional odds for a success depending on which side of the scale is being used. So, for example, I picked an "Exceptional" rank for Eli's Brains vs Brawn praxis. Eli needs to roll under Exceptional if using his Brains, and over Exceptional if using his Brawn.

Note that I'm using the Mythic "Acting Rank" as if it was an "Odds" rank. It translates to the same thing, but the "Acting Rank" definitions sound better to my ear.

The other thing I will be trying to emulate from Shock is the way it uses pools of d10's to count successes. Instead of pools of  d10's, I'll be using pools of d100's (or 6 d10's). So for each feature, I'll have a d100 (or a pair of d10's).

One thing I'll do differently from Shock is that I won't be using the d4's for defensive rolls, but each character's successes will cancel the opposing character's successes. I haven't thought this out, so I'm not sure how it will look like in play, but I'm anticipating a lot of rolling!

Here are the first three characters (one of them we haven't met in play yet):

Eli

   Features

Braniac and Artist. Knowledge seeker.
Unassertive & scared of confrontation.
Wants peace and affection.
Does not like to swim (gained during lost conflict in Session 7)

Praxis

Brains vs Brawn : Exceptional (Eli needs to roll under Exceptional Odds for a success using Brains, and over Exceptional Difficulty for a success using Brawn . The actual number to beat changes depending on Chaos Factor.)
Integrity vs Corruption: High

Brelward (audience boos)

Features

Cowardly bully
(Mythic: Mockingly-Petite) Insecure about his height (a short beefy bully)
(Mythic: Boldly-Ruined) A spoilt brat (ruined-->spoiled)
Will abandon friends to save his own skin. (Gained during lost conflict in Session 6)

Praxis

Brains vs Brawn: Weak (Roll under Weak Odds if using Brains, Roll over Weak Difficulty if using Brawn. His strong side of the scale is Brawn.)
Integrity vs Corruption: Below Average (Mythic didn't put him too far down the Corruption scale)

Thor (Eli's friend/protector)

Features

Highly principled; to a fault maybe. (see Integrity vs Corruption praxis)
Brave, but not very smart. (reflecting his Brains vs Brawn praxis)
(Mythic: Energetically- ~~Lame~~ Agile) An athletic kid.

Praxis

Brains vs Brawn: Minuscule (Roll under Minuscule Odds if using Brains, roll over Minuscule Difficulty if using Brawn)
Integrity vs Corruption: Incredible (highly principled kid, to a fault maybe)

---------------------

One interesting, and potentially neat thing about using opposed stats is the sharp contrasts they create. Weakling geniuses, vs physically gifted dim bulbs. :) That can change with time, if they fail enough and get more dice to roll.

Edit: Click here for Session #6.

Solo Tabletop Gaming Appreciation Month: Monomyth structure - Session 4

2011-11-15T06:55:00.002-05:00

After finishing the last session , I've begun to wonder what is the optimal number of scenes to play for a back story. Four sessions feel quite long already, but I still don't have the answers to some important questions I'm supposed to establish in the "Ordinary World" phase.

-----------------0----------------

Situation: Ichard, Eli's father, is a successful exporter of what is colloquially known as "Wisdom Cider." The name comes from the fruit of which this cider is made, which is unsurprisingly known as "Wisdom Fruit."

Wisdom Fruit has now been grown over much of the Empire for centuries, but Hart's Island still retains the distinction of being the originator of the finest Wisdom Cider. This is fortunate for Ichard and other local businessmen in the trade.

Eli's second favorite hangout is his dad's office. When not drawing, or having his nose buried in a book, Eli likes to sit near his father's desk, and watch Ichard manage the business. Today one of his younger salesmen tried to impress Ichard by bragging about convincing a bulk buyer to pay three times the normal price. He sure wasn't expecting gruff response he got from Eli's dad, as well as a long lecture on how integrity and fairness is crucial to his business. To add insult to what must surely feel like an injury for this young man, Ichard has instructed him to find the buyer, and not only give the extra money back, but apologize, on penalty of being fired. Growing up, it has been clear to the boy that his father is not necessarily loved, because he is a demanding boss, but is greatly respected.

After dismissing the ambitious young man, Ichard turns to Eli and says with a wink: "How do you think I handled that?"
Eli feels a bit sorry for the young employee. He smiles and shrugs. "I think you scared him."
Ichard leans over and rubs his son's hair, "He should be scared. If I was in the habit of taking advantage of others, I wouldn't be in business long."

[Conflict from Mythic: "Celebrate-Good"]

"By the by, Eli, I have some news for you," Ichard says. Eli can't quite read his expression, but it seems as if his father is somewhat conflicted. "It's about the Grüns."

That's Brelward's family, who also happen to be their business rivals.

"What happened dad?"
"Well, nothing. Not yet." He takes a deep breath. "You see, we've been fierce competitors for years, and just a few months ago Frank Grün dropped by..."
Eli's beginning to feel concerned, when his dad tells him, "It was a friendly business visit. We've been discussing the matter, and it'd be good for our business."
Eli sighs in relief, and smiles, but his father is not smiling."There's a catch. He invited us to Brelward's birthday celebration."
"Do I have to go?"
"Now, son, I know how the little runt picks on you. I wouldn't force you to go. Knowing the Grüns, it's possible they could be offended...but it's up to you. Just think about it."

--------------------------0------------------

When the day comes, Eli begs off, since he is scared of Brelward, and his mind keeps imagining all the different ways that Brelward would torture and humiliate him. Ichard does not insist, or hold his decision against him, though.

Later that day, however, Eli hears what he thinks is hushed arguing. He sneaks close to the doorway in order to eavesdrop, catches his father in mid rant.

"He called you a haughty hag!"
"How dare he," Eli hears Bryne, his mother, say.
"I challenged him to a fist fight, but Frank Grün is a coward," Ichard says with distaste.
Usually, Bryne would look down on violent tendencies as brutish, but this time Eli notes that she grunts with approval.

After most of the anger has been vented, Ichard sounds more concerned when he says: "He said he would run me out of business."
The eavesdropping Eli is not the only person surprised by Bryne when she says: "Not if you run him out of business first."

--------------------------------0--------------------------
[Mythic threw a couple of random events that I need to resolve in this session. One is PC-Negative: Trust-Magic.]

The next day, in the morning, Ichard drops by Eli's room with a knock. A still sleepy Eli notices that his father seems somewhat angry at something.

"I found these shoes downstairs. Are these yours, Eli?"
"Yes, father," Eli nods.
"Young man, I want to know why you destroyed your Grandpa Eli's flower garden."
The garden was planted by Grandpa Eli, who passed away a few years ago.Eli was very fond of him and would never think of doing that. "Dad, I haven't even left bed yet!" he protests.
"Eli, your shoe prints are all over the garden."

Eli runs downstairs and looks out to the garden to find that indeed his shoe prints, and that all the plants are wilted. In his mind, Eli instantly blames Brelward and his gang, when out in the street, a distance from the house, he catches another distant brief flash of the creature that was chasing him days ago. It's luminescent eyes mock Eli from beneath a hood.

[NPC-Action: Lie-Environment]

His dad clears his throat behind him. "Son, look at me," he says while kneeling down. "You have not forgotten what I've taught you about having integrity, have you?"
"No, father."
"Then why did you lie? I'm very disappointed, son," his father says, and Eli realizes that perhaps his father will never trust his word again like before.

"I forgive you, Eli. However, you are not allowed to go to the library until you finish planting a new garden for Grandpa Eli. I want you to know how much work work and love he put into it."

Eli knows better than to protest at this point. "Yes, father."

Ichard leaves Eli, who is looking out the window at the garden, wondering how to even get started.

Edit: Click here for Session #5.

Solo Tabletop Gaming Appreciation Month: Monomyth structure - Session 3

2011-11-12T16:21:00.004-05:00

Well, I couldn't quite stay away from this story. :) I am still playing through the Ordinary World, as in the last session. Mythic has thrown an interesting and unexpected twist at me. At first I wasn't quite happy, but it turned out to be quite fun. There is some concern which I will explain.

As I've been reading about the Monomyth, I've learned about the various archetypes defined in the theory, such as the Trickster, the Herald, the Shapeshifter, etc. According to the information I've read, these are not always tied to a specific character, but can be thought of as "masks" that any character can wear to serve a function in the story. My intention was to have these masks be randomly assigned to characters, but I was thinking I would make masks available only at certain points in the structure of the story. For example, my plan was to leave the Herald archetype off until after the "Ordinary World" phase, in what is called the "Call To Adventure" phase.

I have broken that rule in my session, somewhat forced by Mythic. I think it might work, and perhaps it means I don't need to be too rigid about the structure. You be the judge!
So far, this is some of what has been established in the first two sessions:

Eli is both an artistic and intellectual individual
This town [still to be named] wasw forcibly incorporated to the Empire centuries ago.
Eli has somewhat likeminded friends, except in their learned snobishness.
Local folks who are more educated tend to look down on the other locals, and their "parochial" views.

It's not clear yet to me whether locals know much or care much about their past. I don't know if their insularity is due to their pride, or some other disatisfaction with the Empire. There are also hints that the educated folks might be more cosmopolitan-minded, or more outward looking.

What follows is the write up for this session:

Situation: Eli and Ulen are walking home from the library, excitedly conversing about how the librarian [to be named] showed up Brelward.

[What is the conflict? Mythic: separate-intrigues]

Ulen parts ways with Eli as they walk past Ulen's street. Not long after Ulen leaves, Eli becomes aware of being followed*. He catches a very brief glimpse of something that he would vaguely remember later as "ageless"-- and threatening**.

Eli picks up his pace, and then full of fear, just bolts home. Somehow, nobody seems to notice he is being followed, which convinces Eli that it allowed itself to be seen only by him.
As fate would have it, Eli does eventually bump into Brelward's gang, minus their leader. They only laugh at him, though, seeing as he's scared to death.

They taunt him. "Watch where you're going Twig!"

Whatever was chasing him, does not catch up as Eli makes it home.

Our hero is glad to find his mom at home, but he looks out the window with concern.

[Random Event: Move towards a thread. "Malice-Adversaries". I interpret that as a reaction from his mom]

"Are those little brutes bothering you again?" She asks with some concern, and annoyance, going towards the window herself.
Eli only manages to nod.

With an irritated sigh, she turns from the window after not seeing anything. Somewhat absentmindedly she puts her hand on Eli's shoulder, and tells him what she always tells him: "They are just jealous of your talent, my dear." With that she goes back to her scholarly work on ascetic monks of old.

No kisses or hugs from Mom. Eli would usually feel somewhat hurt and needy, but today he's just too scared. He looks out the window again, but does not see "it" again.

* This is where Mythic threw me a curve-ball. I asked whether it was Brelward, and got a no. I then asked if it was Brelward's gang, and got another no. Then I asked if it was some other bully (being really rigid with my questions), and got another no!

**The creature or being that Eli felt was following him was discovered through Mythic questions. Since Mythic left me with no options that I could think of, I broke my rule regarding using Monomyth Archetypes, and asked whether it was the Shadow archetype; possibly a manifestation of it. That's when I got a yes, so it may be a foreshadowing (no pun intended).

Edit: Click here for Session #4.

Solo Tabletop Gaming Appreciation Month: Monomyth structure - Session 2

2011-11-12T10:35:00.003-05:00

Since my last session, I've been hashing some details out in my head like what I want to do for mechanics, and stats. I very much like the way that the Shock rpg both simplifies and infuses a theme in its handling of stats with its "praxis scales," so I've decided to use that. I don't want anything too complicated anyway as I'm a scatterhead, and this is my first time trying this structure out. :)

Given the hero's background and the presence of bullies in the previous writeup, I think it's pretty obvious that one of the emerging themes is "Brains vs Brawn."

In addition to that, I also think that two things can be inferred:

Our hero's family is wealthy enough to send him to study in the capital.
The town is part of an Empire.

Other things have been revealed to me in this session regarding this town and its inhabitants. I decided to skip right ahead to the 'young boy/pre-teen' phase. The characters I'm interested in meeting are:

Mom
Dad
The bullies
Our hero's friends

During the session, I found out what some of the NPCs names are. In this session, I got to put on the player's hat, even though I didn't use stats yet.
Another thing I borrowed from the Shock rpg is the setup of the scene as a static situation ready to be interrupted by an antagonist. There were a lot of Mythic Fate questions, but I only wrote down the real relevant ones. You can pretty much assume that all NPC actions came from Mythic in some form.

Also, this is still in the "Ordinary World" phase of the monomyth. Here is the writeup:

Situation: (Altered Scene) Our hero, Eli, is sitting inside the library; reading up on local history. His specific subject is a local ~~man~~ woman who, centuries ago, ~~served in the Empire legion with honors~~ fought against an encroaching Empire. Her name was Willow Morganthe.

Keeping Eli company are his motley crew of studious friends. While he reads about the female warrior, his companions are having a heated argument about the local culture-- how it is backwards, closed minded, and parochial [Mythic: Abandon-new ideas]. Obviously, these precocious kids are probably parroting their parents.

[I get a Random Event from Mythic. NPC Positive-Create-Good (I erroneously interpreted this as a PC Positive)] Creepy looking Ulen [Mythic description: Adventurously Macabre] takes notice of a portrait Eli has created, based on what he's read so far about Willow Morganthe. He quietly passes it around to the rest of the group, who one by one fall silent in appreciation of how well it was drawn. They all praise our hero on his artistic skill.

[That's the static situation: A bunch of nerdy kids enjoying themselves. :) What's the conflict? Mythic: Violate-Victory. The bullies make their entrance now.]

Someone snatches the portrait from Ulen. It's Brelward, their tormentor.

[Mythic described Eli as "Offensively Strong." That doesn't quite make sense, so using the S.C.A.M.P.E.R principle, I took the opposite of Strong and the description wa "Offensively Weak". Hence the offensive nickname below.]

"Look, it's Twig's girlfriend," he mocks. That's his nickname for Eli.
Ulen attempts to get the picture back from Brelward in vain. [Mythic throws another Random Event here: PC Positive"Antagonize-Victory". Using S.C.A.M.P.E.R again, I change that to "Help-Victory".]

The librarian in charge intervenes, taking the drawn portrait from Brelward.

"Why, this is quite a good portrait, Ulen," says the librarian.
"It's actually Eli's, sir,", says Ulen.
"Oh," says the librarian. "Well done, Eli."
"Thank you, sir" says Eli.
"Do you mind if I keep it? I'd like to frame it and put it on that wall."

Both pleased and embarrased, Eli answers, "No...of course not, Sir."
The librarian nods, and then turns to Brelward. Not even bothering to address him by his name, he shooes him away saying:

"Now, if you're not going to read or study, you better leave."

Brelward leaves as he gives Eli a threatening look.

Edit: Click here for Session #3.

Solo Tabletop Gaming Appreciation Month: First attempt at roleplaying using the Monomyth structure

2011-11-11T13:33:00.005-05:00

As part of Solo Game Appreciation Month, I decided to put to the test some ideas I read on using the monomyth structure as a guide my solo play. I honestly cannot say this session so far has been real roleplaying, except in the sense of having my GM hat on. :) It was still enjoyable, though, and reminded me of my feeble attempts to create roleplaying plots for my friends.

I’ve heard that the Aria rpg used the monomyth, but I’ve never had the pleasure of finding a copy so I made an attempt to roll up my own using information on the net, and also in “The Writer’s Journey” book by Christopher Vogler (excellent book). I have a lot of loose ideas and notes lying around, but here is my first attempt at a concrete structure for the “Ordinary World” phase of the monomyth structure (as always feedback is greatly appreciated!):

Ordinary World

The purpose of the following questions is to discover through play (as much as possible) what their answers are.

What does our hero's "Ordinary World" look like?
(Optional) How does it contrast to the “Special World”? (You may not know this yet and that’s OK).
What is the hero’s outer problem? (The hero is assumed to be the PC, though not necessarily, I guess).
What is the hero’s inner problem? (It can be a flaw, a psychic/emotional wound, a lack of something, etc.)
What makes the (imaginary?) audience identify with the hero? What is his universal drive, goal, desire or need?
What is at stake for the hero?
What is the story’s premise or theme? What is the story about? What single idea or quality is it about? (Usually it can be an underlying assumption about an aspect of life like “love conquers all”.)

Once again, the purpose is to discover the answers to these questions through play. I thought that having a few phases in the hero's backstory for applying these questions might be useful and fun. I chose the following life phases:

Before the hero is born.
When the hero is born.
When the hero is but a baby.
When the hero is a toddler.
When the hero is a young girl/boy.
When the hero is a teen.
When the hero is a young adult.
When the hero is an adult.
Etc. as needed.

In my session so far, I did not make use of all of these life stages. My assumption is that one will choose randomly, cherry pick, or use them all depending on taste.

Also, in my solo play test, I found that some of this discovery happens in GM-mode (as if prepping an adventure for others). I am also anticipating being able to answer some of these questions through actual roleplay in this “Ordinary World” (i.e. player mode).

Below is my write up for what initially was an exploration of “What does the world look like?”, but as I played (again, in GM-mode), I found myself encountering hints and details regarding other questions as well.

For now, I’m provisionally calling this adventure, “The Intellectual” (how imaginative!):

(First I asked Mythic, “What does this Ordinary World look like?” Answer: Inform-Messages. There were more questions along the way, but I did not write them down. Also, in the back of my mind, there has been an assumption that this will be a setting in the medieval fantasy vein.)

The setting is a medieval town where a great library is located, and (Altered Scene) where, formerly, the center for the regional messenger post service used to be. This service does not exist anymore, though the deteriorated and abandoned building still stands in town. The great library still exists, but it is in bad condition.

A stranger might be struck at how the rest of the town is in good order, but eventually would realize the reason for that: the townies have a strong anti-intellectual streak in them, and are a rather insular lot (thus why they have no use for the messenger post). It should come as no surprise that this town is located on a relatively remote island (think Nantucket if you’re familiar with Massachusetts).

By the time our hero is born, none of the above conditions have changed.

Our hero’s father is a merchant, and much like his fellow townies, he is not much interested in intellectual pursuits. He is, however, a very kind man, who shows his love for his child. By contrast, the mother is almost the opposite: a relatively cold intellectual, who is not so kind due to her tendency to look down on the other town dwellers as uneducated.

While the hero was growing up as a toddler, his mother used to read to him at home and at the great library. As a boy, she generally encouraged him towards pursuits of the mind. However, compared to the hero’s affectionate father, she was cold and distant in a way.

Most people in town have assumed that our hero is as much of a snob as his mother, solely because he spends a lot of time in the library, and takes after his mother in terms of his interests. As a result, he has been bullied throughout his young life—though never when he is in the company of his good friend [to be named], who acts as a deterrent due to his size and ability to put a hurting on most.

The adventure will begin in earnest when the hero is in his teens. The hero’s mom has been pushing Dad to send our hero to a school located in the Empire’s capital, far far way. The schools in the hometown are not good enough.

I am not yet ready to begin the next phase of the monomyth as I want to spend some more time in this Ordinary World to find out more about the NPCs taking form in this very humble beginning. :) I also still need to figure out how I will use elements of roleplaying systems such as stats, resolution mechanics, etc. I definitely know that they will not be used in the usual way.

As always, feedback is appreciated!

Edit: Click here for Session #2 of this ongoing game.

Investing in the monomyth's "Ordinary World"

2011-11-10T06:42:00.003-05:00

Those who enjoyed Gamasutra's post on the monomyth (Solo RPG Gamer: Gamasutra: Automated Monomyth), may find this post at the Words on Play blog interesting:

Another aspect of RPGs that seems to be at odds with creating a compelling story is the desire to make the player character a blank slate at the beginning of the game. Again, this gives the player the freedom to create whatever character they like, but without an established backstory to work with, it is hard to forge any kind of connection between the player and the world. Yes, it gives us a nice conceit to explain the player’s early unfamiliarity with their world (and run them through the obligatory tutorial quests) but dramatically it leaves the character without any investment in the world.

The solution I’d like to explore is to have a more significant “Ordinary World” (in Campbell’s terms) before the Call to Adventure.

I think the author's thoughts may be relevant to Pen and Paper RPGs as well, even in solo mode. Would play, and the story, be more compelling if a player spent a few scenes interacting with people and places in this "Ordinary World" where he comes from (as the author of the original post suggests)? Or should that just be relegated to a background write up?

Edit: I've decided to put this to the test in this gaming session for Solo Tabletop Gaming Appreciation Month.

Intervention - Session 24

2011-09-24T21:23:00.000-04:00

[Chaos Factor is now 8.
[I pretty much want to wrap this story up at this point, so I will treat this as a question of whether Joy gets a bit of peace within herself or not. Would "redemption" be the right word? ]

Scene setup: After a few weeks, Joy gets back to Gloria with an answer of 'yes' to Gloria's request that they try one more time to contact her son Terrel.

A roll of 2 says that the scene is Interrupted.

[Focus: Introduce a new NPC
Action/Subject: Separate/Inside

A little help from the Fate chart: Is this Terrel's skeptical sister? Odds 50/50: 26, Yes. Seems strangely fit for what I'm aiming...]

Interrupt Scene: A few weeks go by, and before Joy has the chance to get back to Gloria, Terrel's skeptical sister, Alexis (which means defender), shows up at her door.

She has come to "find out what this scam is all about" [Mythic]. She's even been able to separate Isleen from her deceased fiance's ring so that Joy doesn't have an excuse this time. Yes, she heard about the first session. [Mythic] Joy wearily invites her in.

[Turn 88: BIC: "Receiving" (reversed)]

Joy can immediately see that Alexis is not very receptive towards her. Her offer of a refreshment is turned down curtly.

Joy: "Then I guess we can proceed." Walking to the dining table she politely asks Gloria's daughter to please sit down.

Alexis puts Terrel's engagement ring on the table, in front of them, and Joy takes it with her palm with great respect.

After some thought, Joy says with sincerity: "You've made it pretty clear that you think I'm a liar. I will not try to convince you otherwise, or defend myself. I just hope we can find some closure for your family."

Alexis grunts with extreme disgust.[Mythic]

Joy: "All I ask is that at least you do your best to think of Terrel right now. Forget about me, or what you think of me, and just think of him."

[Turn 89: Does Joy begin to receive visions? Odds Likely: 99, Extreme No. Any kind of sign? Odds 50/50, 57-Yes. BIC: "Optimism"]

Joy is washed over by feeling of contentment that she recognizes clearly as coming from the spiritual world [Mythic].

[Turn 90: BIC: "Obsession" (Reversed)]

A message...not so much in words, but a message nonetheless.[Mythic] A gentle exhortation not to obsess over loss. [Mythic]

[Turn 91: BIC: "Enough"]

As Joy communicates this to Alexis, Terrel's sister abruptly says: "Enough!". She is visibly upset[Mythic], and expresses her opinion of what she perceives as cheap theatrics. [Mythic]

[Last chance for Joy to show her it's real: Does she receive an unmistakable sign for Alexis? Odds 50/50: 98, Extreme No]

Alexis' outburst causes Joy to lose contact.

[Turn 92: "Fantasy" (reversed)]

Alexis tells Joy she is not weak-minded like her mother, and thus doesn't need the fantasies that Joy spins for her. She finally tells Joy to stay away from her family, before walking out the door. [Mythic]

Joy sits in silence looking at the door, thinking that perhaps the message will find its way to Gloria when she's ready to receive it.

Inevitably, she thinks back to all the horrible things that happened. "So much pain in this world," she thinks. Then she remembers the feeling of contentment she received from the other side, and somehow that fills her with hope that everyone will find peace eventually.

[ I think this is a reasonable point to end this story. It's almost certain that the killer has been eliminated given the weird dreams/visions Joy had during her flight, and also the lack of contact from the murder victims.

Kayla's sketchiness remains a mystery of sorts, and so does the police cover up (and the potential UN military influence behind it). I'm fine with having those as unsolved mysteries. Perhaps a different character will stumble upon those in a different story, X-files style. I don't find uncovering those essential to the heart of this story.

The rest of the unsolved threads were peripheral (Joy's sister situation) and had to be cut due to budget constraints. :)

Thank you for reading, and I hope you have enjoyed the session reports, warts and all. :) Also thank you to the folks who took the time to comment! Comments are always welcome and Very much appreciated. ]

Index

Intervention - Session 23

2011-09-24T14:25:00.001-04:00

[Chaos Factor still is 9.

Scene setup: A year after Joy is unceremoniously escorted out of Uganda by Kampala's police Sargent Fahamu, we find her quietly folding shirts at the department store where she now works. She has not received any more visions, though she had a vague dream where Mishale said his farewell, and asked her to be at peace. It did not feel like one of her visions, so she is not sure if it's her wishful thinking taking over.

A roll of 9 says that the scene is Altered.

[A little help from the Fate chart: Does she receive any visions? Odds 50/50: 44, Yes.

Random Event:
Focus: Ambiguous Event
Action/Subject: Struggle, Military

Does the vision give an intimation of a cover up? Because the local police were obviously covering it up, Odds Likely: 88, Yes. (Will not trigger Random Events when I'm already fleshing one out).]

Altered Scene Setup: Joy is escorted by Sargent Fahamu to the Kampala International Airport. During her fitful sleep aboard the international flight out of Uganda, Joy has flashes of being hunted like an animal by men in military uniform, in a forest much like the one where she had been the killer's prey. She feels thoughts and hate alien to herself. Along with that there is much fear and despair as they gain on her. Finally her doom arrives and she wakes up with a barely stifled yelp, as she knocks a glass of water off her tray. She manages to scare the man sitting next to her.

A year later Joy is we find her quietly folding shirts at the department store where she now works [Mythic ratified]. The visions of the killer have stopped. [Mythic] Though still a believer, the experience has made her less willing open herself to the other side.

[Turn 84: BIC: "Synthesis- Encourages moderation, taking a middle-of-the-road approach, seeing how things relate". Mythic says it has to do with Gloria, once again. The picture in the card does have a kindly old lady patching together a blanket made of bits and pieces.]

An older lady approaches, and not recognizing her at first, Joy asks her: "How may I help you?" Then, knowing who it is, she says, "Hello, Gloria."

[Turn 85: BIC: "Debate". For what's going on in the background, I got "Cooperation" (Reversed)(cautions against saying things like "it's not my job.")]

After saying hello, Gloria explains to Joy that she was very conflicted about seeking her out, after all that happened a year ago. She wasn't sure whether what the police sergeant said about Joy was true or not-- that she was a con artist and manipulator.

Someone comes to interrupt Joy about some task that Joy is supposed to do, but Joy tells her she's busy. Thinking it's a sale, the woman insists she'll take care of Gloria so Joy can go.

Joy, annoyance in her voice, tells her: "It's a personal conversation. Can it wait?" The other woman stomps off.

After a moment to take a deep breath, she says to Gloria: "I don't know what to tell you, Gloria. I know what I lived...but I just don't have the will to relive over again. I'd rather leave it all behind."

[Turn 86: BIC: "Examination" (Reversed)]

Gloria quickly apologizes. She has not come to question Joy all over again.

[So why did she come? Did she decide that Joy was being truthful after all? Likely: 80, Yes.]

Gloria says that she came because she realized Joy was not lying.

Joy expresses her appreciation for that. It is a sweet gesture, and it does relieve her somewhat, though it doesn't change the outcome.

[Turn 87: BIC: "Satisfaction" (Reversed)]

After a somewhat uncomfortable pause, Gloria reveals the real purpose of her visit: She is not at peace yet (satisfied) regarding her son Terrel.

[Does she know that Joy is no longer doing consultations? Odds 50/50: 77, Yes. Random Event.

Focus: PC Negative
Action/Subject: Inspect/The Physical]

Gloria explains that she has heard that Joy no longer wants to be a spiritual consultant, but Gloria thinks that she's the only real chance she has to know about her departed son.

The conversation somewhat takes Joy back to that feeling of opening herself up to the spirit world, but just the slight feeling of it makes her have an unpleasant physical reaction. [random event interpretation]. This happens to the point where Gloria has to grab Joy to help her remain steady.

Joy apologizes, and after a minute says: "I'm not sure Gloria. Give me some time to think about it."

Gloria seems satisfied with this answer, and they part ways for now.

[Scene upkeep:

Updated character list: n/a

Updated Threads:

#1 On her flight out of Uganda, Joy had vague dream or vision about being hunted by military types back in Uganda, though she felt weirdly dissociated as if it wasn't really her. Dream or vision, it seemed to have been about the killer and it was the last one such she has had.

#6: Visions regarding the killer have stopped. (See #1) Though still a believer, Joy has developed an aversion towards opening up to the spirit world.

#9: Joy seems to have had a dream or vision indicating that the killer has been done away by the military, which appears to be covering the incident up for some reason. The local police are definitely covering it up, however.

Since Joy was more in control during this scene, the Chaos Factor goes down to 8.]

Index

Mythic GME and the power of questions

2011-09-20T12:13:00.003-04:00

I just saw this awesome post by Jerry over at Solosaurus called Solo Gaming Set Up (please read it first and come back here). :) In playing around with the Mythic GME, he noticed something I had also noticed, and mentioned in my "scrap notes" post:

The main GME book talks about cheating and asking silly questions like "Do I find one million gold pieces right now?" But it doesn't address that you can manipulate things without realizing just by phrasing the questions differently or asking under certain conditions.

With the Mythic GME, the questions drive much of the story, and the player has absolute control over those questions. No matter what the Chaos factor is, you can consciously manipulate the story to your advantage or your disadvantage. Like I've said before, that's a lot of control, and Jerry is right that it sort of it can't be helped. :)

I still think that there are ways to lessen this, though. I may have mentioned this before (I can't recall), but one way I can see of lessening the solo player's ability to manipulate the story is by having rules that specify how the player may ask the questions (a structure). Like, "You may only ask questions in a way that create more opposition for your character " (or the opposite of that if you want to have a positive bent). To use Jerry's "Daemon Prince of Khorne" example, in a high chaos situation, you'd ask "Is the main antagonist a Daemon Prince of Khorne?", while in a low chaos situation you'd phrase it as the opposite ("Is the main antagonist NOT a Daemon Prince of Khorne?").

The rule still leaves a lot of openness for manipulation of the story (i.e. you could make all your opposition weak, etc), but it takes away some of your control over the story. Ideally, a set of rules like these would try to structure your questions in such a way that they create the kind of story you find enjoyable. For example, perhaps the rule above would be more like "In low chaos situations, you must always ask questions that increase your opposition. In high chaos situations, they should be structured in ways that are positive to your character."

I think there is some room for innovation in the area of how to structure the solo player's input, whether that input is in the form of questions or interpretation of randomizers.